#everything flicker

[interstellarsystem]

Figured we'd make a community-wide poll similar to the system specific one we just reblogged because we're curious about how many alterhumans people generally know out in their IRL communities.

All alterhuman identities are included!

[interstellarsystem]

Also adding on! Systems of any kind, and various experiences within them, are also alterhuman. They have been since the coining post.

Huge pet peeve of ours when people equate alterhumanity to just meaning "nonhuman", but also considering how common systems are in the community, it's always been weird to us how even we are overlooked. We absolutely agree with all of the above though (and we'll need to check out a few of these links later ourselves).

Plural: Multiple people in a body, to keep it simple. Morethanone is a good place to get a neat little rundown.

Fictive: A person in a system who is from a fictional source. They may or may not identify as that character in question.

Factive: Like fictive, but with factbased sources instead. Historical figures, celebreties, other people, etc.

Extranth: A member of a system who is nonhuman--specifically in a way similar to fictives and factives, and separate from otherkin. (Coining post).

Soulbond: A connection formed with a (usually) fictional character in someones mind. Note that not every soulbond/soulbonder considers themselves plural. (This carrd has a lot of good stuff all in one place.)

Daemonism: The practice of communicating with a daemon--a personified split of your consciousness that usually takes an animal form. Like with soulbonders, a lot of people in this community consider themselves separate from plurals. (Link to daemonism terms.)

Tulpa: A deliberately created person you share your body with. There's a whole lot of techniques to it, and not everyone considers themselves plural here either. (Note: Some might use "parogenic" or "thoughtform" here instead of tulpa--though "thoughtform" is a more broad term that can cover different things.) r/Tulpas has plenty of informative links for further reading.

Also, some things that don't fall under plurality:

Constelic: A label for when one collects/takes on multiple identities. They might have one identity, or a lot, and these can range in intenstity as to how they're experienced. (Link to coining post on the web archive, carrd on the web archive.)

Vampire: Someone who feeds off of energy, blood, or both. I don't have links on hand for the vamp community so if someone else wants to put some in, it'd be great.

Factkin: Someone who identifies as a factual entity--usually a person who has lived before, like a historical figure.

Otherhuman: A person who feels like they belong to another branch of humans/human species, fictional or real (link).

"Alterhuman" is such an expansive term, there's so much more than nonhumanity to it. Not everyone who falls under any of these labels would necessarily call themselves alterhuman, but the term exists as an umbrella for everyone who wants it. It's so much more than one or two things--and even nonhumanity has intricate nuances to it that go overlooked.

you there. person posting a "list of alterhuman terms" post in the community tags. name and define five alterhuman identities that ARE NOT nonhumanity or fictionkinity. if you try to use voluntary nonhumanity as one of these the dragon gets to eat you. you have five minutes.

[calmparticles]

HELO ‼️‼️‼️‼️‼️‼️‼️

[pinofdnp]

thank you for everything

[greghatecrimes]

[russetfoxfur]

okay so i went a bit insane about the examination of agency in the nightmare's routes, and then this evolved into a deeper examination of the rest of nightmare's whole deal. i am not an analyst so please take everything i say with a grain of salt, but. you know. i find her whole character to be very interesting. rambles under the cut.

warning it is 5k words of me rambling so like. be aware of that

okay, so every route the princess begins by being chained to a wall. this is the first thing she knows. she appears to be the ideal of a damsel in distress - she can't move, can't fight on her own at first, can be easily stabbed if your perception of her stays as a damsel in distress. she has no agency in this. she is forced to wait in the cabin until you, an unknown monster-looking thing comes along explicitly to kill her. and if you're quick and doubtless, she ends her life just as it began - born in a chain in a cabin, died in a chain in a cabin. and that's how you get the spectre.

