#i love things when love is a main theme and factor of the story

[ifyourereadingthisblinktwice]

every time i think about the locked tomb series i just circle back to “you can’t take loved away” and “life is short, love is long”

[astro-break]

I've been sitting on this ever since the chapters came out but Kiriwo vs Iruma and Azz was actually a really good section? Both from a technical and a storytelling standpoint it was top notch and is an excellent case study of how far Osamu Nishi's writing has come

First off, its the first time both Iruma and Kiriwo are meeting face to face after the events of the Battler Party. And it only took 300-ish chapters. Of course its going to be impressive, but I kind of want to focus on what I really really love about these two chapters.

From a technical analysis, I absolutely adore the double page spread with Kiriwo breaking the panel to lean over and devour Iruma. Demons are the most powerful when they are their greediest and not even the foundations of the medium can stop Kiriwo. I also absolutely adore how the hand pointing into his mouth lands right over Iruma's terrified face, the outstretched hand as well boxing him in with no way to escape. It breaks the natural flow of reading manga, forcing readers eyes to jump from the first panel to the last immediately. Even the speech bubbles which also break the panels to bleed into the next are boxing Iruma in, leaving only Kiriwo as the only option. He's right. Right here. Into his mouth. That's the only direction the manga allows him to go. Not even Azz, who is logically right behind Iruma on the other side of the barrier, can't be seen. Its just them.

One thing that Mairuma likes to emphasizes is eyes. Nishi likes putting in a lot of close ups of the face but eyes specifically is something she puts a lot of focus on. Of course, eyes are the only reliable way to tell if someone has returned to origins but eyes also change according to wicked phase. They are the windows to the soul, and whenever a hype moment occurs, the eyes are almost always a focal point to enhance the action.

The latter half of 303 really ramps this imagery up as eyes become one of the main focus points of the sequence. Iruma's watery eyes when he asks if its really Kiriwo, the concealment and subsequent focus on Baal's eyes as he looms over Princes Shura revealing his motives (also Shura covering her face up till Baal "saves" her is an interesting symbolic choice i might write about), the ever present return to origin markings on Kiriwo's eyes after declaring his intentions, and that final page is all about eyes. My favourite is the hiding of Azz's eyes as he breaks the barrier only to reveal them as he boldly says he'll stay by Iruma's side, eyes finally coloured in when up till that point in the chapter it was left white.

Speaking of panels though, Kiriwo is allowed to break past the gutters and invade other panels. His single minded devotion to consuming Iruma allows him to bend the laws to manga and lean right over. So logically, the next page where Azz saves Iruma, Azz who is consumed by devotion and is perhaps even more enamored with Iruma would do the same, no?

Nope.

Despite everything, Azz is still trapped within the story and its confines. Not even his words break through the boundaries. The best he can do is close the gap between the gutters, squeezing the panels together as close as he can. He still lacks critical information and Kiriwo has and no matter how much he tires, without that he will always be a step behind his senior. Even all the power in the world will not change that Suzuki Iruma is a fragile, fragile human.

As if to rub salt into an already gaping wound, Kiriwo's speech bubble at the end of the chapter literally shuts down Iruma's protests. Kiriwo is in control of the situation and his words take over the page. He's also drawn to be taller than Azz who is canonically about 10-15 cm taller

Control seems to also be a big theme/determining factor for whose words are allowed to transcend the metaphysical boundaries boxing them in because who else would be the one to quite literally dominate the next climatic moment than the unpredictable agent of chaos, Clara herself? The ringtone from her call quite literally cuts both Iruma and Kiriwo's words in half, drowning them out in her silliness. I remember seeing that a lot of people were upset that Clara interrupted Kiriwo but I argue that Clara is the perfect person for this? Master of funtimes and such a wildcard that she managed to seduce Raim through pure innocence? You can not tell me that you didn't laugh at the stupid fonts that Misfit Scans used for Iruma's ringtone. (Thank you Flare, whoever you are. Because I laughed. So hard.)

Also KiriAzz's faces when they look at Iruma? Peak visual comedy

Clara calling is also just the breather that the story needed. Yes, she inadvertently protected Iruma's secret, but she also the most emotionally mature out of the Love Trio which I think so many people forget. Clara is super smart when it comes to her boys, she knows that off on their own, they're bound to get caught up in their own heads worrying and agonizing in silence. Clara knew to call her boys after the Devilculum because it would had undoubtedly been stressful mingling among the upper ranks. Of course she was lonely and wanted to know how her soulmates were doing but even if she knows it or not, she is their emotional center and grounds them when they drift too far into their own self flagellation. But more importantly, she grounds the story in its genre. Lets not forget, Mairuma is a comedy series. Devilculum Arc was quite uncharacteristically somber for the series which runs on comedy of errors and misunderstandings galore. Sure, the beginning of the Arc was kind of funny but once everyone stepped into the venue, comedy became secondary to the plot.

Would it have been interesting to see what would have happened if Clara didn't call? Of course, yeah. But I think thats better left explored in fanfiction. At the end of the day, they're the Love Trio, they are a tripartite. Do not separate. And even unknowingly, Clara's protecting Iruma in her own way. And because of that, she is given the power to take over the page, filling it with images of Magitools Batara and her own silly creations, flower shaped speech bubbles framing the members as they work towards their own ambitions. She is the one that reminds Iruma of his own goals, who reminds him that there are demons at home who are waiting for him, and who he too is waiting for.

On a more aesthetic note though, I do like how Iruma's necklace this arc mirror's Kiriwo's collar. Its a very nice parallel but also acts as a way for Iruma to be connected to the people he's attending Devilculum with. The frilled collar on Ameri's dress and the Amosdeus Clan's rose brooch that both Azz and Amu have on their suits.

Idk how to end this ngl but I am completely normal about ch 303+4 the writing and set up is so so so good. I remember Misfits being so mad that others were translating the human part and I agree. Its so vital for the Love Trio and their relationship that their secrets are theirs to tell and not anyone elses. And the way these dynamics are portrayed through diegetic story telling is just perfect, I will never get over how good the KiriIru double spread is. Like those two pages specifically is my Roman Empire. I think about those pages on a hourly basis. I love that spread so much but 90% of what makes it so great is the surrounding context and the proceeding events. One day Nishi will probably top this and make me slobber all over her artistic storytelling but for today, I will continue to be consumed with thoughts about these two chapters.

One last thing but the fact that Iruma's secret got cockblocked from being revealed twice because of a phone call is just hilarious. Once is good enough but Narnia prioritizing a work phone call over warning his brother about what he sees as a great evil? He's so silly actually.

[xlillyle]

Why in my humble opinion MHA's ending regarding Midoriya Izuku is good and fitting and completes his storyline beautifully 🧵

Or: On what it means to be a hero.

I'm having a slight déjà-vu... oh well. There are lots of opinions on MHA and its ending, now that it is here, so after seeing some I felt compelled to shove my own to the board.

While it's impossible to disregard all other aspects of the ending as MHA is a rich story with many factors and subplots additionally to the main story, I will do my best to focus on my main point, which is: Midoriya Izuku's story is a good one and has been brought to a beautiful and very fitting ending that I like a lot. Here's why:

I have three (four) main points I will go through that are related to Izuku's story that imo were ended well:

One For All & what the quirk did for Izuku & how it ended.

Izuku's on-going career, resulting in him as a teacher.

Izuku's future career with the hero suit.

2 and 3 also both pick up one of MHA's main themes: What it means to be a hero.

So, let me start with One For All (OFA).

OFA is the quirk that kicks off this series because it's the quirk given by the Symbol of Peace All Might to our protagonist Midoriya Izuku, who has been quirkless but dreamt of being a hero. There are a few important things to note about OFA:

OFA is very strong; so strong that All Might, even after agreeing to give Izuku the quirk, makes him train. A lot. And hard. Because a regular body would not be able to handle OFA due to its nature.

We learn later that not only does it cultivate the raw strength of all its previous users, but that it holds their quirks too. And that these quirks got stronger with each generation of OFA user as well.

In fact, the major reason why OFA is so insanely strong when Izuku receives it, is the fact that All Might had been quirkless himself and therefore is the longest holder of OFA as the other users could not handle having their own quirk and OFA as additional one, passing away rather early.

OFA is also the quirk of Yoichi who is All For One's (AFO) brother who, in very simplified terms, have a long history and complicated, but hostile relationship with each other. Yoichi wants to stop his brother.

And, to make a very, over 400 chapters long story short: Izuku defeats All For One and he does so after countless of training and battles where he learned to make the best use of OFA and in the end by transferring OFA to Shigaraki/AFO.

Izuku has always understood OFA as a borrowed power and ultimately as one he'd be the last user of—OFA was a power used to defeat AFO and the fact that transferring it, ultimately what AFO had always desired, is part of what destroys him is very fitting.

OFA has given Izuku the chance to enter the world of heroes—and to help change it in the long run. He was able to open the people's eyes about society, he has shown that even after he gave OFA away, he would still fight and he has animated people to be heroic even if they aren't employed as heroes. He has added more meaning to the word "hero".

Izuku as teacher, part 1 of what it means to be a hero.

Now, I have seen a lot of criticism to Izuku ending up as a teacher and I am here to tell you—it's perfect for him! Izuku is someone who loves learning, he is genuinely enthusiastic about it, and especially about quirks—he loves geeking out about them, he spends his free time analyzing them and drawing out their potential, he is an amazing supporting character for children that need assistance in finding their footing in the world of heroes. Who can you learn better from than from someone who loves learning itself? He's got a contagious kind of excitement that sparks over to you.

And, he knows better than anyone how chasing after this dream of being a hero feels like, knows better than anyone how important people supporting you on the way is—because this is what he has received, back then, when he was in high school himself. Izuku has learned and experienced himself how important support from the people around you is, so he now wants to provide exactly that to the future generation of heroes. He wants to guide them on their path.

This career path also opens a new perspective that MHA has been trying to tell us for so long now: "Hero" isn't just who goes up and picks up this nice certificate and runs around the city with the "hero badge". "Hero" is more than that. Helping people, in any little way, is being heroic and makes you a hero. Teachers are heroes too. Izuku is being a hero, even now that he doesn't do "pro hero" work, because he is helping children—a teacher doesn't only educate, a teacher provides mental support to some extent too, and that goes even moreso for UA and other hero school teachers. Teachers protect their students as well. Izuku is, by all means, still a hero, just not a "pro" hero. He is a guidance to children and is dedicating his life to extend a helping hand to them and their dreams.

And he's happy with it.

