#does this post already exist? someone's definitely noticed the parallel before

[towersofviolet]

if i had a nickel for every time aj had to physically separate sam and luke who are making aggressive animal noises at each other, i'd have two nickels, which isn't a lot but it's weird that it's happened twice

[0poole]

I LOVE No Straight Roads

Honestly it’s hard to keep me away from a game with great visuals and even greater character design. I knew from the INSTANT I saw these characters that I was going to love it. I just finished it because it’s (unfortunately) pretty short, and even though I cheesed the final boss through it’s very lenient death mechanics (Instant respawn at the cost of a good rank) I actually appreciated that it wasn’t a pure cake walk. I’ve yet to rematch all of the bosses, but since I had genuine trouble with the later ones I’ll hold off on that.

But who cares about gameplay, am I right? I sure as hell don’t. I would’ve bought the game no matter what the hell it was. I wanted the characters (and the music, although I realized that second) and that was it. 

First of all, I love any world that is super fantastical but cheesy in its concept, ala a city powered by music, and battles between artists using music. Ideas like this only spawn from a mind that wants to create a fun atmosphere, if nothing else, and it was sure as hell fun. I genuinely love when someone goes so far into a crazy idea and doesn’t waste your time explaining it with real world logic. Wanna know how a city can be powered by music? Shut up and look at the cute virtual mermaid. Lord knows I did. Every once in a while, it does you good to just let the player/reader/viewer just revel in the idea without having to go out of your way to make things seem realistic. It’s not about “turning your brain off” or whatever, it’s picking your battles.

Also, I can seriously love a world with great background characters to it. Any game with the right situation to insert the random nobodies you find onto the streets into the art in the credits really played into the greatness of the world’s less important characters, and that’s always a good thing. It’s technically world building. But, since I always love to pick favorites, I’d have to say my favorite background character is easily Mia, the NSR infodesk assistant. It’s funny, because you can literally search “nsr characters” into Google and she’s the third image result. I love how jumpy she is when you first interact with her, since NSR probably spread the word about B2J suggesting they’re rock thugs who’d beat up anyone, so for all she knows she could die right then and there with a guitar lodged in her skull. She’s probably just some intern trying to pay for college. She don’t want trouble.

Also, I just realized that 90% of the characters in this game have the same body structure that I always love, that being having arms/legs that sort of fan out in width into relatively large hands/feet. It’s a kind of limb structure I fall into so much because it just really hits me right for some reason. I really can’t explain why.

Anyways, I gotta talk about the big boys individually:

Mayday and Zuke are an amazing duo. I’m always a sucker for a cute and crazy girl, but honestly Zuke hit so many of the right notes too. I will say it’s weird to pair the martian Zuke with the humanly-skinned Mayday, but honestly it doesn’t even matter because he looks so cool on his own. I love his weird blocky blue dreadlocks, and his weirdly shaped shirt which bares his chest in the weirdest way... And, oh my god, Mayday’s weird Spongebob background flower eyes? It’s little tidbits like that that really make me jealous. How could I have ever thought of that? It looks so perfect, and I don’t know why. And her little booty jig she does in her idle animation? Adorable. I played as her as much as was reasonable not only because I’m a filthy button masher with little strategy but also because she’s so damn cute. I can also appreciate how she has a tough-as-nails persona while still keeping a semi-girly attitude, like with her falling for 1010 and Sayu. Characters are so much better when they’re a perfect blend of characteristics, instead of being all one-note, like how Zuke is the quiet one but gets heated against DK West, and all. 

Honestly the voice acting for every character is great, but I love when Mayday’s VA’s accent shows through. It’s a perfect twang to accent (consider this the only acknowledgement of a pun in this post) her snarkiness. 

DJ Subatomic Supernova was going to be an easy favorite since he’s all space-themed. Also, I don’t know why I always end up liking the egotistic characters. Not in the sense that I like their egotistic-ness, but in the sense that I like everything else about them and they just so happen to also be egotistic. The same applied with Empoleon (maybe like my 2nd favorite Pokemon) and Rarity from MLP, probably among others. Either way, I’ll never not love space themes. Not to mention he’s got a funky disco theme, and I’m slowly starting to realize that I am in extreme love with techno-funk styles of music. The instant I heard his music he cemented his place into my playlists. 

As for design, I still have no idea what the fuck he is. Clearly AI is at human levels in this world, but if he’s a robot why does he still have hairy legs? But, if he’s a human, is that weird orb his head? Is it just some sort of puppet which he controls from inside his giant jacket? I know I dissed explaining things realistically but I actually want to know with this guy. Even the wiki doesn’t say. Either way, he’s clearly the logical extreme of “being at the center of your own universe.” Even his jacket depicts a solar system, with his hood being the sun. Didn’t see that until I tried to draw him. I really wish this guy wasn’t so tied to his DJ stand so I could reasonably draw him without it. I don’t want to draw his hairy ass legs. It is a great touch for his design though (although I prefer his beta look with pants and long boots, another design trait I tend to gravitate to) since DJs could reasonably not wear pants, since they’re always behind a table.

Sayu is my favorite. It’s so plainly obvious. It’s weird to say that sometimes, because some characters like Sayu are so clearly engineered to be as adorable as possible, to the point where they’re basically a parody of whatever they’re supposed to be emulating, but then they do that so well that they are still likable for what they’re trying to parody. Also, even though I’ve never looked into any vocaloid superstars myself, the fact that they exist and are loved in real life is absolutely perfect to be used as a character design in a world like this. It’s so weird conceptually, but we all know it’s normal and realistic. But yeah, she’s a giga-cutie whom I’ve already drawn and I’ve listened to her theme on loop on many different occasions. Favorite character, favorite track, favorite weapon of choice (What did I say about Empoleon?), which, and I wouldn’t have noticed this myself, looks like the USB symbol you see above USB ports on computers. How crazy perfect is that?

Even apart from my unbridled love for cute monster robot(?) girls, her boss fight is probably the 2nd greatest of them all, at least conceptually. She’s just a hologram, so you can’t touch her, but you CAN disconnect the artists which control her in order to defeat her. It’s the kind of concept for a boss fight that could only work for this type of character. I’m a sucker for the cute girl that provides her voice, but I love how the animator (video editor? the yellow one) actually attacks you with a mouse and lowers the brightness of the setting once he appears. Also, the mocap guy being the deeply-voiced type but still providing the adorable movements of her body. It’s such a great combo of characters, and their little extra art in the credits makes me like them even more. I just wish we could interact with them individually.

DK West was probably one of the most interesting characters visually, especially since I knew of every other NSR member long before the game came out, but I only just heard of him closer to the release. I wasn’t sure where he was placed, but I definitely assumed his gig was the weird shadow demon we saw in the trailers. When I finally saw him in game, I was shocked to hear him speak an entirely different language most of the time, which was really cool. Also, finding out he was tied to Zuke and wasn’t strictly an NSR artist really made him more interesting. You know, if his fucking shadow clone magic didn’t make him crazy cool enough. Even though I suck at his game and am not especially fond of his raps, the visual of him rapping with this giant monster behind him and dozens of weird shadow wingmen by his side hyping him up was probably one of the coolest in the entire game. The dark way they were hyping him up too gave such a bizarre atmosphere, especially since it parallels his seemingly chill and smiley demeanor. 

I definitely hope they’ll introduce new bosses as DLC in the future, and make them sort of in the same vein as DK West, where they aren’t the biggest artists ever, but they want to pick a fight with B2J. I’d kill for any extra content this game can provide.

Yinu is obviously special since she was the subject of the demo they put out for the game. Even though I knew all her bells and whistles, she and her mom still beat me a few times in the full game. Considering she’s semi-tied to story-ish spoilers I kinda want to go more into her in a separate section. It is worth considering playing the game first since it’s not hard (with the easy going deaths) and it’s short length.

1010 seriously grew on me as I learned more about them and interacted with them. I got their shtick when I first looked at them, but after seeing that animation of them touring the city on Youtube I was kinda falling for them. Then, I learned that they’re apparently repurposed navy war robots? I mean, maybe not them specifically, but it seems to heavily point in that direction, with the warship cars and “attention!”s and all. It took me a bit to get into their music too, but once I actually fought them and put their actions to the music I fell in love with it. I swear, Neon J’s weird dancing can has some of the smoothest moves in all of gaming. I don’t know whether they mocapped out those movements or got one of the greatest animators ever, but it looks so impossibly clean his part of the song gets me like 30x more hype than it would normally. 

Also, their little art piece of them looking at fan mail in the credits is probably one of the most adorable things ever. Even if they’re just Neon J’s puppets, that piece of art really makes it seem like they love every one of their fans. I’m not gonna lie, I might swoon a bit too if they picked me out and gave me some special attention.

Oh yeah, and the fact that Mayday was super sad in her showstopper against them was adorable and hilarious at the same time. The little tweaks they made to the showstopper for each fight were great.

Eve just has to be Lady Gaga, right? Like, an even crazier Lady Gaga. DJSS is Daft Punk (or any artist with a helmet persona, you know what I’m talking about), Sayu is Hatsune Miku, DK West is Kanye West, Yinu is a generic child protege, 1010 is a KPop boyband (just pick one) and Eve is Lady Gaga. That’s just how things are. But, again, this is the kind of boss fight that only this type of character could provide. It’s not just surreal imagery, it’s ARTISTIC surreal imagery. The fight is so mesmerizing in every way, especially by how it starts off so slow and calm and progresses to insanity, as well as the increased emotional investment in the fight making you feel so much more into it than just “That’s the boy band. Let’s fight.” Not only does it get you more invested, but it makes her artistic persona go deeper than just “she looks weird.” She is genuinely conflicted about her relationship with Zuke, and naturally that leads her to literally split him and Mayday apart. That mechanic specifically was the coolest, although I do wish they made it more obvious when you needed to switch over to a different side. I was getting pulverized by her fight too, since there were so many things to pay attention to. Her fight was definitely the best one. 

Tatiana and Spoilers:

Let’s be real with ourselves, the twist was so obvious. I do also think, though, that obvious twists aren’t bad if they’re just good reveals. At some point, a person just has experienced so many stories that “only pretty good” twists are easy to spot. It doesn’t mean that the twists are bad, it just means you yourself experienced.

I feel like her transition from rock to EDM was pretty understandable, even as a non-musician. She was so caught up in what she assumed was popular that it basically consumed her. It’s easy as an artist to want to forgo what you truly want to make in favor of what makes you popular, and clearly since her transition to EDM made her the CEO of the biggest company in the city (world?) that probably made her think she truly needed to change her outlook. Then, when she saw B2J try to bring it back, she sort of coined them as being as misguided as she was and knocked them down a peg. Plus, they were kinda being jerks about it.

It’s kinda like the Trolls sequel, where everyone pegs rock music fanatics as being too stuck up in their own heads to appreciate other types of music, which honestly seems more like the case than the alternative. When I first heard of the story of the game, I was seriously hoping they did put an asterisk on B2J’s ambitions because they were a bit sketchy from the start. 

That’s kinda where I want to talk about Yinu, because she was the true turning point in what they were doing. She’s literally 9 and yet she’s getting dragged into all this BS. When she said “I hate you all” at the end of her fight, and played a somber tune on her broken piano after the fight destroyed it, you kinda got a kick in the face to realize you’re kinda being an asshole to some of them. Sure, they fight back, but they wouldn’t fight in the first place if they didn’t have to. They are just people who play music under a joint name that B2J just so happened to get in hot water with. 

Then, of course, there’s Kliff, who also reeked of surprise villain, and who’s basically the embodiment of the bad side of B2J, where he just wanted to destroy for his own sake and not for the actual greater good. Once B2J realized their mistake, they backed off, but Kliff was so hard pressed to do what he planned on in the first place he wouldn’t stop. I kinda wish he got a bigger fight to his own since he’s clearly a big enough tech genius to divert a whole satellite into one specific building. Maybe the Elliecopter chase bit was his thing, but I do kind of wish he was there to fight against them too.

Even though Tatiana did kind of reform a bit quick, It’s still not too crazy to assume she could see that B2J was just misguided and the fact that they worked to revert their wrongdoings for her sake would make a pretty strong impressions. They clearly can hold their own, so it’s not like she wouldn’t want them to join NSR too. 

Oh yeah, and her boss fight was clock/time themed. If there’s a theme under space that I love, it’s clocks/time. 

And If I am to be respected by the internet, I must provide a negative opinion to balance out my positive one. I will say that the character model physics (like Mayday’s braids, DK West’s vest thing, Neon J’s fluffy neck thing, etc) got kinda funky at times. Especially DK West’s vest, which was completely messed up for every scene he was in... Also, even though the voices are mostly great, some lines felt a bit off. Just a bit. That good enough? Good.

But yeah anyway that’s another favorite game to add to the pile. Eventually I’m gonna have to compile a true list of my all-time favorite games/movies because I do kind of want to have a solid idea of what my all-time favorites are.

[enbylesbianism]

ANY WAY THE WIND BLOWS: Simon Snow trilogy wrapped! (review)

Hi, there! It took me a while to finish this post, as I could talk about it for... a long time (not necessarily a good thing), but I got it! I like praise, so if anyone wants to tell me I did a good job... Also, I might edit this post later on. I don’t remember anything else I’d like to add, but I wouldn’t be surprised if I did after posting. My brain does not obey me. Anyways, off to it! By the way, I won’t give this book a real rating.

While this is a review on Any Way the Wind Blows, I intend on analysing some points of the overall series too. The book starts where Wayward Son left off, the end of the road trip, Simon and Baz having problems in their relationship, Penelope helping Shepard with his curse... and the whole situation of the NowNext vampires. Rainbow Rowell only seems to remember the first part. That leaves us with the second book of the series ignored almost completely, with the exception of Simon and Baz’s feelings as well as Shepard’s existence.

Don’t get me wrong, aspects of the book are mentioned, but never in a truly important way. Lamb, the Vampire King, is mentioned by Simon, but only focusing on his and Baz’s relationship, never about the fact that there are a bunch of vampires (supposedly ‘evil’) in the U.S. but I guess what happens in Vegas stays in Vegas, right? I could count on one hand the times the NowNext vampires were mentioned (like, literally, this isn’t an exaggeration, I looked up ‘NowNext’ on the e-book and only got five results), all of them either being one of them considering telling someone else about it, then not following through with it, or dismissing it as a concern for Lamb. Which makes the plot of Wayward Son completely useless for the trilogy. Now, that wouldn’t matter as much if everything else had been properly developed, but we definitely can’t say that.

We are introduced to a brand new, poorly developed villain, Smith-Smith Richards, whose character arc is as ridiculous as his name. He’s one of the fake Chosen Ones that started appearing after the events of Carry On (and the only one to be mentioned and/or defeated, for that matter). It becomes clear that presenting as Simon Snow-ish is part of his brand, especially when Baz describes him as looking like the Netflix adaptation version of Simon, and that he was raised and guided by his uncle, who’s just... there. I don’t think it would’ve been hard to make him manipulating Smith-Smith into believing he’s the prophetic savior of the Magickal World, which would not only make both of their characters more interesting, but it could also serve as a parallel of Simon’s relationship with the Mage. Richards also has some special powers such as increasing a mage’s magic for a limited amount of time, but taking it away afterwards, as well as making someone immune from spells. It’s worth saying those aren’t skills that are usual in the Magickal World, or else there wouldn’t be so much confusion and shock from people (specially Baz and Penny, who would definitely have heard of something like this before), but we get no explanation on why or how Richard has them.

Then, we have the Salisbury’s. We, as readers, already know Lucy and Davy are Simon’s parents, making Ruth his grandmother. It’s noticeable that Rowell builds up to that discovery, by making Simon get along with Ruth instantly, him thinking about Lucy a lot etc. It makes us excited to read the part where they actually figure it out, to know how Simon would deal with that, him dealing with the fact that he’s the Mage’s son and the fact that, technically, he killed his father. I suppose that’s the point, but actually getting to that part was incredibly underwhelming. The way they discovered about Simon—being able to lift a family sword—hadn’t been mentioned or hinted at before. One would’ve expected Simon, who’s particularly interested in swords as it’s mentioned many times throughout the series, to notice a freaking Excalibur at the Salisbury’s place before. 

And speaking of noticing things: when it’s finally revealed that Simon is Lucy’s son and the Mage’s heir, Baz pointed out the uncanny similarities between his boyfriend and the deceased Watford principal. “Those narrow eyes. That tilt of his head. I thought... I thought he’d learned it. Was imitating it.” + “Merlin, Simon, you even look like him.”  (Any Way the Wind Blows, chapter 86) Simon was the Mage’s protégé for years and I assume the Magickal authorities knew that he was the one to inherit all of his money and personal belongings, but no one, in the whole British Magickal community, thought about them being related? I refuse to believe there were no conspiracy theorist teachers at Watford or that Mitali or even the Pitch’s alongside everyone who was against the Mage didn’t at least check to know if there was something behind those characteristics. Baz literally said (chapter 88), “I think it’s undeniable. I’d cast ‘Flesh and blood’ on them, but it would bounce right off of Snow (...)”, so there is a spell for that. Plus, we didn’t even have one whole chapter of Simon dealing with this information! The chapters (no more than five, out of ninety-one) were divided between Simon, Baz and Lady Ruth’s POVs. He’s the main character, so one would think he’d get more development.

Another point that felt rushed was the romance. While Simon and Baz’s relationship wasn’t, as it’s been a topic Rowell has explored for three books (we’re not counting Fangirl here, as their ‘participation’ on it was minor and their personalities weren’t as consistent as in the trilogy. Not that it is that consistent there), the others just felt like she wanted everyone to finish the trilogy with a pair. I’ll start with Shepard and Penny. There were fans who liked them together before Any Way the Wind Blows, but it wasn’t hinted at—it was more like a fandom thing. I personally like them as a couple, but it could have had development and, maybe, foreshadowing in Wayward Son. I mean, they did fight monsters during a huge part of a road trip together.

The next one I’ll talk about is Agatha and Niamh. I love them, don’t get me wrong. Actually, it’s precisely because I love them that I wish they’d gotten a better treatment. Niamh wasn’t introduced before Any Way the Wind Blows. I get why she wasn’t introduced in Carry On—it was interesting to see a character who wasn’t caught up in Simon and Baz’s drama during the school years—but a hint of her existence could’ve been left in Wayward Son. Agatha is an important character on it, and a mention of her father training an aspiring veterinary could’ve fit somewhere, as a hint, maybe. (Also, Lucy, the dog, being absolutely forgotten during this book when a lot of Agatha’s time is spent in a veterinary clinic...) Besides, we could get the vibes from them, but after they kissed, there was barely any content. We didn’t get them calling each other ‘girlfriend’ (or if they even like that label at this point), or the aftermath of the kiss, or a POV from Niamh. Or Niamh appearing the epilogue? If Agatha was taking care of the goats, I’m sure Niamh would have a part in that too. Still on Agatha’s character, but not on Niamh’s, it felt like Rainbow Rowell was setting up for aromantic and asexual Agatha, specially because of this quote: “It was like she'd pulled the feeling right out of my heart. I could have kissed her. (I still wish sometimes that I wanted to.) (That would feel like an answer to... the question of me. Then I could say, 'Oh, thats who I am. That's why I've been so confused.')” (Wayward Son, chapter 4).

And I was leaving the best (I need to be sure everyone knows I mean this sarcastically) of the romance topic for the end: Fiona and Nicodemus. It’s just... so forced and undeveloped. Not even because, to me, they’re both gay as hell. There was just... such a lack of development! I don’t think we had any interaction between the both of them before Any Way the Wind Blows. There was no foreshadowing or why would Fiona, a vampire hunter from a family of vampire hunters, would marry... a vampire! I’d already find it weird to see fanfiction of them as a crackship, but it’s canon?! Like, canon as in they’re going to get married and use Fiona and Natasha’s mother’s ring? Seriously, nothing will take from me that this is a lavender marriage (as I’ve already discussed with my best friend, which inspired this post of theirs.)

I’d also like to speak about a topic that’d been hinted throughout the series, especially post-Carry On, which is the criticism towards the Magickal Community in the U.K.. That criticism is very much embodied in Shepard’s character. It’s explicitly said that the British mages have some kind of supremacy towards other supernatural beings, such as vampires for example, gatekeeping literal magic. Up until relatively recently, mages with weak links with magic couldn’t attend Watford (and that’s a major plot point in the final book) and there’s a denial towards any other kind of magic except the ones that are part of their craft. Even within the Magickal community itself, there are more important families that are more likely to succeed, like Natasha receiving criticism for marrying Malcolm, as a Pitch. It felt pointless not to tackle the issues you’ve set up yourself in your own universe. Penelope has very strict morals related to magickal law and beliefs, something that she could’ve deconstructed, especially considering Shepard, her love interest, symbolises that. Another point related to that is, the trilogy is very clearly heavily inspired by Harry Potter, where many of those points are very clear (e.g. wizard supremacy in relation to other species, such as werewolves and domestic elves and the status quo that makes some traditionally magical families more influential than others, like the Malfoy’s vs. the Weasley’s), so it’s not an easily forgettable concept.

The series also had a lot of inconsistencies. The one I’ve seen talked about more often is Simon and Agatha’s... intimacy status, let’s call it that. Simon’s whole thing in the first book was that he struggled controlling his magic when experiencing intense emotions, which makes it hard to believe that he managed to have sex withount an... accident. Besides that, though, there’s this quote, “She (...) presses a kiss into my temple. No one has ever kissed me there. No one has ever kissed me anywhere but on my mouth” (Carry On, Chapter 27), but in Any Way the Wind Blows, when Simon’s about to have his wings cut, Agatha says, “It’s a strange feeling to look at someone’s chest and know it’s nothing to do with you anymore, but still to remember kissing every inch.” (Chapter 14)

So, we have established that Rainbow Rowell’s work, both character and plot driven, is flawed. “But we got the characters interacting for the closure of the series, at least!” Well... we got interactions between the canon romantic relationships, yeah. But besides that, we didn’t get much. There were no interactions between Agatha and Penny, or Shepard with Simon and Baz. Or Penny and her mother figuring stuff out. Or literally anyone with a therapist. And not gonna lie, the interaction we got between Baz and Dev was underwhelming, to say the least. Niall is nowhere to be seen, too.

Rainbow Rowell’s writing is beautiful: she writes poetic lines that make the book seem perfect at first glance, if you don’t think about it for too long. Her words are very shiny, but once you get use to that light and see what’s behind them, what’s between one shiny quote and another, it has so many flaws and plot holes that it reads like a first draft. There are many concepts in there that are genuinely good: the rest of the trilogy focused on the protagonist dealing with the trauma of being a child soldier instead of being entirely an adventure, Simon being unlabelled, a fake Chosen One that gives mages fake hope... Those are all good ideas, but so poorly explored that, despite being an entire book/trilogy, it still feels like a writing pitch or something among those lines.

I felt iffy about other things during my reading of the series, but they aren’t exactly plot points, so I’ll just list them below:

Mitali, Penny’s mom, including ‘discovering your bisexuality’ as a mid-life crisis thing 

As I’ve seen people talking about biphobia/bi erasure in the books, I’ll be including this post that features both unlabelled and bisexual individuals talking about the topic (it isn’t my place, as a lesbian, to talk about this, that’s why I decided not to do so.)

Romanticising of Baz’s suicide (a.k.a. chapter 61) in the first book. If you’re not in a good place mentally, like I was when I first read Carry On, I hope you know that a kiss or romance doesn’t help any mental illness you or others might have. Don’t let anyone use your guilt to manipulate you. Paraphrasing Alice Oseman in their graphic novel Heartstopper, love can’t cure a mental illness.

Any Way the Wind Blows was... very horny. I can’t point out how this makes the book bad exactly, but it wasn’t something I enjoyed. One of Rainbow Rowell’s strongest skills is that her quotes, when loose, are good. They tend to be poetic and just beautiful, overall. But in the... explicit scenes, these skills were barely used, and I felt like I was reading NSFW tweets off of someone’s private account on Twitter. Besides, the first two books of the series weren’t written like that, so the change was very sudden.