now, the nightmare you can get on either harsh or soft princess. she's unique in this - as far as i remember, the only other princess like this is the stranger, where you don't meet her at all. (please correct me if i'm wrong though, i'm new to this fandom). and - as pointed out in another analysis, though i can't find it now - she's like this because she speaks to the foundational fear that all princesses have, which is going unperceived. she adapts based on what you are, and while she'll treat you differently if you try to kill her or save her at first, she will always revert to the nightmare when you meet her and then refuse to engage with her at all.

by refusing to perceive her you take away her agency. when you fight her she at least has the chance to fight back. if you manage to stab her in the heart she can at least provoke you into wondering if she's actually dead. but she has so little agency here, fighting for scraps to keep herself alive in the face of a construct that desperately wants her dead, and you leaving her alone says that you don't even see her as someone who's a threat. while slaying her means seeing her as an apocalypse in the making, and freeing her means seeing her as a pitiful thing locked up in a harsh cabin, leaving her alone means seeing her as absolutely nothing at all.

so she fights back. she slips her chains to try and escape from the cabin on her own terms. i genuinely don't think the shutting-down-the-organs thing is a lie on her part - she doesn't really lie, not unless you think she can, and she doesn't want to kill you at all, as evidenced in her chapter II. she knew you were the key to her escape, and then (in her eyes) you have the spite and sheer audacity to kill yourself just when her freedom is in view, just before she can leave for good. you kill yourself just to make sure she can't have the option of leaving at all.

so, to recap: she's locked up, you abandon her, she tries to escape, you die, she dies.

when we come back to her, the cabin bends to her will. her chains are nowhere in sight - whether they existed in the first place is a mystery. what i find interesting is the sort of prelude to her appearance - when you descend into the basement, you're given a choice between staying, running for the stairs, turning left, or turning right.

no matter which way you go, she always finds you.

she gives you the false choice this time. while before you'd spoken to her, tempted her with freedom and autonomy and agency, you'd snatched it away and left her with the worst fate she can imagine. now she's giving it to you - she tempts you with freedom and agency, and then she snatches it away by showing up no matter where you turn. no one ever talks about it but it's just. she'd said so many things to try and coerce/persuade you into helping her leave, and no matter what she'd said you'd left her anyway. you try and go any way to avoid meeting her and facing the princess again, but no matter which way you go she'll always find you.

anyway.

you pass out a few times as paranoid begins his chant, she reacts with mild curiosity and annoyance, and then you're free to question her. someone else pointed out that her mask never changes - it's frozen in this teasing smile, almost like she's smiling over the pain. (which she definitely is, considering what happens in the leadup to MoC.) she repeatedly reinstates her desire to leave and now gleefully talks about the world ending. what has it ever done for her, anyway? she also teases lq with death, just like he teased her with freedom. an eye for an eye.

a few highlights of her dialogue: when told that she's a lunatic, she responds, "I am what I am. And right now, what I am is in control." she also then teases him with death again. how the tables have turned. if you've got the knife, you can tell her you might just kill her instead, to which she warns the player and then says, "This place is mine. And I'm not giving you the stairs unless I'm leaving with you." she then demonstrates you by trapping you in the cabin if you decide to slay her right then and there. everything else is pretty standard - talking about her plans when she's free, talking about what happened after she died. these are interesting in their own right, but not for this analysis.

then, once you've exhausted all dialogue options, you have a few more options, three of which lead to chapter IIIs which have interesting takes on agency as well. you can remain with her, run, leave with her, or (if you have the knife) stab her.

both running and remaining - seemingly opposing actions - lead to the same outcome: the moment of clarity. this happens when you've finally exhausted all other possible outcomes, and all that's left for you to do is to let. her. out. you have no other choice - they're all grayed out. whether it's a broken hero or your own amnesia-blocked trauma doing this is anyone's guess, but the fact remains.

in the leadup to the moment of clarity, she takes off her mask, the thing that's kept her seeming morbidly cheerful and playful throughout the rest of the route despite her multiple open threats and gleeful hatred of the world. the narrator describes, in detail, a horrific existence which she is baring to you in an attempt to get you to help her to leave. she takes off her mask, stops playing nice with you, and tries to get you to see her side of the story, tries to get you to at least pity her and leave.