Yes, it's also said that he misses the work of a pro hero—but that doesn't mean that what he is doing now is bad or "settling". He could have done SO many other things, but he CHOSE to pursue a career as a teacher—because this, too, is something he enjoys and finds happiness in. Both statements can be true. You can miss something you used to dream of all your life—it's very natural, even, but you can still be happy about where you ended in life right now.

Moreover, even if you don't agree with my take as "teachers" being heroes too, we see just a few panels later Izuku being a hero:

Which further emphasizes the point I and MHA have been trying to make: You can be a hero even if your job title isn't "hero". That's why civilians got statues too, that's why they are considered for the heroes ranking too. You can have a diverging opinion on how effective it is, but that is the point that is being made and the characters in-universe try to bring across too.

The hero suit and the conclusion on what it means to be a hero.

Truthfully, I don't know why people keep acting like MHA ended after Izuku's teacher career, because we have a conclusion that even traces back and argues back against anyone who doesn't agree with my points about him being a teacher and still a hero. And, more importantly, it brings the full manga into a perfect circle:

Because remember what the manga opened with: Can you be a quirkless hero?

And in so many ways across all these 430 chapters, but now even in the most literal sense of itself, MHA is telling you: YES. Yes you can! It shows us that you can be a hero without a quirk because anyone can lend someone freezing or wounded a t-shirt and anyone can reach out their hand to someone who is lost and anyone can sprint to catch a stumbling child.

But, also, our protagonist Midoriya Izuku, who is quirkless and had lived his dream at the age of 15-17 after borrowing a quirk, now is only starting his dream again at the age of 25: He can be a (pro) hero again and that although he doesn't have a quirk.

Yeah, it's expensive and not yet affordable for the average quirkless guy. But that's not the point of the story, because we started with asking "Is it possible at all?" and were first deluded into thinking the answer is "No.", but MHA is here to tell you: Yes, you can be a hero. There is most certainly an argument to made that now that the first one has done it, more might be able to follow in the long run.

So, what does it mean to be a hero?

I think MHA's message on that is: A hero is someone who steps up because they can, who helps people achieve a part of happiness because they have the chance to. You don't have to have a quirk or do grand gestures, you don't have to rely on the "professionals" to take care of it, at least not if you can make a difference already. There is no shame in a little heroic act because it doesn't make the act less heroic. There even is beauty in everyone being a little hero to each other every day.

Some last words about my feelings on MHA's ending.

This isn't really part of the thread anymore, but I still wanted to say this. This is purely personal, but, to me, what was really beautiful was: Midoriya Izuku didn't "peak" in high school, he had one peak in high school, but life is made of multiple "peaks".

Izuku is 25 and hasn't even seen all of the world yet and now he gets to live his dream again. Because you never know where life takes you and even if you may feel hopeless or lost and like you already experienced all the highs of lives, Horikoshi and MHA are here to tell you: There's always another peak yet to come.

MHA has this really beautiful ending that tries to reassure you that even though your teen years feel so intense and like the world is about to end and even though so many others your age may be so much "higher" on the "life achievements" scale, it doesn't mean that you are a failure or should lose hope because you can always catch up later, in your own pace, with your own wishes. Life isn't over at 17. Life isn't even over at 25. Your new dream might only just become true later than you expected.

[piratadelamor]

skip and loafer ch. 53

shima seems to see romantic love as a combination of different attraction factors, where liking someone as a person (for their personality) can be compensated for other things, therefore your standarts are lower when you're romantically attracted to someone. the way he sees it, the highest form of steem you can have for someone is to like them as a person, where these other factors don't matter and what you truly value is solely their personality.

i think it's interesting how mukai introduces this conversation by building a hierarchy of feelings, where romantic love stands on top of the feelings of friendship and of liking someone as a person, because that's one concept i've been personally focusing on deconstructing in my life. it's precisely by differenciating these types of feelings and putting them on a hierarchy that so many people end up in romantic relationships with people they don't really like, or why so many people drift away from their friendships when they start dating someone.

through everyone else's eyes, shima's feelings are romantic, and he doesn't feel like they are, because romance to him means something else. the lines between liking someone as a person, as a friend and as a lover are blurred. and listen, that's how they're supposed be. to love someone as a lover is supposed to mean you love them as a friend and as a person as well. a friend and a lover shouldn't be too different, and liking them as a person is supposed to be the core of both feelings.

i don't think shima is being innocent, like i've seen so many people saying on twt since the chapter came out. i think he's touching something very deep about relationships in our society that so many stories that focus on romance fail to address. in most of these stories, romance is the final goal. that's where most of them end. that's not the case here. i was already surprised when mitsumi and shima started dating, and even more surprised when they went back to being friends. that's not the usual narrative for this kind of story. because here, it doesn't seem like this hierarchy matters. and i think it's beautiful and i think it's HUGE how both shima and mitsumi value their friendship above everything else. not only them, because friendship is one of the main themes of this story. both as a dynamic and as a type of love as well.

but people have different perspectives on love and how love feels for them. it's different for mitsumi, for shima, for mika, for fumi. the way you're taught about love in your family or as a child in general has a big role on shaping that. we saw the matter of mitsumi having received lots of love in her family and childhood friends being brought up before as an explanation for her confidence. then, on the other hand, that's why we see shima acklowledging this on the next panels:

we know a few things about shima's family and their complicated relationships. shima never realized his little brother liked him because he saw his behavior as coldness or indifference, when he was actually being considerate of the distance shima was putting between them himself. he felt the need to please his mother by acting in order for her to love him, or for him to be worthy of her love, because their relationship was too anchored on exploitation. his father was having an affair, which not only made shima watch the failure of his parents marriage but also perceive romantic love as something superficial (as in "people break up and move on to the next person") and possibily as something that pushes people away. then shima's first girlfriend only liked him because of his looks, and so many others confessed to him without barely even knowing him. how could shima trust his own feelings after all of that? if he spent most of his formative years in an environment of appearences where love was tied to selfishness, interest, volatility, coldness, pain? shima learned to supress all his feelings and be a people pleaser as a survival mechanism. don't get too attached, live up to others expectations, keep your distance, smile and wave, bottle it all up. he is a kid that doesn't know a single thing about love and is scared as hell of it. love feels as if something is about to break.

that's why liking someone as a person feels more important to him. and that's not only the highest feeling he can have for someone else, i think this is the highest form of feeling he thinks someone could have for him too. it's the kind of feeling he thinks his own mother couldn't have, because acting was more important to her than who he actually was. it's the feeling he unconciously doesn't allow others to feel for him, because he never shows people who he truly is. so shima understands mitsumi's words as a love confession back in chapter 41. she didn't say "i love you", she said "that's what i love about you". and he asks her out, not only because he already knows mitsumi is different, so it seems more reasonable to give it a try, but also because he thinks this is how it's supposed to go. this is what he thinks it's expected to give her in return.

when society puts romance on the top of the relationships/feelings hierarchy, it builds an insane amount of expectations around it. i think it's crazy how friendships feel so free while romantic relationships feel so enclosured. they have too many rules. you're supposed to do this, and that, and behave in certain ways. if you start dating a friend then suddenly your friendship dynamic changes. a boyfriend or a girlfriend have responsibilities that friends don't have. it's a weight. i can't imagine a person like shima feeling any other way about a romantic relationship. for him, this is a big, big weight. that's why he puts an emphasis when he says "i thought that i could be a 'boyfriend' too". a boyfriend is a social role. when he phrases it like that, he's using the word "boyfriend" as an outside concept: he doesn't know what it means to him, he only knows what it means for everyone else. and that's not something he can do.

mukai is absolutely right when he tells shima he shouldn't be going out with anyone. shima isn't ready to be that close to anyone, not even his closest friends. i can't even describe how sad i felt when mukai said this to him:

shima is just so, so lonely...

but this doesn't mean that shima's supposed to become ready to be a "boyfriend" on those terms. i just think he's still trying to figure out what all of these things mean to him. and the good thing is that mitsumi is also trying to figure out these things too. the difference between them is that mitsumi is a few steps ahead, because she already understands what friendship love feels like. and when it comes to that, she gave us one of the most special love confessions i've ever seen.

so many people talked about this scene already, but now, in the light of chapter 53, her saying "i really like this person" has a whole new meaning. this is the most honest love shima has ever received from anyone. no romantic confession could top that. no romantic feeling could heal his wounds the way these words from mitsumi can. this is a treasure shima can't afford to lose.

we're taught that romantic love will save us. that it will make us the happiest, that it completes us. we grow up believing that we can't survive without it. what we really can't survive without are our friends... skip and loafer is putting friendship above everything else, but more than that, it is questioning how romantic love is supposed to feel. some people feel it, some people don't. i think most of us don't really know what it is. we think we do because we read enough, we saw enough movies, we listened to enough love songs. i think i felt it a few number of times in my life but everytime i felt it for someone new i asked myself, was it really love before? what is it, really? if i never read those books or saw thoses movies or listened to those songs. would i recognize it? would i know it better? would it even exist?

aren't shima's feelings for mitsumi already valuable enough? big enough, true enough? would they change if he called them romantic? mitsumi has SO much to teach him about love, about himself, about others. their encounter is so beautiful and so rich. we see how much he's changing, how many new things he's finally starting to understand about himself, how many important steps he's taken since they met. is finding romance at the end really the most important thing for their story?

[withthewindinherfootsteps]

I love how so many interpersonal conflict in MDZS aren't caused by simple 'miscommunication' – they're caused by people being too quick to judge things based on rumours or one-sided information, without consideration for the actual evidence behind that.

The soup incident? JZX only believed the guest cultivator's side of things without consideration of JYL's words. 3zun's fate? LXC only considered JGY's side of the story, without considering NMJ's may have some truth to it (because in his mind, JGY had a justifiable reason for all his actions). Sunshot-era Wangxian conflict? LWJ believed the unfounded* narrative he was taught around what guidao does, contrary to what the only source of evidence was saying, and it's this that leads to WWX constructing a barrier between them. Their final confrontation at Nightless City? WWX came to the conclusion that LWJ was against him, hated him too, despite the fact that "any sane person would be able to tell that Lan WangJi’s voice was clearly shaking" (EXR, Chapter 78), due to his mental state at the time.

This same mindset is also leveraged by other people, for varying purposes – whether it be JGS blatantly lying about WWX's words in the hopes people would believe him, or NHS spreading false rumours about the man-eating castles at Xinglu Ridge in order to stop people disturbing the sabre spirits (of course he uses this mindset in his plan to utterly destroy JGY as well, both directly and to contribute to the view NHS is useless). And that mindset also creates the main driving antagonistic force – the rumour-driven mob mentality so present in the world.

I just love how present this theme (the harm of coming to conclusions based on incomplete evidence) is in the novel, even when it's not drawn attention to**!

(more discussion under the cut)

Now, there are obviously other factors to the conflicts above – and in most cases, these reactions are understandable (WWX's misreadings due to his mental state at Nightless City, for one thing, but others, too). For example there was evidence that appeared to be there supporting LWJ's views on guidao: WWX did appear paler, there would definitely have been differences in his health vs the health of those with a working Golden Core, and he was quick to anger and did seem more arrogant than before, even though that was moreso a combination of trauma and constructing an image that meant nobody would look into the matter of his Golden Core too closely. So argubaly, he did weigh the evidence he had, and it just led him to the wrong conclusion! But none of that means this aspect wasn't a major factor in those conflicts – just as it doesn't mean that LWJ didn't instantly disregard the other side of the story (WWX's words), and came to the wrong conclusion partially because of it.

That also doesn't mean the characters can't learn from this or change their conclusion – LWJ comes to accept WWX's words towards the end of WWX's first life, LXC does open up to the potential flaws within JGY when Wangxian raise it, and after he's seen NMJ's corpse, due to receiving strong evidence (the wrong melody and cleanly missing pages in the Collection of Turmoil, for instance). If he only started suspecting JGY after he shows his cards at the Guanyin Temple, he wouldn't have done things like block JGY from the Cloud Recesses, for instance.

(And, a final note: the problem isn't that these characters chose the 'wrong side' of the issue to see it from – their process would still have been flawed even if they came to the right conclusion from its other side. The problem here is that none of them consider both and weigh them up to judge.)

––

*Regardless of whether you believe guidao has an adverse effect on mental state, and it isn't just trauma – WWX is the inventor of guidao! So any pre-invention speculation about the effects of guidao was, by the word's definition, unfounded... and these teachings were certainly pre-invention! So though I do have an opinion regarding this, it doesn't affect the point.

**Chapter 30 is a good example of when it is: '[LWJ:] “One should not comment without understanding the whole picture.”' (EXR) – but it appears in many of Wangxian's actions throughout the present day section of the novel (especially in regard to teaching the Juniors).

[eurothug4000]

INTERVIEW WITH TOMM HULETT - SENIOR ASSOCIATE PRODUCER ON SILENT HILL DOWNPOUR

As part of my video on Silent Hill Downpour, Tomm kindly agreed to be interviewed! A big thank you to him for providing insight on the making of this title :)

Q1 - What led to deciding that open world aspects would be included in Downpour? Was it the trend of games at the time or was there something else that influenced this?

I had several aspects of the original SH games that I kept championing for the new ones, and one aspect was how much of SH1 was exploring the town itself. It was (relatively) huge! SH2 had a smaller more focused set of “town” areas, and then SH3 reused those. Origins brought it back to a degree but there wasn’t very much to do beyond the main quest.

Another thing I loved was how the notes in the original games would often mention characters or side stories that were not part of the main quest but definitely contributed to the atmosphere and creepiness. Lastly, as you said, open world games like GTA3 were cropping up all over. So these three factors all coalesced to become Downpour’s big explorable town filled with optional side quests that told little mini stories. But to be clear – we were not asked “can you put in something modern like Open World?” It’s more like what we wanted to accomplish with the town and sidequests made sense in an open world context, and then that created an exciting bullet point for marketing organically.

Q2 - Was there ever supposed to be a UFO ending? If yes, was there a rough outline for it?

We were not planning a specific “UFO” ending and I don’t actually recall why. We did plan for a joke ending, which turned into the happy birthday surprise. Or, it’s possible we planned for a UFO ending but someone came up with that instead and we just went with it, due to the nice escaping prison aspect of it.

I do know we wanted a wide variety of ending types, like the original games had, which is how we ended up with cool twists like the Anne/Murphy prison swap, etc.

Q3 - How did you get Korn on board for the theme?

When we got the unfortunate news we could not involve Akira Yamaoka, we knew that finding a worthy replacement for the game’s score was job # 1, and we were fortunate enough to be connected with Daniel Licht who did an amazing job matching the mood of Silent Hill with his own style.

But another big aspect of the SH music is the attract mode video, along with a rock song. Of course Yamaoka-san had always handled this as well, along with Mary Elizabeth McGlynn. Since this was kind of up in the air, our licensing department wanted to find a good licensing partner that might extend the awareness of Silent Hill beyond its core audience, but still sounded brand-appropriate.

A lot of different artists were discussed, but in the end, Korn made the most sense due to a variety of factors I can’t really get into. However one key factor was tailoring the lyrics to Silent Hill Downpour, rather than just being given an unreleased B-side as-is.

Q4 - The architecture (more so interior) style in Downpour feels very unique compared to the other SH games. Slightly gothic, almost like fancy buildings in New York - especially those apartments and office buildings! Although once I learned that the development team was based in the Czech Republic, I felt like maybe that was a big influence. What was the thought process behind going for this different style of environment?

I think a lot of this is, as you said, the Czech influence. Western Europe and North America have enough common threads I think it’s probably more similar than we realize if that is our whole sphere of reference. And obviously game players are familiar with Japan through games (Yakuza and Persona of course, among others) but Eastern Europe is far less represented. I think that Vatra “making what they know” had a positive effect on the games visuals and ambiance. It is the most unique and interesting of the Western SH games.

I think it’s generally accepted that as a whole, western gamers prefer the original SH games, made in Japan. And it turns out, there are a lot of Japanese fans who love the Western games most (going so far as to import Homecoming!), which was an interesting thing to discover. It tells me that an important part of Silent Hill’s creepiness is that sense that something is just OFF that you can’t put your finger on, and maybe it’s a result of unconscious cultural influences creeping into the design of the town itself, then being perceived through a different cultural lens.

Q5 - What were some of the most difficult parts of developing Downpour?

A minor challenge was the fact that fear is so subjective. Between two people sure, but let alone 2 teams in different cultures. So at times there was a lot of heated discussion about what the important parts of a scare or intense moment were, and what the audience would respond to.

The biggest difficulty though was external, just knowing the feelings and expectations of the fanbase at the time. The other Western Silent Hills had their fans of course, but nothing had made a huge splash like Silent Hill 2 (which itself wasn’t popular immediately but that’s a different story entirely!) We were very proud of Shattered Memories, but that was an unconventional entry and we just really wanted Downpour to be the “HD Silent Hill” that fans deserved. We all put a lot of pressure on ourselves. However even taking a quick peek at any forum there was so much cynicism it made the work challenging. And then at some point during the final year or so of development, an infamous series of videos released and sucked up a lot of air in the room as it were.

It also ended a lot of the spirited debate that Silent Hill fans enjoyed, as there were a lot of declarations of the “true” canon or “here’s what the game is REALLY about”. Those debates were always what kept the fanbase alive and vibrant, and it was rough seeing that go away. I don’t really feel like Downpour was given its fair shake in the indepth analysis department, which I was really looking forward to seeing, during development!

Q6 - What were some of the reasons behind the enemy designs of the game? Are their appearances all stemming from Murphy’s mind and experiences? Or Anne’s too? The prisoner types felt like they could be both, but the Dolls in particular made me wonder since they feel more related to her backstory!

It is kept purposefully vague. Obviously at first you’re supposed to assume this is Murphy’s Silent Hill, and the enemies need to support that. But then when you realize this is perhaps Anne’s story that Murphy is caught up in, they can’t betray that idea either. Fortunately the two characters have a lot in common. Murphy is a father willing to do anything to avenge his child. Anne is a child willing to do anything to avenge her father. Both have failed marriages because of their trauma, and so on.

Honestly this is one of the things I was hoping to see more debate about among the fanbase!

Q7 - For the Anne’s Story comics, was that originally supposed to be the basis for DLC for the game? I saw a mention of this online but wasn’t sure how true it was! Were there plans for other DLCs too?

In the very beginning, Anne and Murphy were conceived to be a 2-player experience, so each player could see situations from a different perspective, and we could play with that idea a lot. However after a very short time we realized that idea was a bit ahead of its time, and we focused on making a solid single-player horror game, but the overall story themes remained – but obviously you see less of what Anne is actually doing moment to moment.

As we were wrapping up the game for release, there were conversations about DLC and what form that might take, and Devin and I knew instantly it would be Anne’s side of the story. I wrote up a general structure of it for internal discussions. DJ Ricks had also had a more detailed story originally, so I tried to get some of those details back in as well (when this DLC fell through, I added his story in the Book of Memories DLC – if anybody still has a Vita and wants to delve into that!)

Right around the time I was leaving Konami, there were early discussions with IDW to release a companion comic to Downpour, since Tom Waltz was their SH guy (and has gone on to write their TMNT books and many other great things. Congrats Tom!) and had also written Downpour for us. I gave him a breakdown of my ideas for key moments in Anne’s story; things like Murphy and Anne operating in different chronologies (Murphy sees Anne in the clocktower otherworld BEFORE seeing Ricks, but Anne traverses that otherworld AFTERWARD), or a drowning Anne desperately reaching out for Ricks’s hand, only to find it’s a severed hand tied to his boat.

It took a few years for that deal to come together with the right artist, but thankfully it did! It’s a great companion piece to the game – there are some new details in there that weren’t in my treatment, but it was no longer my story to tell – I experienced it as a fan.

Q8 - What is something you’ve seen players rarely notice in the game which you think is a cool detail? Can be found in the world, story, gameplay or anything!

A tangible detail might be the road signs. I spent a long time figuring out where the other districts of Silent Hill would be, as well as Ashfield, and made sure they were properly charted on the large road signs. I made a map and measured distance and everything.

Story wise, I think Murphy’s role in the story is a bit misunderstood. Many players see it as a standard tale of the town punishing our protagonist but it’s a lot more nuanced than that. Anne, I feel, is being punished, because she is out for revenge right now. Murphy already got his revenge, and dealt with the consequences, and “did his time” as it were. Yes, he has to deal with the consequences of his actions – but those are consequences caused by Sewell, and they were already in motion outside of Silent Hill.

Murphy’s journey is more akin to “Born from a Wish”, or even Eileen’s role in SH4. While most of Walter’s victims did something wrong, Eileen was marked because she was kind to him. It’s basically circumstantial. The Orphanage level is meant to be something different from a standard Silent Hill construct. The town is almost rewarding Murphy for passing a test. It gives him a key that says “Freedom" and everything we weren’t being subtle. And if you watch during the boat scene, there are clear skies ahead of Murphy (and dark storm behind Anne).

And then of course the Silent Hill ambiguity – we all know the only thing on the other side of Toluca Lake is more Silent Hill, so that’s up for debate. Again I was really excited to see how the fans dissected our story and there was never a big discourse about it.