The older people could’ve been more explored. Penelope and Mitali’s relationship and how similar the both of them are compared to each other, Daphne and Professor Bunce’s insecurities and why they believed in Smith-Smith, Fiona, Nico, and Ebb... Also, the Mage and Lucy. We could’ve had more on them, y’know. 

The pop culture references. They made the book read even more like Twitter’s feed. Honestly, if I wanted to read prompts and nice ship content alongside memes from Twitter with some horny thoughts sprinkled all around, I would’ve opened the Twitter app. Or Tumblr, Instagram, whatever.

The POV switching felt lazy to me at times. It’s nice to know how different characters are experiencing that situation, yes, but sometimes, like during the discovery that Simon is a Salisbury, it read as if Rowell wanted to create tension, but couldn’t think of any other way to do it except the switching around.

Narrative wise, I think Simon and Baz should’ve spent more time broken up. 

[kaminohana]

the meme man full analysis

Yeehaw here we go. Analysis of Mikoto Kayano’s video and song, along with some theories about the many themes and symbols in the video. Note: If there’s any other supplemental material for him out there, I haven’t read it. This is just an analysis with the music video we were given. If I happen to miss stuff that was mentioned before, I may talk about it in another post lmao

I was SUPER invested in this video as I watched it and soon realized “Oh shit, I think Mikoto’s plural”. Cuz, you know, I’m plural too (not disclosing what kind) and it felt SO good to see some actual parallels to stuff I go through- though of course not to Mikoto’s degree.

That said, I feel I should make a disclaimer in passing: yes, portraying your only plural character as homicidal ain’t the best representation. But, you know, we’ve seen other cases like that in Milgram so I’m just gonna leave it at that. Personally, I’m not that offended because the execution is SO top-notch. Though, hey, I totally understand how this can be very frustrating to other systems to see plurality depicted in such an unhealthy light- if it’s not for you, it’s not for you.

Keep in mind the point of the Milgram series is to make you uncomfortable in so quickly incriminating someone; if you’re hesitating to determine someone as guilty, hey, that’s probably intended and good! It’s about personal decision, so I’m not going to judge you one way or the other in voting. I just find it fascinating how these videos can put us in such conflict. This is all just my own perspective, BTW, so if you disagree with some of these points, good! I’m just hoping to share my thoughts since I can make a lot of connections. I’m by no means an expert in plurality or tarot, I just have some background in both and decided to try my hand at this analysis, so I really don’t the final say on what’s going on in the video.

Now, onto the actual video analysis.

I’m sticking with the basic idea that Mikoto is split into two parts; his more loveable, gentler side, which I referred to in another post as Softboy Mikoto, and the more violent side which may be acting as a catharsis to his frustrations. I referred to this side previously as the Devil alter, as he is depicted with the Devil major arcana tarot card. I can see how this could be taken badly, so for now I’m just going to refer to him as the shadow alter. There are many themes of duality in the video, most commonly with the symbol of the half moon which appears so many times. Shadow of the moon etc etc. I’ll be bringing this up several times as I analyze the lyrics. I’ll be breaking down the lyrics as evidence to support the idea that Mikoto is plural, and to show how softboy Mikoto (and shadow alter Mikoto) view this particular relationship and how this culminates in murder. Sometimes I refer to Mikoto (as a whole), softboy Mikoto, or shadow alter Mikoto depending on what I’m trying to describe in the below.

First piece: the title. MeMe. Me x2. A dead giveaway, like Umbilical. Also, it can be a meme, which is interesting taking the definition of the word meme in this context: “an element of a culture or system of behavior passed from one individual to another by imitation or other nongenetic means” (Oxford Dictionaries).  HMMMM. I know memes are generally within the context of a community, but I think it’s interesting to actually apply this to Mikoto. What exactly is being passed on? Could we argue that Mikoto’s frustrations from one of his parts is being passed on to the other? Interesting to think about, though it may not be relevant.

Going into the lyrics:

So from here I’m guessing there was a point in Mikoto’s life where his plurality was not an issue; or, potentially, there was a time before his split. These were the good times.

Playing dead vs. being alive – representing duality. May refer to how, when one side has their way, the other is locked away in the headspace with no control, thus feeling like being dead. In the context of “if only”, perhaps he’s wishing that he just didn’t do anything if only to prevent things from getting this far.

“If” I could end- I believe Mikoto (particularly softboy Mikoto) is saying “Hey, I have no control over my other side. If I did, would things still be the same? Would I still be ‘letting’ this happen?”

“Keep it” and “hide it away” I feel like are both representative of his shadow alter and of the desires that alter represents. Many words related to destruction are tied to this alter, so it could be seen as Mikoto trying to hide those urges as well.

“’I’ will save ‘me’”- this is a very interesting line that I think very well encapsulates the shadow alter’s initial motives; he’s saying “hey, I’m going to take care of us,” I believe to try and convince softboy Mikoto to let him out. As far as if softboy Mikoto can actually “let” him out is TOTALLY up for debate.

Part of the reason I refer to the other alter as softboy Mikoto is because there are softer words I notice used by him in the song; here’s I’m seeing “snuggle”, so I think this side of him is more vulnerable and soft.

SWITCH, shake up that brain- wow couldn’t be any more obvious here

This is where the chorus starts. This I think is from softboy Mikoto’s perspective, PARTICULARLY when he’s trapped in the headspace. There are many forms of plurality IRL in which alters cannot simultaneously front, so one or more are “pushed” back into the headspace. This very act occurs several times throughout the song in the weird minimalist vaporwave shadow realm room, where the tarot cards are. During this time, we can assume that is when the shadow alter is fronting. Softboy Mikoto slowly starts to become more helpless and fearful in this space as the song goes on, and this is where he makes his celtic cross tarot spread that quite frankly defines the whole song. I discussed that in my other post.

Another facet of plurality that is applied here is amnesia, which is common, especially when alters are pushed back to the headspace. Within the headspace, there may be a lack of awareness to the outside world, which Mikoto seems to express in his confused sentiments like the above (in the video, he is also scratching his head, which as a gesture can represent being confused). “Why am I here?” can act as a double entendre, both referring to “Why have I suddenly been pushed to this headspace?” as well as the whole point of Milgram- “Why am I in prison?”. He may not be aware of exactly what he did, hence why he feels it’s a mistake. He may be experiencing amnesia of what his shadow alter is doing, so he doesn’t even know what crime he committed. However, he at least has enough awareness to tell someone else is present in his body doing things, so he begs the viewer “Hey, just watch whatever my body is doing and it’ll all eventually make sense. I don’t have access to this information, but you do.” I thought this was an interesting fourth wall break.

The truth revealing itself could also be the truth coming to light from the particular tarot reading he does in the headspace; note that the cards only seem to be appear in this place and not in the outside world. So softboy Mikoto is trying to figure out what’s going on this way. If he can’t figure it out himself, maybe the cards can give him some direction.

Another duality- “I won’t forgive you if you reveal the truth” vs. “However I know I’m right when I say I’m innocent”. Or he could be right about something else.

I’m wondering if the breaking here is just reflecting the shadow alter or is softboy Mikoto actually wishing he could end the shadow alter. He at least wants things to change; the way things are right now is not something he’s okay with. Though, it sounds like he isn’t getting help with this and has no idea if he can even arrest full control again. It seems at this point, this has been going on for a while so he’s stopped trying.

In the video, the shadow alter is doing a GREAT job hiding the evidence; while of course probably just trying to not get caught, the shadow alter may also be trying to hide his crime from softboy Mikoto so he’s none the wiser.

He’s hoping he can be rid of the shadow alter side, but I think he also is dumping all his difficult feelings onto the shadow alter. Maybe he feels its some sort of release, even if he can’t control it, so he feels a lot of guilt over the shadow alter’s existence, even though that alter is serving a purpose as a conduit for those emotions.

I really really think though that there IS some connection between softboy Mikoto and shadow alter Mikoto. Maybe they are both truly aware of each other, hence the scene where they are viewing each other through the mirror. I think here, softboy Mikoto might be admitting that it feels good to let the shadow alter out, like a hug. The “minus energy” probably refers to the shadow alter.

“Maybe it’s okay that we’re separated like this?” he wonders. There seems to be a sense of feeling alive at least that is conveyed through the shadow alter.

SPLIT IN HALF- yeah, again, pretty encompassing.

In the video, I think this is when we have a switch, as Mikoto’s expression changes in the outside world mirror.

The chorus again, softboy Mikoto is shoved into the vaporwave shadow realm headspace. He’s asking the audience to investigate him here, but I also like to joke that he’s like “uwu look at me I could never harm anybody, pwease let me out”, which may be true only so far as softboy Mikoto is out.

I wonder if in “I will NEVER forgive you if this is happening to me” is directed at the shadow alter instead of the audience? Like softboy Mikoto is saying “I swear to god if you murdered someone im gonna be so pissed, but I also already kinda know it’s happening.” Just another take.

In the video, softboy Mikoto is THROWN into the headspace, where he is gifted with just one hint of what’s going on: The Devil tarot card.

You DARE accuse Miette of murder? Oh! 1000 years jail for Milgram viewer!

Now the vaporwave space starts to turn into a bloody mess; perhaps now softboy Mikoto is starting to put two and two together.

“Hurting it, holding it down, it doesn’t change anything, does it”- I definitely understand this being plural, like if your alters are causing problems, you may try and chastise them, or you may try and lock them away deep inside, but that often doesn’t stop them from existing. It’s really cool how that idea is present here. Like YES that’s how it is quite often. So even if softboy Mikoto TRIES to smother or accuse his shadow alter, that’s not going to change anything.

It being the same anywhere he goes makes me think he’s been putting up with this for a long time, that it’s not about what environment he’s in because his shadow alter is with him everywhere he goes.

“It’s like what’s wrong isn’t wrong”- may be referring to multiple things:

-the shadow alter having a different morality (hence why murder is okay for him, his indulgence in smokes and…redbull/alcohol, etc)

-OR, how softboy Mikoto’s amnesia isn’t letting him understand the full picture so everything is okay when he’s out fronting (shadow alter cleaned the place up and stuff, perhaps hiding all evidence of murder)

-“I’m already the fake one”- a very common sentiment for plural folks, worrying if you as an alter aren’t “the original” or if you’re not actually split and it’s something you’re making up, etc. I think softboy Mikoto is having these feelings. Poor boy, wish we could get you some therapy instead :/ (all of Milgram would be very different if only most of these people could get therapy, let’s be honest)

Now, what’s special here is that BOTH alters are in the headpace, with shadow alter Mikoto looming ominously behind softboy Mikoto.

During this next instrumental, just a side note: we see what’s going on through security footage. The security cameras reflecting a third person perspective is kind of neat in context of pluralism, where someone else fronting can feel like a third person awareness to another alter. I may be thinking too much into this one, but it’s a fun connection.

Another thing many plural folk go through: DISSOCIATION FROM REALITY. Ah yes, my good friend dissociation. Especially like in Mikoto’s case, where the consequences of being split have drastic consequences, he could be running away from the truth which may always be partially concealed to him. Something’s VERY wrong, he knows this for sure, and it may be at this point he really realizes “Oh shit. I just committed murder.” But instead of taking responsibility in any way, he’s trying to imagine that it’s a fabricated reality. I’m not going to say if this makes him bad or not, but it is a known coping mechanism.

I know I mention that the bad habits of smoking and drinking may be the shadow alters habits, but they could also be softboy Mikoto’s own methods of escapism, which definitely fits with the above lyrics. “I need to wake up soon”- but he still realizes that he’s going to have to face the harsh truth of reality soon.

Now this point indicates a marked change in softboy Mikoto and shadow alter Mikoto’s relationship: I believe there may be a time when softboy Mikoto expects to come back out to the front, but now the shadow alter is starting to take over fully and keep softboy Mikoto locked inside. This is supported by the Outcome card in his celtic cross spread being The Devil. Not only does this card have its own meanings, but here it may mean that the more violent side of him takes over.

Again, don’t know if he’s talking to the audience or his shadow alter in never forgiving this outcome. I believe softboy Mikoto does have a clearer morality in that murder is NOT okay, and if he were to fully acknowledge that he as a whole was capable of that, I think he’d break down. So he’s like “it better NOT be true” because he doesn’t know how he’d be able to deal with that.

Interesting in the video is when Mikoto snaps and the headspace turns red again; I would think this is when the shadow alter is entering the scene and taking over. The snap here is symbolic of the switch.

Now presumably softboy Mikoto is like “PWEASE WET ME OUT MISTEW OBAMA”, which, again with the double meaning, can refer to letting him out of the vaporwave shadow realm headspace OR letting him out of prison. Both apply.

“That it’s a lie

That I’m right”- a nice duality here. Mikoto is having difficulty separating the truth from reality.

Also NOW he is forgiving. Forgiveness vs not forgiveness (grudge)

I think it’s gotten so bad that he’s like “okay fine. Fine if I committed murder, fine if you’re accusing me of murder, but please help me understand what’s going on. Let me out”. Maybe he’ll forgive the shadow alter if only he fesses up to the murder.

Of note for the scene however is that shadow alter Mikoto is holding up The Fool card, which represents softboy Mikoto in this case. “I’m right” may be the shadow alter’s sentiment.

-THE CARDS AT THE END-

Then, all the cards show up in more detail, all depicting weapons instead of the standard minor arcana that you might see in your standard Rider Waite tarot deck (which these are based off of). The Wands are baseball bats, the Swords are kitchen knives, the Cups are…poison cans? Acid? The Pentacles are….records but I can see these being rotary saws if you squint. The Wheel of Fortune has car wheels with a snake….GTA time baby (the snake being hidden danger, the devil’s temptation, etc). The chariot is a really weird motorcycle death machine. I was thinking how like, people would drag people along behind them while driving a vehicle as a method of torture so there is that.

Now we see some cards not in the original spread- I think this represents shadow alter Mikoto inserting himself into the headspace and changing things to fit his goals. We see a couple placed in the original spread, but some don’t and are just free-floating, but you’ll see below we have enough context to decipher their meaning.

First, it’s the Page of Pentacles, which has taken over the position of the 7 of swords as the current challenge affecting the issue. This card indicates “Manifestation, financial opportunity, skill development”. I think this means the shadow alter is finally learning to take full control.

Then we see the reverse 2 of swords, which represents “Indecision, confusion, information overload, stalemate”. This could probably represent softboy Mikoto not suddenly understanding why the shadow alter is ALSO in the headspace. Maybe his dual presence in the outside world AND the headspace is indicative of exactly when he learned to take full control. This was NOT in Mikoto’s original spread.

Wheel of Fortune again, which was in the original spread. “Bad luck, negative external forces, out of control”. Yup, that confirms it.

Next, the Five of Swords from the original spread comes up. “Conflict, tension, loss.png, defeat, win at all costs, betrayal”. Softboy Mikoto is now being completely taken over. There is a facedown card on the chair. This might be the one that reads as Death later, so it may be that softboy Mikoto is…KILLED OFF?

Cup of Ace, “Love, compassion, creativity, overwhelming emotion”. I think this one is also meant to represent softboy Mikoto, but it could be that the shadow alter sees it as an act of mercy to take full control for softboy Mikoto. Maybe he feels his alter can’t handle reality and he’s going to take over full time. Or more likely he just has ulterior motives.

Reverse King of Cups. “emotional manipulation, moodiness, volatility”. Softboy Mikoto was lead along, thinking it was okay to leave things to the shadow alter or to exist alongside him. Now we see that isn’t a viable solution.

Reverse Five of Wands. “conflict avoidance, diversity, agreeing to disagree”.  I went over this more in the other post.

Chariot is the last one, WHICH ALSO WAS NOT IN THE ORIGINAL SPREAD. “Control, willpower, success, action, determination”. The shadow alter Mikoto has taken full control. Which is very quickly followed by…

Shadow alter Mikoto drawing Death. Also not in the original spread. Perhaps effectively “killing off” softboy Mikoto and betraying him.

Concluding Thoughts.

Now, I understand I do take most of these lyrics from softboy Mikoto’s perspective, but I’m sure there’s a layer of deception added on by his shadow alter. The Challenge card of the 7 of swords did represent betrayal. So softboy Mikoto’s only context into what’s going on outside may be his headspace tarot reading. If you want to question some of the lyrics, or even think one of the alters is lying, that would add SO much to the complexity of the situation, and I wouldn’t put it past the Milgram team to add something like that.

Common Themes/Symbols:

The mirror, both in the headspace and in the outside world bathroom

The Hanged Man- in a painting in the headspace and on Mikoto’s shirt. Indicative of being wrongly accused or martyred. Softboy Mikoto is likely represented with this, as well as The Fool. The Fool painting probably is there to show that he doesn’t know any better, that he is without the knowledge of what his shadow alter is doing (or doesn’t believe he’s doing anything wrong)

The Half Moon- a light side and a dark side. Pretty self-explanatory. Symbolically, it can also represent life and death. NICE.

Sorry if the conclusions end up being kind of vague. That’s the way a lot of this video is; what’s really going on, as it usually is, is up to viewer interpretation at this stage. I was just hoping to provide a bit of context into the images in the video, plural life, and narrator interpretation. I just really love this video and after this full analysis hope others can at least appreciate the work that went into it.

[twdmusicboxmystery]

99% Sure Leah is a Hallucination

Okay, I REALLY wasn’t going to post anything else. I know the two template posts I gave you yesterday were a lot to chew through. But something happened last night that made this come together for me and my buddies, and I just couldn’t sit on it. I promise I’ll keep this brief, though.

After watching the episode yet again last night, @frangipanilove found an article in which Norman says something interesting about this episode. Well, maybe interesting isn’t the right word. More like BOMBSHELL.

Remember how we at first thought she might be a hallucination? Well, we moved away from it because we learned that Carol knew about her. That, and I thought it was safer for us all to make our peace with the idea of Daryl having a relationship with this woman. Just accept it and move forward, you know?

But after watching the episode, yes, Carol knew about her, but only what Daryl seemingly told her. She never met Leah. Not a single soul in the world other than Daryl ever saw her. Hmm.

So, here’s the article @frangipanilove found:

I honestly wouldn’t have gone back to the hallucination theory, if not for reading this. But now Norman is saying that nothing in this episode is what it seems. And he’s specifically referencing Daryl’s relationship with Leah.

(P.S. I have to laugh that fans are asking him what’s wrong with him. Um...he’s not Daryl? He’s Norman. And he doesn’t write the show. The writers do. Lol. But also notice that he talks about staying true to Daryl, and we all know that this Leah thing is the opposite of that. Unless....)

So, let’s look at some weirdnesses in the episode. And @wdway deserves most of the credit for this. Once we started discussing the article and brainstorming, she came up with most of this.

1.  When he meets Leah. My fellow theorists and I were actually talking about this before the episode aired yesterday. Why does he just run into her cabin? He follows Dog, but the funny thing is, Dog doesn’t run into the cabin. Only Daryl does. How does he know there’s not 47 walkers in there? How does he know there aren’t a dozen armed people? You’d think he would stop and observe and evaluate. But he doesn’t. He just charges in. And that’s very unlike Daryl.

And of course we could come up with some sort of explanation. Like maybe he heard Leah yelling while fighting the walker in the back bedroom and thought she needed help. Maybe, but the show doesn’t actually suggest this. There aren’t any subtitles or anything that give us any clue as to what his thought process was for just charging in.

2.  When he brings Dog back to her, when his eye scar has appeared, if you listen to the dialogue between him and Leah, it’s a little bit odd. Maybe not quite as odd as him charging into her house at first, but still it leaves some questions. About the eye scar, she says, “looks like you got the raw end of the deal.” He just says, “yeah.” Well, that scar isn’t jagged or shaky at all. It’s very straight. Clearly made by a knife, not a walker. So, it’s a little strange that she doesn’t ask what happened. If she wants to be left alone, wouldn’t she be concerned that there might be someone else out there. Why doesn’t she just ask about it? Why doesn’t he just tell her about it? In a way, it almost sounds as if Leah knows more than she’s saying in this scene.

3. When she opens up to him about her family and her past, all the stories she tells are almost like amalgamations of Daryl and the characters on TWD. Obviously everyone noticed the similarities to Carol. That’s a big one. But the story of the blood and the running could be them running from the prison, or the deaths of a lot of different people Daryl has had to say goodbye to. When she talks about meeting and fighting with her squad and how they gave her hope? TF in a nutshell. And even that she hints at having an abusive family. Daryl. Carol, too. But mostly Daryl.

4. It’s still odd that no one else ever met Leah. Yeah, she said she wanted to live out there alone. And we talked about how this makes it an unhealthy relationship, because if she really loved him, she would want to go meet his friends and family and know about every part of his life. Into this, I’m going to lump the fact that she never seems to have gone with him to search for Rick. Once again, if you love someone, you participate in their lives. And she’s just alone at the cabin anyway. Why not go with him?

5. Outside the show Weirdness: Look at that top pic I used for when he met Leah. Remember when we discussed that there is someone kneeling behind her? I assumed it was her son, because spoilers didn’t reveal when or how he would die. But that’s not the case. This person looks to be a teenager or an adult (much older than Matthew was) and we never learn who it is. 

People have said it might be a set person or a mic guy who accidentally made it into the shot, but I don’t buy that. They scrutinize these pictures and could easily have fixed that with the computer if they’d wanted to. I don’t know if we’ll ever find who it is. It might just be a hint that there’s more going on here than meets the eye.

But then I found this pic:

There’s someone lying dead on the ground behind them, and we didn’t see this in the episode. @wdway thinks it’s just Leah. That she was dead when he arrived, but he made up this story about how she was this strong, survivor woman and could have become his companion. I think that’s a super-viable theory, but of course we won’t know the details until they actually show us.

There are more weirdnesses than this, but I’m sure you get the idea. The more we think about it, the more sure we are that she’s a hallucination. And obviously that would make more sense anyway from the “why would the writers handle Daryl’s love life this way and piss off the entire fandom” perspective.

One thing we also noticed was that on TTD, the writer emphasized that this story is told from Daryl’s perspective. We’re seeing his PERCEPTION of it, and that’s important. I heard her say that, and wasn’t quite sure of what to make of it. Before realizing the hallucination thing, I thought she might be hinting that there was more we hadn’t see, or Leah might not be who he thought she was. Something like that. But if she’s not real, that makes way more sense, doesn’t it.

So, some things to consider. The strong parallels to Carol. The exact ones, actually, like spear fishing and all the identical dialogue. That’s because he’s taking those things from his time with Carol and incorporating them directly into Leah’s story.

Everything I said yesterday still applies. Mostly because that’s the symbolic template and here, we’re talking about the reality of what’s happening, so the two don’t affect each other directly. But while Leah’s personality is based on Carol’s (probably because that’s who he spends the most time with these days) the romance element is definitely molded out of his time with Beth.

Real:

Hallucination:

The cross that represents the grave? The one Chris Hardwick said would make some people think Leah is dead? Yeah, we think that really is her grave. We do think she probably really existed, and he met her, but she died relatively quickly, and the rest of the relationship didn’t happen. It’s all in his head. I’ll give you some more possibilities on that in a minute.

We think she’s the one who gave him the eye scar. If we’re right about that, I’m sure they’ll show it to us eventually. I mean, if she’s a hallucination, they’ll have to tell us that eventually, but probably not until S11. Think about the dialogue. “Looks like you got the raw end of the deal.” Daryl: “Yeah.”

This is also why the ending makes little sense. His argument with her about where he belongs is really him arguing with himself. That’s why he cries when she asks where he belongs, and he says he doesn’t know. But then later, we see him charging off to look for Rick, and not seeming at all sad or conflicted about anything. It’s because there is Leah. There never was. He’s just looking for Rick.

@frangipanilove also said something insightful about Carol. I think I took most of my mentions of the Carol flashback scenes out of my meta yesterday. Only because it was already so long and I wanted to focus on laying out the symbolic template for you. But while watching the episode, I actually felt kinda bad for Carol. Every time she came to see him, she seemed so upset. Like she felt as abandoned by him as he does by her. And I’m not saying she doesn’t deserve a taste of her own medicine, but I guess that sadness from her kind of surprised me.

But what @frangipanilove said is that maybe her worry for him really was warranted. Because he’d been out there on his own so long, it started to mess with his head and he really was losing his sanity. Carol might have been starting to see that, and she really was terrified for his mental health, which is why she kept trying to get him to come back.