it's so bad the narrator stops narrating and refuses to go on.

think about this. this is the guy who narrates the entirety of the fury sequence, cool and calm. he describes the nightmarish cabin matter-of-factly a few minutes before, which hero points out. he isn't bothered by you getting killed except that it means his plans are ruined and the world is doomed, and he tells you about various gruesome deaths such as being crushed by vines or watching the prisoner chop her own head off. the only other times i can think of that he despairs like this is when you fail your mission (by freeing or dying to the princess) or when he himself is in danger (getting burned up by apotheosis, getting controlled by the tower). but in nightmare, the vision is so horrible that he cannot stand going on. (paranoid also stops chanting at this time, but he does that before when his concentration is broken. narry is notably VERY DEAD SET on his goal of slaying the princess. he's not like this!)

what this vision is exactly, i cannot tell, but for the sake of this analysis i'm going to interpret it as what she is, behind the mask, behind the facade of a vessel. shifty offloads the nature of her existence, the purest distillation of change - a lifetime, the circle of life, bloom and decay and burgeoning rot over and over and over again, success and fame turning into scandals and dishonor and poverty, humans living and changing into monsters or saints, every choice you make irreversibly altering the tapestry of time you are a part of. she represents the future and its unpredictable nature, and people trying to adapt to changing societal pressures and failing to evolve fast enough, and each unlucky twist of fate that leads to ruin and despair. she is survival of the fittest, and she is testing you.

this is what the nightmare is, under the mask. a monster, a murderer, the essence of death and destruction. this is what you are denying agency.

in this light, refusing shifty's offer of godhood seems almost reasonable. maybe she's trapped here for a reason. death is... pretty bad, isn't it? if our cool-headed narrator doesn't want her out, maybe there's a reason for that. maybe he's loved and lost - maybe he's seeing reflections of himself, in the princess' experiences, and the reason why he's so set on you slaying her is to prevent this nightmare from happening to anyone else.

you die, of course. you have the audacity to die. and when you wake again - we don't know whether she's hopeful you've learned the error of your ways, or whether she's still as forceful as in chapter II, but one thing's for certain - she doesn't win. you still act as the prison guard. you still keep her away from her only goal, and you become determined to keep it that way.

so you guard the door. you slay her. you romance her and question her and murder her and you end up with different voices, each time, different fragments of change that help you evolve to fight her but you always end up with the same princess with the same goal and nothing's getting better and you keep on denying her freedom because she's clearly awful and you're clearly the guard to an irredeemable prisoner.

from her perspective, mind you, she's been locked in a room for no reason, teased with escape, accidentally killed you while trying to leave, entertained your faints and questions, bared her soul to you in order to get you to understand why leaving her alone is such a bad idea, and then you died and promptly doubled down on your decision.

it's hell for her! she doesn't know why you're doing this! she's forced to react to your actions, because you're the one who can take the knife and you're the one who can leave! she lashes out! how dare you! how dare you keep her trapped here! why can't she leave! why can't she be the one in control of her fate! why do you hate her so much, that you are willing to die over and over just to keep her trapped?

so she lashes out at you. she takes vengeance on her captor, and she hunts you again and again, eroding away your defiance loop by painstaking loop. we don't know exactly what she did. we probably don't want to. but it's bad enough to break the voices, shatter many of them beyond recognition, and outright deny us our autonomy in a way that's only otherwise seen in tower.

and i'm not saying she's a saint! i know this whole analysis i've been on her side but that's because most people aren't! she's undeniably cruel to lq, but the thing most people forget is he was cruel first! she is a creature of perception and he denies her even that basic privilege! and she reacts violently! she lashes out and tries to threaten him into staying! has no qualms with sacrificing the world if she can get out! the nightmare cranks the abandonment anxiety of all the princesses up and adds a vicious vengeance to her as well!