Q9 - There’s a big stretched face with a monocle at the end of the rollercoaster section in Devil’s Pit, I couldn’t wrap my head around it (ha) but who is that/what’s their backstory? I saw somewhere mention it was supposed to be a boss which appeared in a trailer (https://www.youtube.com/watch?v=ZSSoIWJPL-4) but wanted to confirm what the deal was!

Originally there was a boss encounter with JP Sater which took the form of this hideous train man creature. The goal was to have characters such as Howard and Sater, who have both accepted their places in Silent Hill, but with drastically different results.  This would be something for players to ponder and explore.

For various reasons we needed to cut this encounter, and it isn’t exactly key to the story, but we didn’t want to waste the creepy model. So we extended the mine train sequence so it could end with the reveal and taunting by Sater. I guess Murphy can be thankful that he wasn’t part of Sater’s story, so he didn’t have to overcome an enormous steamengine behemoth.

Q10 - Always love hearing about any strong memories you have working on the game, feel free to share anything that comes to mind!

Devin and I both spent a lot of time in the Czech Republic during development, both together and alone. I think a lot "clicked" for both of us early on, when Andy Pang (Producer) took us on a trip to some of the sights around Brno, which included the Punkva Caverns – the inspiration behind the Devil’s Pit.

At the bottom of the caves is a river, and your group of maybe 20 tourists board a small boat and a guide navigates you through these dimly-lit caverns. The guide was discussing that this journey changes based on rainfall, as the water level in the caves may be too high to be safe, and as he said this, we noticed the ceiling was coming AWFULLY low. Especially on the left side of the boat, where we were. In fact, we had to lean over on our neighbors to avoid it. In fact, we scraped our shoulders a bit on the rock.

Afterward we both noted that in America, they would NEVER have sailed at that water level. In fact, there would be signs and barriers preventing you from touching the rock, and the boat might even be on a track or guide of some kind, to ensure maximum safety.

We understood a lot more about Downpour’s Silent Hill after that excursion.

[seventeenlovesthree]

Hey I thought I would you ask you something about the Digidestined that makes me really wonder about their relationships.

Minus any shipping,

Which Digidestined do you think brings out each Digidestined the best of themselves? It could be as a friend or a love interest.

The show seems to imply that DNA digivolving/jogress means they are matched together well, but is this really the case?

I think an analysis like this would be helpful.

I would agree that the idea of "brings out the best in the other/makes the other better" is not applicable to every single Jogress combination - and sometimes, it applies more to one side than the other, but it also really depends on the time and place the characters are currently at. While there is a certain theme of complementation going on between all existing Jogress pairs ("one is having something the other lacks"), they also don't make each other "perfect".

Personally, I would also always distinguish that Jogress compatibility doesn't equal romantic compatibility - it CAN be a factor, but is not the main theme in my opinion. But let me look at all individual cases... May be a looooong post!

Taichi: For him, it REALLY depends on what timeframe we want to look at, because it's incredibly context-reliant. To nobody's surprise, I gotta name the 3 characters that - aside from Hikari - have the greatest interpersonal impact on him: Sora, Koushirou and Yamato. Sora's influence makes Taichi softer and, as we know, makes him question his cowardice - she is indirectly responsible for activating his Crest for a reason after all and I still maintain that, despite the miscommunication that goes on between them throughout the series (OWG, Tri), him caring for her is pushing him to do his best. Yamato can be seen as complementary here, because, while Omegamon was never formed BECAUSE of their bond, Yamato still challenges his sense of courage, he makes him more contemplative and considerate in times of emergency (Dark Master's Arc, Tri, Kizuna). Yamato also pushes him to rethink his strategies, pushing him to be better - the problem is that they sometimes have to get physically violent for it to happen and that's not necessarily the healthiest approach. Koushirou is here for the simple fact that he enables Taichi to make the right decisions and even if Taichi still has a tendency to do things himself, he knows he can rely on Koushirou's strengths to do so (Adventure, OWG). Similarly to how he relies on Yamato, even though it has less of an emotionally visible impact. Long story short - he can be his most COURAGEOUS self when his heart, his gut and his head are in the right place. (Hikari can be mentioned here because she gets him to try to be responsible and protective thanks to their past experiences, but that should be self-explanatory.)

Yamato: Jyou and Taichi. Similarly to how Yamato has an emotional impact on Taichi, the same goes the other way round - I'm still ranking him after Jyou, just give me a moment to explain. First of all, both Jyou and Taichi used to have their rocky moments with Yamato, some involving punching, others shouting and accusations. You can argue that, as adults, a.) they have overcome most of their arguments and quarrels and b.) Taichi and Yamato seem to be much, much closer than Jyou and Yamato. I still maintain that, personality wise, Jyou is more emotionally compatible to deal with Yamato's temper. As said, most of Taichi's and Yamato's quarrels have been solved by now, Yamato doesn't perceive Taichi as a threat of his own sense of leadership and ability to be a brother anymore; he may still see him as a mirror displaying his own worst qualities whenever he's at his lowest point though. They have become good, close friends, that will always be capable of saving the world together, trusting in each other blindly; as mentioned here, I think that they are not necessarily able to save each other outside of that though. We may spin this into a direction that, Jyou is more compatible with Yamato romantically in my book; because he could look through Yamato's insecurities and, by being inspired by him, inspired Yamato in return as well - and activated Yamato's Crest after all. I know, I know, I may be biased and it's been a while since they've smiled at each other softly like they did in the Dark Master's Arc - but at least the stageplay validated me in how Yamato was eventually able to open up thanks to Jyou's encouragement. Long story short, both Jyou and Taichi tickled Yamato's sense of FRIENDSHIP in very particular ways - and this is remarkable, because Yamato is good at "finding people" (as in, doing investigations and knowing whom to contact), but not necessarily good at maintaining bonds. (Takeru may be mentioned, because he nurtured Yamato's protective attitude, but just like with the Yagami siblings, this can be seen as a given.)

Sora: Mimi and Taichi. I am a big fan of the idea that Sora and Mimi complement each other in the best possible ways - while Sora used to be the mom/big sister friend to take Mimi under her wing, protect and guide her, she encourages Mimi to bloom into a confident flower that got enabled to support Sora in all the ways she needed for once. Granted, Sora still struggles to accept Mimi's help, even as an adult, but the analogy of Mimi being the flower who softens the thorns in Sora's heart is just too beautiful to me. Speaking of hearts, if there is any other character that reaches hers in character-defining ways, it's Taichi. The same Taichi who, after saving her, vanished, caused her to look for him on her own while still protecting everyone in the back, just to end up reunited, with everyone having gotten stronger than before, helping her to realize that she indeed knows how to LOVE. As pointed out here, they are continuously on each other's minds, almost telepathically connected (as implied in the novels) - and similarly to Mimi, Taichi has a very strong impact on how Sora defines herself. Starting off as his football buddy and partner in crime, regardless of her gender, I still maintain that it particularly confused her when she got that hairclip from him, challenging her own identity problems and issues with femininity even more. And while I already said that there is an ongoing theme of miscommunication between them, up until Kizuna, the care and connection between them does not fully vanish. Mimi is the one who tells her to spread her wings freely (To Sora), Taichi is the one who tells her that her caring attitude is not a flaw (Tri) - she still has to embrace both of that first though and since she currently prefers to take a bit time for herself, we gotta wait and see if and when that might be the case...

Koushirou: Taichi and Mimi. I will try to keep this briefly, as you all may already be familiar with my stance on this anyway, but still: Without Taichi, Koushirou would not have gone to Summer Camp. Without Taichi relying on Koushirou's skills, enabling and encouraging him, the group would not have saved Sora, would not have been able to solve the card riddle and get back to the real world, would not have solved The Prophecy, would not have been able to find medicine for Hikari... You see where I am going with this. Koushirou, according to the novels, used to not think very highly of himself as a person who also didn't get along well with other people - and Taichi just naturally took him under his wing, invited him to camp, indirectly helped him to believe in his KNOWLEDGE and skills more and become more of a hands-on person, which naturally led to him become a guidance and eventually a mentor and teacher for his friends and especially the younger kids. Basically, he could open up and become more vocal due to his bond with Taichi (again, literal novel quote), being his best friend, right-hand-man and partner in crime, solving riddles and saving the world together. The other person who makes him get more vocal at times is Mimi - not only does she challenge him to question his own approaches by having a completely different priority system (positive!), but also makes him question his wardrobe (slightly less positive in my opinion and I still wish I could name Sora as honourable mention at this point, because fashion could have been a wonderful bonding and development theme for them, but they simply never got executed like that!). The fact that both Taichi and Mimi cause his polite attitude to fade at various points in the series is a clear indicator that they have an impact on him like nobody else - especially because he is very connected with a lot of people online and makes sure to keep everybody always up to date, but is not necessarily the most social butterfly outside of Chosen Children duty.

Mimi: Sora and Jyou. I'm not sure who deserves spot 1 and who gets spot 2 here, because both of them have such a vital influence on why Mimi is as confident in herself as she is. As already mentioned in Sora's part, Sora has been protecting and guiding Mimi ever since they have known one another and it's quite obvious that Mimi, despite not aspiring to be like Sora at all, still greatly admires her and all her qualities. When Mimi loses her way, she knows she can rely on Sora to pull her out of it - which is exactly why their bond, Sora's kindness and encouragement helped to make Mimi's Crest glow for the first time, making her admit her faults and wrong-doings. And Mimi, despite her outspoken, opinionated attitude, needs encouragement. Which is where Jyou comes into play - not only was he the one to accompany her on her pacifist path of self-discovery once, but he was also by her side when she needed to vent over her insecurities and self-esteem issues twice. Making her be her most SINCERE self. Which in both cases, was a mutual experience, as I will go into detail about down below. Long story short: Both Sora and Jyou are capable of making her open up in the most genuine way, she feels safe and loved by them in ways nobody else can. Because even if they (indirectly) scold her for things she does wrong - they still do so softly, signaling her that she is fine the way she is. (An honourable mention here goes out to Stageplay/Kizuna!Koushirou who inspires Mimi to try out "something with computers".)

Jyou: Mimi and Yamato. Due to the consistent trope between Jyou and Mimi, I am very inclined to put her before Yamato in this ranking, but in the end, the theme between them is very similar. As pointed out before, Jyou decides to join Mimi in the Dark Master's Arc, primarily to protect her - but through witnessing and admiring her for finding her way, he felt inspired by her AND Yamato to go search for his own path, approach and attitude towards basically everything. It's something that both of them trigger in him at various points; even when he ends up questioning his intentions and motivations again, Mimi's sincere way of opening up to him (Tri) is what brings him back on track himself as well, allowing him to be honest to her and to himself. Not only that, Yamato (stageplay) validates him in believing that it all comes down to choosing for yourself to stay on track. Yamato (Adventure) who had once left the group, leaving Jyou in particular with the wish to believe in himself and his qualities. It's just a wonderful theme that keeps coming up, that helps Jyou to develop such a strong aura of confidence, which in turn makes him the senpai others actually feel capable of opening up to freely and safely. Which is significant considering how busy (and/or absent) he is most of the time. He IS Mister RELIABLE for a reason, so his validation causing Yamato's Crest to glow and Mimi to be confident enough to reach Ultimate level does mean something...

Takeru: Hikari (and Iori as honourable mention). You may or may not personally be pleased by the fact that Takeru and Hikari took the longest to conduct here. This can technically be seen as a negative, since it may imply that Takeru's bond with other characters doesn't go deep enough. Don't get me wrong, he DOES have bonds with QUITE a few other characters, he's looking up to Taichi a LOT, he loves to quarrel with Daisuke, he seems to know what is going on in Sora's and Koushirou's lives, his path from despising to trusting Ken is incredibly interesting, we already know that he and Yamato would die for each other and so on and so on... But you get the sense that he's not letting anybody really in too closely - which, as I observed before, applies to his brother as well. On the other hand, it also means what I already said in previous analysis posts: That he and Hikari are too glued together by the hip to let anybody else really come in between. There may have been times when one could have called it codependency, but considering all their parallels, everything they have seen and have gone through together, it can at least be assumed that they overcame some of their communicative barriers by the time of The Beginning. As much of a fun little time-killing exercise it may have been, he still spent his time practicing his fanfiction world-building skills with her and while the viewer cannot tell how much they have been talking about and processing their trauma, their brother complexes, etc., you simply cannot deny that they have consistently been there for each other. So one can only hope that he has stopped projecting his own overprotective brother tendencies onto her (ever since Tailmon called him out on them in 02), taking off the masks he has been showing a lot of people. Allowing himself to be the HOPE to her Light so to speak. I still want to give Iori a small honourable mention, because while I maintain that Iori "profits" more off of their relationship, I do believe that there was a time in 02 when he was also capable of making Takeru softer, offering him a bit of a mirror to himself.

Hikari: Takeru and Miyako. While the same issues apply to Hikari that have been mentioned with Takeru, her case is still a little bit different. Of course she had been hyperfocusing and depending on her brother for big chunks of the series and while she doesn't seem good at letting others in too closely either, her kindness still attracts people around her - including Takeru, who, as described, is both parallel and sidekick to her. You may already refer to them as trolls and partners in crime - and Hikari intended to stop depending on Takeru for protection as well, wanting to be equals ever since 02. Which, by the looks of it, may actually be the case, considering how they have been fighting rampaging Digimon side by side in Kizuna almost in sync. Again, she is acting as the LIGHT to his Hope. On the other hand, there is also Miyako, who, in contrast to Hikari, is loud and brash and tells the world when she doesn't like something - which is a skill Hikari basically longed to develop herself. So her admiring Miyako to at least some degree - while also being admired and encouraged by her in return - may have been a trigger that allowed her to grow more and more confident, balanced and equal to Miyako. As well as to Takeru too. And they may only grow further from here...

Daisuke: Ken. Daiken are probably THE prime example on how a Jogress combination gets the best out of each other. Simply because them working on their bond, their friendship, drags them away from toxic or dangerous habits (playing roles, hiding behind masks to impress others, bragging, catastrophizing, self-sabotage, etc.) and instead helps them to focus on what's really important. Daisuke gets naturally more comfortable, confident, downright happier and more enthusiastic thanks to Ken; his wish to BEFRIEND Ken basically makes him discover his own sense of COURAGE... There simply isn't a better example than this, because nobody else makes him get as honest as Ken does, as he basically plays a role towards everyone else (Hikari, Takeru, Taichi - and especially with the latter, it's a shame, because he used to look up to him, but finds his own style along the way, which never got that much focus...).

Ken: Daisuke. It's the reverse situation as described above, Ken is being enabled to overcome or at least deal with a lot of his self-esteem issues thanks to Daisuke's encouragement. The best thing is that, as soon as he opens up thanks to Daisuke, literally letting all of his KINDNESS shine through, he is capable of forming (potentially beautiful) bonds with several other Chosen Children and may have the greatest growth with the members of his core group (Iori, Takeru, Hikari and Miyako) than any other 02 kid. And in contrast to what I've said at the beginning of the post, Ken and Daisuke may or may not also be romantically compatible after all...

Miyako: Mimi and Hikari. While there are other characters who have an impact on her behaviour, I would argue that these two may have the biggest influence on how Miyako defines herself. Her identity and self-image are basically challenged by how she perceives these two; Mimi is oozing freedom, self-expression and brazenness when Miyako meets her for the first time, which are not only things that make her look up to her, but also things she would like to possess herself. Hikari is on the other end of the spectrum, she appears to be more reserved, collected, lady-like - and still possesses a drive, confidence and courage that Miyako admires. Her bond with both of them makes her more confident and also more SINCERE and LOVING, more aware of herself, her flaws and limitations, while also making her softer. (I would LOVE to add names like Sora and Koushirou here too, but they did not have screentime nor long-lasting "revelation" appeal to her. Sure, they both basically made her see that it's okay not to jump if you don't feel up for the task, but overall, they didn't have too much effect on her in comparison.)

Iori: Jyou and Takeru. Koushirou gets an honourable mention here, because he doesn't get nearly as much opportunity to see Iori at his lower points or have meaningful emotional moments as the other two do. Jyou and Takeru get way more opportunities to get to know and bond with him - we all know he still gets the shortest end of the stick in terms of screentime and relationship development, but it's still interesting to see how he loosens up, softens thanks to what he experiences with and observes through them. Takeru and him both have a lot of pent-up anger, but Iori learns that lashing out for revenge may not be the right path. Likewise, Jyou used to be a lot more tense and stiff on rules when he was younger - and is now teaching Iori that it's okay to take things easier, to be kinder with oneself. Plus, neither of them treats him like "a child/the youngest" and so he gets the best of both worlds, making him become more resilient through the gained KNOWLEDGE and letting him take on tasks to show his own RELIABILITY.

[bestworstcase]

You've said before that RWBY's writing can be non-formulaic other than the 3 Act structure that it follows. What is it then that makes RWBY's story and writing so different (especially from more typical pop culture writing) in that regard?

to be completely honest i think a significant factor is that rwby is written by people who care about telling a story and have a very clear vision of what story they want to tell that they are resolutely sticking to no matter what. rwby is pretty remarkable in its sheer indifference to 1. what the fandom wants and 2. mass market appeal. paraphrasing but isn't one of the writers on record saying that they keep an eye on the fandom and if they see a lot of people not getting something they try to make it more obvious in the text? <- i think about this all the time.

bc like. before V9 i tried really hard to manage my expectations because i didn't feel sure, at all, that i wasn't just reading around a bad case of protagonist-centered morality—like i could count on one hand the number of people besides me whose writing on salem aligned with my interpretation and what i thought was going to happen thematically in V9 was so DRASTICALLY different than what the fandom largely seemed to expect and when you're that far off the common thinking then it's kind of like, is it really everyone else who's wrong or is it just you?

and then it turned out i was right. i was in fact so right that i underestimated how hard V9 would go on delivering what was set up in the first eight volumes.

which is fucking mind-boggling to imagine from the writers' perspective. the fucking guts it take to have a finger on the pulse of this fandom and not budge an inch on what this story is about!

<- being formulaic is safe. it is easy. it's palatable. for all that everyone loves to complain about unoriginality, there are a lot of people who just want to be entertained by something familiar. rwby doesn't give a damn whether you like it or not, it's going to keep being the story that it is, you know?

so they're very willing to take creative risks. that's really the heart of it. but there are a few specific like, technical aspects of the narrative that make rwby what it is:

#1, the narrative status quo gets turned on its head not just once, but repeatedly. the fall of beacon, the lost fable, the fall of atlas, the ever after. and by my count there are at least two more key changes before the story ends. it's not all that common for stories to upend the narrative status quo once, let alone multiple times, but rwby is a story about change and the structure of the narrative reflects that. (this also synergizes quite well with the three-act structure.)

#2, the characters are wrong about all kinds of things in all kinds of ways, constantly. some of them lie. some of them make very confident, very wrong assumptions. all of them are working with incomplete information. the ancient immortal character who's spent millions of years alone is cryptic and awkward. half the cast belongs to the keeping secrets cult. the goddamned avatar of knowledge is an unreliable narrator because ruby asked specifically for ozpin's side of the story. the narrative blithely informs the audience in V5 that "truth is hard to come by" is an important enough theme to say it out loud and then throws the lost fable down like a gauntlet. good luck.

#3, related to the above, in most stories the heroic characters know (or learn) and believe the story's themes and the villainous characters reject the theme and embody the anti-themes. in rwby, theme/anti-theme is decoupled from narrative role: ozpin is on the heroic side, but he represents many of the story's anti-themes (fear, distrust, lack of faith in humanity, blind obedience of authority); salem is the main villain and notional big bad, but she believes the theme—so much so that the fandom regularly quotes her soliloquy to express the core theme: "even the smallest spark of hope is enough to ignite change," and "there will be no victory in strength." this opens the door to a lot of really interesting character complexity and is critical for making "salem wins by negotiation" narratively possible at all.

#4, the story takes fairytales seriously. what sets rwby apart from a lot of "deconstructed fairytale" stories is that the point of taking the fairytale logic apart is not to be clever or edgy or grimdark or hyperrealist or cynical about it; the conceit is a tragic, broken fairytale that keeps going forever until it's mended because fairytales are not real but they are true. rwby rejects the moral and emotional simplicity of fairytales in order to weave a fairytale about lifelike characters rather than archetypes. that's a lot rarer than darker and edgier retellings or irreverent parodies by a wide margin.

[clavissionary-position]

What Emma Would Do

Ignore me. This is just me working through my own thoughts and feelings on this. Also I'm an idiot.

***BIG EDIT: I misread and misinterpreted. Azel was nearly drugged and SA'd, so his reaction, however cruel, makes complete sense to me. If he was real I couldn't apologize to him enough.

Moving @/caffedrine's billion-dollar comments up here.

My original, misguided post is below the cut if you're interested.

I have to ask myself what Emma would do. Within reason. And only within the scope of this fictional game, because I'm not about to touch this topic as it exists in the real world. That's for people much smarter than me.

But for the game, my dismissing of Azel as a cruel misogynist without seeing his circumstances and worldview shuts down the conversation the same way it does when Azel dismisses a woman as a slut without seeing her circumstances and worldview.

(Did he actually use the word 'slut' or did google just translate 痴女 like that for me... I should double-check... edit: oh my bad, he calls her a "female molester", which... I can't say he's wrong considering she tried to give him an aphrodisiac...? The word also means "stupid woman", so he could very well have meant it that way too, especially for some reasons I get into later in the post.)

Soooo, he didn't actually call her a slut. I'm an idiot 😌 I'm sorry, Azel. Dunno if any of my points below mean anything, but I'll leave it here anyway:

The running theme in Ikepri is to look beyond the beast and see the human inside. To meet them halfway. To see their heart. And that heart is always so very terribly scarred. All these guys have gone through their own traumas and come out the other end behaving in ways designed to be armor, to protect themselves from any further pain.

I can only speculate about Azel this early in his story arc, but being showered with the same adoration and reverence that people only show a god, day in and day out, probably fucks with your mentality a bit if you are still only human at the end of the day. Having women try to seduce you only because you're The Living God, well, we saw what that kind of shallow treatment did to Silvio. Women see you as an object and so women become objects to you. You want to be loved, but you don't want to be hurt.

That might only be scratching the surface with Azel, though. He's also clearly jaded from listening to the same old interpersonal problems people have when in relationships. Love is actual trash to him, not even worth a single penny. It's trash because the very people who follow him prove it to him on a daily basis, I imagine.

Yet that's still not the full picture. I mean, we obviously won't have the full picture until his main route drops, but there's another key factor to consider with Azel.

He quotes Pascal in Licht's sequel. "Man is only a reed, the weakest thing in nature; but he is a thinking reed." The full quote goes onto say:

"All our dignity consists, then, in thought. This is the basis on which we must raise ourselves, and not space and time, which we would not know how to fill. Let us make it our task, then, to think well: here is the principle of morality.”

(Did I read the entire context of the quote? HA! What do you take me for? A scholar or something?)

Free will and independent thought is arguably the most important thing to Azel. He has no respect for the sheep who flock to him for direction (though he'll happily take their money and tributes). Even with the dancer who tried to seduce him in the prologue, when he tells her to lick up the food she dropped after he tripped her, he presents it as a choice. Nevermind that the staggeringly unequal power dynamics at play made it so this was nothing short of coercion in the end; there was no way the dancer was in a position to stand up for herself and say no, even if that's exactly what Azel wanted. But from his perspective, defiance would have been welcome. That's why he phrased it as a choice. That she started licking up the food only solidified in Azel's mind that this woman is an unthinking reed without dignity. If you're going to act like trash, he'll treat you like trash... maybe that was part of his thinking.

On a slightly different note, I think another reason he hates the idea of love so much is because love makes people lose their ability to reason, to think. I believe he outright says as much, iirc.

In the end, I don't know from where exactly Azel's fury and cruelty comes from. It could be all of these things, it might be something else entirely. All I can think is, you can't be 'God' everyday and not be scarred by humans.

In conclusion, I can't excuse Azel's behavior. I don't excuse it. But I think Emma would try to understand the why of it, like she does in any other route. The other running theme in Ikepri is that, as a certain someone would put it, the essence of all people is love. It's their environment that twists them. Somewhere in Azel is the purest kind of love. A kind that would make any god look away in shame. That's what I want to believe in, anyhow.

Also, I need stress that I was SO wrong about whether he actually called the dancer a slut or not. Google fucked me over by translating it that way! Ah, Azel, I'm so sorry!

[pluckyredhead]

loved reading ur tom king tea so how abt ☕️ tom taylor

I think this post I reblogged a little while back said it really well, especially "He writes comics to go viral on Twitter."

My main problem with Taylor is that his writing is fluff with absolutely zero substance, and I feel like this has two major consequences. First, there's this weird disconnect between stakes, competence, and victory. All of his heroes are wildly incompetent, so he sets up these huge stakes and then has them resolved by other people, or dumb luck, or just...pretending the stakes don't exist? So now not only are the heroes incompetent, the story is unsatisfying because the victory doesn't feel earned - because his goal is a cutesy viral moment that gets passed around the internet out of context, not satisfying storytelling.

For a small example of this, there's that scene where Clark needs Bruce and Dick to help him find Jon, who is learning how to fly. I repeat: Clark, who has super speed, flight, X-ray and telescopic vision, AND CAN HEAR HIS LOVED ONES' HEARTBEATS, needs two regular fucking guys to somehow detective out the location of his own child. Clark is nerfed just to get a cute moment of Dick giving Jon a lollipop - and Taylor absolutely got what he wanted out of that, because those pages did go viral, no matter how little sense they made.

For a bigger example, there's the climax of the Blockbuster storyline in Nightwing, where Blockbuster discovers Dick's identity and Dick realizes that his entire life is about to be destroyed...and then someone else kills Blockbuster and solves Dick's problem for him, and he literally never thinks about it again. This is our hero triumphant? This is NOTHING! I literally stared at that comic with my mouth open. For real? For real for real???

You see this over and over again. In the most recent issue of Titans, it's revealed that Dick basically hypnotized himself into having a secret part of his brain he can only access via a code word because somehow that prevents Raven (a telepath) from reading his mind (why? UNCLEAR). He is explicitly inspired by what Bruce did with his Zur-en-Arrh personality. You know, the one who has been the main villain in Batman for over a year? Who has taken over Gotham and driven Bruce into hiding? Who will be a key factor in the upcoming Absolute Power event? That guy?

But it's okay that Dick did the exact same wildly unsafe thing, because Dick says in the comic "this will be fine" so it'll be fine. Why? He said so! It'll be fine!

Obviously most of the time superheroes do defeat the bad guy and it is fine (and even when it isn't, they come back to life), but in order for a story to have impact, we have to believe in the stakes. The hero needs to make an effort. There need to be consequences. Taylor's writing is devoid of all of that. When he gets to issue #6 of a given storyline, everything is just magically resolved. It makes his characters feel shallow and incompetent, and his stories feel meaningless.

More importantly, his politics are as shallow as his plotting. He injects liberal themes into his writing, but things are just magically resolved, and no one ever has to make a hard choice. Jon Kent occasionally scolds a mean person and then flies off to hold hands with his cardboard cutout of a boyfriend, and Taylor pats himself on the back for being History's Greatest Ally.

Meanwhile, he does absolutely nothing to support real people with marginalized identities. When Chuck Dixon when on a twitter spree sharing a homophobic photoshopped panel of Dick and Jon, Taylor was like "Oh that's actually photoshopped, but I love your work!" and then spent several tweets kissing Dixon's ass. Sucking up to a homophobe was more important to him than actually standing up for queer people, or even just...not saying anything. (Not saying anything is free!)

Now don't get me wrong, Taylor's mentions are deranged and people need to leave him alone about Babs not being in a wheelchair because it's obviously not up to him. But the way he acts like he is the world's greatest martyr to The Cause because of his milquetoast comics when over and over again he fails to support real, living people drives me nuts. (There are other examples, but I don't have the strength to unpack the Ed Piskor stuff right now.)

In conclusion: his writing is shallow, his politics are shallow, and I'm tired.

[cripplecharacters]

Hello! I can really use some help with a non-speaking character I’m a story where trauma HEAVILY factors into the plot for every character.

One of the main characters of a web comic I’m making is autistic and non-speaking due to severe speech apraxia. He pretty much only uses his device (proloquo2go in his case), along with gesture and expression. He has trauma being severely bullied and punished for his inability to speak in a way that’s acceptable.

He’s a PhD student in psychology about to graduate and barely holding together with the stress of being in that final stretch. He gets thrown in this nightmare realm with another student, a nursing student who just got out of an abusive marriage, and has his ALSO non-speaking 5 year old daughter with him. Overtime they get to know each other and fall in love. Both of these characters struggle intensely with loneliness and self worth, and a huge theme is overcoming isolation and starting over even after being hurt for so long.

Ok I’m sorry, that was SO long. Basically I’m wondering how I can avoid making this character seem like trauma is all there is to him when the story is so heavily ABOUT everyone’s trauma. ALSO, what are some tips for writing the growing relationship of a non-speaking character with a speaking love interest?

Hi!! This story sounds really wonderful! For your first question my advice is to show that these characters while traumatized still have other interests and hobbies. Real people don’t just sit around sadly thinking about our trauma we do things! Especially for an autistic charecter give them a special interest, talk about the ways the engage with the world through that. Trauma effects how people move through the world but it doesn’t out the world on pause. You can also show this in their relationship. Why do the characters like each other? Highlight those aspects.

As far as a relationship between a speaking and non-speaking character it’s pretty similar to any other relationship. Show them learning, growing, and bonding with each other. It may be good to show a conversation they have about boundaries. About how the non-speaking character makes it very clear that she should not touch his device, to have patience while he types etc.

Thanks, Mod Patch

[the-monkey-ruler]

I'm a fan of the Saiyuki/Monkey 1978 show and I thought I'd throw in some extra info after seeing that last anon ask about "why is sanzang often a woman in japanese media"

First off, I hope I don't come across as nitpicky, but the show in English is called "Monkey", not "Monkey Magic", and the only reason I point that out because there IS another JttW adaptation (animated series, but also from Japan) called "Monkey Magic" and I don't want anyone to get the two confused. (But the theme song to Monkey 1978 IS called "Monkey Magic" so confusion abounds lol) You said "many Japanese media followed its example and had Sanzang be a woman." While Sanzang is often played by a female actress in Japanese media, the character is almost always still male, at least in the more mainstream direct adaptations of the JttW story. DBZ is hardly an accurate adaption, and Bulma being made a woman was probably just inspired by Sanzang being played by actresses, like you said. I could be wrong but at least from the ones that I've seen, the adaptations that do change Sanzang the character to be a women are usually ones that don't take themselves as seriously when it comes to "accurately" adapting the original story (not that there's anything wrong with that).

"I can’t say for certain why they made Sanzang a girl in the 1970s" Unfortunately I haven't been able to find a definitive reason either, but I did read once that the actor who played Wukong for the show gave an interview and said that the reason they hired an actress was "to generate buzz about the show" (but I can't confirm a source for that quote). I've also seen multiple theories that another possible reason is due to the fact that Sanzang is supposed to be a beautiful man, so why not have a woman play him to amp up the attractiveness factor?

Also, in the English dub Tripitaka is often referred to as "the boy priest" which to me seems a weird specification to point out, unless they're implying that he's very young or not even an adult yet in this show. Wukong calls him "the lad" a lot too, which maybe lends a little credence to this Sanzang being young. I don't know if that's also true in the original Japanese, but if it is, then that might also explain why they chose an actress to play him, to make him look properly youthful.

(Or maybe the English dub kept emphasizing Sanzang being a boy/a lad simply to help audiences know that despite being played by a lovely actress, the character is still a man lol)

OR who knows, maybe the casting director for the show felt like being progressive for the 70s, because Sanzang isn't the only cross-cast character; Buddha is played by a female actress and Guanyin is played by a male actor.

Sorry for such a long ask, I tried to keep things concise while still hitting the main points. I really really enjoy this show and I'm sad there isn't a whole lot of information available for it!

I'm a fan of the Saiyuki/Monkey 1978 show and I thought I'd throw in some extra info after seeing that last anon ask about "why is sanzang often a woman in japanese media" First off, I hope I don't come across as nitpicky, but the show in English is called "Monkey", not "Monkey Magic", and the only reason I point that out because there IS another JttW adaptation (animated series, but also from Japan) called "Monkey Magic" and I don't want anyone to get the two confused. (But the theme song to Monkey 1978 IS called "Monkey Magic" so confusion abounds lol)

I like that Monkey Magic anime that you brought up. It's good stuff!

You said "many Japanese media followed its example and had Sanzang be a woman." While Sanzang is often played by a female actress in Japanese media, the character is almost always still male, at least in the more mainstream direct adaptations of the JttW story. DBZ is hardly an accurate adaption, and Bulma being made a woman was probably just inspired by Sanzang being played by actresses, like you said.

I'm not saying that most Japanese media have Sanzang as a girl, just a lot of them, and yes most faithful adaptions of course have Sanzang as a boy but that doesn't discount how many girl Sanzang media has come out of this and could have been influenced by Monkey (1978). This is more just observing the combination of Japanese media that has femme Sanzang more than other countries' media.

The Saiyuki franchises do keep it that Sanzang is a male played by a woman there is other Saiyuki media that has him as a female on purpose. Saiyuki TV series (1993), Saiyuki (1994), and the Sayuki movie (2007) are clearly 1978-inspired but as such just have Sanzang is supposed to be a man. Maybe even Doraemon: The Record of Nobita’s Parallel Visit to the West (1988) since while the character is a girl she is still playing Sanzang as a man.

I didn't even consider Dragon Ball as an example of Sanzang being portrayed as a woman. I was thinking Saiyuki Starzinger (1978), SF Saiyuki Starzinger Movie Edition SF (1979), and Saiyuiki Journey West (1999) where you play as Sanzo and choose your gender as either a girl or a boy. There is also the Japanese anime Nanbaka (2016) where Sanzang is played by two different characters also a man and a woman. There is also just anime-games like Monster Super League (2016), Dragalia Lost (2018), Granblue Fantasy (2014), and Monster Strike (2014) モンスターストライク.

There are other non-Japanese productions that also follow the idea of having Sanzang as a woman and while these can be separated from Monkey (1978) I think they should also be considered to be have some influence. The Australian tv show Legends of the Monkey King (2018) is stated to be inspired by Monkey (1978) more so than Xiyouji itself. Korean Odessey (2017) and God of High School (2020) are Korean productions but I'm not sure if this is inspired by Monkey (1978) as it is a different modern take of the story and thus could be different. There has only been one Chinese media that I have seen with a female Sanzang Ultimate Westward Journey (2019).

I could be wrong but at least from the ones that I've seen, the adaptations that do change Sanzang the character to be a women are usually ones that don't take themselves as seriously when it comes to "accurately" adapting the original story (not that there's anything wrong with that).

I guess they don't have to be taken seriously but they should still be noted all the same because this is still Japanese media that is portraying Xiyouji characters. It doesn't have to be taken seriously to still note when and to whom gender bent happen (should also be noted that Bailong and Wujing are also common characters to have their genders differ). Just cause they are games or cartoons doesn't make them any less media that should be considered how easily it is to change Sanzang's gender even for casual and common everyday games and shows.

It's not so much about accuracy as that isn't needed but how to widespread the idea of changing Sanzang's gender. It's not a bad thing but something that should be recognized. Personally, in terms of Dragon Ball, I always like the idea of Krillin being as Sanzang as well since I think that being an ex-monk would be clever. But since there is a lot of Japanese media that has Sanzang has multiple characters that could be Sanzang it could just be up to interpretation as Bulma was the original idea for Sanzang representation.

"I can’t say for certain why they made Sanzang a girl in the 1970s" Unfortunately I haven't been able to find a definitive reason either, but I did read once that the actor who played Wukong for the show gave an interview and said that the reason they hired an actress was "to generate buzz about the show" (but I can't confirm a source for that quote). I've also seen multiple theories that another possible reason is due to the fact that Sanzang is supposed to be a beautiful man, so why not have a woman play him to amp up the attractiveness factor?

I was quoting from the Monkey 1978 Baidu page when I was talking in my last post and it did seem like they were going to hire Tamasaburo Bando until the change was made. @journeytothewestresearch suggested that it could have been to highlight Sanzang's natural beauty so perhaps that could be the case. But in any case it def left an impressive on lots of media later down the line.

Also, in the English dub Tripitaka is often referred to as "the boy priest" which to me seems a weird specification to point out, unless they're implying that he's very young or not even an adult yet in this show. Wukong calls him "the lad" a lot too, which maybe lends a little credence to this Sanzang being young. I don't know if that's also true in the original Japanese, but if it is, then that might also explain why they chose an actress to play him, to make him look properly youthful. (Or maybe the English dub kept emphasizing Sanzang being a boy/a lad simply to help audiences know that despite being played by a lovely actress, the character is still a man lol)

I think they could have been implying that he was younger in the show since there was some media in the early 1960-70s where young boys were played by women. I have only seen this in like musical movies though, so that the 'young boy' would have a higher-pitched voice.

OR who knows, maybe the casting director for the show felt like being progressive for the 70s, because Sanzang isn't the only cross-cast character; Buddha is played by a female actress and Guanyin is played by a male actor.

I do think that showing Buddha and Guanyin as genders differing from how they are usually portrayed was very innovative! Perhaps even touching on Guanyin's original legend where she was an Indian Prince, gives her an ambiguous gender role. It could be that the director seeing that both form and beauty are not limited to gender could be played by anyone as long as the acting is top quality.

Sorry for such a long ask, I tried to keep things concise while still hitting the main points. I really really enjoy this show and I'm sad there isn't a whole lot of information available for it!

I do wish that I could find more information and I'm surprised that there is very little despite how globally popular it was. I know that the sub was many people's intro to Xiyouji and further created a stronger legacy. But it could be that the show's run was to be short

[theheirofthesharingan]

What do you think about naruita/sasunaru? Some people say it’s illegal because of the age gap but isn’t fugaku and mikoto’s age difference is also 5-6 years?

Cont..

I meant sasuita in the last ask sorry

I wrote my thoughts on NaruIta/ItaNaru in the previous ask and I don't think age gap in FICTION should be anyone's concern. Real people aren't getting hurt.

Onto Sasuita/Itasasu because I have a lot of thoughts on them. I think age-gap is the least concerning thing from a moral and legal standpoint in this ship. KisaIta, Kakaita have age gap too, even more than Itasasu, but it's not considered illegal. Even Shisui is quite older than Itachi. Itachi was 11-12 when Shisui died and Shisui looked older. Maybe he was 15-16. None of these ships are illegal.

One of the major factors this ship is problematic is because it's incest. And usually always age-gaps (when family members are concerned) cause severe power imbalance in the dynamic of the said characters which is directly attributed to grooming and manipulation and sexual exploitation, and all of this is criminal.

I haven't explored the shipping side of Sasuke and Itachi, so I don't know how they're portrayed in the fics and how the relevant non-platonic aspects of their relationship are handled. I did see arts, but those aren't very telling in this regard as well. Over all, I've only explored a handful of fics with Itachi and Sasuke as a main focus and I don't like their characterization in most of them.

Anyway, even if it is illegal because of incest and age gap what are antis going to do? Throw the writers and artists in jail? Make the world go against them so the artists stop creating those arts? They could just mind their own business and outrage over the things that need their attention instead of bullying the artists. We're living in 2024, not 1800s where writers were jailed because some puritans got offended.

Problematic themes have always existed in fiction and as long as no one acts upon them it's alright to explore. Flowers in the Attic by V. C. Andrews also deals with incest. Haruki Murakami's Kafka on the Shore also has implied incest and age gap. Love in the Time of Cholera is the story of a stalker who becomes a fuckboy because the woman he used to stalk refuses to marry him. And he's also groomed a 14 year old kid at the age of 70 or something. Lolita is about a child predator who abuses and threatens a little girl.

Mainstream media has always dealt with these things. I don't understand the point of going after the artists who do their work in free time and moral policing them.

[johnconstantinesdick]

Here’s the promised Seffie meta—I wrote this after chapter 9 of Improbable Fiction, expanding on her queerness, relationship to Colette, and how she foils Gil. All under the cut!

So, in Improbable Fiction, Seffie’s queerness has been purposefully left ambiguous, and I would so dearly love to talk about why—some of this I was aware of when I was writing, and some of it is me finally putting words to my gut feelings. The main reason is this: when it comes to Seffie’s feelings for Gil, it doesn’t matter if she’s bisexual or a repressed lesbian or some other flavor of queer. It’s not relevant, because whatever the case is, her feelings still matter. Whether she’s experiencing romantic attraction or compulsory attraction, at the end of the day she deserves to have her experiences and feelings validated. Seffie has so often been treated as a pawn as a matter of course in her family. She’s so often been dictated to or groomed for certain positions or she’s just had it assumed what she feels or means or thinks that it almost felt… like I would just be going against the themes of her arc to say “well she’s a lesbian so these feelings weren’t REALLY a crush” or “she’s bisexual and her feelings for Gil are more valid because she CAN be attracted to men” or whatever because it doesn’t MATTER. what Seffie needs is to be listened to! Not interpreted by me to the readers, just Seffie laid bare, all confusion and hurt and righteous fury.

And it’s also why, while the ending of chapter 9 is very much intended to show that Colette and Seffie are In Lesbians, I firmly believe they didn’t actually kiss or officially get together or anything. It’s not the right TIME. if Colette were to confess to Seffie at a time like this, it would just show that they can’t be together because Colette doesn’t understand or respect Seffie—which she DOES. Seffie is coming off the high of her first love, true or not, and the heartbreak afterwards.

Gil has spent this entire time dismissing Seffie’s feelings. Part of that is just that it’s in his nature to be a little dismissive of other peoples feelings and bulldoze over them and focus on himself, but part of it is also that he thinks first of Seffie as Colette’s Love Interest, and thus He Can’t Be The One She Ends Up With. If Gil considers Seffie seriously and actually fully acknowledges that she has feelings that deserve to be validated if not reciprocated, then he’s going to have to run headfirst into the terrifying fact that he… doesn’t like her. And like sure yeah he doesn’t want to hurt her feelings so that’s a factor but it’s mostly that he’d have to deal with the fact that he’s incapable of loving her and he… doesn’t know WHY yet. He doesn’t really have the words to explain that he can’t feel those feelings now that he’s started to realize that people are actually serious about that stuff—he’s finally reaching the part of life that every arospec person goes through where it feels like you’re still stuck at thirteen not understanding that people aren’t joking or exaggerating their romantic interest or dating lives. Gil is standing at the edge of a realization and it’s terrifying!

And the thing is! Seffie and Gil are foils! Seffie isn’t that oblivious to Colette’s feelings on accident, she’s subconsciously ignoring them because then she’ll have to deal with how that makes her feel! Gil is acting the same way towards Seffie! And it’s why, at the end of the chapter, Seffie CAN’T reciprocate right away! The end of the chapter scene is about her finally acknowledging Colette’s feelings and her own suppressed ones, finally reaching an internal breaking point for herself and letting go of Gil and the willful ignorance! They’re on even footing now, and Seffie can finally have the space to start figuring herself out and figuring out how she feels separate from family pressure. Paris is very much a coming of age college story—nothing is going how anyone expected, everyone is trying to figure out where they stand and what they feel, and absolutely no one is getting enough sleep or making good decisions. Seffie isn’t done with her internal journey, she’s just at the START! She’s finally facing everything terrifying and raw in her heart and she can do that because she trusts Colette to listen to her and catch her when she falls. Colette sees her and knows her—not because they’re predestined true love, but because Colette looks and tries. Seffie is finally looking up and realizing that she’s had someone on her side this whole time.

They understand where they stand with each other, now, even without voicing it. Seffie is able to take that internal step because of that trust she has in Colette. They value each other enough to not ruin their friendship in the attempt at romance, to be careful with each other in moments of vulnerability. And that’s terrifying, for Seffie especially. But that’s not going to stop them from trying, and exploring this new facet of their relationship.

[zutaralesbian]

I recently re-read my own fic not all heroes wear capes and thought it would be fun to answer some questions for @shamelessdvdcommentary ❤️

(Questions and answers under the cut)

Give us some stats - (when you wrote it, word count, how long it took to finish, is it a one-shot/multi-chapter, etc)

I wrote it back in 2020 for one of the rounds of the Shameless Big Bang. It’s a multi-chapter but a short one (only seven chapters and 37,560 words). I don’t quite remember how long it took me to finish it but it was at least four months I imagine, given I wrote it for the Big Bang and took up pretty much the entire time given.

What was the initial inspiration for your story?

This is probably a bit spoilerish of an answer but back when the show was still airing, I talked a lot about Ian’s hero complex. It’s one of my favorite aspects of his character and it’s what initially morphed my idea of what his role is in this fic. (If you’ve read it, you know what I’m talking about).

If the story is written from a character’s POV, why did you choose this character?

It’s mostly told from Mickey’s POV but it does change to Ian’s from time to time too. I chose Mickey to take up the majority of it because I wanted Ian’s role in the story to be a bit more mysterious.

What was your favourite scene to write?

A scene in the middle of chapter two, where Ian and Mickey come together and talk about what split them apart. (The story is a post-S3 canon divergence with a twist). I remember really enjoying writing the dialogue between them in that scene because I love writing hurt/comfort. And I think the finished product turned out pretty good if I do say so myself.

(Off topic side-note but after re-reading that whole chapter, I realized that I wrote the sex scene to be much more explicit than I remembered. Which is strange for me because I’m usually only confident in writing sex between wlw ships. I normally go fade to black with Gallavich).

How did you come up with the title?

Titling is one of the hardest parts of writing fic for me, for some reason lmao. It literally just randomly came to mind. I think it’s corny but it goes with the theme of the story so 🤷‍♀️ I’m not good at titles so I can’t really be picky on that front.

Was there anything you struggled to write? If so, how did you overcome this?

The action/fight scenes. Which sucked, considering the main plot of the fic lol. Writing those was like pulling teeth. But I pulled myself through, even though I don’t think they turned out all that great. I’m much better at writing emotional stuff.

Favourite line in the story?

“We were kids,” he clarified at Ian’s questioning expression. “And things were shit. We never stood a chance.”

It just sums up my feelings about S3 Gallavich tbh 😭

Did the storyline change in any way as you wrote the story?

Not really during the writing process. But when I was first trying to plan it, I debated whether to make it a canon divergence (which is what it ended up being) or a straight up AU. I ended up doing what I did both for the angst factor of it being post S3 and because I personally find full on AU’s to be much harder to write than fics that are based at least somewhat on canon.

What are you most proud about in the story? (plot, characterisation, dialogue, twist/cliffhanger, etc)

I’ve had a few people tell me that the fic “kept them guessing” as they read it. Which happily surprised me because while I was trying to be at least a little mysterious while writing, I didn’t really think I had succeeded. So I was proud of myself when a small amount of people validated me on that!

Are there any deleted scenes that didn’t make it to the final story?

No specific scenes but I did originally envision a small interlude towards the end. Ian and Mickey hit a rough patch at some point in the fic because Mickey discovers a big secret that Ian kept from him. In the finished product, Mickey forgives Ian relatively quickly. At some point, it was going to be a more angsty and longer process. But I ended up not going in that direction because I felt like it would drag the story out a little too much.

Reading back the story now, is there anything you’d change or add?

In the story, Sandy (who plays a supporting role in the fic) and Debbie are exes and Sandy eventually dates an OC. Given that I’ve grown much fonder of Debbie over the years, I think I would give her an actual role and keep her and Sandy dating if I wrote it now.

I also would have done a better job at a certain flashback scene towards the end because, along with the action scenes, it’s one of the weaker parts of the story imo.

Would you ever write a sequel to this story?

Nah. Maybe a one-shot sequel of sorts if inspiration ever hit.

Were you nervous or excited to post this story?

Very nervous! It was my first multi-chapter Gallavich fic and first time participating in a fandom event like a big bang.

Did you have a beta or a friend who helped you as you wrote?

Yes! Given that it was a big bang, I had a beta assigned to me. shame_less18 on ao3! And she did a fantastic job! (Not sure if she has a tumblr unfortunately). Part of the reason I chose this fic to do this commentary for is because I know it’s most likely the one with the least amount of errors for that reason lol.

Anything else you’d like the readers to know about the story?

This is probably my favorite fic that I’ve written. (For Shameless anyway). Mostly because it was a lot of fun. My life was simpler back then and the Shameless/Gallavich fandom was fairly popping with S10 having just aired. I’ll always look at it fondly.

[azure7539arts]

Do you ever think about how Li Susu was always supposed to be Tantai Jin's Hou Yi, the one to shoot him down? That everything was already set up all the way from their lives as Sang Jiu and Ming Ye?

Like, I'm pretty sure a lot of people have heard of the story of Hou Yi shooting down nine suns, leaving behind the singular remaining one in the sky. But there's a slightly different iteration to that tale.

According to Classic of Mountains and Seas (山海经), off in the Eastern Sea, there was a divine tree Fu Sang where ten three-legged crows perched. These crows were children of the Eastern Sky God, Di Jun, and every day, each one of them would take turn flying over the sky, and the light that shone from them represented the sun. One day, disobeying their father, all ten crows flew out to play, and their combined light scorched through the earth, leaving a catastrophe in their wake. In an attempt to punish them, Di Jun bestowed upon Hou Yi, known for his skills in archery, a red bow and white arrows so Hou Yi could go and teach his children a lesson. However, these crows refused to listen and dismissed Hou Yi's words, and in a fit of anger, Hou Yi drew his bow and shot down nine crows, sparing just the one that is the Sun everyone sees today.

So yeah.

The three-legged crow being Jing Kingdom's royal totem; Tantai Jin prominently using crows more so than anything else in the show; nine white soul-slaying arrows spikes anyone? :,)

Also, guess who had a red bow, and who else came from the East (Eastern Sea) and also used a bow as a gift?

Miscellaneous:

That last three-legged crow, in some instances, was later known as the Vermilion Bird (朱雀). According to some sources, in Classic of Mountains and Seas, the Vermilion Bird was also referred to as the Mysterious Bird/Black Bird (玄鸟), which is the name to one of the main theme songs of the show.

In the aftermath of that tale, upset by Hou Yi's action, Di Jun exiled both Hou Yi and his wife Heng'e (or Chang'e) from the Heavenly Realm to live as humans in the Mortal Realm. Heng'e is the Goddess of the Moon, and Tantai Jin is also associated with the moon. (Once again, I would like to repeat that Tantai Jin is literally Li Susu's wife.)

The name of divine tree Fu Sang (扶桑) shares the same 'Sang' as the one in Sang Jiu's name: 桑酒. Fu Sang is said to be a tree of life that grows somewhere in the Eastern Sea where the sun rises (flashbacks to Tantai Jin's developing love thread always being depicted as a tree growing out from under a seabed.)

Personal rambling:

It is said that, sometimes, the Phoenix and the Vermilion Bird are mistaken for one another because they both have red feathers and are engulfed in flames. There are also debates about which one of these mythical birds is the superior one, but going off on depictions in the show alone, the Phoenix once belonged in the original line up of the twelve Gods in Shangqing Realm, so the hierarchy is already set there. And idk, it's just another factor that ultimately serves the angle of "she's my better half" from Tantai Jin, because I don't doubt that this will always be his thought process when it comes to Li Susu.

Another thing about people sometimes mixing up the Phoenix and the Vermilion Bird is that it makes me think about the saying of how people in an intimate relationship will eventually start to resemble one another. And also how Tantai Jin did his best to mold the image of Cang Jiumin into what he thought would best fit what Susu must've had in mind for him when she'd switched his Evil Bone for her Immortal Marrow. Because while, yes, it was his own wish to become a better person for her, it was a decision that was deeply rooted in her own wish for him as well.

To that end, Tantai Jin is the mirror that reflects what Li Susu thinks about him. In her life as Ye Xiwu, Li Susu was never able to put down her prejudices against him and the trauma that she had had to go through because of him as the Devil God, so her thoughts about him tended to always go for the worst first and foremost whenever she thought he'd done something bad, and Tantai Jin reflected this. When they spent their time later on as Li Susu and Cang Jiumin together, no matter how short-lived this was, she finally was able to put genuine trust in him and his capacity for goodness, and so he reflected this as well. Like how moonlight is actually the Moon reflecting back the light it's receiving from the Sun, Tantai Jin was also able to burn so brightly toward the end because of Susu, you know? :,)