And you know, it creates an interesting sort of irony for Daryl and Carol’s fight at the end in present day. He says that when things get tough, she runs, and he’s sick of dragging her back. And that’s true. We’ve seen that he’s right and Carol does do this, so I was 100% behind what he said to her. Was it harsh? Sure. But it still needed to be said.

But the irony is that during these 6 years after Rick, Daryl was doing exactly the same thing. Him staying out there to look for Rick, when after years, it would have become clear that he wouldn’t find the body, was him running away from the pain of what happened. Carol kept trying to drag him back, but he wouldn’t go with her.

Also, the two of them on opposite sides of the river here could represent the divide between reality and Daryl’s hallucinations.

The note. It’s a little hard to know exactly how to interpret the note from a PTSD perspective. Symbolically, I’d say the note he left was for Beth. Maybe he doesn’t even realize that in the episode, but with all the Beth parallels, it’s just about him wanting to belong somewhere. He wants to belong with someone who loves and needs him.

But I talked yesterday about how the cabin was trashed, and the picture was gone, right? By the time he wrote that note, Leah was long gone. Dead, I mean. The fact that the picture wasn’t there is especially significant. Why would the picture have disappeared, unless it wasn’t real to begin with.

Another thing I noted was Carol’s somewhat bizarre reaction when Daryl suggested they go down toward the river to hunt. She looked worried about that, but agreed. At the time, I was thinking she was worried because he’d spent so much time down there before looking for Rick, and she didn’t want the obsession to resurface. And that’s probably still true, but it’s even more interesting now, isn’t it? And maybe that’s why she’s always wanting to go out with him when he goes hunting or looking for supplies or whatever. She just doesn’t want him falling back into that mindset and disappearing again.

And it will make what I said yesterday about what will happen in the spinoff—her wanting him to stop looking for Rick and come with her—make more sense, too, won’t it?

Okay, I’ll stop now. I really haven’t covered everything we could possibly talk about with this. I’m sure you’ll all think of tons more. But you get the idea. And remember, this isn’t just my theory or our theory. I wouldn’t have come back to this at all if I hadn’t read that article where Norman hinted at it. And he would know, right?

And hey, if this turns out to be incorrect, I’ll be okay with that. I’ll eat my words (not literally 😉). But Norman is referring to SOMETHING here, and given how few characters were in this episode, and that he was directly talking about Leah in that quote, there really aren’t many things he could actually mean.

Special thanks to both @frangipanilove​ and @wdway​. Honestly, they did way more work on this one than I did.

Thoughts?

[dreamersleeps]

Feathers of Truth and Judgement

Ma’at and the Weighing of the Heart: Revisiting the Death of Jin Bubaigawara 

Before I begin, this may not make any sense if you are not familiar with some of what I’ve written about. This is an add on to my post about the interesting similarities between Hawks’ character and the Egyptian God Horus. 

Recap: Tokoyami, Hawks and Endeavor 

To recap what I’ve already written previously, there are most definitely Greek/Roman mythological influences in BNHA but there are also Egyptian ones as well most explicitly through Tokoyami Fumikage who basically looks like how Egyptian dieties were portrayed: the head of an animal and the body of a human. Additionally, he has a move named after an Egyptian symbol, the Ankh and his quirk, Dark Shadow is basically a version of the Egyptian concept of the shadow, called shut/swt. 

And so I began looking at where else there may be some interesting similarities between BNHA and Egyptian mythology, and eventually started making some connections between Hawks and Horus, and Endeavor and Ra, the Sun God that fit the narrative and symbolism of the two characters. Whether they are mere coincidences or unintentional, I still think that it is interesting to look at and consider. So here we are. 

The Egyptian Underworld

The image above is from the Book of the Dead of Ani. Osiris is depicted sitting with Isis and Nephthys behind him. 

In Egyptian mythology, Horus is the son of Osiris and Isis. One of the most famous stories tells of how Osiris’ brother Set takes his life, cuts his body in to several pieces and disperses them across Egypt. A spirit can only travel in to the underworld if they are properly embalmed and buried so Horus and Isis travel around and search for the parts of Osiris’ body. (Depending on the source you are looking at, some say that Isis traveled around with her sister Nephthys, and Horus was born after she resurrects Osiris). 

Osiris is resurrected and is able to travel to the underworld where he becomes the Egyptian Lord of the Underworld, and the Judge of the Dead. 

Why am I bringing up Osiris? Well his son, Horus is important in relating back to Hawks and Endeavor, but he also leads us to another important deity who I will introduce later. Back when I was gathering information to work with, I noticed that there was some interesting bits about the Afterlife and Judgement process I wanted to add in but to keep it simple, I cut that part out. However, I thought that this was too interesting to not post about. 

The Egyptian Afterlife and Judgement 

In order to illustrate and explain what the ancient Egyptians believed happened after an individual passed, I included a large excerpt below from the World History Encyclopedia: 

In the Egyptian Book of the Dead it is recorded that, after death, the soul would be met by the god Anubis who would lead it from its final resting place to the Hall of Truth. 

When it came one’s turn, Anubis would lead the soul to stand before Osiris and the scribe of the gods, Thoth in front of the golden scales. The goddess Ma’at, personification of harmony and balance, would also be present and surrounded by the Forty-Two Judges who would consult with these gods on one’s eternal fate. 

The soul would then recite the Negative Confessions in which one needed to be able to claim, honestly, that one had not committed certain sins. The negative declarations, always beginning with “I have not...” or “I did not...”, following the opening prayer went to assure Osiris of the soul’s purity. Each sin listed was thought to have disrupted one’s harmony and balance while one lived and separated the person from their purpose on earth as ordained by the gods.

Anubis or Qebhet, his daughter weighs a human’s soul against the weight of the feather of Ma’at while Osiris watches on, Isis and Nephthys behind him. 

The ‘heart’ of the soul was handed over to Osiris who placed it on a great golden scale balanced against the white feather of Ma’at, the feather of truth on the other side. If the soul’s heart was lighter than the feather then the gods conferred with the Forty-Two Judges and, if they agreed that the soul was justified the person could pass on toward the Field of Reeds, or paradise. 

If the heart proved heavier, it was thrown to the floor of the Hall of Truth where it was devoured by Amenti/Amut. Once the person’s heart is devoured, the individual soul ceased to exist (The ancient Egyptians had no concept that is equivalent to the Judeo-Christian hell).

I’m sure you’ve identified one of the key highlights from the excerpt above that connects directly to Hawks: Ma’at’s feather. Let’s take a closer look at the deity. 

The Goddess Ma’at, the Feather of Truth and Judgment

In ancient Egyptian mythology, Ma’at was the goddess of truth, justice, balance and morality. She is often depicted as a woman, with a feather on her head and/or with wings (as depicted above). She was the daughter of the sun god Ra, and the wife of Thoth, the god of wisdom and the moon. 

The feather she wears on her head symbolizes her being and presence. It was a representation of balance and order, and it eventually became a hieroglyph for  “truth.” 

Truth, truth, truth, what does it have to do with Hawks? Well, Hawks is a man who yearns for the truth. He seeks information out, collects it, and analyzes it. When he was first introduced he was shrouded in mystery, people wondered, was he someone to be trusted? 

While he could be very blunt with the truth, he was also very deceptive and good at lying. Truth and knowledge is very intertwined with his character design as we see in his name. 

Hawks’ true name, gets revealed to us through Dabi: Takami Keigo. According to the BNHA fandom website, Hawks’ surname translates as:

“hawk” (taka 鷹) + “see, visible, idea” (mi 見 )

While his first name translates as:

“disclose, open, say” (kei ��啓) + “enlightenment, understanding” (go  悟).

What does Hawks do with all the information and “truths” he gathers? Well, what do we do when we hear or discover the truth? 

We make a judgement. 

In the court of law, truths and evidences are used to pass judgement. In ancient Egypt, Ma’at was associated with the law and justice. 

The ‘Spirit of Ma’at’ was embodied by the chief judge in charge of the Egyptian law courts. He had a dual role, serving as both a priest and working directly in the law courts and justice system. They wore the feather of Ma’at and all other court officials wore small golden images of the goddess as a sign of their judicial authority, also as a symbol that their judgement would be balanced and fair. 

Priests drew the Feather of Ma’at on their tongues with green dye, so that the words they spoke were the truth. They would rule on the earthly punishment according to the nature of the law that had been broken. 

Punishments included imposing fines, corporal punishment and in extreme cases capital punishment. It was considered a crime against Ma’at if a person engaged in jealousy, dishonesty, gluttony, laziness, injustice, and ungratefulness (ancient origins). 

Hawks’ Fierce Wings quirk gives him the ability to turn his feathers in to weapons as we see below which is quite ironic or absurd to think about.

How can a feather condemn someone to death? Well as we saw earlier, in ancient Egypt, one’s fate was determined by the sins they committed in the life they led, and ultimately the weight of their soul compared to that of the Feather of Ma’at. 

We are presented with Jin’s backstory that Hawks was most likely able to dig up through his sources which is how he got to his conclusion. 

Similar to the process that takes place in the Hall of Truth, Jin’s past and life is reviewed, gone through, and he see how he came to be the person he was. Hawks calls him unlucky. He believes that Jin is a good person, and can be helped.

The problem is, is that heroes are no supposed to act as the judge, jury or executioner. The main role of heroes is to save, and subdue those who are dangerous, passing them on to the police and courts of law: as Hawks was originally intending to do.

But as Jin continues to resist, Hawks changes his intentions. 

Their struggle concludes with the death of Jin Bubaigawara. 

The Heroes are not Gods 

The ancient Egyptians looked to Ma’at to maintain the balance and harmony between good and evil. She represented the truth and morality, and under her guidance those behind the law passed judgement.  

However Hawks is not Ma’at. He is not a god. Instead of acting as a servant of the law, Hawks takes it upon himself to embody and become the law. But on the basis of what exactly? It does not matter because he passes judgement himself. He takes his feather and executes Jin based on what he believes is the truth and justice. We are reminded of this objectiveness through the subtitle of Volume 27: One’s Justice. 

For the longest time, heroes basically were perceived as living gods. Even worshipped, to an extent. Quirks set heroes apart from civilians, placing them on top of the pyramid of power. People lived in a hero saturated society, similar as to how the ancient Egyptians lived with their deities being a part of a great majority of their day to day existences. Despite all the interesting connections and parallels that I can write about, especially with Endeavor and Hawks, it does not change the truth that they are still human: as human as the quirkless.  Perhaps their greatest fault was that they acted and lived like gods.

As always, thank you for putting in time to read through this post! I appreciate it. Manga panels throughout this post are from Chapters 264, 265, and 291

[fluffyferalkacchan]

Kacchan & Deku: Win to Save and Save to Win - A circular path of parallels (part 1)

Okay so it had probably already been talked to death by now, but i'd like to write a detailed list of how Midoriya and Bakugou's respective paths are and had always been paralleled since the beginning. And it's not just with the whole "save to win and win to save" thing, which is the most obvious textual part of it, but there are a lot of more subtle hints along the way too. I mean in nearly every single arcs, for each of Midoriya development, Bakugou had one too (albeit in a completely opposite direction).

This post is also partly in response to some anime-only fans who complained about Bakugou's development in the Joint Training Arc coming from the left field... Which actually isn't? Like Kirishima said it had never been as obvious before but there were definite hints about it and I'll try to show them as thoroughly as possible in this post.

Warning ! This post will be quite long and will contain Manga Spoilers up to chapter 317 in part 3!

¤ From the Pre-UA era To Deku vs Kacchan: their starting lines

(more under the cut)

When I said that the parallel started early, I really meant early. In fact, it started as early as the very first panel they were in.

I think it is very telling that the first time we saw them, Midoriya is trying to defend another kid, while Bakugou is seen using his quirk (and actually introducing the reader/viewer to the whole concept of quirk in the first place). It tells us right here, right then on the very first second, that Midoriya Izuku is physically weak but a savior at heart and Bakugou Katsuki has a strong quirk but is a bully asserting his dominance.

This of course led to diametrical beliefs on what a hero is and should be and we've got those two very iconic moments to illustrate:

And of course it reflected into their behaviors, even as kids.

What I find really interesting in the way those flashbacks were presented is that Midoriya's saving moment was told through Bakugou's POV, while Bakugou's winning side was seen through Midoriya's eyes.

Those moments were deemed important because they deeply impacted the witnessing party and not actually the "wining/saving" one.

(I think someone commented once that while the river scene was highly pivotal for Bakugou, Midoriya probably doesn't even remember it. And likewise Bakugou probably doesn't remember fighting and winning against some random older kids, but Midoriya definitively does. And I totally agree!)

At those moment both Bakugou and Midoriya saw in the other something that they were clearly lacking and their reactions to this realization were wildly different as well.

"He doesn't take himself into account, you know. Something doesn't feel right. It makes me wanna keep him at arm's length. Back then, I ignored my own weakness, so I ended up bullying him" - Bakugou Katsuki

"You who had so many things I didn't have... To me, you were an amazing person much closer than All Might! That's why I keep chasing after you!!" - Midoriya Izuku

Midoriya saw this amazing kid kicking ass with his strong quirks and his first reaction was admiration and wanting to get as close as possible to this person, because he was all too aware of his own weakness and shortcoming.

Bakugou saw this selfless kid trying to help him and displaying qualities that he didn't have and his first reaction was to lash out and push that kid as far away as possible because he didn't want to recognize his own weaknesses and shortcomings.

Which, you know, probably describes their entire childhood dynamics haha...

... and then the sludge villain happened.

And it brought with it the iconic "My legs moved on their own" and "Your eyes were begging for help" moments which we all know about of course, but this scene also had another more immediate parallel that I'd like to talk about.

Bakugou tried to fight the sludge villain on his own but ultimately failed to win.

Midoriya tried to rescue Bakugou on his own from the sludge villain but ultimately failed to save him.

The sludge villain was a reality check for both of them, in a "Nope kiddos, you might aspire to be heroes, but you still have a very long way to go. Here let's insert an All Might to show you just how far away your goal is," kind of way?

Anyway fast-forward 10 months of intense training to prepare for the UA entrance exam.... and really do I even have to mention this?

I mean the only way it could have been even more textually obvious is if Midoriya had been ranked sixth instead of seventh so that his name would be right next to Bakugou's... like there's even this panel explicitly pointing everything out.

So yeah... nothing to add there, *shrugs*

After that came the Quirk Assessment Test:

I'm going to come back to this later on in a more detailed way, but regarding their personal development; Midoriya's development is external while Bakugou's is internal. And I don't quite consider the quirk assessment test as "progress" for any of them yet because both of them sort of completely miss the point.

Aizawa told Midoriya "How can you save anyone if you can't move after one hit?" which had the underlying message of "It's not okay to hurt yourself"... But Midoriya totally went like, "Okay then I'll just hurt myself in a way in which I can still move afterward!" So yeah he is just sidestepping the problem here, but well there probably wasn't anything else he could do here.

As for Bakugou, he had always feel threatened by Midoriya's presence, but not in a fighting skills context. They are not really competing on the same field and it had never occurred to Bakugou that Midoriya could really beat him in a one-to-one fight.

As hilarious as the thought of Bakugou truly believing that somehow Deku had managed to take head on building-high robots quirkless is, I think what really happened is... Bakugou saw his own 0 rescue points and thought "Oh... so that's how Deku got in. Damn nerd probably went and save shitty extras left and right!". Which is a more realistic feat to manage quirkless. Anyway my point is, Bakugou realizing Midoriya isn't quirkless should have been a "Shit! He's leveling the field and standing on my playground now!" moment...

But no, what overpowered him here is the thought that the whole time Midoriya had been hiding his quirk from him and went like "What? Am I not good enough for you to use your quirk on me?! STOP LOOKING DOWN ON ME!!! EXPLAIN YOURSELF RIGHT THE FUCK NOW, SHITTY DEKU!!"

So yeah... kind of missing the point too.

Which is why the quirk assessment test wasn't really their starting point but more like them trying to look for it but missing it?

Speaking of starting lines... Let's move on to the Deku vs. Kacchan first round.

B"From watching the match, it appears Bakugou acted n to surpass Bakugou, All Might pointed that those were the first passionate emotions Midoriya had shown other than "I want to be a hero!". This was the very first moment where Midoriya's desire to win was stronger than his desire to save.

As for Bakugou, this was the moment where he truly he realized that Deku is a threat and not just through his natural heroic/saving disposition like before but on the battlefield which used to be 100% Bakugou's area of expertise. And if even with his non-existent control of quirk Deku had managed to win to such extent, what would happen when Deku managed to truly master his own quirk? Total defeat?! Bakugou is self-aware enough to realize that while his own fighting skills and quirk mastery could still progress, they were already near the top with a not wide enough margin for improvement.

This was the moment where Bakugou realized where he truly stood compared to everyone else around him and that if he wanted to reach the very top again, then only relying on his fighting skills and his quirk control would never be enough. This is what prompted out his feelings of "I have to change or I'll be left in the dust".

And since Deku went and encroached on Bakugou's playground and beat him in the process, there's no way in hell Mr Complete and Irrefutable Win over there wouldn't aim to do exactly the same at some point.

Anyway the two gifs above showed us their motivation to reach their respective Win/Save side of the spectrum, but they both have big issues they need to work on in order to do so.

"From watching the match, it appears Bakugou-san acted on his own because of an obviously personal grudge. As as All Might-sensei said previously, it is foolish to launch a large-scale attack indoors.

In the same way, taking into consideration the damage he received, Midoriya-san's plan was also rash." - Yaoyorozu Momo

Yaoyorozu's analysis was super spot on and hit straight where their weaknesses lie: Bakugou needs to stop acting on his own and learn to cooperate with/trust his teammates and Midoriya needs to stop hurting himself/self-sacrifice and learn to properly control his quirk.

Both of them also have these super heavy shackles that keep pulling them down and impeding their progress at every turn:

Bakugou's complex feelings and emotionally explosive baggage towards Midoriya that makes him go feral and irrational at the drop of a hat and clearly prevents him from properly considering Midoriya as the rival that would keep pulling him up

Midoriya's total and utter idolization of All Might that gives him a tendency to imitate his idol and clearly prevents him from properly realizing and unlocking the potential of his own quirk

And at that point, they clearly don't realize how cumbersome those shackles could be if left unaddressed too long.

Anyway... this episode/chapter was called "Bakugou Katsuki: Starting line", but I think it can be considered both their starting lines, because this is when they were made aware of what they are lacking and showed their resolve to change.

Midoriya's progress and development is intrinsically linked to his quirk mastery and fighting style, which are inherently physical skills (which is where Bakugou's excels in). It stands to reason then that his progress would therefore be very flashy, hard to miss, and highly praised due to the external aspect of his development.

On the other hand Bakugou's progress and development hinges on him properly getting in touch with his emotions and connecting to other people in healthy way, which are inherently inner-strength qualities (which Midoriya has no shortage of) . It stands to reason then that his progress would therefore be very subtle, mostly unnoticed, and hardly taken into account due to the internal aspect of his development. (Like it'd probably only takes him having a full meltdown or throwing himself in front of someone else for other people to notice how far he had gone!)

[violethowler]

The Greater Your Shadow Becomes

A recurring pattern in the Kingdom Hearts series is how often it misleads and misdirects us. We are told that Nobodies do not have hearts only to learn several games later that this was a lie. Our knowledge of Xehanort’s backstory has changed from one game to the next. The series itself even acknowledges its dishonesty, with the Master of Masters telling Young Xehanort that “the truth is what you see with your eyes, not what you hear[1],” while explaining that anything he says about his motivation and identity should not be trusted. 

So despite Kingdom Hearts III, Back Cover, and Union X appearing to position the Master of Masters as the next main antagonist, I remain suspicious that the role the series seems to be setting him up for will ultimately be filled by another. A big part of this has to do with the patterns I have noticed among stories that follow the Heroine’s Journey. 

In a Heroine’s Journey where there is a direct antagonist whose actions must be overcome in order to resolve the story’s conflict, that antagonist has commonly been presented as a narrative foil to either the protagonist or their Animus. In storytelling, a Foil is one character who is contrasted with another in order to highlight the other’s traits[2]. Most stories will emphasize the protagonist’s noble qualities by contrasting them with a character with similar personality traits or a similar backstory but who lacks the qualities that make the protagonist heroic. More often than not, these literary foils function as Shadow figures to the protagonist, and in many cases embody the negative elements of the story’s main themes.

For example, Gaston is put on a pedestal by the people around him as a paragon of what their society considers desirable. He’s handsome, skilled, and charismatic. Yet he constantly disrespects Belle’s agency and intelligence, not caring whether she’s willing to marry him or not. This positions him as a foil to the Beast, who is rude, monstrous, and has to learn how to perform basic tasks like eating with silverware. Despite his gruff exterior, he respects Belle’s intelligence and agency, holding her to the terms of their deal while also growing to prioritize her happiness above his own desires. 

Something that the overarching antagonists of every Heroine’s Journey I know of all have in common is that the audience is made aware of their existence very early on in the story. Their motivations may change over the course of the story, and when we learn about their goals can vary, but we generally learn of their existence before the end of the first act. 

We meet Gaston in the opening musical number of Beauty and the Beast. 

Dr. Facilier from The Princess and the Frog also makes his first appearance in the opening musical number of his film. 

President Snow gets at least a mention in the background in the first book of the Hunger Games trilogy even if Katniss doesn’t meet him face to face until the second one. 

High Priestess Haggar is introduced in the first (technically second) episode of Voltron: Legendary Defender Season 1. 

Meanwhile, the Master of Masters was only introduced near the end of Act II in the overarching narrative of Kingdom Hearts. Likewise, his goals are still unclear, in contrast to other Heroine’s Journey antagonists whose objectives are given to the audience at some point during the second act. So unless he turns out to be a familiar face under the hood, I find it unlikely that the Master of Masters will be the main antagonist of the next act. He’ll certainly play an antagonistic role, and definitely a major one, but everything I know about story structure is telling me that the “Big Bad” of the next arc is ultimately going to be someone else. 

The repeated emphasis on prophecy, fate, and destiny in Act II of the series creates a strong undercurrent of defying fate being a major theme of the final arc of the Kingdom Hearts story. Sora’s ability to connect with others has enabled him to pull off feats that should be considered impossible up to the point of rewriting the fated defeat of the Guardians of Light at the Keyblade Graveyard in Kingdom Hearts III. So it stands to reason that the main antagonist of the final act will be a character who either tries to defy fate in a negative way, or a character who does things because fate dictates it be done. 

So the major antagonist of Act III will most likely be someone who expresses the themes of fate and whether to defy or accept it in a negative way. Someone who serves as a foil to Sora. And someone who was introduced to the audience during Act I - meaning the original game, Chain of Memories, or Kingdom Hearts II. Given the amount of focus he has received since his introduction and how important Kingdom Hearts III revealed him to be in the lore of the series, there’s really only one person who qualifies: 

[Image Description: Luxu stares at the camera after taking off his hood in front of the Foretellers, revealing the face of Xigbar. End Description.]

As someone noted after the release of KH3, there are many similarities between Luxu and Sora when you sit down and think about it[3]:

Back Cover portrays Luxu as a young teen curious about the world, just like Sora. 

Much like how wanting to be with his friends is shown to be one of Sora’s major motivations, Luxu’s Secret Reports in Kingdom Hearts III portray him as wanting nothing more than to be with the people he cares about[4].

Both of them take up these cosmically significant roles with no idea of what lies ahead for them - all the pain, separation, and loss. But they cannot stop or rest and go home until they finish their task because people are counting on them. 

Where the two diverge is in their circumstances and how they reacted:

While Sora stumbled onto the mantle of a Keyblade wielder by accident and chose the responsibilities that came with his mission on his own, Luxu was given his by the Master as part of a greater purpose, and he carried out that role at his mentor’s instruction. 

Both of them hide their pain and weariness under a playful façade. 

Sora has spent his journey in the company of his friends and has relied on their support. Luxu has always been alone, relying only on himself. 

Sora holds onto his connections with others even at significant cost to himself, while Luxu casts aside his bonds and puts his mission above all else.

In addition to his narrative connections to Sora, there is also his connection to Riku as well. 