but also. this route shows how hero isn't quite so perfect as he appears to be. you get this route by taking hero's third option, which satisfies no one. (it's also worth noting that HEA is also hero's call.) you abandon her, she who literally never has met anyone beside yourself, and that breaks her. so she tries to cling onto you. she possesses you and shatters you and threatens you and wants you there because she knows nothing else and she's already fractured from shifty's splintering, she can't fracture further, so she'll squeeze and claw for any bit of companionship she can get. she'll hunt you down for sport if it means she can spend a few minutes with you perceiving her. she's lonely is what she is. and she's reacting in the worst way possible.

where were we? oh, right. moment of clarity.

eventually, though, after untold numbers of loops where you keep doggedly trying to keep her locked away, she breaks through. she exhausts your options, traumatizes you, forces you to let her out. she will not be defeated. she will have her way. she makes sure of it.

what i also find interesting is that you're not scared of her anymore. paranoia isn't chanting away in the background. there's no more fear - just resignation. no one's happy with your third option, just as the narrator said back when you made it in the first cabin - everyone just wants it to end, and the only voice of dissent is the narrator, who doesn't even remember what's happened and doesn't know how awful it is to keep on trudging through the same, unchanging story over and over and over again. it's not new, or exciting, or changing anymore. it's just painful. you should really just let her out.

ah, but you might be wise enough not to try and pick that third option, and instead choose the more traditional two options - leaving or slaying.

leaving with the nightmare, like most chapter II endings, is pretty straightforward - you comply with her wishes and let. her. out. if you have the knife, there's a fun moment where paranoid says 'fuck you' to the narrator, but otherwise you give her her agency again. you allow her out. you've learned the error of your ways - now you'll let her free.

and, granted, she does wish death onto the world, but - as detailed above - she does kinda deserve it. i'd let her. she should kill people. i want to watch it happen :3

but if you choose to slay her, she reacts not with indignance but with gleeful wickedness. she can't believe you - a paranoid, helpless thing that she'd decided was barely a person at all, just a key that kept getting stuck in the lock, just a helpless little birdie who couldn't even stay alive in the face of her beauty and power - actually killed her! she's too surprised to be angry, i think. and then that surprise turns into realization - she's already figured out that you were always going to keep coming back until you let. her. out, and she can feel herself changing as a result of your changing perception.

and thus we meet the wraith.

while she has the same dialogue no matter where you kill her, you get different voices depending on where you do it - oppy on the stairs/in the cabin, cold if you do it in the basement. you're also forced to kill yourself either way - she tosses you into the void if you betray her, and you're stuck in the basement if you kill her in the basement since, as mentioned before, she won't give you the stairs. you die either from biology or suicide, and then you go into the wraith.

the wraith is a vengeful creature, and for good reason. she tried being nice to you! she tried talking to you, then tried threatening you, then tried forcing you. but you keep refusing! you keep dying, stubbornly, before you can reach her... you keep killing her before she can reach the outside... you keep teasing her with freedom! you keep her away from freedom, so tantalizingly close yet far.

and she's done being nice. she's seen where that's gotten her - a paranoid corpse and a knife through her heart. it's not her fault you keep dying! you just can't help being so afraid of a shackled princess that you're willing to kill yourself to be rid of her! so she's going to take it by force. she'll be evil. that's the only way things get done around here.

so she transforms into the wraith, a half-dead thing with a skeletal grin and grasping claws. you're introduced to her when she twists your ankle and drags you down to her level. she also explains that she was so, so close to freedom last time, but then you locked her away, killed her, and took her body away from her. so she's going to take your body away and march out that door, and you're going to be completely helpless during all of this, just like she was.