The scene where he reveals his face to the audience for the first time in Kingdom Hearts II begins with Sora initially mistaking him for Riku. 

In Kingdom Hearts III, he’s paired with Dark Riku at the Skein of Severance, a combination that stands out in contrast to the obvious narrative meanings behind the choices of the other boss groupings in the Keyblade Graveyard. 

Series producer Shinji Hasmimoto has said that Sora and Riku are the core of the story[5], so it would make sense, then, if the primary antagonist of the final act is someone with already established narrative connections to both characters. 

Tetsuya Nomura had the end of the Dark Seeker Saga outlined since Kingdom Hearts II was finishing development[6]. This indicates that everything done with Xigbar across the entire series was planned with the Luxu reveal in mind. The fact that he chose to give Xigbar such a significant part and planned it that far in advance signals that our dear Number II has a major role in the overall narrative of the series. Between the implications of the reveal setting him up as a foil for Sora and the patterns exhibited by major antagonists of other Heroine’s Journeys, I’m confident that role will likely be that of the overall villain of Act III. 

There is always the possibility that I could be wrong and that the Master of Masters will be the primary antagonist of the story’s final act. His influence of others and his writing of the Book of Prophecies appear to set him up as the author of our characters’ fates, which satisfied the narrative pattern of the antagonist reflecting the negative side of one of the story’s themes. 

However, as I said, he was introduced much later in the narrative than is common for the overarching antagonist of a Heroine's Journey. I also have my doubts that it will be that obvious, as Kingdom Hearts has pulled that kind of bait and switch before. The first game initially sets up Maleficent as the main antagonist, only for Ansem to step out of the shadows and take the stage as the Big Bad for the remainder of the game after her defeat. Given how many parallels to the first game are found throughout Kingdom Hearts III, Xigbar being unmasked as Luxu and the information that came with it in the Secret Reports have the makings of an excellent parallel to that switch on a series-wide scale.

Sources:

[1] Kingdom Hearts III Re: Mind; Square Enix; 2020. 

[2] Foil (fiction) - Wikipedia.  https://en.wikipedia.org/wiki/Foil_(fiction)

[3] Galaxy Brain Take: Luxu and Sora Parallels; February 12, 2019. https://strangefellows.tumblr.com/post/182774246545/galaxy-brain-kh3-take-luxu-and-sora-parallels

[4] Kingdom Hearts III; Square Enix; 2019. (Secret Report #13: Observations, Excerpt 3)

[5] “How Kingdom Hearts III Will Grow Up With Its Players.” September 24, 2013 https://www.ign.com/articles/2013/09/25/how-kingdom-hearts-iii-will-grow-up-with-its-players.

[6] “Kingdom Hearts III Ultimania interview with Tetsuya Nomura”; March 12, 2019 https://www.khinsider.com/news/Kingdom-Hearts-3-Ultimania-Main-Nomura-Interview-Translated-14763

[himbo-buckley]

Intimacy, Sex and Buddie (better known as I have a lot of feelings about this show, some of which are related to the before mentioned topics) - Part 2

G’day friends, family and lost travelers! Welcome back to another instance of: I read too much into things!

This is where we really dive into the Character analysis and it’s gonna be a fun ride!!! (well, maybe. For me at least because thanks to 3.16 I am living! That episode validated me so much and now I truly believe I am right)

This is part two of a three part Meta / Character Analysis, and while you probably don’t need to read part 1, I would recommend it, so here is the link:

part 1

Also:

I should preface this by saying this meta was supposed to be a lot shorter and only talk about how both Buck and Eddie use sex to distract their respective partners from whatever topic they actually wanted to talk about but since I decided to rewatch the show to make sure I don’t miss any such scenes, it has exploded a bit and taken on more topics.

I should also mention that I am a Buddie shipper and while I tried, you will find several references and arguments for the ship in this Meta, not all of which necessarily call for a romantic pairing but just: These two are deeply connected and you cannot look at one without discussing the other and they are each other’s strongest emotional connection.

I should also preface this by saying that the whole of the 118 has some obvious intimacy / commitment issues except Bobby (which is sort of surprising) but *John Mulaney* voice we don’t have time to unpack all of that!

On another note I cuss a little in this Meta because my parents let me listen to TicTacToe as a small child and after that it never stuck that cussing is wrong so, uhm, parental supervision is advised or something?

This Meta will so far have three parts (this is part two), one for each season and is organised by episode so you could technically follow along

So here goes nothing, Season 2: (Also called „Why is Ryan naked so much?“)

Episode 2.01:

I’m not gonna talk a lot about this episode, because I feel like it’s been analysed to death already. Important to know is that Buck hasn’t yet given up on Abby coming back (see the shower scene), he is very lonely and there is a lot of homo- erotic tension.

Basically this episode goes like this:

Buck *after meeting Eddie*: nooooo, Dad, I don’t want a brother! He’s better than me! Put him back where he came from!

Eddie *takes one look at Buck*: Ui, you guys lied, he’s an ass - I like it! This is way better! We’re gonna be friends!

And then Buddie decides to something stupid to prove themselves (to each other) and they end up saving the day and bonding.

Also Eddie saying: „You guys hungry?“ after the Ambulance blows up? Iconic! He is such a little shit.

Episode 2.02 / 2.03:

(I’m putting them together because two-parter)

This episodes truly proves how hard they’ve already bonded, despite Buck not even knowing Eddie has a kid yet, especially from Eddie’s point of view: I actually think he started seeing Buck as his partner first. 

I love how he always takes charge, even in his first episode and expects Buck to go along with it - which Buck does (after some initial reluctance), because Buck is good at following orders and trusts Eddie. It might be an army thing, probably is an Eddie likes control thing. What is truly unique about Buddie, is the fact that Eddie defers to Buck’s judgement as needed, something he doesn’t do with anyone else, I think, unless the chain of command tells him to. Just look at how annoyed he is by Ali and her interfering.

That being said it really isn’t all to relevant for this meta, except to say: Interest- ing how fast they trusted each other and became a unit - I guess it’s true what they say: birds of a feather flock together.

Episode 2.04:

Here we get our first real insights into Eddie’s character (aside from that he is a little shit and likes to take charge) as well as some very nice shots of the man’s body, proving my theory that someone in charge really wants to get busy with Ryan Guzman. Which I am not exactly complaining about.

I do think however it’s a very noticable shift from the way they treat the other young, attractive guy in the cast. I talked about this a little in the first part of this Meta, how they went out of their way to hold Buck accountable and make him relatable, but refused to bank on his sex appeal, aside from a few scenes which mostly were about explaining why Abby reached out to him (and uh, we do not need to talk about how creepy that really was, do we?). Eddie though really gets sexualised from the get go. Or maybe that’s just me and I missed something? (Someone with more insight on such topics take the wheel? Because that really isn’t my area of expertice and I don’t wanna say anything false)

A main difference between Buck and Eddie at this point (or in general) is that Buck is always looking for connection. He craves emotional intimacy but it scares him because he cares too much and people keep leaving so he searches out physical intimacy - or he used to. Actually by Season 2 Buck is actively looking to connect emotionally with another person.

Eddie on the other hand isn’t even on the same level as Pilot!Buck, because he avoids both physical and emotional intimacy (except with Buck because, you know, steam engine). The episode implies that it might be caused by Shannon leaving, but the rest of Season 2 and specifically Season 3 show us that it’s an Eddie thing (likely caused by his upbringing if you fast forward to 3.15). And it really makes me want to know how Shannon and Eddie met and how long they had been dating before she got pregnant. Probably not that long tbh.

One thing to notice about the episode is that it parallels Eddie both with Buck (neither wants to date one of those girls, both deflect about their reasons) and with Abby - watch 1.03 and 2.04 back to back, both are about a character taking care of a special needs family member, both have another family member consider them stuck when they themselves do not and both feature Buck trying to help (passively by talking to Abby on the phone vs. actively by having Eddie and Carla meet)

Also as I pointed out in another post the conversation about dating is kind of similar to the car conversation, and I really am clowning now - which is why I will not try and parallel the conversation between Maddie and Buck with the one between Bobby and Buck in 1.09!

I still don’t fully understand the need for that scene (you know which one) aside from being another instance where the boys get sexualised and giving us our first insight into Eddie romantically and also the first time he uses Christopher as a shield (also not the last).

The general take away from the episode is that Eddie is bad at asking for help and Buck is bad at asking for permission which means they fit really well - because Eddie doesn’t have to voice his needs and Buck doesn’t have to feel bad about steamrolling him.

In terms of the overall theme of this meta your main takeaway from this episode should be:

Buck - no longer substituting physical intimacy for emotional intimacy but also not seeking out emotional intimacy, both because he has a connection through Maddie and is building one with Eddie but also because he still considers himself spoken for, though the episode ends with him realicing he might not be (and then he keeps realising, because he is one stubborn mf).

Eddie - avoiding both physical and emotional intimacy and using Christopher to deflect, mainly because he doesn’t have the time for either (but still getting a connection through Buck, thanks to someone just punching right through his boundaries)

Episode 2.05:

no relevance, our boys are barely in it

Episode 2.06:

Well, if you want to write about Buddie crumbs than yeah, definitely important. Also, you can draw a definite parallel between Abby and Taylor, because Buck knew both their voices before he saw their faces and built an emotional connection to those voices. This fits because, well, Buck is afraid of emotional intimacy, but when it’s just a voice it’s easier for him to let himself be vulnerable cause it’s not an actual person.

Plus, considering the thing with Taylor is one sided prior to their meeting, he isn’t actually cheating on Abby. Or so Buck thinks. (Also Taylor doesn’t have a chance to hurt Buck and leave him because you know, she is not aware he exists?)

Also Eddie talks about becoming a firefighter because he missed the camaraderie of the army - aka the emotional connection he had with his squadron (is that the right term?). So technically he did actively try and seek it out - to a point at least. Because, as I will discuss in Part 3, Eddie may consider the 118 his family but his relationship with the other three firefighters in not on the same level than the one he has with Buck.

Episode 2.07:

Let’s all give a warm welcome to Shannon Diaz! I like Shannon, I think she is great (I also think she and Eddie are similar because they both run away from problems which is why they would never work out - unlike another possible relationship mentioned sporadically in this Meta, hint hint ;) ... okay, moving on)

We learn that „not in the picture“ means Eddie is still married, which begs the question how much Eddie has told Carla and the 118 about Shannon up to this point (as little as possible), what they assume about her (probably the worst) and if Eddie ever sets the record straight (I’m assuming yes, because while Eddie doesn’t share - Eddie is also protective of his family and Shannon is his family for better or worse - I really wish they didn’t kill her off and instead played out the divorce storyline because there was so much chance for growth! Although that was probably too similar to Athena and Michael, which is why they didn’t do it. So they fridged her. Damn, and I am still salty about it.)

I really love when she comes to the house, because we learn so much about them as a couple. Like how her eyes grow warm when he opens the door but Eddie’s don’t but then he goes in to hug her (and you can really tell that Ryan Guzman is an athlete in the way that he always acts with his whole body and conveys so much through movement). And the fact that Shannon immediately pushes to meet Christopher (probably because with Eddie you need to push, because he is very stubborn and also in need of control), and her saying she never thought Eddie would be into something so fancy? Yet another insight into Eddie’s character and into his upbringing, which while probably not poor seems to have been fairly modest.

Also love how they fight almost right from the get go, implying that it is their normal (as proven in 3.15). They really never stood a chance!

There is a lot of backstory we get through their fighting, both at the house and at the school, most notably that even in marriage Eddie was never able to fully open up to Shannon - aka be emotionally intimate with her. Which made her feel very alone.

And I don’t wanna defend Shannon and her actions because other people have said it before and this is not what this Meta is about but I can see her point of view. With Eddie and the way he just always needs to be in control and make the decisions she probably thought she had to do something drastic to get him to notice her and her struggles.

Interestingly enough Eddie is emotionally vulnerable with Shannon at the end when he tells her that he understands why she left and that he misses her, but then he immediately kisses her and look, we don’t know what happens next  but we can guess from the latter episodes.

And look, tbh with Eddie it’s a little bit harder to draw the line between physical and emotional intimacy than with Buck because Eddie’s love language is touch and actions, so technically in a way he is always emotionally intimate when he is physically intimate (probably why he didn’t wanna go out with any of the girls in 2.04 - Eddie, different to Buck, can not just separate feelings from sex, while Buck has a hard time reconciling the two)

On Buck’s side of this Meta he finally comes to terms with Abby leaving, which doesn’t have too much relevance for this meta except there are a lot of parallels between Buddie in terms of: how long is too long to wait - because while Eddie pretends to have given up on Shannon, he actually hasn’t, whereas Buck outwardly is still waiting for Abby but on the inside has given up hope - something they both come to terms with in this episode

Episode 2.08:

Fun fact: The german title of this Episode is Lovestorys. Can you guess if there is anything of relevance in it?

Okay, first off for the millionth time, in case you haven’t read part 1 or you aren’t convinced yet or maybe you just forgot: Evan „Buck“ Buckley was never a sex addict. Kay? Good.

Also, remember when I said the show doesn’t sexualise Oliver the way it does Ryan? Yeah, this episode exactly. Buck has sex twice and we see less of his body than of Eddie just getting out of bed. Is it a contract thing? Was Ryan always running around naked on set? Did Oliver refuse to take his shirt off? Is he always cold because he’s vegan? Should I figure out Twitter just to ask the cast these questions?

(Also, remember when I said with Buck it’s mostly Girl on top, yay, it stays true)

In terms of actual relevant story, there’s that woman on the freeway (highway? Idk guys, I’m not from the US) reinforcing that Buck has finally accepted that Abby and him are over and then there’s the Taylor Kenny - story, which is sort of just beating the bush of sexual vs emotional intimacy with Buck trying for the latter and only finding the former (remember the Brunette from the Pilot? Yeah, that’s why I’m reminding you).

What I like is the fact that, after spending so much time calling out Buck 1.0 (and they should, because stealing a fire truck? Twice? Babe, for realsies?), this episode went: look, maybe girls like meaningless sex, too? Although, technically they have been telling us from the the beginning, that those girl were using Buck in the same way he was using them (again with the Brunette) - Buck just never understood that until Taylor.

We also get the soulmate scene with the very sweet couple, once again, rein- forcing how lonely Buck is and how much he is craving love and a connection and stability. That really is what his character boils down to at the end of the day: a lost kid trying to find his place in the world. And now I’m sad.

As for the Ali storyline, oh man, I’d really rather ignore it? Not because I have anything against the character per sey it’s just - we get to see their first meeting and then 5 episodes later their first date and by the end of the season they are in love love except by Season 3 she is gone? And in between she is hardly ever mentioned? So I really don’t know how to comment on their relationship in terms of this meta and what it means for Buck except: I think it was one of those right times right moment kind of things and Buck is sort of transfering a lot of his wishes and needs and feelings onto her, but their relationship has a weak foundation, which is why it ended so fast (except we don’t know how fast it ended because there is a 5 month gap between Season 2 and 3 and the breakup gets mentioned one (1) time. Soooooo...)

And Eddie, well, he was in the episode.

Episode 2.09:

I like this episode a lot and it tells us so much about Hen’s issues, but in terms of this meta: no relevance!

Sidenote: I do always forget they did Hen before they did Chim. Then again this episode in general feels very disconnected because there was no prompting, no connection to the present.

Episode 2.10:

Ah, yes, that one! The gift that keeps on giving in terms of Eddie and this meta (and also Buddie, but I’m trying not to be ship-y around here)

(One tiny sidenote though, I do think we see Eddie roll of off Shannon, and, while I don’t want to reinforce some stereotype about Top and Bottom, because I am not a gay man and therefore not qualified to comment, with Buck it’s generally girl on top? So Buck usually lets his partner set the pace while Eddie prefers to be the one in control? Okay, you know what, let’s just say it fits with their characters and maybe they match and leave it at that?)

(also, again with the Ryan shirtless, I mean, not that I am complaining, it’s just ... yeah, please, someone who knows this stuff come talk to me about it and explain because I don’t know and maybe I am seeing things?)

(sidenote #3 with actual relevance: They did not mention Buck’s girlfriend even once. They never do until the final.)

First of, this episode proofs what I said before: With Eddie there is no separating Sex and feelings. It is interconnected („We are working things out.“).

Also there is a point to be made about Eddie and control. So far we have always seen Eddie be the one in control and make decisions and this is our first real indicator that it actually bothers him, that maybe he wants someone else to tell him what’s right or wrong, too.

I’m gonna fast forward a bit, because we are nearly at the end of Season 3 irl and so far we have seen Eddie ask for help several times but only with two people - Buck and Lena - he actually takes the advice. I don’t want to say too much because it really fits better in Season 3, but wether you ship them or not, it is noticeable that out of everyone Buck is the one Eddie let’s help the most. The one he trusts the most.

(Man, they are both just two lost boys looking for their home, aren’t they? (and now I am sad again.))

There is also the topic of trust brought up, which you know, we hear about a few times from Eddie, and it really is such a big thing for him, isn’t it?

To fast forward again, that is one big difference between Eddie and Buck. Both struggle with self worth and trust but while Buck’s biggest problem is that he doesn’t trust people to like him, if they actually get to know him (or if they even want to get to know him), Eddie just plain old does not trust people? Because Eddie is a pessimist, so he doesn’t even try to connect, while Buckeroo trusts way too much and too easily and he is such an optimist and gives away everything and then he still isn’t enough - and then and only then does he give up hope (which is something we see happen in canon maybe twice? With Abby, maybe with Ali, and with Christopher, but again, Season 3 you guys!)

These two really are the different sides of the same coin, huh?

In relevance to this Meta, Eddie is trying very much this whole episode to be open and vulnerable and he struggles so much because he is very scared. The main issue with Eddie is always (and specifically with Shannon) by making himself vulnerable, he opens Christopher up to getting hurt as well (and vice versa because he can’t let Shannon into his son’s life without letting her into his own life) and this is what we see him struggle with in this episode and also what intensifies his already existing issues with intimacy throughout the show in general, his need to protect his son. 

It should be noted that in the end Eddie puts Christopher’s wishes above his own well-being which is in fact what he will always do because Christopher is the most important person in his life.

As for Buck in this episode, well, after having so much development in his last episode, he really was there more as a sounding board for other characters. However I will mention that, after the show points out the whole thing is none of his business twice, Eddie then turns around and makes the Shannon thing Buck’s business, because well, connected and all that. Trusting and giving up control. Emotional intimacy. Just repeating myself now.

Episode 2.11: No relevance.

Episode 2.12: No relevance.

Episode 2.13: No real relevance.

There is the scene in the hospital between Buck and Eddie that reinforces the peas in a pot thing they got going on and a reverse from the Christmas Episode when Eddie asked Buck about what he should do. Here Eddie acts as the sounding board (even though Buck has already done the thing but then so has Eddie by hiding Shannon).

This is also yet another instance of Buck trying to help another person with no regard for his own safety but I’m with Eddie here: I have sisters as well. I too would do countless stupid things to save them with no regard to my own safety and I’m a girl - I was not raised on the believe that is was my job to protect them from harm like both Buck and Eddie probably were (because gender rolls).

Also Buck thinks it’s his fault that Doug even found Maddie and Eddie explains to him why its bull. To reinforce the whole connection thing, it is very noticeable that these two always give each other exactly what the other needs - with Eddie from the get go always working on building up Buck’s self worth and Buck always lending a hand to Eddie and taking control when needed (remember Carla? That was Buck taking control for Eddie because Eddie didn’t know what to do).

There is also the short scene when Shannon comes to the hospital and it prob- ably did a lot to help rebuild Eddies trust in his wife.

Episode 2.14:

STOP MAKING EVAN BUCKLEY WORRY ABOUT HIS FAMILY 2k21 (because it’s too late for anything before that)

It’s also our first real: Eddie can be a dumbass, too sighting and there is that one scene (you know which one) which in text is not shippy at all, but ended up in every gifset because Oliver is looking at Ryan like he wants to eat him alive.

Aside from that, this episode really isn’t about them and that’s okay.

Episode 2.15: Crime is hard. That is all.

Episode 2.16: No relevance.

Episode 2.17:

First of all, Eddie is not shirtless? At the beach? Damn, what’s wrong, 911? Is it because Gavin was there? Have you used up all your contracted shirtless scenes by now? Did Ryan find out he was the only one running around set half naked?

Also poor Eddie, you know, you’d think getting married your done having those: what are we - conversations and then bam: there it is again. He really can’t catch a break, can he?

Also I know it’s been said before, but I’ll say it again: Eddie Diaz is not in love with Shannon. Maybe he has never been or maybe he just stopped at some point, but right then and there he isn’t in love with her. He does however love her deeply (she is after all the mother of his son) and she is his family which is sort of where the problem in their relationship lies. Because Eddie, who has problems with trust and intimacy, frankly doesn’t care enough about Shannon (and also doesn’t trust her enough) to try and be open and vulnerable with her, which is what he needs to be in order for them to work, a fact that Shannon seems to be aware of and have accepted.

(Because if you have to wait for a sign on what to do in your relationship, yeah, you already know - you’re just not accepting it.)

And this episode is so heartbreaking and I just had to stop myself from ugly crying because Shannon loves Christopher so very much. And I just hate that they killed her off, so in my mind I have already half plotted a fix it fic in which she survives because that was just unnecessary angst.

Though that’s the topic of another post.

In terms of the relationship-story I am similarly floored as I am by the „Help!“ scene because (at least for me) this is the first time I have seen media really address that yes, you can be a good parent and still not be ready for a serious relationship because those two things are very different. Sure, you sometimes see examples of it through subtext but never before has it been so outright stated.

And I like that both Shannon and Eddie ask themselves that question, but come to a different conclusion - or actually they don’t. Like I said above, for Eddie this relationship fits because it’s easy and he doesn’t have to change or better adapt. He can just keep avoiding the hard stuff (being vulnerable) and still have the good stuff (sex). And then Shannon might be pregnant again and look at his speech at the restaurant: He is basically saying our child is awesome, so we should get back together because if we make such awesome children than we can’t be that bad together. And that is so very wrong, which Shannon understands.

The problem is, that Eddie doesn’t fully understand why their marriage hasn’t worked in the first place. If you tie it into 3.15 Eddie Begins, I think for Eddie, the reason why Shannon left him was a little to get back at him for leaving her and a lot about feeling left alone and being unable to cope with raising their child alone, but all of that is gonna be different now because he will be there for her physically and emotionally as he is no longer in the army! So the issue is solved. They should be a family again. Even without a new kid. After all: they love each other.

And look, those are all fair reasons and true but the thing Eddie doesn’t understand about relationships in general and his marriage to Shannon in particular is that she also needs him to be emotionally vulnerable with her. Shannon needs Eddie to let her be there for him, just like he is trying to be there for her. Because relationships are always a two way street.

SO obviously this is where the episode ended. There were no more scenes af- ter that. Nope. Bit weird how it was so short but you do you, 911, you do you!

And well, Buck was there too.

Episode 2.18:

I’m just gonna come out and say it: Ramon and Helena are bad parents. Flying to your daughter-in-law’s funeral only to bad mouth her and then try to take your son’s son away again? Yeah, I do not like your style. I wonder how much of Eddie Begins was already planned at this point or if they built that plot about his family for 3.15 based on this episode. Huh. We might never know. (except Twitter)

Also me thinks Eddie choose LA because of Pepa and Abuela, not because of Shannon. She was probably just a bonus.

As for Buck (and Ali): the actors seem to have had fun doing those scenes? I guess? Other than that it’s a little cringy and very out of nowhere and probably more caused by the show having money left over and deciding to built a new set. ANd damn what a set. I wonder how Buck is supposed to be able to afford that because that apartment has probably about 50-75m2 considering there is a kitchen and a living room as well as a room behind the living room and probably an extra room in the upper floor as well (someone do a floorplan and also tell me why Buck needs so much space and wether they think I could move in with him. My apartment is not this nice and LA isn’t that long a commute).

Point being I don’t know why they brought Ali back in the first place, especially in this episode. She was never mentioned after their first date, so why? Just to give people something to discuss during hiatus?