interestingly, she also limits your freedom, just like she did last time - if you ask her questions twice, she'll cut you off and take over your body then and there. she's done entertaining your frivolous questions. she wants to leave. let. her. out. she also goes ahead and possesses you without a second thought if you try to struggle or give up

a few interesting highlights from these explore options: you can claim that you were a victim in all of this, and she says, "Just because someone hurt you doesn't mean you get a free pass to hurt anyone else." some delicious hypocrisy there, wraith, as the voices point out. but perhaps she doesn't even see you as someone who can hurt, thus justifying her possession and torture of you. someone who can hurt would have sympathy for the poor locked up princess in the dark basement, and they certainly wouldn't lock her away and stab her to death. only heartless people do that, and heartless people can't be hurt. if you tell her that possessing you is evil, she says, "After all you've done, why would I ever care what you think of me?" she's past the point of evil and not-evil. to her, you're evil - you hurt her first, after all. whether a villain sees a hero as evil is irrelevant; to her, you're means to an end, an end that is always dancing just out of reach. possessing you is a necessary step to her goal.

she then possesses you.

now that she's in your head, she realizes that you also have voices in your head. oppy is immediately on wraith's side, because of course he is, and cold's a bit ambivalent about the whole ordeal (as he often is), though he's leaning toward your side. narry and hero are mortified, as they are wont.

if you struggle as she possesses you, paranoid's able to save up a bit of will and uses it to help you defy her one last time. first you lock her away in the basement, then you stab her, then you are literally willing to kill yourself and fall forever to be rid of her. she's sadistic as she tries to force you to move, but if you want to - because you're the one with agency here, still, even as she forces you to shamble toward the door on a broken ankle, even as she usurps your body and forces you to watch - you can throw yourself out the window.

as you fall, she asks you why you hate her. why you've always hated her. why you didn't trust her when you locked her away, why you decided to stab a knife through someone who didn't even want to kill you, why you defied her even with a shattered ankle and her voice in your head. why you decided your autonomy was more worthy than hers, way back at the start, back when she didn't even want to kill you. why you hated her into the nightmare, and then the wraith. why you decided she was better off alone and abandoned.

and honestly? you might have a valid reason at this point. she did break your ankle, after all. she did shut down your organs and act gleeful about the end of the world. she's a monster. she's sadistic and cruel and horrible and she possessed you, for goodness' sake! you've been trying to defend yourself against a threat! you're literally dying all the time near nightmare, and wraith greets you by breaking your ankle! like, i understand why people hate her! i'm not saying she's a good person! no one is, in this series! that's part of the appeal!!!

but she never even tried to kill you. (to those who are going to say well what about the organs-shutting-down-thing, think about it rationally: she needs you to get out. you fainting and dying isn't helping her. it's an active detriment. if she could control it, she probably wouldn't do it, because you being dead just shunts you back into the same hellvoid again.) she never locked you away forever. that was you. you keep taunting her with freedom and then shutting her away. you killed her and trapped her and, to her, you forced her into this. you forced her to hurt you and possess you and make you fear her. this isn't her fault. this is yours. for locking her away, for killing her, for denying her her one wish. she tried, in that first chapter. and you decided she wasn't worth the time of day.

personally, i would've made this choice also branch off into MoC. this game doesn't do fourth chapters - and i understand why - but i feel like it would've been fulfilling. she finally gets her freedom after you kill her and kill yourself and lock her away and keep her from getting out. you wouldn't even have to change much - you've already proven you're not going to let her out again. who's to say that the wraith wasn't one of MoC's iterations, and that the voices leading the charge then were also able to store some will and kill themselves before she could escape?

and maybe they were right. we don't know what happened between the nightmare and MoC, and we never will. maybe she was horrifically cruel, an unfeeling maniac. maybe she was pleading to be let out, and you weren't having that. maybe she was doing both. what we know is she never left the cabin.

finally, i want to draw attention to what, exactly, shifty says about each vessel. she gives us our best glimpse into each vessel's psyche, as someone who is part of them. her little speech often endears me to the princess i delivered, even if i wasn't very fond of her.

for the nightmare, she states, "This one is filled with sadness. A doll abandoned to the company of her darkest impulses. She desires only companionship, but the only thing she knows is how to hurt. She will make for a tender heart."

this reinforces what i've been saying throughout the whole analysis - most of the nightmare's nightmarish qualities come from her desperate need to be perceived by someone else. to be known. you doom her to a life of eternal loneliness, so she gives into her darkest urges and hurts you, over and over again, to try and win you over. she doesn't know how to do otherwise.

for the moment of clarity she states, "This one is a waiting maw. An inevitable destination where all roads end. She will make for a wise heart."

she chased you over and over until you broke, waiting for you to shatter and let her out. no matter what you tried to do, no matter which choices you made or roads you took, she awaited you, and you awaited her. she was made wise through your attempts to defy her, and eventually she won the long game. it was inevitable, really. you did your best. there's just a pecking order, and you'll always be at the bottom.

and about the wraith she states: "This one is loneliness turned to seething. She could not find her strength in others, so she found it in herself. She will make for a driven heart."

when you refused to save her, when you defied her over and over, she realized she couldn't rely on you to save her. you took everything she had away from her. so she took everything you had - a pristine blade, a free body - away from you instead. she used to be lonely, scared - but now she is powerful, hateful, laughing even as you throw her out a window in a spiteful act of defiance. you monster.

but eventually, inevitably, finally, she rejoins the shifting mound as one of her many perspectives. she finds peace, finally, in the eternal choir of the vessels.

do not mourn her. she is not alone anymore.

...

this analysis is not in defense of her actions - she does do some pretty fucked up things in this! pro tip: do not break people's ankles and then possess them, and also do not torture someone and break their will. just a suggestion.

but the reason i'm making this analysis is that so many people will say that nightmare/MoC (and tower, though this analysis isn't about her (but i love her very much and she was so valid for mind controlling the narrator)) is a horrible irredeemable bitch, and then they'll turn around and praise smitten/oppy/cold.

and that feels... more than a little hypocritical to me. oppy is literally a backstabbing bastard who allies with the person who has the most power - he literally tries to stab you in patd! he is born out of the decision to betray the princess when she's finally thought she could trust you, similarly to the nightmare, except this time you're killing her instead of locking her away. in HEA, he decides that free food is worth more than the princess' happiness, and in thorn he wants to stab the princess because of her newfound vulnerability.

and yet i've seen so many analyses of his behavior! so many people excusing him as a sopping wet cat who just doesn't want to die. and it's like, well, okay, i'm not going to stop you from liking oppy. i'm not a cop. i can get why you might like a morally gray kinda sneaky character. but it just feels a little misogynistic when you hate the nightmare, who also resorts to desperate measures in order to not die, don'tcha think?

or cold! i'm gonna be honest i'm a bit more favorable of cold, but he still advocates for killing the princess when he thinks it'll be interesting. he is literally born when you don't even try to hear the princess out in the first place, coldly stabbing her without a second thought. he values novelty over pain. and yet people will praise him and then turn around and criticize the tower for not caring about you at all!

ugh. i just... hate the shifty neg, you know? so many ppl hate her for being 'manipulative' and 'self-centered' while completely ignoring your own hand in shaping her! she is a creature of perception, after all - the damsel and the tower are wildly different, and they both change based on how you act. each princess is a reflection of your own thoughts toward her. and people hate on the nightmare for *checks script* trying to leave the basement she was locked into, and then reacting violently when the only person she's ever known decides to keep her trapped, possibly for forever. like, you all see why she'd do that, right.

...also, like. god forbid women do anything. even if she did do all that organ-shutting-down stuff of her own volition, good for her. she should do it more. she should kill everyone who disagrees with her. she was locked in a basement and abandoned by the first person she met i think she deserves to kill and slaughter.

andddd end of post! again i am NOT, like, a practiced analyst. there are almost certainly things i got wrong during this, and feel free to bring those up in the comments! i will admit this got a bit out of hand and turned halfway into a gushing-about-nightmare post.

also i just want to reiterate that this analysis explores her motives and explains why she's Like That, and again i am not trying to say she's a precious cinnamon roll. just that she's got some reasons for doing what she does.