There was no point to have those two incredibly lovey dovey scenes only to have that scenes about what he wants to do next because all those scenes? Would have worked just fine with, you know, his sister (except a little different because incest). Who actually has the what if you can’t go back to being a firefighter - scene with him. So why have a girlfriend you barely introduced and never used before? I’m not mad, 911, just confused! (Fuck me, I really am getting twitter)

As for the topic of this meta, there really isn’t much too tell. Ali honestly doesn’t figure into things except to create more abandonment issues.

I should point out that this episode reinforced the whole Buddie connection thing - from Eddie holding Buck’s hand the whole while he’s pinned to saying „Almost (back to normal)“ to Buck going to Eddie’s ceremony despite probably still being on somewhat of a bed rest.

Other than that, that’s it for Season 2. Whew!

Before I let ya’ll off the hook, though (look, you’ve read it this far, you can now just bear it a bit longer) I wanna comment real quick:

Compared to Season 1 Buck barely had any character development (mainly because he had so much in Season 1 and sometimes stuff like that needs to settle - real life would be the same way)

Eddie however has nearly no development at all and in fact as of Season 3, not a lot has changed in that regard. His issues just became more obvious. Which is something I actually like a lot, because one: he went through a lot of shit in a fairly short amount of time and two: he is such a stubborn and reserved character, anything else wouldn’t be in character and ultimately feel rushed. Plus, because this is his personality it’s feels like we’re actually getting to know him like you would a person in real life? Piece by piece, no unnecessary exposition. Or maybe that’s just me, I don’t really know anything about storytelling.

I also want to comment on Buddie real quick because it would be dishonest if I didn’t and also it’s just glaring me in the face:

The thing is, while I do not necessarily believe they have any intention of making them romantic (because I have been burned too often and just recently by a show that liked to praise itself for its diversity (so a heartfelt fuck you to Sera Gamble and who ever decided to kill off Quentin Coldwater, because that character mattered so much and you destroyed it)), I do think we are right when we talk about connection and parallels and being each others person and just generally being each others closest relationship. Because they parallel their stories so much and they connect them so often and they did do it from the get go like as early as Episode 4 - which was already written and probably already shot by the time Episode 1 aired. So there. I said it. Buddie is real, wether it’s platonic or romantic, it is real. And that also matters!

(although of course if they went with romantic? That would matter a bit more! Tim Minear, listen to me, you could make TV history! This would be bigger than Supergirl making the sister gay in the second season! Ya’ll would be legends, revered by fans for years to come! Also I’d bake you a cake?)

And there you have it! Season 2! We made it! And only like 2000 words more than Season 1.

Can you believe at this point I have written nearly 10.000 words on these two exceptional characters and their issues? And it’s technically only one issue, like I’m ignoring so much stuff just glaring at me right now!

(also on a side note, this is where I tag @angelcamael , who asked me to do so and @greyhello because she inspired me to write this meta in the first place and while it is now ... no longer about that original topic, I’m still gonna tag her)

[magaprima]

PART 2 EPISODE 8 EPISODE ANALYSIS 2/?

“What does it mean, Ms Wardwell?” The fact that Sabrina just always presumes her teacher will have all the answers makes me laugh, because it shows what an impression Lilith has successfully made on her. Like, when in doubt, go to ‘Ms Wardwell’. Like this is a really obscure fucking thing they found in the mines, but Sabrina has no doubt that her apparent teacher will have all the answers. And she does.

“This implies that you’re some kind of Herald of Hell”

I love the fact that Lilith is huh, it seems to be this, when she knows perfectly well that it is, because the Dark Lord himself has told her that he intended Sabrina to be her Herald of Hell, and Lilith lost a bet in trying to take the position for herself. And you actually see Lilith’s eyes flash at the image, because it’s visual confirmation that yep, he really does fucking intend it to happen, and always had done. I mean the mosaic confirms he’s had plans for Sabrina long before he let Lilith in on them, which would, rightfully, piss her off.

Also the way Lilith describes the apocalypse in a ‘well duh’ way when Sabrina asks. Like ‘the earth in flames, the tribes of human and witchkind, enslaved by the hordes of Hell, with the Dark Lord presiding over it all’. She’s just like ‘what other definition of an apocalypse would there be?’. But it’s so revealing that Lilith has known all along what the Dark Lord’s attitude was, not only to humanity, but to his witches too; he intends to enslave the very people who worship and serve him, rather than rewarding them, which is usually how this sort of thing is supposed to work. But I think it’s interesting that when Lilith is Queen she doesn’t have any apocalypse plans and no more let’s Hell go beyond it’s boundaries than Sabrina does. Lucifer goes on about the balance in Part 3 in order to convince Sabrina to take the crown, but Lilith is someone is shown to actively care more about the balance than him or anyone else in Hell. Lilith wants to rule, not destroy, and that’s a very important difference. 

Nick, however isn’t so convinced, and is all ‘what makes you such an expert?’, and I love that we cut to the Adam Creature while Lilith replies, because he serves as a visual reminder that Lilith is an expert because she comes from Hell herself, but it also sort of implies Lilith really wants to fucking smack Nick at that point for his attitude. The temptation to kill them both in that flicker of a moment. 

Also she says she studied with Nostradamus, and I do wonder if that’s that ‘truth hidden in a lie’ and if Lilith did indeed hang out with Nostradamus, as we’ve seen she’s someone who can blur the lines between the mortal and infernal realms when she wants to, and considering her own origins it’s not beyond the realms of possibility for her to have been hanging out with someone who was skilled in prophecies. Lilith has been shown to be someone well-read and intelligent, and also has foresight; how better to get ahead of everyone than to learn how to read prophecies? But also, saying this means she’s telling them how old ‘Mary Wardwell’ is. He lived in the 1500s which means she’s meant to be a couple of centuries older than the Aunts (Her age is also another confirmation that the reason Dezmelda, who is only a 100 years old than the aunts and a 100 years younger at least than Lilith!Mary’s fake age, has aged so much because she left the coven and the Dark Lord, and became a hedge witch). 

“The end times is usually preceded by the gates of Hell opening”

Usually preceded. Usually. How many end times have you seen Lilith? How many have there been that we don’t know about? I think this is why later on she’s like ‘I don’t care if the world ends; I’ll survive either way’, because she’s been through them enough times, and she also knows they either fail to happen or they don’t last long. Maybe it’s like ‘oh Lucifer wants an apocalypse. Must be Tuesday’ kind of vibe. 

“Why me?” “You’re special, aren’t you?”

Oh the implied bitterness in this line. Like, it has been implied constantly to Lilith by both circumstance and the Dark Lord himself that Sabrina is unique, important, special, and she is clearly so fucking tired of it. Like yes you’re special, I had to come here and pretend to be a high school teacher and raise a bunch of dead witches because it was so important you sign a book. I had to stay at a high school to keep you doing what you’re meant to be doing because you’re so special. Adam had to be killed and I forced to eat him to teach me a lesson about how special you are and how my focus should be all on you. I am being pushed aside entirely because you’re just so fucking special. 

“Half-witch, half-mortal, representing the two tribes to be tyrannised”

Lilith was so close here to blowing the whole thing wide open about the real reason Sabrina is so important and why she exists in the first place. Like yes, she is half-mortal, which means she represents one ‘tribe’, and since she signed the book she is ‘half-witch’ representing that side too, but what she actually is, blood-wise, is half-Lucifer. Like she’s half hell-celestial, and I think that’s what the real key part of bringing about the apocalypse was. I mean, she’s probably not the first half-mortal witch to be born, just the first where they actually got married. And it would be easier enough to make such a thing happen, so why would that be so powerful to bring about the apocalypse...no it has to be something more. She’s half mortal and half hell. Lilith was so close. But she had no reason to think ‘hang on I think you’re Lucifer’s kid’. 

But oh god when Sabrina says ‘this would explain my new powers’, the way Lilith is just like ‘I’m sorry what?’ and blinks innocently but with such fucking tension when she asks ‘new powers?’, and you can tell she’s already imagining a dozen things, like what the fuck has the Dark Lord decided to gift you with now, and will it effect me?

‘Resurrection, healing, control over the weather, I’m not sure I can be killed’

Lilith nods at all of these like fan-fucking-tastic, just giving you huge ass powers the rest of us have to work at gradually, fine, absolutely fine, and then it’s the last one she’s like ‘oh marvellous. Can’t even fucking go ahead with my plan now, can I?’ and she tries to hide it so much  but her tension and irritation is so palpable...except to Sabrina who is apparently too focused on her own problems to notice how annoyed Lilith is, and how much she is currently recalibrating her original plan at hyper speed, 

What Lilith says; How fascinating What she means: Well isn’t that spit on your neck kick in the crotch fantastic?

She does manage to recover pretty quickly though. 

" it would seem that the Herald of Hell would have to wield a certain amount of power”

But oh god the way she says this, it’s like ‘yes, I accept you would need some powers to be the Herald (powers I already have, but never mind) but he did not need to go so fucking overboard with it’. Like, Lilith is just getting knock after Sabrina-related knock from the Dark Lord and she just looks like she’s on her last nerve over it. She’s kept calm and accepting for four months but now she is just so fucking done. 

“No way am I doing it”

I wish Lilith had realised her answer was right there. She could have teamed up with Sabrina there and then, been honest and done a pair-up against the Dark Lord and stopped so much from  happening, but as I said on another post, Lilith is as much a victim of society as any other woman in being subconsciously taught to treat other women as a threat rather than an ally, and her desire to punish the Dark Lord seems to outweigh, at the moment, her desire to team up with Sabrina and stop the prophecy. And at this point she does still think she’s in with a chance of getting her crown, so she’s not yet so willing to go completely against him. 

Also, you can tell she loves how much that a legitimate answer to Sabrina’s query is one that also helps her; you need the powers to be the herald, if you don’t want to be the herald, rid yourself of the powers. Which conveniently means Lilith can have her killed as planned. But she barely holds back at a smile at how everything just came together so neatly and so quickly. Like, ah problem raised, problem tackled, back on schedule. I mean she literally smiles through her words as she says ‘rendering you essentially mortal’, because someone essentially mortal is going to be so much easier for the Adam Creature to deal with. Lilith is back in Confidence Town at that point....and then Nick irritates her with his questions again. She really does look at him like ‘why are you even here?’.

But I do love her come back like ‘erm, excuse me’ when she says “don’t you mean half of who she is?” which I think she takes extra joy in saying because Sabrina is always saying how important her mortal side his, how important her mortal friends are and Lilith knows first hand how difficult it was to get her to leave that behind in any capacity, so she’s like ‘well can’t say a witch is all she is when she goes on about the mortal stuff’. Also, I think it’s interesting that she says this and then in the next episode she says of herself ‘not only a witch’, as it’s another parallel between her and Sabrina, that neither of them are ‘just’ a witch, they’re both something more complicated. 

I also love that Lilith doesn’t say anything else until not only has Nick left the room, but closed the door behind him too. She had literally no interest in dealing with him; things go much more smoothly with her manipulations when it’s just her and Sabrina. As it does the moment he leaves, when she’s able to go back into full-on concerned teacher vibe and be all ‘you must keep me abreast won’t you?’ and then adds, ‘and do look into the mandrake spell, it could be just the ticket’ in such a bright way, like don’t like Nick’s negative vibes effect your decision. After all, I have all the answers don’t I, I’m older, more experienced and I’m saying the mandrake spell could be a good thing. Ignore mr-storms-out. 

And then her whole smiling expression immediately falls the moment Sabrina leaves the room. We get back to genuine Lilith. And what’s the first thing she does? Calls Adam to get things back on track. And as she calls for him, she is rubbing her fingers over the enchanted engagement ring she gave to Adam 2.0, she rubs her fingertips over it the way you do when you’re thinking about someone the jewellery is connected to. Like a widow remembering her lost husband, and it just reminds her that the entire reason she’s doing this, the reasons she created the Creature, the reason she’s attacking Sabrina, is all an attempt to avenge Adam 2.0′s murder. 

Her whole instructions of ‘follow her. discreetly. and once she’s vulnerable and alone; kill her’ is given so psychotically though, with this soft, almost gentle voice, and this equally gentle smile, as if she’s telling someone to prepare a birthday surprise, but instead it’s a murder. Also, the fact she says ‘once she’s vulnerable’, shows how well Lilith knows Sabrina. She knows that no matter what Nick says, the girl’s desire to not be a pawn and to stop the apocalypse and not be ‘evil’ means she will do the mandrake spell and will make herself vulnerable. Lilith knows exactly what Sabrina is planning to do. 

But the way Lilith’s eyes flicker away after she gives the instruction, the flicker of thought of something else. Perhaps briefly wondering whether this will succeed before the Dark Lord notices, perhaps acknowledging that this won’t bring Adam 2.0 back, perhaps wondering if it’s going to be a satisfying as she hopes. 

But oh my god the way she stretches out her hand over the candle, feeling the pain of the heat on her fingertips, perhaps in an attempt to feel something, to distract herself from the emotional pain she feels over Adam 2.0 (physical pain would be much easier for her to deal with, after all) and then argh her face is so sad. Lilith is so fucking sad. She even looks like there might be a few tears. She is still in the major throes of grief, she is still so upset about Adam 2.0 and we’re being told, by this shot and her expression, that everything she is doing right now, for good or for bad, is a product of that grief. 

I will at some point do a full visual analysis of that moment because fucking ow. 

[x0401x]

Hi there! Just want to thank you so much for translating for the VE fandom! I've been looking through your VE posts and noticed you mentioned how anime!Gil is completely different from LN!Gil. I agree with you and was wholeheartedly disappointed in the anime. I was hoping you could elaborate more on your thoughts, where you thought anime!Gil and anime!Violet went wrong and how they were different from the anime. Sorry if you've already made a post on this previously. Thanks again!

Hi! You’re welcome!

This reply took me long enough, lol. I haven’t gone too much into detail, or else I’d just end up writing a bible. It still turned out long as hell, though, so I’ve put it under a cut.

I really didn’t know how to begin with this. “Where they went wrong” kinda implies that those two were going right until some point, and that’s just… not the case. They were a trainwreck from start to finish. And it’s kind of impossible to really discuss this without touching upon the massive fails in the writing of the entire show. It does try to convey important messages to the viewers, but mostly with visuals and repetitive lines, never with the actual plot or the characters. You get an inkling of what the story was attempting to do with them, and that initial idea is what seems to stay with most people, because there’s nearly nothing beyond it.

As director Ishidate has stated more than once before, he made changes to the story because he thought the novel was, in his words, “too orthodox”. But watering it down meant watering the characters down too, Gil and Violet more than anyone else. And this results in a show that ironically fails to grasp its own themes and cast — the personalities and conflicts get lost in the details and have to be patched up with excuses that end up displaying how little the show trusts its own audience. It keeps spelling out plot devices and character traits in an almost robotic manner, with very scarce effort put into actually showcasing them in the situations and dialogues. Everyone is too one-dimensional and the main plot line is repeated over and over instead of being alluded in parallels or even just slightly more intelligent exchanges. Animators like Ishidate have grown dangerously used to committing a grave narrative suicide: to give vague and unconvincing reasons for things to be the way they are and expect the audience to take it all as is simply because it was stated there. Everything is oversimplified because they clearly want the viewers to get invested in the emotional baggage of the show, and only the emotional baggage, because they think that’s all we get invested on. They forget that details are necessary for the whole experience.

These problems are recurrent in Violet and Gil, and they never stop. I’ll start with Gil, since he was mentioned first.

Gilbert Bougainvillea is a very complex, humane and multi-faceted character in the novel. What’s interesting is that he doesn’t look like it at first, so he surprised many readers in volume 1 with how caring and endearing he can be. And I mean caring for real. Anime!Gil seemed like a poor excuse for what he was supposed to represent, which in turn made him into a walking contradiction. In the novel, Gil is by far the person that emphasizes the most with Violet, because the two of them are two sides of the same coin. This is where the anime falls short most frequently. They at first look like polar-opposites, but are absolutely not, yet the show portrays them as such. Novel!Gil is gratuitously kind and righteous, and he’s brave and pure-hearted enough to stand by his values no matter what. He’s used to giving up everything for the sake of other people, but he has morals that he holds to the roots of his very being, so he always chooses to donate himself to what he deems as good causes. And once he has his mind set on an objective, he doesn’t mind playing dirty to achieve it, as long as he’s not hurting anyone. That’s exactly the same as Violet, and Gil isn’t the only one who sees himself in her — Hodgins and Dietfried also notice how alike the two are. Novel!Gil relates to Violet on a spiritual level, and he knows first-hand how she must feel. He’s been there and done that. And that’s why she’s his number one priority. His purpose in life is to protect her and keep her in a healthy lifestyle within a blessed working environment and a loving family. Quite literally, all he wants is to make sure that she’s happy, and he’s active and vocal about it. He’s also an unapologetic and unabashed feminist, so he completely approves of her doing anything for a living — she doesn’t need to live her life like an ordinary woman and whatever she wants for herself is fine, as long as it’s not too dangerous.

Apparently, his personality is one of the book aspects that Ishidate believed to be “too orthodox”. He depicts Gil the way you’d expect any male creator to depict a man — a brooding martyr figure who only has a heart of gold in fleeting moments that get replayed again and again in flashbacks to serve as justification for Violet’s undying love. He makes very little strides and there’s a lot of flawed reasoning behind his affection that makes it oddly disconnected, which is the fact that said affection is barely ever there. Gil hardly treats Violet like a person, let alone an equal. Violet is ready to give her life for him anytime, and as we see in the last battle at Intense, he’s ready to cling onto that to save his own life. Ishidate doesn’t shy away from making very evident that he thinks it’s okay for Gil to do only the minimum to earn Violet’s respect and trust, like it’s a given and all he’s required in order to earn her love is to exist. This is very visible in scenes like the one where they first met. Gil seems to shield Violet from the abuse of his brother, but shows next to no distress or even interest over it as he doesn’t even question where she came from or why Dietfried was treating her that way. There’s also the scene where he takes her to one of his family’s residences, and she has his jacket on, just like in the novel… yet he’s letting her walk barefoot in the snow without giving a single flying fuck. He then leaves her side as soon as he instructs the maid what to do with her, not looking back. I also hate that scene where he gets back home and she bumps into him and falls on her butt. He just stares at her and makes no effort to help her back up. But the one I hate the most is that festival scene where he nearly thanks Violet for fighting so well in battle. I mean, she’s killing people for him. She, a literal child, is in the frontlines of a long-lasting war, risking her life and committing mass murder for his sake. That’s literally nothing to be grateful for. Especially not when he’s supposed to love her. And I despise that he only stopped himself from finishing the phrase because he noticed the bruises on her.

Another major defect of the anime was changing Gil’s backstory. Anime!Gil was, by the looks of it, just a rich kid who enlisted simply because that’s the family tradition. And if you take away Gil’s backstory, you take away the viewers’ reason to empathize with him. Why? Because that means he’s morphed into someone who can make choices. Erase any factor that binds Gil to doing what his family and his superiors make him do, and what you have is a grown man with his free will intact. And he uses none of it to help Violet. Anime!Gil was always given the opportunity to say no. He could’ve said no to Dietfried and sent Violet straight to the Evergardens, he could’ve said no to his superior officer and not taken her into the military, or he could’ve at least said no to assigning her to the men’s troops. He didn’t because there would be no story otherwise. Novel!Gil is always attempting to save Violet from the war and from herself, while anime!Gil’s actions beg to differ. And so, anime!Violet’s obsession with Gil stems from the fact that he was the first to treat her remotely like a human being and that, for a long time, he was all she had. None of that fate thing, because it’s also “too orthodox”. But without the fate element and without Gil having no control whatsoever over how he feels about Violet, he’s straight-up a pedophile. If he feels regular romantic love for Violet, who is in her mid-teens, that’s pedophilia right there. This one is my biggest beef with anime!Gil, and I don’t take criticism for it.

Now Violet. Not to be rude, but I see so many people talk about how interesting her anime counterpart is, yet I rarely ever see anyone going in-depth on it. It’s like the way the fans talks about the show. Literally every single person who comments that they liked it always says the exact same thing: “I cried during every episode”. I sort of feel like most of them are just reproducing what they see other people say out there, which is probably what got them interested in watching it in the first place. I don’t mean this with ill-intent; it’s just seriously the impression I get from looking at the tag. I’ve accompanied it since the novel came out all the way back in 2015, and when the show was running, believe it or not, I didn’t really see much of those comments. It started becoming a habit to say it after episode 10, which seems to be the highest-rating episode (the irony being that it was the closest the anime ever got to the novels). Hence why it feels to me like some people just say it on automatic, and I get the same vibe from the fans of anime!Violet.

I’ll just be blunt here: the main difference between anime!Violet and canon!Violet is that canon!Violet was made to be liked by girls and women, and anime!Violet was made to be liked by men. I have already said this before, but Violet is the very definition of independent professional woman in the novel. She’s educated, confident, strong, reliable, altruistic and overall well-versed in at least a little bit of everything. Half of it is due to luck and half of it is her own merits, but all in all, she was created not just to be relatable but also a character that people could look up to. Meanwhile, anime!Violet was clearly made to be waifubait.

I can’t really stress how little thought was actually put into her portrayal and development. We never truly see her internalizing the lessons that she supposedly learns in each of the self-contained episodes. We only ever witness her displaying sudden significant hints of emotion at convenient times, paired to her either repeating what she was told earlier by one of the characters or taking an extremely obvious conclusion to a question that was already half-answered by someone else. Because of this, Violet’s growth process has an unsteady pacing in the anime and mostly feels disjointed. In comparison, novel!Violet is usually not the point of view — she’s often in the role of observer, and we notice through the solutions she comes up with for her clients’ issues that she does have a very humane connection with them. We also notice through the clients’ opinions on Violet that she shows subtle changes at certain specific points, such as smiling just a little when she manages to not only accomplish her duties but also help solve their problems. This makes her more real and believable because, unlike the anime, it presents no abrupt alteration to the essence of her person. She’s growing in her own way, but it’s still easy to tell. It’s also very clever to have Violet be disliked or misunderstood by her clients at first because she’s so aloof and apathetic-looking, but then she grows on them after they actually understand her, and the readers can absorb that from them. I’ve seen many people complain that they can’t really empathize with anime!Violet, but in the novel, the author takes care not to let this happen, and it really doesn’t.

What upsets me the most is that anime!Violet is overly infantilized. We all know that director Ishidate loves her like a father loves a daughter; it’s been said by himself and his colleagues quite a lot. That’s cute and all, but it made her depiction extremely shallow. The biggest problem was making her 14 in the anime. I still struggle to understand what would’ve been so bad with keeping her as a 17-year-old. Sum that up with removing many of her merits and adding forceful childish traits, such as being okay with changing clothes anywhere in front of anyone or pouting when she’s frustrated, and you have the perfect recipe of what waifu junkies like to be spoon-fed with. In my opinion, anime!Violet was a downgraded tragic heroine played in a cheap and boring way to attract tearjerker lovers.

I hope this has covered enough of my take on the matter. ✌️

[enbyleighlines]

Alright, let’s talk about the theme of homophobia in mo dao zu shi

Before I begin, some disclaimers!

Obviously everything I say here is my opinion and not the One True Way to interpret the text. If you disagree with what I say, or parts of what I say, then good! That’s how literary analysis works. Please write your own rebuttal post if you wish. You can even link me. I would be happy to read a different point of view on this issue

I’m not going to be talking about the author’s intent. I’m pro “death of the author” so it really doesn’t matter to me whether the homophobia depicted in mdzs is a reflection of the author’s own prejudice, or if it’s a social commentary on China’s views towards LGBTA issues, or even if it’s just being employed to push a “forbidden love” trope

I’m not going to be making judgment statements about the quality of the writing or whether or not the homophobia is depicted realistically. While that would make for an interesting topic, it’s not my main concern

I’m going to discuss spoilers, so if you haven’t read the novel, and you intend to read it, and you don’t want to be spoiled, please skip this post!

I’m going to be discussing things like societal homophobia and internalized homophobia. Also, I’ll be discussing Mo Xuanyu’s suicide, so please read this at your own discretion!

With all of that out of the way, let’s begin!