ALSO ALSO PLEASE DO NOT MAKE THIS POST ABOUT THE VOICES THIS POST IS ABOUT THE NIGHTMARE AND HER ITERATIONS!!! MAKE YOUR OWN POST!!!

alright! that's it! russet out!

[vaggieslefteye]

ᴍᴀᴋᴇ ᴍᴇ ᴄʜᴏᴏꜱᴇ ↳ anonymous asked: HUSK and ALASTOR or angel and valentino?

[the-dust-jacket]

Congratulations to the 2025 Stonewall Award winners and honorees!

[meep-meep-richie]

I see you Charles😭

[fuumiku]

Alexa play Washing Machine Heart… Been having that Succession quote on the mind

[respectthepetty]

I hate (love) Director Tee!

Director Tee, who also directed I Feel You Linger in the Air, Step by Step, Something in My Room, Lovely Writer, and Hidden Agenda is all about the visual rhetoric, so I knew he'd be up to his same old shenanigans in I Saw You in My Dream, but why was this already happening in the first episode?!

Tee pulled this in I Feel You Linger in the Air with one character hidden behind a transparent barrier but looking fuzzy as if they were in a dream or stuck in a different world.

And while Ai is always lit by the light source, Yu is hidden in the darkness as his back is to the light source.

And this happens often.

So the lights flickering on the Christmas tree were a nice touch to show this 'light' dynamic between Yu and Ai.

Yu's face is also obscured in his reflections.

Since mirrors act as reflections of the truth, it's as if Tee is telling us that Yu can't face his reality or he is hiding from his truth.

Even when Ai tries to capture Yu's face for a picture, Yu blocks him.

And even when Ai does get a picture of Yu, the light source blinds out Yu's face.

Because Yu's job allows him to capture moments without being a part of them. He can create distance by shielding his face and hiding behind the camera (how very My Beautiful Man's Hiro of him).

But Tee is constantly reinforcing the removal of reality through the props as well as Ai wears a "Dream Theater" shirt when he dreams of being with Yu.

The poster in his room is a parody of a La La Land called Dream Land.

And in the psychology section of the library, Ai focused on the dream section.

And finally picked Lucid Horizons: Unveiling the Dreamscape.

But the props also connect the boys because when Ai went over to Yu's house to sleep, Yu was wearing a "Shut-Up! I'm watching the game shirt"

While Ai wore a "She said 'You switch channels again and I'm outta here'" shirt

Because the boys are already connected, and Tee visually stated that as both boys walked down the aisle in a Catholic church with Yu in black and Ai in white.

And stood in front of Ai's father (not a priest) and the altar to give offerings and receive blessings.

Basically, they look real married-shaped in front of God and all his santos.

And the poem above Ai's bed states that he would give all his body to his lover if his lover needed it, but he could never give his heart because that's where his lover lives.

So it's interesting that Yu's brother verbalizes this earlier in the show.

But it's more interesting that the woman Ai met said that his gift was special because he can see the accidents happening which she could not because if she had, she would've gotten more time with her first love, so is Ai's shirt foreshadowing that he'll only "be happy with [Yu] this summer"

Or will his dreams allow him more time to fall in love?

God, I hate Director Tee!

[interstellarsystem]

Time to play every alterhumans favourite game: Is it a cameoshift or not?!

On today's episode, I have a phantom tail that I can't stop noticing and have no idea why!

Is it a kintype? Hearttype? Another headmate hanging too closely around the front? Or just another cameoshift?

Tune in next time to see if we ever figure this out!

[casualavocados]

Is that guy your type? Huh? You let him hold you. He was drunk. And he has a lover. Didn't you see? I'm not that easy, okay? ...What about me? [...] It was only a one-night thing.

KISEKI: DEAR TO ME Ep. 10

[pinofdnp]

that's how the light gets in

[preciouspatriots]

via All In Celtics

[candlemassive]

glassjaw or eyehategod blinkies :?

Glassjaw fans rise