Homophobia is undeniably a running theme in the novel and audio drama versions of the story, and it even plays a minor part in the manhua. However, it is noticeably absent in the live action and donghua. In an ironic twist of fate, censoring the gay romance from the live action and manhua made it so that they also accidentally made the cultivation world a lot less homophobic. Because depicting homophobia would entail acknowledging that gay people exist.

Meanwhile, the homophobia in the novel and audio drama are not like front and center but they are certainly there. As merelhyn points out in this post that inspired mine, “…it’s so common that Wei Wuxian rolls with it and try to weaponize the homophobia to disgust people, hide himself and flee.”

While I don't think it's necessarily dangerous to be gay in the world of mdzs, it definitely is not normalized. The word “cut-sleeve” is most often used as an insult. At one point, Jin Ling calls being gay an “incurable disease”. At another point, the story says that “it was forbidden to engage in cut-sleeve behavior in public.”

Okay, so why am I even bringing this up? Basically, I want to do some character analysis of two of the three canonically gay/bi men in the story: Lan Wangji and Mo Xuanyu. Wei Wuxian could get his own post, and I might do that in the future, but this post just concerns Lan Wangji and Mo Xuanyu.

First: Lan Wangji

Personally, I think Lan Wangji struggles with internalized homophobia, the fact that he is attracted to men.

Lan Wangji is a gay man who cares so very deeply for the rules, he likes knowing right from wrong, good from bad, he likes making others proud and setting a good example, and yet he cannot help but break the rules. The Gusu Lan sect doesn’t have any specific rules against homosexuality that we know of, but I think "Do not indulge in debauchery" and "Do not be promiscuous" could certainly be interpreted to include homosexuality. After all, the Gusu Lan sect is descended from an aesetic monk, and their sect’s philosophy is very much about restraining oneself from earthly pleasures.

I like to imagine that at least part of Lan Wangji’s adherence to the rules is due in part to the fact that, inside, he fears that he's not actually a good person. And not all of it comes from his attraction to men. As we see in all the adaptations, Lan Wangji has quite the temper. He is also prone to jealousy and pettiness, like the way he acts around Wen Ning.

And there’s the childish side, too, the side that wants to play hide and seek or steal someone’s chickens when he’s drunk. Or how he continues to be overly sentimental, like how long he grieved for his mother.

And then Wei Wuxian comes around and Lan Wangji falls madly in love, just like his father did with his mother, except it's with a man, and try as he might, Lan Wangji cannot control his feelings. He can control everything else in his life, but he can't control his feelings. And I think that’s the lesson that Lan Wangji ultimately has to learn.

By the end of the novel, we learn that Lan Wangji actually confessed his love to Wei Wuxian before his death. We learn that Lan Xichen and Lan Qiren knew of Lan Wangji’s confession, and that later Lan Xichen even told Jin Guangyao. Yet Lan Jingyi once told Wei Wuxian, “HanGuang-Jun is not a cut-sleeve.” So Lan Wangji’s feelings are kept a secret, just how the details of his mother’s seclusion were kept a secret. They have to be kept secret, or they would ruin his reputation.

How painfully ironic, then, must it have been for Lan Wangji, when Wei Wuxian is reincarnated into the body of a man who is known and hated for being gay. And as previously stated, Wei Wuxian fully plays into the stereotype of the predatory, promiscuous gay man, in order to keep his identity a secret, and to keep other people from getting too close to him.

In the past, Lan Wangji had to struggle with his own internalized homophobia. And then, once he finally accepts himself, he has to deal with Wei Wuxian’s homophobia. It just makes his whole character arc all the more tragic.

Second: Mo Xuanyu

Admittedly, we don’t know a lot about Mo Xuanyu. We know that he was cowardly and timid, that he was gay, that he dabbled in demonic cultivation, and that after the abuse of his aunt, uncle, and cousin, “he often behaved in a crazy manner, almost as if his life was scared out of him.” He was also accused of sexually harassing Jin Guangyao, his half-brother, though the novel never really clarifies if this accusation is true.

Personally, I find it too much of coincidence to be true. After all, how likely is it that Jin Guangyao would have two half-siblings lusting after him?

If you compare Qin Su with the accusations against Mo Xuanyu, there are some interesting parallels.

It’s said that “Mo XuanYu had always regarded Jin GuangYao as a deity”.

It was also proposed by Wei Wuxian that Jin Guangyao and Mo Xuanyu were once close, since Jin Guangyao allowed Mo Xuanyu to study Wei Wuxian’s manuscripts.

Qin Su, on the other hand, is often described with words such as “innocent”, “naïve”, and “childish”, and apparently she fell so deeply in love with Jin Guangyao that she “never gave up, insisting that she wanted to be his wife.”

We also know that Jin Guangyao never again touched Qin Su once they were married. Now, it’s entirely possible that Qin Su accepted that without question, but it’s also possible that, being the persistent woman that we know her to be, that she tried to seduce him many times after their wedding.

And so, if at any point Jin Guangyao did want to come up with perfect rumor to smear Mo Xuanyu’s reputation and get him kicked out, then he could easily take inspiration from his own wife: A half-sibling, who loved him very much, and frequently expressed interest in getting intimate with him, to his continued disgust. If Jin Guangyao did make up the rumor to get Mo Xuanyu kicked out, we still don’t know exactly what caused his change of heart. But we do know that since Mo Xuanyu was already known to be gay, and since he was already known for following his elder brother around like a puppy, it’s quite easy to see how people would have believed the rumor.

At one point, Wei Wuxian questions whether it’s possible for a man as timid as Mo Xuanyu to have taken his own life. Now, I for one don’t like that interpretation. Suicide does not require bravery, just intense emotional pain.

However, I do think it’s safe to say that a man as timid as Mo Xuanyu probably wouldn’t have sexually harassed his older brother, the one he treated like a deity. He was probably just happy to have someone in his family, other than his mother, who didn’t abuse him. So while it’s not 100% canon that Jin Guangyao framed Mo Xuanyu, it’s what makes the most sense according to my reading of the text.

Aaaaand that’s it!

Kudos to you if you actually read this far. Lan Wangji and Mo Xuanyu are two characters I have A Lot of feelings about, so I wanted to condense it all into one super rambly post.

I hope you enjoyed reading it!

[irandrura]

I will aim for three posts, I think, trying to give some general feelings on Three Houses after completing one route (Azure Moon). This post will be on world and plot, and will have a mixture of things I liked and things I thought could be improved. The second one will be on characters and will be mostly positive. The third one will be a grab bag of other thoughts on mechanics, tone, where I think 3H fits into the series’ overall trajectory, and other things that occur to me.

It’s also worth noting that at this point I think I’ll grant myself license to read spoilers for the other routes. This is mainly because I don’t think it’s reasonable to need to play dozens more hours, many of which just repeat content I’ve already done, in order to get a full picture of the plot. That said, I realise that reading a wiki and skimming the odd chapter transcript are not substitutes for the experience of actually playing a route, so I will not make any judgement on the other three routes in terms of quality. I do intend to play at least Crimson Flower and Verdant Wind at some point, and that should be a richer experience than just reading, but I probably won’t start another forty-to-fifty hour journey straight away.

So, world and plot!

I think worldbuilding is one of Three Houses’ strengths, and is definitely a big step up after Fates and Awakening. Fódlan’s worldbuilding is not perfect, and sometimes has a few cringeworthy elements – in particular the King Lear references in the Alliance are a bit cheesy – but for the most part it successfully presents itself as a rich, interesting world, containing diverse cultures, and a complex history.

The sense of history is particularly important to me, especially compared to the last few games. I’m glad that the game goes to some effort to give Adrestia, Faerghus, and Leicester a sense of a shared past, full of rivalries and alliances. I can imagine setting other stories at different points in Fódlan’s history – Loog’s revolt, the occupation of Brigid and invasion of Dagda, the Almyran invasion, etc. – and those stories still being interesting and fun to play. I can imagine using Fódlan, perhaps centuries in the past, perhaps in the future, as a D&D campaign setting and it being quite interesting. That to me is a sign of good worldbuilding. If the world could easily play host to many different stories, not just the one I’m currently playing, then it can probably stand on its own quite well. This contrasts strongly with, say, Nohr and Hoshido, which felt like they were really just built for Corrin’s adventure.

I also appreciate that it’s not just ancient history that matters, but also the twenty years or so before the game begins. The heroes did not burst on to the scene ex nihilo, but all come out of particular historical situations. Events like the Insurrection of the Seven or the Tragedy of Duscur give you context for what happens in the game. The heroes generally have parents and families, and those families are relevant. They all come from somewhere, and while the details often aren’t described, what you get is enough to start imagining their home lives, and what might be going on elsewhere in the world. I really liked that and felt it was missing from the last few games. Can you imagine asking most of the Shepherds about their familes, or about the lands where they grew up?

Similarly, the range of visible cultures is one that I quite appreciate. Even outside Fódlan itself, mentions of Dagda, Brigid, Sreng, and Almyra help to make the world feel populated. That’s only the other regions that we know much about: there’s also Morfis, Albinea, and Mach, so the world is clearly quite large. Further, these different regions all have some noticeable cultural traits: the people of Brigid are animists and believe in many spirits, the Almyrans are a warrior culture and seem vaguely Persian, and so on. Within Fódlan there are visible differences as well, so the titular three houses are nicely differentiated.

The role of crests in shaping the continent also appealed to me. I believe I commented before that it reminds me of Birthright, an AD&D setting from the 90s that I have a soft spot for. While crests aren’t quite as powerful as Birthright’s bloodlines and don’t have exactly the same effects, the idea of aristocrats with real superpowers passed down in the bloodline, but which if abused can twist people into horrible monsters, was quite reminiscent of that setting. It’s a premise I’ve always found relatively intriguing, and I like that Three Houses does spend a little while exploring the social stratification that crests have produced. There are some interesting marriage politics going on because of crests; that’s really fun for me. Nonetheless I think the game also takes the right approach by not making crests too overpowering, and by firmly asserting that a person’s worth is not dependent on whether they have a crest or not. If it hadn’t done that, crests might have had some uncomfortable implications.

That said if I have one quibble it would be etymological. I understand that the Empire is vaguely Germano-Nordic, Leicester is vaguely English, and Faerghus is Franco-Celtic, but these aren’t always incredibly consistent, and names can sometimes be a bit surprising. The name ‘Dimitri’, for instance, stands out as being slightly out of place. I suppose its origin, ‘Demetrius’, is a Latin name and thus appropriate enough, but today I hear ‘Dimitri’ as Slavic, which doesn’t fit the established pattern for Faerghus. Still, this is a minor quibble.

The one exception to my general praise for the worldbuilding is the church, which I think is a huge mess. Maybe another route fleshes this out, but from what I played, it is extremely unclear to me how the church actually works. Was there a previous archbishop, or has Rhea been succeeding herself over and over, changing her name each time? How has the church been involved in history? We’ve had the occasional mention of cardinals, possibly with secret identities, but they’re entirely invisible and don’t seem to do anything. I would have liked more details on the church and how it fits into Fódlan’s history, because right now it feels like the anomaly, to me.

Moving on to the plot…

This had a number of issues, in my opinion.

Azure Moon was very much Dimitri’s story. In some ways I like that Byleth is simply not very important to the story. You are not the hero; you are the hero’s mentor. Byleth is more active than, say, Mark was in Blazing Sword, but still fades into the background compared to the true protagonist. However, I have to stand by the judgement that Dimitri’s redemption was too fast, and it probably would have been better to drop some of the church-related content for this route and spend more time exploring the characters and relationships that are at the heart of this story. Azure Moon is about Dimitri, Dedue, Felix, Sylvain, Annette, and probably Ingrid at the core: this rising generation of Faerghus nobility, with the long shadow of the past over them, struggling to overcome the sins of yesteryear and the cycle of revenge in order to build a better world. This story is good and I liked it, but a bit more polish and focus could have made it shine.

In terms of actual events, though, I have to say that a lot of things in the story didn’t make a lot of sense. The most obvious case is probably the rematch at Gronder Field. I understand the desire for a three-way battle there as adults, a rematch that contrasts dramatically with the mock battle they fought as students. However, as cool as the scene is, I don’t feel the set-up for it made a lot of sense: in particular Claude and Dimitri have no reason to fight each other. Dimitri might still be bloodthirsty and vengeance-obsessed, but that should translate to a charge straight at Edelgard, and Claude seems cunning enough to let that happen without getting in the way. There might surely have been better ways to set up a conflict there, especially since the writers have the get-out-of-jail-free card of a faction of evil shapeshifters trying to foment conflict. All you need is for a few Slitherers to deliver false messages or instigate a skirmish or two to start a battle based on a tragic misunderstanding.

Similarly, my confusion at the Leicester Alliance disbanding and the Kingdom absorbing the Empire remains present. I can guess that they wanted every route to end with Fódlan united into a single realm, but in this particular story it seemed strange, given how much the story had focused on freeing Faerghus from Imperial occupation and on defeating Edelgard. Dimitri’s ambitions were personal, rather than the grand schemes to reorganise Fódlan politically that both Edelgard and Claude have.

I wonder if there might be an unspoken cultural difference here? As someone from a Western European background, I am quite comfortable with the idea that many different nations can rightly exist on the same continent, and see coexisting self-determining territories as a quite good result; but perhaps in Japan it might be more natural to think that “an empire divided longs to unite”? The game begins with the territories of the ancient Adrestian Empire split into three nations now. Perhaps, like Warring States of either China or Japan, they must be united back into one? Three Houses to parallel Three Kingdoms, perhaps? The Japanese title of the game does not mention Three Houses, to be fair, but the title is an allusion to classical Chinese poetry, so I wonder what assumptions or resonances might be in the background.

Moving along, the logistics of war in general stood out to me as rather odd. I can’t tell whether you’re supposed to be canonically returning the entire army to the monastery in between every battle or not, but even if you’re not, you march all over the continent with very little regard for things like plausible logistics. Invading the Empire, winning a battle at Gronder, and then stopping to run all the way back up to Fhirdiad and liberate it in a single battle seemed particularly odd, especially when you also somehow make time to visit Arianrhod way out in the west. I wouldn’t be that strict about this in most games, but Three Houses does have that lovely detailed map and shows coloured lines with armies moving around, so I felt that it drew attention to one of its own weak points. Here I think the game contrasts negatively with the Tellius pair, which also feature a bunch of continent-wide wars, but generally seem to avoid bizarre logistics.

Finally, let’s talk about the ending. As I mentioned in one of the linked posts above, I was a bit surprised that there was no resolution to the Slitherers subplot in this arc. I liked the scene where Dimitri asks Edelgard why she did all of this before the final battle, but unfortunately they just talk about ideals. If I were Edelgard I might have mentioned the part where I did all this at the behest of – while also hoping to turn on and destroy – a faction of evil subterranean wizards who have been fomenting conflict throughout all of Fódlan’s history. I might also have mentioned the part where I believe the Church of Seiros is run by a different faction of ancient immortal manipulators, since that also seems key to understanding why Edelgard thought such drastic measures were necessary.

Perhaps that didn’t come up because if Edelgard were to mention those motives, it would quickly become apparent that she has already achieved most of her goals, and there is no more reason to fight. By the time of Edelgard and Dimitri’s fateful meeting, the Slitherers have already been defeated (albeit inadvertently, when we killed Arundel), the Church of Seiros is already shattered, Fódlan is close to being reunited under one government, and both we and Edelgard know that Dimitri wants to establish a more participatory and egalitarian form of government that should resolve some of Edelgard’s worries about crests. If Edelgard were the utilitarian fighting for the greater good that she portrays herself as, she could simply surrender, arrange the sort of peace treaty that Dimitri clearly wants, share all her knowledge with Dimitri and Byleth, and work for a brighter future together.

The final cutscene was thus quite striking to me. By ‘Light and Shadow’, it is extremely clear that the war is over. Even if Edelgard were somehow to successfully kill Dimitri, she would be killed immediately afterwards, and no good could come of it. But Edelgard cannot surrender. It is the one thing she cannot do, that she will never do. After the heart of the story was Dimitri’s redemption, and his painful struggle to turn away from his crimes and start anew, it seems appropriate to draw this line between them.

Both Dimitri and Edelgard did terrible things: he from vengeful passion, she from sincere belief it was for the best. But he could change his ways, grow, and find a new beginning. She never could. At the midpoint of Azure Moon, Byleth offers Dimitri his hand, and taking that hand and accepting help is the point at which Dimitri’s redemption begins. At the end, Dimitri, having learned this lesson, offers Edelgard his hand… but she does not take it.

There were plenty of places where I thought the plot could be improved, in terms of time, pacing, focus, and even practical things like why certain battles happen or how troops get there. But ultimately the story worked for me, I think, because the emotions worked. I can excuse a lot of nonsense if I care about the characters and the emotions resonate. I would rather do that than have a story that makes perfect logistical sense, but in which all the characters are flat and boring.

Next time I’ll talk more about supports and all the other characters.

[tottwritesfanfic]

Fanfic Authors Tag Game

Thankee for tagging @moramewhq​

AO3 name(s): Tottwriter, [REDACTED] Fandoms: Haikyuu!!, Digimon (a little lapsed, but I still tinker with my WIPs!), sliiiightly BNHA, and I have a TUA wip which I will someday resume. I try not to venture into new fandoms but, you know...I fail. Number of fics: I have 56 posted works, but also, uh... a few which I haven’t gotten to posting yet.

1. Fic I spent the most time on:

Um. Oh jeez. I mean, I guess nothing has overtaken Hope’s Fire just yet, because that’s the monster. Hopefully nothing else will? XD

2. Fic I spent the least time on:

Well this is genuinely a toss-up, because I have a few which I wrote for 20 minute prompt game fills, and then hardly even bothered to edit before they were thrown up on Ao3 without a backward glance.

Annoyingly, some of them are among my most popular works.

3. Longest fic:

Hope’s Fire! As I said, it’s the monster, currently clocking in at ~144k. My longest completed fic is The Ocean’s Curse though, which is 62.4k!

4. Shortest fic:

Okay so my shortest fic is actually a bit of weird experimental stuff I wrote for Starbound, which you will note I did not list in the fandoms above, lol. It’s old and weird and 351 words long... I don’t think anyone wants to read it. You don’t want to read it.

5. Most hits:

Hope’s Fire! It’s not really surprising tbh, given how long ago I started it and how many chapters it has. 

6. Most kudos:

Hope’s Fire wins this one too! I bet you’re all really shocked to learn this.

7. Most comment threads:

...imma give you lot one guess. 

8. Favorite fic I wrote:

fuck. Er. I dunno? I mean I write because I like writing them, you know? But honestly if I have to narrow it down... Parallel for the ‘serious’ fics, and either Press Play or (Not) Moving On for my more lighthearted stuff. It’s hard to pick when I swing between such tone extremes!

9. Fic you want to re-write:

I mean this is probably gonna sound really dumb but...kinda also Hope’s Fire??

Hear me out tho, because it’s complicated (and also I sorta already am). This fic started in 2015. I love it wholeheartedly, and I keep coming back to tinker and I wish life would stop throwing so much shit in my way and let me devote a bit more time to fic-writing so I continue it properly. 

But the periodic and spaced-out returns have meant that every time I knuckle down I end up re-reading the whole fic for continuity and tone reasons. You can probably see where this is going. Each time I read my old opening I cringe. It’s just not up to the standards of my writing today and it bugs me.

If I’m being brutally honest, part of the reason I haven’t updated it in so long is that I keep getting distracted going back and tweaking/fixing old chapters rather than focusing on new ones. It’s a bad habit but one I just can’t seem to kick.

10. Share bit of a WIP or a story idea you’re planning on:

You know, I’m actually gonna give two. I’ll drop them below a cut because this got long, but I know I have both Digimon and HQ peeps here and it’s sucky to be in the fandom that doesn’t get the love. I can’t promise when I’ll manage to get either of these posted (I’m trying to avoid adding more works to my Ao3 until they’re actually, you know, finished) but...they exist!

First up, we have Fun and Games at the Adventure Cafe

Yes, this is exactly what you think it is:

The notice on the door said “HELP WANTED” in large, sensible font.

The addendum “Enquire Within” sat below it, equally formal.

Scribbled underneath in scruffy handwriting was just one more addition:

     ‘as in we’re hiring. dw we know what we’re doing.’

   The notice on the door the following morning was back to plain old:

     HELP WANTED      Enquire Within

…It lasted half a day or so, at least.

As Sora remarked later, it was a wonder they got any applicants at all. Then again, as Taichi remarked, it wasn’t as though a lot of places were taking on extra staff—which was something of an oddity as the summer approached.

“It’s that swanky place round the corner,” he said with disgust, peering out of the window. “Bastards are driving everyone out of business.”

“But not you guys, right!” piped up their current interviewee. “You’re doing great! Honestly, as soon as I saw the sign I knew I had to apply. I’ve always wanted to start my own ramen business, and I figure I ought to start out with a popular place like this and get some real experience in the industry, you know?”

“Er, yes. Right,” Sora remarked, looking over his application. “Well, Daisuke, I will have to warn you that as a new hire you’d be working front-of-house rather in the kitchen, but if you’re okay with that—”

“Eh, just tell him he’s hired already,” Taichi replied, turning back to face them with a grin. “Yamato could definitely use a hand in the kitchen sometimes, so taking on a future all-rounder makes total sense.”

From the look Sora shot him, it perhaps didn’t, but Daisuke was already practically leaping to his feet with a grin, exclaiming that they could totally rely on him, and he absolutely would not let them down and could start the next day if they needed him to.

Next up, for my HQ peeps, here’s a little snippet from Connection Problems, my longtime langushing halfway chatfic. I’m not sharing the chatfic stuff because formatting tumblr is hell, though. 

Kenma always suspected that being a third year would turn out to be a pain, but he’d rather hoped his fears wouldn’t be realised within the first few weeks of the school year. Really, it’s bad enough that Kuro, Yaku and Kai have left, and that everyone else nominated him for the role of Captain (he’d talked them down to being Vice Captain instead, but that, apparently, was as low as they were prepared to go). He does not need Taketora constantly pestering him about—of all things—a chat group as well.

“Come on, I thought you and Kuroo were like, joined at the hip or something! Don’t try and act like you don’t miss him now he’s at university.”

He shrugs. “I have a phone. We’re keeping in touch.” Because, really. That’s all that matters, isn’t it? Why does everyone have to complicate things so much?

“Yeah, but, it’s not the same, right? Besides, what the hell! You spend all that time on your phone as it is. And even Fukunaga joined, right?”

Kenma glances over at Shouhei, who nods, grinning sheepishly. Drat.

“Still, I don’t have that chat app you all use,” he says. “It’s too much trouble setting it up, when I can message Kuro just fine.”

That should have been the end of it. Any rational person would have seen that it was no good, and left him in peace. Kuro would have, certainly. Not pushing—never pushing, actually. Just nudging him along a little, and even then, only when it comes to volleyball. He’s learnt all of Kenma’s limits over the years.

But the thing is, Kuro isn’t there any more. It’s just himself, Taketora and Shouhei, and okay, Shouhei never pushes—he hardly ever says anything, for that matter. But Taketora is clearly some sort of demon and he, Kenma, is being punished. Maybe he really pissed someone off in a previous life. Maybe this is a penance so he can piss someone off in his next life with a free pass. Either way, the badgering doesn’t let up.

Kenma holds out until the 27th of May. Seven weeks of hassling is more than enough for anyone.

Aaaand for tagging how about: @ahiddenpath, @humandisasterbuckybarnes, @mooifyourecows

[debrisyume]

Deltarune Theories

This is super late, I know. I’m only posting this after most people stopped caring about the game but I really wanted those who are interested to know what theories I am going with. I actually like the fact that I did it like this because people have noticed and discussed interesting things months after the game was released.

Warning, I don’t think I bring much of anything new to the table with my theories, but I still want to put my thoughts into context so people know where I stand currently. Also imagine everything has a disclaimer that says “This is what I think but I’m prepared to be wrong when the full game comes out.” After all, we don’t know how much of the story we’ve been shown, it could be less than a third for all we know. And I think there’s a lot of lore we aren’t aware of right now.

It might sound kinda fanfiction-y at some points (not that fanfic is bad, but fanfiction doesn’t rely on evidence, I probably discuss a lot of headcanons here with little no backup). Also, this is super long (perhaps excessively so). I’ve broken it up into sections for more easy reading, and I have a short list of my most important or favorite theories at the end, but without explaining why I like them or the evidence for it. If you’re confused or don’t like a theory of mine, I recommend reading the part where I talk about it to at least understand my perspective.

Let’s talk about the ending scene first because I have some... thoughts about it.

That Ending

Ok, first of all, I’m 100% completely certain that the red soul Kris took out doesn’t belong to them. They were definitely possessed by it. I used to think it was theirs but then we took control of it and Kris was willing to get rid of their soul to stop being possessed, but that ended up being too convoluted.

Also, a big piece of evidence that pretty much confirms it’s “our” soul is how Gaster literally summons the red soul for the survey. (“ARE WE CONNECTED?”) Presumably it was going to be put into our created vessel, but then Chara dunked it and Gaster had to make do with Kris. (Or maybe it was Chara who put it inside Kris but I strongly suspect it was Gaster, because Chara was cut off when they were saying “Your name is...” This link also provides evidence toward Chara working with Gaster. They consider Frisk/the player their partner, an equal, and see themselves as a servant for Gaster)

Probably the biggest indication towards Kris being possessed by the soul is the whole ball of junk sequence. They don’t want to throw it away, but we force them to do it and they are clearly upset by it. Not to mention how we can still control the red soul inside the cage by moving it around a little. I don’t see how the ending could be anything but Kris trying to take back control of their own body.

Now, I don’t think Kris is evil. I don’t think they want to kill anyone, I can’t think of a reason why they would want to kill anyone so I’m not expecting it. Their LOVE is at 1 and we never heard about them being violent. There is a big gap between somewhat creepy and mean pranks + social awkwardness, and literal murder. They’ve also done things outside of the soul’s control that make them being evil unlikely in my eyes, they protect Susie and they call her their friend. They also clearly care about Asriel and miss him deeply.

Why would they throw away the first friend they made in years and ruin their relationship with Asriel by killing people in their hometown? I believe the knife thing was just a threat towards the soul, to scare it into leaving them alone. All Chara similarities are because they’re like Chara, not being possessed by them.

I believe they used to have a red soul themselves, but it was taken from them or lost somehow (their similarities to Frisk and Chara are way too stark and prominent for me not to think they had a red soul). For probably a long time they were soulless. We see how being soulless affects Flowey, he can’t feel love, compassion, or hope. I think Kris being soulless like this worsened their already terrible depression, and while they were able to get those feelings back through the new red soul, they aren’t willing to be controlled like that, so they got rid of it. Maybe they’re hoping to get their own soul back one day.

Also, I suspect that Kris has been possessed before, which is why I think they haven’t had their own soul for some time already. The rusty cage they used to trap the soul ‘has seen some use before’. There’s also a suspicious stain by that cage. I believe the first few times they had to rip a soul out, their body couldn’t handle it well and... yeah...

I don’t have a clue why Kris moves the way they do before ripping out the soul though. They walk very similar to how Frisk is described to walk in the Genocide Route, “shambling about from place to place.” But that was as a result of the LOVE they gained, right? It doesn’t look like Kris is controlling their own body well either, and the footsteps from the Dark World... maybe prolonged possession really hampers Kris’ own control of their body. They are described as looking sick in Hometown, which implies being possessed made them sick... someone help them already.

Kris’ Weapon

I would like to talk about the knife for a second too. So, their weapon is listed as “pencil” and not knife. I don’t know about you, but a pencil sounds like a pretty shitty weapon, especially if I already have a knife with me. But, what if Kris didn’t always have that knife with them? I know this will sound kinda crazy, but I think they summoned it with magic (Chara/Frisk/Kris has a strong resemblance to one of humanity’s seven greatest magicians, the poncho human, so this doesn’t come across as that unlikely to me. I think Poncho Human is one of those magicians because they’re always seen as toward the front/leading the humans, including when the barrier was being made, although I will admit this isn’t really confirmation).

We already seen this happen in Undertale. No matter what weapon you have equipped in the Omega Flowey fight, the knife animation will always play when you attack him, even if the knife isn’t in your inventory. This happens in other instances too like when Chara kills Sans, Asgore, and Flowey for you. Kris does look like they reached into their pocket for the knife, but I still believe it wasn’t there initially, otherwise the knife would be their “weapon.”

Is the Red Soul really supposed to be us?

Back to the soul, I don’t think the soul belongs to the player specifically. While I think it’s a valid theory, it kinda makes me uncomfortable, similar to the player theory in Undertale which I used to believe in. It’s not just that though, I believe the red soul has a good chance of belonging to Frisk.

Think about it, the red soul knows things Kris shouldn’t know about, they recognize Sans (and Sans probably recognizes the soul but is pretending not to know anything about what’s going on), they ask Undyne about Alphys, who’s supposed to be her girlfriend in the universe they came from. They also explicitly can’t play piano, unlike Kris, which excludes many players. Kris’ Dark World outfit matches Frisk’s usual clothes very well, and then there’s the flirting thing.

The vessel we made at the beginning has two stripes on their shirt, and their soul is red... like... a certain someone... we’re familiar with... it can’t be Chara, because Chara is the one who got rid of our vessel. And what was Chara doing before they got cut off? Telling Frisk a phrase similar to ones they heard before (Despite everything, it’s still you. Try as you might, you continue to be yourself. No one can choose who they are in this world.) and trying to remind Frisk of what their true name is (“Your name is...” a direct parallel to the flashback when Asriel introduces himself to Chara, but the flashback ended before he could, so we only heard “My name is...”) because apparently Frisk forgot who they were.

Anyone else find the survey questions weird? Besides how the speaker clearly isn’t too familiar with humans, none of them particularly identify a personality, they’re all about favorites or physical things. Gaster summoned Frisk’s soul for a specific purpose, but apparently they don’t need to be completely “themselves” to fulfill that purpose?

Also, if the red soul is supposed to be the player, not only is the bad piano playing oddly exclusive, but so is the color. We know from UT that each soul color had a virtue to go along with it, yet ours is always red, like Frisk and Chara’s. You could just wave it away as being red because it was our previous player character’s, but I still think it’s weird because Toby could have let us choose our own soul color or made a small quiz that picked our virtue for us. I still think red has its own virtue, despite us not knowing it. It can’t be determination, because DT is some sort of magical substance that exists in all humans (it’s also too similar to perseverance to be a separate trait). I have my own ideas, but maybe we’ll find it out in this game? Either way, there’s no reason it has to be red in particular, if it’s meant to represent the player, unless we’re actually playing as a character with a red soul.

Now that I’ve established that I think the red soul is Frisk, I need to explain what kind of Frisk. I think this Frisk is older, closer to Kris’ age than how old they were in Undertale. It must be after a pacifist run, because that’s the only run where Alphys and Undyne get together, although I haven’t decided yet if it’s regular pacifist or soulless pacifist. The way Chara talks reminds me more of their Genocide run self, not to mention the callback to the soulless pacifist ending in DR.

The thing about determination in Deltarune’s universe is that I think it still exists, otherwise we wouldn’t be able to save and reload at all, but that it hasn’t been named or even have much research to it at all. After all, the one who discovered it was Alphys, after Chara and Asriel were long dead. And Alphys in this universe isn’t a scientist. Kris also seems to be aware they can save, but their save file is weirdly empty...

The Dark World isn’t Real, kinda (but neither is Hometown, kinda)

Now, pretty much everyone has considered the idea that the Dark World is not actually real. The food isn’t filling, after completing a playthrough you can skip going to school and just go back to sleep to come to the Dark World, the areas and characters each have a counterpart in the unused classroom (except for Ralsei, hmm). Kris’ pencil also turns into a sword, we can tell because if they get the spooky sword, they come back with a Halloween pencil.

I don’t think it’s as simple as the Dark World being fake though. The idea of Kris and Susie having some sort of shared dream experience is weird, and all the roleplaying theories make no sense to me (why would Susie participate when she only starts caring about Kris toward the end of their journey?). All the characters not being real just makes me sad, and the adventure feels hollow of if it was just imagination.

I believe the Dark World is a pocket dimension of some sorts, influenced by what goes on in Hometown (Seam being old is because ‘stuffed animal Seam’ is worn out after some years). It might be pretty dependent on Hometown to exist, but all the characters are perfectly sentient and have their own agency. Think... idk what goes on in Toy Story or Spirited Away?

However, I also believe Hometown is fake in some way, or at the very least, there’s some shady magic stuff going on. While on the surface it seems like a perfectly normal town where monsters are happily living above ground, seemingly never been trapped by humans in the first place, most of the characters we know are unhappy in some way. Bratty and Catty hate each other, Alphys and Undyne don’t know each other, Mettaton isn’t confident and seems pretty depressed, being a teacher is literally the worst job Alphys could have, etc.

There’s also things that feel super off. The way Toriel acts as a parent to Kris feels like a downgrade from Undertale, Asgore is living in poverty and no one is really helping him (almost makes me wonder if he was never a king in this universe?). Why don’t Alphys and Undyne don’t know each other, anyway? The town is pretty damn small and they both hold job positions that would make them well known, especially given how it seems like only Toriel and apparently Blooky is the other teacher/officer respectively.

Why is there a stain in Kris’ room that Toriel doesn’t seem to care about, even just to clean? Why is she overprotective to the point of punishing Asriel for being kissed by a girl? Why is Asriel the only character living his best life? He’s alive, he’s popular, his family is proud of him, while is Kris is seen as a creepy loner.

The lights in the school not reflecting the correct way, assuming that was deliberate (considering its similarities to the judgement hall, which is weird on its own, I’m betting it is). The way Toriel’s doorknobs on multiple doors work should be impossible. That fucking bunker?? Why is it there?? Why is Gaster’s music playing there?? IM SO UNSETTLED

Anyway, my point is I have to wonder if Hometown is fabricated in some way. I like to think of it as a world someone created that isn’t completely finished, or something went wrong in the process. This post talks about a great idea about how the Deltarune universe is meant to be an “ideal AU” for Asriel and Chara (Asriel creating the Dark World while Hometown was done by Chara) and I’ve been really into it since I first read it. It just makes a lot of sense to me. I believe it was done with the help of Gaster, who has his own agenda going on, which is why things aren’t perfect.

What’s up with Kris?

Now, about Kris’ identity. It’s hard for me to believe they’re completely separate from either Frisk or Chara because of the similarities they all share. Kris’s skin and hair colors match Frisk’s perfectly, but their personality seems to match Chara more. They’re quiet (we never hear Chara’s voice in the videotapes), the demon horns headband are very much Chara’s style, they like being creepy, while Chara’s hair doesn’t cover their eyes when see them at the end of the Genocide run, we never actually see their eyes in the flashbacks, they’re also both very close to Asriel.

I also think it’s important to mention that Deltarune takes place in 202X, while Chara fell in 201X, and Frisk fell much, much later. I’ve seen people liken Kris to a “Chara self-insert” and it makes a lot of sense to me in the context of Deltarune being a created AU. I’m more in the “Kris is an AU Chara” boat than “fusion who’s taking the place of both” or “AU Frisk”, because personality sticks out more to me than physical stuff. But the “self-insert” idea could explain away the name and appearance differences. Chara could see Frisk as a better version of themselves, taken stuff like Asriel saying Frisk “is the friend he wished he always had” to heart, and unconsciously mold this AU version of them to resemble Frisk more.

Essentially Kris is Chara’s OC in the same way Ralsei and the Absolute God of Hyperdeath are to Asriel. Not to mention since I think Frisk is the red soul, the idea of them possessing an AU version of themselves is a bit... odd, but if it’s an AU Chara than it’s almost a reverse of the situation they two had in the Undertale (although I don’t think Chara took control outside of certain instances). Which is a fun idea to me! Like Underswap but angsty teen edition, haha.

Tbh, the idea of Kris being an “AU Chara” is more just my personal preference, as it goes well with a lot of headcanons for Chara (I had one that they played the piano before Deltarune came out, for instance), however, I can admit that some sort of fusion between Frisk and Chara (heck, their name is even a combination of the two, ‘Chris’! It’s probably spelled as Kris because that’s more gender-neutral, I bet) seems more likely at this point, no matter how weird I personally find it.

By the way, I strongly feel that Kris would have a different outfit in the Dark World if they had their own soul instead of Frisk’s soul inside of them. I can see theirs following a similar knight theme, but it wouldn’t have a blue and pink color palette.

Also, I have to wonder if maybe Kris was Chara’s old name back in Undertale? It’s not a stretch to imagine that they chose their name before meeting Asriel the same way we chose Chara’s name in the beginning of Undertale. But, if it’s a case of Kris being Chara’s old name, I think it’s just that they haven’t figured out their ‘true name’ yet because they never heard of ‘Chara’ before, rather than everyone disrespecting their wishes. Frankly, the idea of everyone misgendering/deadnaming Kris intentionally makes me uncomfortable and also comes across as pretty OOC for the monsters.

To pacify or not pacify?

I said before that I’m uncertain as to whether Deltarune is a sequel to post-pacifist Undertale or post-soullless pacifist, but I think if it was the soulless version, it would give us a good explanation for how Gaster acquired Frisk’s soul (Toby could easily explain it away as void fuckery powers but whatever). Chara could have been to the one to give it to him, because they are technically in possession of Frisk’s soul.

I still consider the soul to be Frisk’s even if they gave it to Chara. We already know from the Omega Flowey and Asriel fights that even when someone else is using the soul, the person will still exist in some way. Even if Chara owns the soul now, it’s still made from Frisk’s essence. Also, Chara and Gaster seem to be working together, I think Chara gave the soul to him and that’s how the survey got started. And since it’s not in Chara’s body anymore/Chara could have just given up ownership of it, Frisk is the only one in control of it now.

Frisk isn’t evil they just lack empathy and occasionally go into a dissociative state where they commit atrocities

(The title is supposed to be a meme reference don’t take it too seriously, although I always liked the headcanon that Frisk struggles with empathy more than people think). You guys might be thinking I’m being too harsh on Frisk. They’re possessing Kris, they probably did a Genocide run, etc. Well, I don’t think any worse of Frisk than I do for Flowey. They (along with Chara) are just traumatized kids in messed up circumstances with way too much power in their hands. Frisk also never consented to being put into Kris. I don’t think they have any idea what the fuck is going on.

You can answer ‘no’ to multiple questions in the survey and it continues on as if you answered yes, they probably thought the whole thing was weird and kinda shady, but they literally had no choice but to go through with it. They were also under the impression that their vessel would be the new artificial human they’re creating, not someone who already has a life. I’m also not sure if they have a good way to communicate with Kris and hear their thoughts on everything. Frisk might be able to talk to Kris through narration, but not hear what they want to say in return, only some of their feelings. Or they’re not able to talk to each other at all, which just makes the situation harder on both of them.

Frisk can do many things that unintentionally hurt Kris, like hugging Ralsei when Kris doesn’t like hugs, but that seems to be a case of ignorance. As far as I know, there’s only one thing Frisk can do that’s deliberately bullying them, which is breaking the ball of junk (it’s also crappy if they named it that way when Kris clearly likes it). That is pretty shitty of them, but it’s not too far off from the jerk things you can do in Undertale, liking eating the snowman piece in front of the Snowman or letting Monster Kid fall to their possible death, as far as Frisk knew (all on a pacifist run too!).

Frisk still needs to apologize to them, but I think the two will be able to mend things together eventually. I’m hoping they will because I’ve already thought a lot about their possible friendship after they reconcile lol (This is going to be one of those theories I’m sad about if it’s not true)

I would also like to say that if Frisk has ever met the Gaster followers/Gaster himself (which you can do without hacking in updated versions of Undertale) during a couple of timeline resets then they might feel an obligation to help him, even if they have a bad feeling about it.

Chara and Gaster are playing tug-of-war (and I want the old man to lose because I’m biased)

Back to Chara and Gaster working together, I believe this is almost certainly what’s happening, but they definitely seem to have different goals, or at least different ways of going about it. The way Chara takes over gives me the impression they’re arguing with Frisk caught in the middle. I’m uncertain as to why Chara discarded the vessel, but I doubt they killed the little guy. Maybe possessing a Goner Human would have unpleasant consequences we aren’t aware of.

From what we know of goners, they essentially don’t exist in the same way Gaster doesn’t. Maybe, people would be able to acknowledge us at first, but overtime, similar to Gaster, our existence is forgotten while our accomplishments still exist. I’m expecting them to come back eventually. I like the idea of them being The Knight, although that would require some weird timeline stuff going on, like the period between our vessel being discarded and the red soul being put inside Kris to have taken a much longer time than we thought.

As I mentioned before, I think Gaster was the one to put the soul in Kris, not Chara. My reasoning for this is how Chara gets cut off when telling the soul their name. Gaster could have went with Kris because they’re the best fit (being a human, presumably used to being possessed— notice also how despite clearly not liking being controlled, they still do everything we say) and how they’re already a part of the Legend, apparently, so they were supposed to go the Dark World the whole time.

If Chara was the one who did it, then I think it’s because since Frisk is “their partner”, Chara wants them to work with this AU version of themselves. If Kris is supposed to be Chara, then I can also see Chara just not caring about their comfort or what they want, since Chara always seemed to have a low opinion of themselves, I doubt they’d care much about an AU version.

Otherwise, well, the Chara that gets corrupted by LOVE by the end of the Genocide Route seems to treat everything with apathy unless it has to do with power and irresponsible people getting what they deserve, so they still probably wouldn’t really care much about what Kris wants. Chara could have also thought they were helping by giving them a soul, even if it’s a soul that will control them.

Btw, I doubt Chara has completely bad intentions even if this is the Genocide run version of them, nothing to do with a massacre at least. They’re not even directly interfering with the world besides the vessel thing, Gaster is the one’s in charge of our game over screen (something I think is important and will get back to later!) and we’re the one who chooses to fight people. It’s just that the Darkners run away before we can kill them. Chara has also never been above doing questionable things for the greater good, just look at the buttercup plan.

Suzy/Susie, also that other lizard teen

As far I’m concerned right now, Suzy from Undertale is the same Susie from Deltarune, similar to Chara and Kris’ connection, she’s just younger. However, I wouldn’t be surprised if Suzy is a different character and she’ll appear later in the game. I’m thinking she’s another monster rather than a human, if she isn’t Susie herself. The reason I’m being cautious about whether they’re alternate counterparts is that Catty and Catti are separate characters, despite having very similar names. I wouldn’t be surprised if Suzy and Susie are actually related in Deltarune.

Also, if the soul is a post-pacifist Frisk like I think it is, and Suzy is Susie, then I definitely think Frisk became friends with Suzy after the barrier was broken. I imagine a younger Susie would be more mellow and less of a bully, and Frisk could be a good source of support when she’s dealing with her problems. I think even if they aren’t the same person, it’s likely that Frisk knows Suzy if she’s a monster.

Goner Clamgirl specifically told Frisk they’ll be meeting Suzy soon, so if she isn’t Susie, we’ll definitely see her eventually. And if this is post-soulless pacifist... well, I never thought Chara killed everyone, I thought it was a threat to scare Frisk into behaving or remind them/the player of what they’ve done. Kinda hard to be completely happy with your family and friends while being haunted by the fact that you killed them before.

Monster Kid is kinda screwing with me. Their horns are pointing the opposite side of where they did in Undertale, this is significant because Goner Kid’s horns point the same way as DR Kid. We already know of one goner living a normal life in Deltarune, could DR MK be Goner Kid while UT MK is... uh... MIA, in the Deltarune universe, for the lack of a better term? They act exactly the same though, which is pretty weird. I am still very concerned.

The Narrator is more confusing than Gaster at this point

Now, one of the mysteries that is fucking with me the most is who the narrator is. I don’t think it’s Kris, the use of ‘you’ and other things (Kris got the hot chocolate, you felt a feeling of relief @ the ball of junk not being thrown away is clearly about Kris) doesn’t really fit it being Kris in my head. There’s a lot of similarities with Chara but too many odd things as well... it uses the exact phrasing but with notable differences. The cactus isn’t tsundere, “it’s only you” feels VERY off and kinda mean since Kris isn’t exactly alone anymore... It’s sometimes stiff and brief, similar to the Genocide run narration at times, but it also has its playful moments “It’s good to conserve water” when choosing not to flush the toilet, and the whole “perpetrating the cycle” when talking about the moss.

I like to think it’s a Frisk trying to mimic Chara at times, actually. “He cannot be reasoned with, but don’t give up...!” when checking the Spade King gives me strong Frisk vibes. Also “It's quite small, but some people REALLY like it,” for the choco diamond implies the narrator isn’t a huge fan of chocolate (which Kris and Chara are, the choco diamond heals Kris the most). It’d also make the most sense, if the red soul is Frisk, for Frisk to be the narrator.

However, something that feels off for both Frisk and Chara as narrator candidates is that the narrator seems familiar with Kris. They know Kris can save (“the light only you know”), they know which locker belongs to them and Asriel, they know Kris’ and Asriel’s old Halloween costumes are from 8 years ago specifically... which is... extremely weird? How can Chara or Frisk know these things if they’ve never been to this world before?

Which leads me to my crackpot theory, the narrator is college!Asriel who’s actually dead. THINK ABOUT IT. It’s definitely wrong but whatever. For now my favorite candidate is Frisk but who fucking knows. I’d even accept Gaster at this point, and I hate that theory for Undertale. It’d be too easy if they’re not meant to be character in this game, I think it is supposed to be someone.

ALSO ALSO important fact is that they are definitely narrating to Kris. They refer to Toriel and Asriel as “your mother and brother” and there’s stuff like “You really didn’t want to throw it away.” So the narrator is talking to Kris and not to the soul. I think this is significant.

But yet ANOTHER weird thing about this is “the power of reoccurring bake sales shines within you” line (or whatever, can’t remember the exact phrasing). There’s only one bake sale in Deltarune, but this makes sense in the context of a post-Undertale playthrough, because we experienced more bake sales there. But that means the narrator (Chara I guess, if we’re just going off of this line) is talking to Frisk... which can’t be possible because I already established how they’re clearly talking to Kris, not the soul... (the narrator talking to more to one person or there being two narrators would get way too confusing too fast, like, how are we supposed to figure out who’s who or who exactly they’re talking to if there’s more than one for either?)... and yet if it’s Frisk talking to Kris this line is still strange... because Kris has only been to one bake sale before... you guys understand yet why the narrator mystery is frustrating to me???

Gaster isn’t evil but he’s probably worst void grandpa ever

I do not trust Gaster. I do not trust him at all (I also don’t trust Ralsei). I don’t think he’ll be a traditional villain though. It’d be kinda hypocritical of me to assume the worst of him when I’m such a big Chara fan. The problem is we barely know anything about him. With Chara, we have just enough info to figure out likely motivations, backstory, and personality (from the narration). I have an idea about what Gaster wants but not much about why he’s going about it in this... pretty convoluted way.

I think Gaster wants to be whole again, I think he wants to go back to his friends and family. However, he’s going too far and is fine with people getting hurt as long as he can achieve his goal. Being shattered across time and space probably fucked with his mind at least a little bit. And after a while of nonexistence he’s probably gotten desperate. I’m thinking he’ll be a helpful, if confusing, ally at first, then as we learn more about what he wants he’ll turn into an antagonist. And it will end in an redemption.

Also since there’s apparently an actual debate about this, Gaster is definitely involved with Deltarune, along with Chara. I’m uncertain as to how big Chara’s role is, but Gaster will certainly be a big part of the game. The post I linked about Chara discarding the vessel has undeniable proof it was them, and there’s wayyyy too many hints about Gaster around for him not to be in the game. The speaking style of the one who gave us the survey matches exactly with how Gaster speaks in Entry 17, his music motifs are everywhere (when we call the phone number, the area around the bunker, etc) at least one of his ‘followers’ is up and alive, Seam directly quotes his iconic “darker, yet darker” line... like, there’s no way he’s not involved.

Now, the game over screen is very interesting. Gaster asks us if we want to continue on after we die, and if we say no, the world was “covered in darkness” and we get to listen to some very pretty, but melancholy and slightly ominous music, while we wait in the blank void for Gaster to let us restart. It reminds me of when Chara destroys the world and there’s only howling winds to listen to until they decide to talk to us. Actually, the more I compare the two, the more similar these scenes are.

Frisk is at the mercy of a being more powerful than them, who’s the one that gets to decide if they can continue interacting with the world (with Chara you have to convince them to remake the world). Gaster doesn’t let Frisk reload the timeline themselves, almost as if Gaster is the one with control over the timeline. Gaster bluntly tells Frisk that they failed to save the world, puts them in a time-out as some, frankly, kinda messed up punishment for saying no to restarting, and after a while of presumably contemplating their failure, it’s only then that Gaster lets Frisk try again.

I read a very cool theory that at the start with the survey, when you accept the agreement, you give up your determination to Gaster. This lets the Game Over screen make a lot more sense in context. Gaster is the one who gets to decide when we get to reload the timeline and even where (I saw someone point out that Kris & company typically don’t respawn right by a save point like in Undertale, rather closer to where you last died, that only happens a few times in UT I believe). If this is true that’s... more than a little concerning, but it’s cool too!

Ralsei isn’t evil but he’s certainly suspicious

NOW, let’s talk about everyone’s favorite fluffy boy! Evil Ralsei sounds like the most boring and predictable twist ever. But I’m willing to bet money that there will be a couple of twists with Ralsei’s motives and who he actually is. It’s kinda interesting how Ralsei knows Kris and Susie’s names already, and that he’s the one who tells Kris to direct the soul to Susie, obviously to help out Susie, but maybe also to have a private conversation with Kris?

Gaster never intended for the vessel to be discarded, so it was most likely going to take the place of the human from the prophecy, yet Kris is also one of those “wonderful people” we’re going to meet (Gaster says something to this affect when we name ourselves Kris, note that he only does this with major characters like Susie, Ralsei, and Noelle, who looks like she’s joining us later, and says something different when we call ourselves Toriel, Sans, etc). What I’m getting at is that I’m pretty sure Ralsei either knows the name of the “creator”, the vessel, or both even, and that Kris was also going to join our adventure despite being an extra human. Similar to how Noelle is apparently an extra monster for the Legend.

Back to Ralsei, he definitely seems to know more than he lets on, and could also be lying about some things. It’s pretty interesting that the Spade kingdom’s fountain is the one that was made recently and that we’re supposed to destroy, in contrast to Ralsei’s fountain, which, despite apparently being around for longer, doesn’t have his own subjects? Yet another interesting thing is how Ralsei is usually referred to as a Lightner when he’s with Kris, or with both Kris and Susie.

If Ralsei is hiding something or lying about stuff, I don’t think he’s doing it maliciously. It could be directions from Gaster or something like that. Ralsei’s similarities to Asriel are also very suspicious, and I find the idea of those two not being related at all extremely unconvincing. He acts like a goody two shoes version of Asriel, with his flaws relating to how much of a doormat he is. He’s basically the inverse of the Absolute God of Hyperdeath. Despite how much he advises against fighting anyone, he lets us fight people as much as we please.

Personally, I think he’s a post-pacifist Flowey. It just makes sense to me. Ralsei looks like he’s trying to imitate his idea of Frisk (you can play Frisk as a huge jerk in pacifist yet Asriel still thinks Frisk is super cool), and thinks nonviolence is the way to get the happy ending. He also uses some of the same lines as Flowey in the first battle of the game. I think he’s being manipulated somewhat by Gaster, probably regarding his memories, so he’s actually being genuine as opposed to putting on an act. Although the idea of Ralsei trying to guilt trip us when we drop the manual too many times is hilarious. I also like to think his Light World form is a flower.

The Skeleton Brothers

Last but not least, Sans and Papyrus. Sans, like always, seems to know more about what’s going on. You could interpret Sans as not knowing who we are, but I think he’s actually trolling us. He acts like he knows Kris at first, probably because he’s aware that we don’t know this is their first meeting. “Look who it is! How’s it going kid?” is what you say to someone you met before, I don’t care what anyone says.

Pretending to know someone is a weird joke for a first meeting, imo, unless he means it as a inside joke for Frisk, and isn’t really talking to Kris at that moment. Then, when we say “great to see you again” Sans pretends we’re a weirdo to make fun like he usually does, not giving away that he recognizes Frisk’s soul and putting them on edge as a result (probably failing on the latter at least lbr), so Frisk gets to feel sheepish while Kris is confused as fuck.

I’m not... completely certain from what timeline Sans is, and I’m pretty certain it’s a Sans from one of the Undertale timelines, with the joke about knowing us and how he’s the only returning character with an unchanged sprite. The easiest would be a Genocide run, maybe he didn’t really get killed and if that’s the case, he really has nothing left to live for so might as well go to a different universe, especially if the anomaly is running around and possibly mucking things up again. But why does he have Grillby’s bar with him? I guess he did leave it behind in the Genocide timeline and he said he’s “going to Grillby’s” so that would make sense.

But what about Papyrus? Papyrus throws the biggest wrench in these theories about this being the same Sans because we don’t know anything about this Papyrus. If it’s the DR version of Papyrus then that means there’s a DR version of Sans around with no little brother, and I can’t see UT Sans being that selfish. Post-pacifist would work better, I think. Papyrus is alive in that timeline and maybe if it was important enough they’d leave their friends behind to the DR universe but I kinda can’t see them doing that?

Any other timeline besides Pacifist and Genocide doesn’t work because Grillby never leaves his bar alone for Sans to take (I can’t see him doing that if Grillby is still tending to it). Although I will say if this is a Papyrus who knows who Frisk is, I can see Papyrus being able to play dumb about the similarities he sees between Kris and Frisk, including the soul. He’s always been good at hiding how powerful he is (and seems to be aware of Sans’ teleportation and study of different timelines), so he could just leave more hints about the apparent dimensional travel going on between these games but never being too obvious about it.

Also, I have to say I don’t think either of them are aware of Gaster being involved, although I could be wrong, there’s not much to indicate for either or. Oh, and since Gaster seems to be such a big deal in this game, I think we have a good chance of finally knowing more of the skelebros’ backstory.

Predictions for the full game

There’s no way “your choices don’t matter” is going to be 100% endorsed by the game, even with only one ending. I feel like the ending will be like the “despite everything, it’s still you” line, ie it’ll have a different feel depending on what you do. That particular mirror line still appears whether you do pacifist or when you’re at LV 18. It sounds bittersweet and affectionate when you’ve shown mercy, but when you’ve been pretty dusty, it sounds almost... judgmental. Like wow, you didn’t improve yourself at all, huh?

We already kinda see this with when you fight the Darkners or spare them all (which I definitely think will have a butterfly effect, along with freeing Jevil maybe). The fight ending is more somber while the spare ending is a lot more funny. I highly doubt Deltarune will go full grimdark, even if there will be challenges and horrifying things to discover. I’m sure the ending will be satisfying and have some sort of hopeful tone.

Anyway, now for less big picture things. I’d LOVE for Monster Kid to have a bigger role in the later parts of the game, since they were basically Frisk’s only peer in the underground that they could count on not to kill them (yes Flowey I’m shading you), and I have a big soft spot for their friendship, despite it being rather minor. If the soul belongs to Frisk like I think it does, there could be some interesting interactions. Especially since Frisk is closer to their version of MK than Kris is to the one they know.

However, I highly doubt it. MK doesn’t have a portrait or their own soundbites. I do think part of the game will be Kris improving their relationships with the monsters though, and MK will be one of them. They seem to count on each other to be group partners when they need to, but they’re not close at all. MK looks like they have a tendency to put their foot in their mouth around Kris and doesn’t really get them. I’m thinking that’ll change depending on our choices whenever we get a chance to interact with them. Either that, or there will be a running cycle of MK accidentally annoying Kris, them realizing it and getting uncomfortable, awkward silence ensues, rinse and repeat. RIP school friends.

Noelle will definitely be a big character, since like many predicted, she’s coming to the Dark World. Rudy is almost certainly going to die and that will affect her character arc, along with her seemingly strained relationship with her mother (her being too scared to ask her mom for the house keys raises a red flag).

I think her and Susie will get off on the wrong foot, Noelle will come on too strong and Susie thinks she’s making fun of her and doesn’t actually want to be her friend, because why would she? As they have to interact more in the Dark World though, I’m sure eventually Susie will realize she was being sincere, they’ll become good friends, and even start dating toward the end. Unlike with Alphys and Undyne, I don’t think we’ll get to be a wingman. We might attempt it, but nothing comes from it and it’s just those two becoming a couple on their own to follow the “your choices don’t matter” theme.

Berdly kinda seems like he’s just going to be a jerk character with funny lines, but he does have a portrait and unique soundbites, so I wouldn’t be surprised if he gets an arc to himself. Maaaaybe he’ll join the party but who really knows. I’m applying this same “maybe” to all new school characters that have the portrait, because why bother giving those to characters with minor roles? Maybe so we can see what they look like better but eh.

Also this is more of a personal preference of mine but I don’t want more villains like the king... a big appeal to me with Undertale is how no one is completely evil and every major character gets their happy ending (except Asriel, Chara, post-Genocide run Frisk, and Gaster, more on that in a little) and is generally written to be flawed but likable and understandable in their own way. I can deal with the king because the fairytale/Alice in Wonderland vibes of the Dark World gives me the impression that it’s meant to have a black-and-white story to tell, where the heroes defeat the bad guy with very little depth, especially if it was created by Asriel, but I think as we explore the Dark World more, it will be more gray.

Timeline shenanigans

(Please also read the last paragraph in the last section for added context)

As I stated before, the universe of Deltarune comes across to me as an imperfectly created AU in a post-Undertale ending setting. This is a big, albeit maybe unlikely wish of mine, but I’m hoping that those who didn’t get an actual happy ending in Undertale will by the end of Deltarune. I think it’s significant how you’re told to play Deltarune only after finishing Undertale. Outside of it generally bring more enjoyable when you recognize the characters and get the references, I think it’s also important to understand the story.

Toby has stated that Deltarune “is a different world with different rules, but that doesn’t mean there won’t be no connections between [it and Undertale.]” If you got a happy ending in Undertale, Deltarune isn’t a sequel to that. It’s a sequel to the soulless-pacifist/genocide ending, or a sequel to a pacifist ending unrelated to our own. Undertale has already made a point to say there’s other AUs and timelines going on separate from ours, which what I think Toby means by our specific playthrough being “untouched” if we got the pacifist ending.

Also, about the 3 save files. They are, frankly, extremely confusing to me, but I still have some things to say. It’s interesting how Asriel’s drawers (and I think other places in the room) each contain different things between the different save files. I have to wonder if they’ll be implemented in the story somehow, and if the differences will increase as the story goes on, but I can’t see how Toby will do that without making multiple endings in the process? I wonder if we’ll have to use them in the same way Omega Flowey did (who had multiple save files according to the souls).

Chapter 2

As for chapter 2, like I said earlier, I highly, highly doubt Kris is going to kill any monsters, that just wouldn’t fit with what we know of them so far. I wouldn’t be surprised if they do attempt to attack the soul though. I’m leaning more towards them threatening it, doing a fakeout stab or something (“who’s in control NOW?”), and dumping the soul somewhere. Maybe they’d succeed in killing it but the soul would just reload, to the last save point even, back within Kris, which they’re probably aware of. There’d be no point in killing it when it’d just come back to life, so I think Kris is going to get rid of it in a nonviolent way.

I’m not sure if we’d go straight to what happens there though? I heard in Mother 3, a game Toby clearly likes, each chapter starts off with a different character’s perspective or something, which would be good for suspense in Deltarune ch 2. We’d probably play as Susie or Noelle at first, I’m thinking Susie in particular. We’d see what her home life is like and where she lives (big mysteries in the game and a point of concern considering her eating habits). She’d go to school, but Kris isn’t there because they’re sleeping in and didn’t feel like going. They’d probably get away with it by telling Toriel they’re sick because literally everyone talked about how being possessed was making them look ill.

Susie wanders around town for a bit after school, mustering up the courage to ask Kris if they still want to go back to the Dark World because what if skipping school was their subtle way of rejecting her friendship? She comes across the red soul, goes what the fuck that’s KRIS’ soul?? Is immediately concerned and brings it back to them. Kris looks like they don’t give a shit but is internally freaking out, makes up some excuse, looking entirely too shady so the Kris-is-evil theorists can have some fuel before being shot down later.

And then we’d switch to their perspective (or, I guess we get to play as the red soul) where they talk to the red soul, initially Kris is very aggressive but somehow we figure out a way to communicate with Kris and tell our side of the story. Apologies are made and Kris is somewhat mollified. Maybe this time Kris consents to being possessed but makes up some ground rules or the two work together to find a different vessel, maybe the golden flower in Asgore’s shop?

Also in the middle of all this there’s a flashback to how the soul ended up where Susie found it. I think this could all work with Noelle instead too. We don’t know what she does after school and she has known Kris for a long time, she might know what their real soul looks like (Like I said earlier, I do think Kris’ actual soul is red) or at least how human souls aren’t white and are right side up.

Summarization of the most important theories I guess

—Kris is being possessed by the red soul, which belongs to an teenage Frisk after a pacifist or soulless pacifist route.

—Considering the options for when you talk to Sans (“Great to see you again!” vs “Who the hell are you?”) I think one half of most options (probably the left side) is something Frisk would like to say while the other half is what Kris wants to say.

—The Deltarune Universe was created by both UT Asriel (more specifically post-pacifist Flowey) and Chara, with help from Gaster. However, he’s manipulating them for his own agenda which is why the world is more than a little weird. Asriel and Chara probably don’t know the other is working with Gaster as well.

—Chara is aware that Gaster is shady and doesn’t fully trust him, to the point they’re interfering and outright arguing with him, unlike UT Asriel, who might have his memories scrambled up.

—Kris is Chara’s self-insert for the Deltarune world, while Ralsei is Flowey. I’m not exactly sure if DR Asriel exists.

—Even if Gaster will be an antagonist he’s getting an redemption arc. He just wants to exist again, but he’s getting too desperate.

—Sans (who is his UT self as far as I’m concerned) is here to keep an eye on the anomaly (Frisk) and make sure they don’t abuse their time-travel powers again. UT Papyrus is also here, knows more than one might expect, possibly to befriend the anomaly to discourage them from doing anything questionable (although I doubt he thinks badly of the anomaly, whether it’s us or Frisk).

—We should have read the fine print before “accepting everything that will happen from now on” because doing that allowed Gaster to steal our determination and now it’s his turn on the timeline.

—Determination still exists, otherwise we couldn’t save and reload the timeline, it just hasn’t been named by Alphys like in UT.

—Gaster is the one who put Frisk’s soul in Kris, while Chara was trying to tell Frisk what their real name is, before getting cut off.

—I think every character is getting a happy ending it’ll just take a while to get there.

—Not exactly a theory, but I find it very interesting how the Angel in the Legend is seen as some sort of enemy to peace between the Lightners and Darkners, while also being revered as a god in Hometown’s religion. Not to mention how the Angel in the prophecy of the Delta Rune is either Frisk, Chara, or Asriel in Undertale.

Annnnnddd that’s it I guess? Congrats if you got to the end, and I appreciate people reading this even if you didn’t read the whole thing. I’m not tagging this because I don’t want people coming onto this post to say how Chara or Kris are definitely evil, but I don’t mind discussion and people telling me they disagree with any of my theories.

[davetheshady]

how time travel works in the MCU

endgame spoilers!

SO i’ve been seeing a lot of people expressing confusion about wtf was going on in endgame, and since this is, like, my jam, allow me to illustrate the MCU’s apparent theory of time travel. (this isn’t officially confirmed or anything (ETA: it kind of is!) – just me elaborating on what other fans have said as well, which appears to be internally consistent in the movie.)

Avengers: Endgame uses a different mechanism than most time travel media (which Rhodey and Scott helpfully list for us, lol): it is impossible to change the past of your personal timeline in the MCU. 

(fig. 1: a blurry and not-to-scale timeline for the MCU with data points for 1970, 2012, 2013, 2014, and Endgame)

their “time travel” is more like “time and dimension travel”: as soon as they use the quantum realm to go to an earlier date, it splits off* an identical parallel universe (or leg of the trousers of time). we simultaneously have canon and officially-licensed canon-divergence AUs. time travelers can never affect their own pasts; they can only change things in an AU for another version of themselves.

* or maybe this universe which was completely identical up to the point where they are visiting time travelers always existed and they just arrived, who knows ~wibbley wobbley~

(fig. 2: equally blurry and not-to-scale timelines plural: the MCU timeline and four AU timelines, splitting off from 1970, 2012, 2013, and 2014.)

note: i’m just guessing about the number of relevant AU timelines, because I’ve only seen the movie once. the avengers’ initial plan has teams going to NYC in 2012 during The Avengers, to Asgard in 2013 during Thor 2: Electric Boogaloo, and to the planets Morag and Vormir (sp?) in 2014 during Guardians of the Galaxy. Team 2012 messes up and tries again by going to New Jersey in 1970.

hence the Ancient One’s concern about Bruce taking the time stone: up to that point, things were on track to proceed exactly like the MCU timeline. now that’s off the table. if bruce doesn’t return the time stone, the events of doctor strange can’t happen and dormammu will destroy this 2012!AU timeline. the MCU timeline will be unaffected, but it still sucks for everyone in the 2012!AU. (i don’t think it’s necessary in each AU for events to go EXACTLY like the MCU timeline, but considering the MCU timeline consists of our heroes defeating challenges and saving the world/galaxy by the skin of their teeth, not changing too much is a good idea.)

however! there are definite changes keeping these AUs separate from the MCU timeline. 2012!AU Steve has been told by a suspicious double that Bucky is alive, and will probably get Hail HYDRA’d by Strike. it’s entirely possible that events in 2013!Asgard will happen completely differently due to Frigga’s knowledge of shit going down. And 2014!AU Thanos hops on over to the MCU timeline and attacks, ultimately resulting in the 2014!AU losing him, his followers, and Gamora.

essentially, we now know there are multiple copies of all the characters, but not clones or evil-bearded-mirror counterparts, because they share the same experiences... up to a certain point. 2014!AU Gamora is in the MCU timeline now, but she doesn’t have any of MCU Gamora’s experiences from the time of GotG to her death in Infinity War. However, she and MCU Nebula would still share their horrible childhood. If 2012!AU Loki pops up in the MCU timeline, he and MCU Thor would have had the same interactions all the way through The Avengers. (I personally find this delightful, because it’s a time travel crossover between canon-divergence AUs complete with character doubles and that’s like... all of my favorite things together.)

as for MCU Steve: he was hanging out in one of the AUs with Peggy (with whom he would have shared exactly the same version of the past in the 40s) for a whole bunch of decades. the movie vaguely implies that this really did happen in the MCU timeline by having him appear on a park bench instead of using their quantum realm tech, but this would require:

steve ‘civil war’ rogers just chilling for decades as Bucky runs around as the Winter Soldier and HYDRA infiltrates SHIELD, not to mention refraining from weighing in on countless other issues he cares deeply about

peggy ‘fight me’ carter, AN INTELLIGENCE OPERATIVE, not noticing her husband’s extreme lack of chill re 1. and cottoning on

us to forget literally the whole rest of the movie

so this, frankly, is nonsense. also, the obvious place to meet up with peggy was in his trip to 1970, but unless someone on her street had an old-ass car, they’re definitely dancing together in the 40s/50s; this means he didn’t just go back and stay, but went back to the 1970 AU, dropped off the tesseract and stole more of hank pym’s research, and then made yet another trip to the 40s/50s. 

using this AU theory, MCU Steve was only present in the MCU timeline as a Capsicle between the 40s and the 2010s and you don’t have to worry about the canonicity of Agents of Carter. Endgame-era MCU Steve went to a 1940s AU, where he and Peggy almost certainly made beautiful Nazi punching as they cleared HYDRA out of SHIELD. stuff like that would make events unspool differently than Steve was familiar with from the MCU timeline, making his knowledge of his future less and less relevant, so he wouldn’t have too much of an advantage. (as a side note, I think there’s a practical aspect to him hanging around: it means he has plenty of time to observe the consequences of the MCU Avengers interfering and make sure there’s no, like, universal catastrophes. hell yeah longitudinal studies of scientific data.) 

we already know from 2014!AU Thanos’ appearance in the MCU timeline that you don’t need to use the MCU portal to hop between timelines [ETA: whoops, i misremembered that part.] Steve knew where he was returning to, so between his MCU tech and everything he potentially could have stolen from hank pym over the years (or, you know, everything he was given by 1940!AU hank and janet van dyne, whom he could have just worked with) he had the ability to stroll back to the MCU timeline for the very end of endgame in a sufficiently dramatic fashion to troll everyone. or maybe he DID use that portal, but was the size of an ant just to be a dick. steve rogers: man out of time.

[ETA: as per this post: bruce DID detect him in the portal, so he definitely quantum leaped back instead of taking the slow path.] 

[ETA: as per the Russos themselves: “If Cap were to go back into the past and live there, he would create a branched reality. The question then becomes, how is he back in this reality to give the shield away?” source )

anyway, unlike other kinds of time travel, AU theory lacks issues like erasing your own personal history or stepping on bugs and causing fascism. but i think it DOES have some serious consequences:

- if you visit/create an AU, the people from the AU can now come and dick around in YOUR timeline (c.f. 2014!AU Thanos and the entire end of the movie). they got rid of 2014!AU Thanos, but that leaves at least three other Thanoi who they HAVEN’T defeated, plus multiple versions of every other baddie they’ve ever fought. 

- having so many similar-but-not-identical timelines clustered together might have bad long-term consequences on reality, like events bleeding through

- HOW are these AUs created and/or maintained? if there’s a finite amount of energy for them, connecting to too many might cause some to collapse

- headaches

it’s possible we will see some negative consequences in future MCU movies, if only to eliminate “time travel through the quantum realm” as a solution to every single one of their problems.  

(@autumn-drifts​ also pointed out that the MCU Avengers are doing all their time travel shenanigans after the MCU infinity stones have been destroyed, so potentially the time stone (and maybe others) play a role in PREVENTING time travel, which is why we haven’t seen it before.)

(ETA: the energy from the infinity stones Thanos destroyed had to go SOMEWHERE; maybe that’s what creates the AUs?)

speaking of the time stone: this maaaaaay have a completely different set of rules. it’s possible that using it also spawns a whole bunch of AUs, which is why the Ancient One chewed out Dr Strange about playing with it. (do you want 20 different AUs whose only difference is Dr Strange’s fucked-up apple in the magic library? because this is how you get 20 different AUs whose only difference is Dr Strange’s fucked-up apple in the magic library.)

but it’s also possible the time stone is the only thing that have an effect on your personal timeline. i don’t think we ever see it used to jump directly from one point of time to another, so who knows if it CAN. but it can definitely rewind (MCU Thanos undoing Wanda’s decision to kill Vision and stealing the mind stone in Infinity War) and/or create time loops (the end of Doctor Strange).

(fig. 3: blurry timeline of the MCU showing a whole bunch of loops in Doctor Strange from his trap, labelled “Dormammu, I’ve come to bargain”, and a single loop in Infinity War labelled “Wanda kills Vision” and “Thanos unkills Vision”)

i’ve drawn them as loops because those events definitely happen, so they’re part of a timeline that everyone(?) experiences, but they all circle back to one particular point from whence only one line of events continues. you don’t have a million different versions of Dr Strange getting creatively killed by Dormammu, you have one Dr Strange getting creatively killed by Dormammu a million times; both he and Dormammu remember all of them.

one final observation: we still haven’t seen proper time travel forward through time. we know from Infinity War that the time stone can let you look at all the potential futures and use that knowledge to aim in your chosen direction, but it can’t show you “the” future. (and as to whether that’s looking at events playing forward then rewinding back to the save point, or just scoping out all the relevant AUs, I have no idea.) Scott technically skips five years forward from the snappening to Endgame, but he was pulled there by a rat activating the tech during Endgame, as opposed to him selecting a point five years in the future and choosing to go there. (we also don’t know when Steve left his 1940!AU timeline, but he was returning to the point in the MCU immediately after he left, not going farther forward than he had already been.) so it will be interesting to see how/if time travel into THE FUTURE! happens and what delightful problems it can cause.

in conclusion: