#i mean i'm assuming at this point but that seems to be the implication

[egophiliac]

LET THE BOY HAVE AN EDUCATION

officially at the point where we're starting to see where it's all headed and I am just going NYEEHEEHEE in delight at it all. ahhh...next week can't come soon enough...

[transmutationisms]

oh i would actually be curious to hear your thoughts on lolita book covers in that case. i do get the sense that some of the covers are designed to uncritically titilate and seem to misunderstand the text, but that could obviously be an assumption on my part lol.

oh i agree that the cover designs tend to run counter to nabokov's intentions, both in the text and in the literal instructions he gave about covers lol. they pretty clearly rely on putting some young girl on display, which is exactly what nabokov did not want to do visually; they also tend to suggest dolores as some kind of seductress (sultry gazes, pouty lips, &c). clearly this is precisely the opposite of what the text tells us about her.

however when evaluating these visual choices i find that many people portray them as some kind of originary and culturally polluting act: that is, a narrative emerges that the problem here is people misinterpreting 'lolita', and then publishing it with covers that will do harm to young girls &c. i think this is lazy analysis and fundamentally makes idealist assumptions overestimating the effect of cultural products (books, book covers) on problems, like the sexualisation of children, that are in fact grounded in material relations, such as in this case the status of children as legal property and the total power granted to adults over them. that is to say, these broader conditions are at root the reason that cultural products like the cover of 'lolita' look the way they do, and chalking it up to individuals not understanding the book is never going to get us very far; and also, although some of these covers are pretty egregious, they are the reflection rather than the cause of the sexualisation of children, a problem that would continue to exist even if every edition of 'lolita' ever printed just said "humbert humbert is an unreliable narrator and dolores haze is a child he is preying on" on the cover.

fundamentally i also think this sort of conversation often elides some more interesting points about whom these covers communicate to and what they say. you suggest they are meant to "titillate"; although i would agree dolores is often shown as sexual, desirable, and seductive, i'm not sure that's the same as assuming the cover is trying to arouse the potential reader. for one thing, to put it bluntly, this style of cover tends to be associated more with books marketed to women than to heterosexual men. and more broadly, and this is something the lolita podcast really fails to understand imo, the phenomenon of people reading 'lolita' and relating themselves to dolores is not mutually exclusive with this type of rhetorical construction of dolores-through-humbert's-eyes. that is, often what appeals about dolores is, i think, precisely the fact that through her, people find a way of discoursing about or simply re-enacting the kind of sexualisation that they are already subjected to or have been in the past, whether or not at a level as explicit and extreme as what nabokov depicts.

i'm not really interested in a simple moral condemnation of the people who design these covers; that critique writes itself. they are obviously bad and facile, and reflective of precisely the culture of child sexual abuse that nabokov's text condemns. but if we are interested in the reception of these objects, or interrogating the cultural meaning and implications of their existence, i just think there's a lot more going on here than what the podcast portrays as a simple sort of 'broadcast' model of mass media wherein the 'lolita' book cover and trope is beamed out to unsuspecting innocents who are then exposed to its nefarious elements. dolores appeals to people for lots of reasons, some prurient, some pitying, some openly self-projective, and these are not mutually exclusive with one another nor are they mutually exclusive with readings that reproduce elements of the very lolita character that humbert creates and uses to silence and re-write dolores. we can be uncomfortable with that and refuse to talk about it but if that's the position someone wants to take then i'm not likely to be interested enough in their opinions to, like, listen to their podcast about this book lol.

[therantingsage]

Because I promised this, and I really wanted to do it anyway, here's a really really long-winded rambling dissertation on:

Why N and Uzi secretly dating since before episode 5 is genuinely super plausible and also stupidly hilarious /pos

Under the cut cuz it got obscenely long oops-

Idk where to start, so I'll just cover my bases: why people think they've been in a relationship already in the first place.

We all saw this scene:

And legit it can only be implying one of two things. Either A: this is his confession of feelings for her. Or B: this is him admitting that they've been dating for a while at this point. With the hearts it's pretty clear that this statement is meant to be romantically interpreted, and Nori's aghast reaction confirms that that's how it's being interpreted.

Obviously no matter the interpretation, N only writes that because he can't think of anything else to snap Uzi out of it and thereby stop this confrontation from ending poorly. And it works obviously so good on him for the quick thinking.

Two things that make me lean towards the 'we're dating' interpretation over 'confession' interpretation, though: firstly, he's not writing this to tell Uzi something, he specifically calls out to Nori before writing it. "Hey btw I'm dating your daughter" makes more sense than "Hey btw I like your daughter romantically" because if it was the latter, Nori has far less reason to be mad at Uzi about it rather than N. It's not like Uzi can control how N feels. But if they're dating, that means Uzi is partially to blame for that and Nori can get upset at HER.

Secondly, the awkward wording. Like it's really vague and without the hearts you'd have no reason to assume anything but platonic meaning. But these are words we, and him, have heard before:

...from Uzi, in response to a question about who she is and, by proxy, the nature of their relationship. She says it defensively, follows it up by telling N to shut up. N repeating her wording which, again, is a description of the nature of their relationship....but this time implying something romantic with it, it suggests the idea that it had romantic implications the first time.

I don't think it's far-fetched to say Uzi at least has feelings for N at this point in the story. I don't think anyone's arguing that that's not true. But the idea that 'hang out' means the exact same thing both times is what I'm arguing here. They're dating, but this version of N is a stranger to her. A cute stranger, as she says, but a stranger nonetheless who she isn't comfortable admitting to that she's dating him in the future to his face.

Backing up a bit, Uzi's reaction to Nori's reaction:

This is a clear and obvious parallel to the previous episode, when 'Tessa' says "Don't date my robot, please."

In both instances, someone gets on her case about the idea of them dating, and in both cases she doesn't deny it but instead defends both his and her own agency in the matter. No one is allowed to tell them what to do and Uzi refuses to let anyone try.

When Nori says it, though, she does seem to try and deny it for a moment. "I'm not-" She cuts herself off so we can't say for certain what she was going to say (if anything. it's entirely possible she started that sentence with no plan how to finish it, I do that a lot personally). But that's also because, like, she's Uzi. If this was meant to be a secret relationship, it would probably be her who made that decision. And like with butler N, she has no reason to disclose that kind of information to a stranger. She'd probably try and deny it whether its true or not.

As for when it would've started, after camp is the only big timeskip where we don't have much clue went on during. Cabin Fever is a big episode for them, and the three episodes that come after it are all back-to-back-to-back. The only time it makes sense to have started is sometime between eps 4 and 5.

And guys. Guys.

This, more than anything to me, paired with the idea that they've been dating for a while by the time the most recent couple episodes happen.....doesn't this seem so, so romantic? You could easily call this a love confession! So easily! It sounds like one much more than 'we just kinda are hanging out a lot idk' at least.

Like, rephrase that even a little: "Being with you makes scary things fun. Being with you makes me feel brave. It makes me feel safe. So I want to keep being with you."

And Uzi agrees with that sentiment. He promises to stick with her. And she laughs and smiles with him as he makes the scary thing she's been dealing with into something fun, something they can laugh about. The together line gets repeated in the most recent episode, directly calling back to this scene as well.

Like, just...AGH. In Cabin Fever he says it once as they're falling and a second time once they're grounded. The second time its a question, and one she eagerly answers with physical affection, which is super rare for her. In Mass Destruction its a statement, because he already knows her answer. Its a repeated promise. A vow.

Backing up again. Let's assess some interactions under this context. Assuming they're dating in secret. Because it paints so many things in a different light and basically nothing contradicts it which is fricken wild. This:

Isn't a sheepish Uzi trying to hold her crush's hand in a moment of fear. This is an Uzi who wants to keep their relationship a secret but is so in need of comfort right now she's willing to risk exposing them to get it.

This:

Her being so relieved because she almost watched him die but he's alive he's ok and she doesn't care who sees it because she needs to hug her boyfriend rIGHT NOW GUYS I DON'T CARE I'M HUGGING MY BOYFRIEND-

This whole scene. Uzi interacts with him so gently here. She's not gentle with anybody else at all. She sees him stressed and uses his own "you good?" on him and it's just so dang tender when you think about it. Because no one else can hear them talking to each other. It's just these two sending face texts and everyone else's focus is on the Sentinal so they can afford to be as couple-y in this conversation as they want.

And after:

Blushing because they like each other so so dang much.......sweating bullets because the other two can see them do this. Suddenly without either of them really thinking about it they're being romantic around other people and wow! That's nerve-wracking! Peak young love early-in-the-relationship behavior they ain't slick.

His tone of voice in this scene is gentler I think than we've ever heard from him before (Michael Kovach you are so damn good at your job). His loss-filled fury is cooled in an instant when he realizes how close he came to hurting his girlfriend. It's heartbreakingly gentle before 'Tessa' cuts him off.

And when she cuts Uzi off:

He looks like genuinely pissed at her. "Did you really just interrupt my gf while she was talking?? She's scared and you're disrespecting her tf is wrong with u??"

And like- the fact he was genuinely willing to off Tessa for her. Like he realizes there's a possibility she tried to get his gf killed for no reason and upon her not even trying to deny it he just kills her instantly. Because it's no longer a question of the universe or Uzi. It's a question of Tessa or Uzi, and its a choice his heart has already made before this point.

But here's like. The thing about all this that gets me. This is meant to be a secret relationship, right? Like nobody but them is supposed to know about this. And the fact that we the audience didn't have any reason to assume them to be an established relationship without heavy headcanoning means they did a decent job at that, right?

Guys. Guys.

N is terrible at keeping secrets. Like. Horrendously bad at keeping things on the down-low. Every single time in the series he's supposed to not spill info he like. Fails. It's wild. And because the relationship happens after "Inclusive reflexes!" that means that Uzi damn well knows this and still trusts him to try.

But based on V's reaction to the handholding in Dead End:

I'm honestly willing to bet she knew. She doesn't sound surprised, just annoyed that she has to see it. Which means N probably like, heard her badmouthing Uzi or something and got like way too defensive about it and she clocked him instantly. Because he's bad at keeping secrets. And she doesn't bother mentioning it during any of these episodes out loud because she doesn't care what these idiots do in their free time.

Can you imagine how many hundred close calls they must've had? How many times Uzi must've had to aggressively shush him or cover his mouth because he was going to say something slightly too sappy in public? The only reason we don't get to see the time period between eps 4 and 5 is because it would've been painfully obvious that these two dating is the worst kept secret in the entire bunker. I'm going insane.

Uzi fell in love with a proud himbo and they both know it. It's genuinely a miracle they didn't clue the audience in sooner.

[genericpuff]

I was kind of curious: What do you think of Persephone's therapy scenes in episodes 160-161?

I personally liked them, but you and many other LO critics always seem to see things that totally flew over my head (I mean that in a positive way).

I think the idea behind them was fine, just the execution that felt really half-baked. Rachel doesn't like scenes to sit too long so the therapy scene, of course, wound up being rushed in the course of 2-3 episodes (meaning she had to have Persephone dump everything all at once) and while Persephone's dialogue is handled relatively well, the direction of the scene itself feels entirely mismanaged (which is both a side effect of Rachel's directionless writing and the fact that she clearly doesn't want to do more than one of these kinds of episodes so she needs to speedrun it).

TRIGGER WARNING: Discussion concerning sexual assault ahead!

Like, let's start with Persephone's intent in going to therapy. Wanting to pursue therapy doesn't just happen suddenly, there's usually a "trigger event" to make someone realize "I need help", whether it be hitting rock bottom or even just going "I feel like I don't have the skills or tools necessary to deal with what I'm dealing with, I need a professional opinion".

Despite Eros advising her to go to therapy all the way back in S1 to address her assault-

-she actually finally goes to therapy in S2 not to address the assault, but to address... how she feels insecure in comparison to Hera who she just found out Hades had a long-term affair with??? At least that's definitely the implication.

And then of course the therapy session itself segues immediately into "Persephone is a high achiever and it's because of her mom being overbearing" which Rachel doesn't connect at all to either the SA or her feeling insecure compared to Hera (which, by the way, barely even has anything to do with her, but she didn't - and still doesn't - have the emotional maturity or self-respect to realize that Hades is a serial cheater-)

That's where the first therapy episode cuts off, and then the next episode immediately opens with Persephone writing her entire backstory on a whiteboard, so we can assume time has passed and she's talked about everything from her childhood up until this point.

Then we get Chiron asking Persephone... what could go wrong if she leaves TGOEM??

Even though we never saw any of the actual sequence so it just feels like a question that's coming out of nowhere? Like did Persephone say during that schpeel that she wanted to leave TGOEM? Isn't that something we should have seen to connect these two trains of thought?

Ah, right, because we have to get into Hades. Because this comic fails the Bechdel test so hard it can't even have a character talk about their trauma or childhood without it seguing into "well there's this one specific main character guy I just really wanna sleep with-"

Don't get me wrong, if Rachel is trying to "deconstruct purity culture" here, I can get her angle with this, if Persephone has been "groomed her entire life" to be an eternal maiden then there's clearly some thought processes about sexual attraction there that are being challenged by her attraction to Hades. But it just feels so rushed purely for the sake of getting her through her trauma and childhood problems and everything that Rachel tacked onto her backstory (in an attempt to make her seem more than just a self-insert) so that Rachel can get her back on track to sleeping with Hades, the one and only man she's clearly ever felt sexual attraction to enough to want to leave TGOEM and question her entire childhood.

And then we get this and I just-

Like first of all, again, Persephone being a complete airhead and not realizing that it has less to do with her possibly being an inadequate partner and more to do with Hades being a serial cheater who also used her as an emotional affair partner;

but ALSO the fact that the conclusion is some "eureka" moment of "you're a bad decision maker" ??? I was a fan of the comic still when this scene happened and even I went "huh?"

Like she doesn't bother to try and connect it to everything she just learned and said about her childhood and how she wants to be the "perfect daughter" who will make everyone happy, Chiron just reduces it to "oh you just suck at making decisions". As if "sucking at making decisions" isn't like, a reactionary extension of deeper problems. She's treating it as if Persephone is some "puzzle" to be solved and her being a "bad decision maker" was the answer when it's undoubtedly just one of many side effects of her upbringing. It feels like she's addressing the cough and not the virus.

Also a little off topic but-

Gotta love how we've never seen Persephone actually employ this homework from her therapist because she's constantly stapled to Hades and the only thing she cares about is his happiness. Literally, I don't think Persephone could possibly answer that question because she's never been independent enough to even learn what makes her happy - she's jumped from wanting to make her mother happy to wanting to make Hades happy but we're supposed to condemn the former and celebrate the latter.

Buuut of course we don't get her answering that question because again, Rachel can't spend more than 30 seconds on a single scene because that would demand too much writing and thought from her. So we cut to Hera having a discussion with Asclepius regarding her scars re-opening, yadda yadda.

By the time we cut back to the therapy session at the start of the next episode (that's three episodes that have been spent basically accomplishing nothing because none of the thought threads tie together in a meaningful way beyond what the audience has to assume) Chiron is conveniently wrapping things up and it's then and only then does Rachel try to actually incorporate the SA plotline that was Persephone's ORIGINAL MOTIVATION in going to therapy.

Now, the scene for the most part is fine, I don't really like how the therapy session was written leading up to it, but her describing her freeze response and how she feels guilty she couldn't "fight back" is a very real feeling that I can definitely say was well written.

My one gripe with it though - and sure, this might be nitpicky, but here me out - is this:

I don't particularly like that Chiron the therapist just found out about her patient being a rape victim - someone who's also said she doesn't like people grabbing her / touching her without her consent - and then decides the best course of action is to comfort her... while touching her.

Now I want to make it perfectly clear, it's not against the law or even the code of ethics to make physical contact between a therapist and their patient. Loads of patients have made breakthroughs with their therapists that have called for hugs and while some therapists may not be okay with it, there are definitely therapists who are who fully understand that hugs in those moments are the best thing for a person. But it's still a general boundary that is there and even with patients who aren't victims of SA, consent needs to be asked for / given.

So Chiron just... coming over and touching Persephone on the knee, while undoubtedly seen as a "warm and comforting act" by those who have had similar sessions with their own therapists or even just those who have no clue and see it on the surface level as being "sweet", really irks me, because it just seems so tone deaf to do with a character like Persephone who is supposed to be a victim of having her bodily autonomy taken away from her.

Again, it's a small criticism, and undoubtedly a nitpick in the eyes of some, but a simple "can I give you a hug?" from either Chiron or Persephone would have gone a long way in accomplishing Persephone's need for consent and bodily autonomy a lot more than just having Chiron come up and touch her leg without her consent. Please, for the love of god, let Persephone have some autonomy, asking for consent doesn't ruin the moment.

And that's pretty much it, Persephone talks about how she feels like she's tethered to Apollo, and Chiron assures her that's not the case, session over, Persephone goes outside to Hades aaaand notice how we never actually tackled that "I feel insecure because of my partner having former partners?" thing? Notice how the best we got was her talking about her fears of being an "inadequate partner" which focused entirely on her not being "enough" for Hades and being a "bad decision maker" rather than pointing out 1.) Hades' own faults in being a serial cheater that would undoubtedly contribute to her insecurities and 2.) what Persephone could do for Hades rather than what Hades could do for Persephone? It's always "I don't know if I'm good enough for him" and never "I don't know if he's good enough for me."

Yet another F-- on Lore Olympus' Bechdel test. Every single thing tacked onto Persephone's backstory is meant purely to get her with Hades - TGOEM is just an obstacle preventing her from having sex with Hades, the assault is just a framing device to show how much "better" Hades is for Persephone than Apollo, her overbearing childhood is just to show how much more "free" she is now that she's not living with her mother and is living with Hades instead, etc.

No agency, no autonomy, no character, even when it tries.

[lovelykhaleesiii]

Ignorant Cruelty

HEADCANON

PAIRING: Mean!Chubby!Aegon ii Targaryen x fem!Wife!Reader

WORDS: 1,895.

SUMMARY [Requested by Anon]: “Omg can you do and mean chubby eagon plsss🙏🏽🙏🏽🙏🏽❤️”

WARNINGS: cruel!Aegon ii, mentions of objectifying women, mentions of p in v sex, degradation kink, size kink, food play, breeding kink, lactation kink, humiliation kink, stomach/thigh riding, jealous/possessive!Aegon ii, swearing. 

A/N - my mind is a little all over the place, so sorry if I'm taking forever to do your requests, just too many horny thots in such little time. so I've got a few WIPs and trying to smash out all the "simpler" ones xxxxx I WILL eventually get to the requests sent, promise x 

Despite his social stance and political advantage in the realm, Aegon had a notorious reputation of being cruel and imposing.

As a young boy, he was quite the handsome kind, as his endearing Valyrian features accentuated a rare beauty unforeseen in the realm.

However, his unkept and gluttonous habits led the boy to grow in size: larger than his brothers combined respectively, many had grown a distaste for his appearance [although dared not to utter a word directly to his face, in fear of the Prince's wrath].

Aegon was either ignorant to his weight gain or simply was not phased by it, nor its implications. He found enjoyment in his food, and paid no mind to the judgement of others, as he gorged himself during feasts. 

Nonetheless, Aegon sought to the comfort of whores and ladies of the night, in which his wealth could grant him the company of multiple women at once. 

He developed the wicked habit as many inconsiderate men of the realm did, not viewing women as human counterparts, although rather objectifying them and their "assets": many argued the Prince did so, as means to raise his own ego and esteem.

Regardless, whoever his betrothed was to be, was often deemed as doomed: for many noble, highborn maidens of the realm, from powerful families, were reluctant to present themselves as candidates.

From gossip and whisper, it was told that Aegon himself, was hesitant to allow his family the authority to choose and rather, he himself, settle the decision.

That's when you came into his life. You were a meek, shy girl [only because the rumours of your husband to be, made you fearful of the man's capability].

Seeing Aegon in the flesh, did not help either... He was above average height [taller than yourself], wide and formidable, his waist line was extended and round, arms bulky and fleshy, his thighs were stocky and seemed sturdy.

You could not deny, a deeply rooted part of you inside was aroused by the sight of him.

Why he chose you, no one could explain. Whether it was based on pure attraction, you could not decipher either, for Aegon was demeaning, often belittling you and your family.

At first you assumed, it was his attempt at "small talk", misplacing his manners, and yet he remained consistent in his taunting jabs.

As taught by the Septas you'd grown with, you remained silent and obedient to his every word, through till the marriage, and the night of consummation.

Aegon pestered you with gruelling comments on how inexperienced and useless you would be in bed, unable to "satisfy him" like the whores he often pursued.

You'd reached breaking point and retaliated furiously, leaving Aegon stunned as you spat your venom.

"Mayhaps I am no whore that can sate your spoiled, fat cock, but I am a women of virtue. Do well to remember that, husband. Need I remind you, you chose me. You have no one else to blame for your inept decision making in a wife, than yourself."

His stoic, unmoving gaze remained fixated on you, and the fear began to stir inside, despite having initially felt relief with your abrupt confrontation.

Aegon slowly approached you, his stern gaze firmly fixated on you, like a predator hunting prey, until you were cornered between him and the bed frame.

Using his stronger, dominant mass, he'd shove you down onto the bed, as he pins your arms down, his heavy weight you could not find the almighty strength to break free from.

"Has my fat cock been on your mind? A woman of virtue ends tonight, once I fuck you senseless, you'll be begging for more, as the whores do... My very own obedient, little whore."

“You spoke beyond your limit, little one. I’m going to punish you for that.”

Aegon goes feral on you that night and for all the intimate nights to come: rarely speaking to you, other than to give commands and instructions when you fuck, he initially remains oblivious to your emotional needs. Until, he overhears a conversation between you and a fellow maid/sibling, regarding how lonesome you feel.

He understands that feeling all to well, and the guilt begins to stir, as much as he insists on denying it.

Thus, the poor attempts at small talk begins, and you find that he not only attempts to sate himself, however, you also in the process.

The size difference between you two, is incomparable. During the first few times, a maester was sent to tend to your aches and pains: Aegon being the one to send them up, which you liked to presume was his way of caring. 

Yet, as discrete as he may be, he relishes in the idea that he has tainted you so, and often comments on how pathetic and weak you are against him. Immensely fuelling his ego.

Food play to the max: he relishes in his two favourite things: you and desserts. Often arranging for the kitchen to bring up his favourite dishes and wine. Eating cake off your tits, dribbling honey on your ass cheeks and cunt as he licks it clean off you.

He tends to dismiss the power of his own strength, how strapping his grip can be on you, although he does not mean to intentionally inflict it: a whimper or hurt look on your face, he immediately refrains from hurting you further.

Nonetheless, he loves manhandling you: how effortlessly he can pick you up, carry you, swivel you around, until your in just the right position for him.

His cock, [as correct as you were that it was fat] was impressive: seeing it the first time and onwards, you could never acclimate, physically nor mentally. It's girthy circumference, the thick veins that travelled down its mass, gave it this hungry, eager look. Its tip blush red, often glistening with a white, clear film that would ooze fervently at the sight of you.

Undoubtedly, it hurt unlike anything else: yet it was a pleasurable, almost addictive sort of torment.

Aegon had long forgotten the sensation of a maiden's tight, contracting cunt, how your walls clenched for his cock, often commenting how "needy" you were for him.

"Who could sate you like I do? A lean knight, perhaps a slim nobleman, with a needle for a cock... Look at how desperate I've made you for me."

He also gets you to ride his thighs and stomach, always fantasising about it, he forces you to do so, which much to his pleasure, you get off of easily. 

Aegon had grown quite possessive of you, despite struggling to show his affections for you. You'd come to understand that it was his approach to appreciating you.

If he felt that a lord was greedily occupying your time in conversation, he'd lazily send for a servant to fetch you and have you hand-feed him treats and bites of his meal, even a pint of his wine.

He’d publicly scold and torture the culprit later, and punish you in the confinement of your private chambers. 

“Think you can get away with seducing other men like that in front of me, woman. I saw the way you’d laugh at their shit jokes, and what was it having to cop a feel of Lord Stark’s arm. Need I remind you, who the fuck I am. The Prince, the King to be. In fact, I ought to punish you till I’m certain you’ve learnt your fucking lesson, insolent girl...”

The only time he'd grant you the opportunity of any public displays of affection, came with an intent of showing you off as his, having you comfortably seated on his meaty, broad thighs [which you could not deny, was actually quite snug].

Once Aegon was crowned King, it became a habit to have you seated on his lap as he sat atop the Iron Throne. Publicly demeaning you in front of his liege and serving subjects, commenting on how clingy and deprived you were, unable to be without him.

Especially once King, he rather enjoys fucking you in public, risqué areas where a passerby may hear or witness the deed being done. Seeing the fear of humiliation stirring across your face [even though he knows no one will dare to argue against him, as King], he praises your innocence. 

“Terrified? Don’t want your fellow subjects to think the worst of their Queen, how aroused I make you, how easily you submit yourself to me? Look at you, a whimpering, wet mess. Shameful...What would they think of you now?”

You did not mind [despite encouraging Aegon to tone it down initially], for his promiscuous habits of seeking out to sneaky rendezvous with the eager prostitutes that filled the Street of Silk, had come to a long-awaited end.

You had not openly discussed it with him, however he began to notice the sadness in your eyes, at the sheer thought that whenever he left you in the night [even if it was to attend some late council meeting, or to fetch a midnight treat] that your mind pondered over awful, scandalous thoughts.

He would open the conversation one late night, before you'd drift off to sleep, after an exhausting, strenuous round of fucking: he made the promise to you, that his loyalty remained with you.

"I may not be able to erase the disgrace that haunts your mind from my actions, although I vow that you are the only one, Y/N... Since I made the decision, it was only ever you."  

As Aegon's waist line had grown noticeably, his infatuation with you had grown exponentially too.

The primal urge to to drench you in his cum, drowning in his hot, potent seed was a must whenever granted the chance.

"To see you swell as I have, with my babe in your belly. Tits full of sweet milk... Gods be good, we will populate the Red Keep if we must."

Once you do fall pregnant, best believe Aegon would be an absolute pest when it comes to your lactation: eager to taste you, he'd become addicted and persistent in asking to drink from your tit, seeing how sensitive and tense they get from the fullness, you have no choice although to trust in him relieving you.

Actually causes him to gain even more weight from the quality nutrition: milk dribbling from his plump lips, drooling down his soft, blurred jawline, as he becomes ‘milk drunk’ from you.

He loves the feeling of your swollen stomach against his soft, plush one: having you ride him one top, as he kneads at your breast, some milk oozing from your sensitive nipple, he'd lick it off his pudgy fingers.  

Aegon however remains vexed with utilising words to express his affections for you: often sought to spoiling you with opulent gifts from across the realm, rare gems and luscious silk gowns and intimacy between a man and his wife.

He whispers an “I love you” thinking you are dead asleep in the night, embraced in his warm, bulky arms, causing you to smile, hidden beneath the dark.  

Regardless, you are more in tune with your thoughts and words: often expressing your admiration for Aegon, which he savours, always eager for your attention.

Nonetheless, you are content with your lives together, ignorant to the judgement of others, you remain committed to each other. 

general taglist - @evenstaris @chompchompluke @fan-goddess @malfoytargaryen @ilikeitbetterangsty @bibli0thecary @m1ndbrand @connorsui @rafesbarbiegirl @elegantsplendour @randomdragonfires @sylas-the-grim @arcielee @s-we-e-t-t-ea​

Aegon ii taglist - @who-told-you-this-was-butter @f4ll-for-you @amiraisgoingthruit

[lopposting]

The major question of the story that we are now asking:

Why, exactly, does Carlo never "wake up"?

[long post]

[Spoilers ahead]

Well, simply put - Because he is dead.

OK, that seems like too obvious an answer, but I'll elaborate, and bear with me here. I want to recap some elements first so you know where I'm coming from, but I'm also trying not to completely explain everything because that's way too hard and would be too long.

[Currently, we don't understand everything about the story or its meaning. Because of some of the shrouded nature of the lore and narrative, it leaves much mystery. But from viewing these questions and the story from a thematic standpoint, something unexpected and really cool happened. I found that the story and the lore opened up in reverse.]

The easiest way to explain the plot (in my opinion):

It was my impression that Geppetto never “started” the puppet frenzy. The puppets were NEVER breaking the grand covenant, interpretably they are protecting humans by stopping the spread of the petrification disease, it’s just that everyone in the city was infected by that point. 

Now with the puppets killing everybody in a city where everyone was infected (ergo being the result of the disease) Simon can go around harvesting all that ergo and Geppetto presumably plays him by letting Simon collect the Ergo first, and then sending P to kill him. [again, these details may not be completely accurate, but bear with me here]

Why create P in the first place?

He's made in Carlo's image so to speak because Geppetto hopes that Carlo's spirit will awaken. This is also why P is never bound to the covenant (it seems that not being bound to robot laws makes puppet egos awaken faster, since awakened puppets can break the grand covenant). So that is the two functions of P, to destroy puppets for ergo to harvest and so Carlo's consciousness can restore. I was just guessing that the arm of god was enough to get Carlo to revive, and Carlo's mental spirit reviving would be helpful but not entirely necessary. But for reasons we don't understand, Carlo never does regain consciousness.

Geppetto bitterly tells us that we don't seem to have inherited Carlo's memories. There is no big moment where Pinocchio or Pino or P reawakens, fully, as Carlo. He isn’t treated by the story as him. During the course of the game, P struggles to forge his own identity, to become a real boy, despite starting as a copy of the original. It’s a very fitting parable for the genre identity of a soulslike.

However, there are other successful re-incarnations of people through puppets, namely Sophia at the end of the Rise ending. We ask, for consistency's sake, why are puppet-form Romeo and puppet-form Sophia assumed to have retained their original identities, but not Pino? This is just my personal interpretation of why Carlo just couldn't or doesn't wake up. It isn't really based any lore or deduction from story details, this is from more of a philosophical point of view. And it isn't just the luck of the draw.

I had some initial thoughts about Carlo's failure. Romeo was made with intention of continuing to fight against the disease, as it's told that he "made a deal with the devil". Sophia may have been a special case, as she is a listener (Arlecchino even refers to her as the goddess in the tower), she may have had an ergo identity so strong that her essential self could retain this process. But either way, the implication is that Pino may have been able to recover her not long after that final fight. Look at the nameless puppet. The state of Carlo's body is so poor, that more than not his body seems to have been replaced with puppet parts. I think the implication was that Geppetto had been replacing parts as they rotted away. Maybe he had simply been dead for too long. But again, this isn't exactly why I think he couldn't awaken.

Simon and Geppetto

Lies has two main antagonists, although one isn't completely revealed until the last section. Both Simon and Geppetto are the perpetrators of Krat's destruction, but for what seems like different reasons. Simon is trying to be reborn, and Geppetto is trying to revive his dead son, Carlo. Interpretably, they are both trying to become Gods. Simon by grasping the supernatural, cosmic power of one, and Geppetto by raising the dead. They have destroyed Krat in their attempt to become a god, or more succinctly put, attempting to become God, singular. Geppetto's goal is, in essence, the same as Simon's goal - Because bringing back the dead would make him God.

That's why it seemed all so confusing. Haven't Geppetto and the alchemists already raised the dead, as Pino does at the end of the Rise ending with Sophia? Sophia, Romeo, and Carlo were all afflicted with the disease. Their Ergo were all made into puppets, but there's a minor but important distinction here. Sophia is still alive in her condition and actively suffering, this is the reason why she asks us to end her life. It seems as though Romeo lost his friend to the disease, and then made a "deal with the devil" to continue fighting, this implies being made into the king of puppets. We collected Sophia's ergo while she was alive, which we then used to animate the puppet. So the three of them were afflicted with the petrification disease. Sophia perished, Romeo perished, but Carlo died.

Now if we see the sand memories section of the beach, the stalker's words start to gain some clarity. If Carlo died from an incurable disease that the stalker couldn't prevent, why is she too late? Perhaps the goal was never to "save" Carlo's life. She laments; That she was too late, NOT to "save" him, but for him to be able to be restored. The stalker seemed to understand that whatever procedure needed to be done would be useless past the point of death.

I have to admit that there was something that I thought could override my theory. It seems as though the alchemists already were able to bring back both Champion Victor and The Eldest of the BRB, and from the dead no less. We read from notes in the Grand Exhibition that Victor had caught the disease, died to the despair of his adoring fans, but then miraculously made a comeback somehow stronger than ever. But maybe - he had only appeared to be brought back from the dead to the public, as Victor sought the help of the alchemists. And when it comes to the Eldest in the coffin, I'm wondering if he was actually only mortally wounded, leading the brotherhood to consult with the alchemists. [The way he was carried out by his brothers too (shouldered on either side) isn't typically the way you would expect people would handle a dead person]

Mirroring Sophia, Romeo, and Pinocchio, who were made into puppets: There is Champion Victor, The Eldest, and Nameless Puppet. We can see the former three as Geppetto's method of "cheating" God (cheating Death), and the latter three as alchemists' method. Only "Carlo" has a form in either one - The Nameless Puppet and the player, P. The Nameless puppet appears to share a similar undead quality with Victor and The Eldest of the BRB (including the tubes). We know that the collected Ergo can animate puppets, They are puppeting around their own dead bodies.

I feel like the Nameless Puppet tells us in a poetic way that Carlo is gone. My thoughts on this are more abstract. Again, this isn't from a factual analysis, but more of from viewing the Nameless Puppet itself as a metaphor. The Nameless puppet has qualities similar to the other undead bosses, yet the game doesn't describe it like it does Victor and the Eldest. It's not a body. It is a puppet [Human on the outside, mechanical on the inside - the inverse of our protagonist]. And straight in the text, we are told this is "The Nameless Puppet". But we know who Carlo was. His name was Carlo. We split open its head, and there are only cold, mechanical parts, instead of what we in the modern world now regard as the very most essential self (the brain). Because there was nothing to recover, there is no one there. Carlo's spirit had long, long since departed the world.

We are also told through one of the game's narrative devices that the Nameless puppet was the first puppet fitted with the organ. Ostensibly, Carlo's body was being prepared for whatever procedure that needed to take place, but Carlo died before that could happen (perhaps thankfully), and Geppetto pushed forward with his plans anyway, perhaps past the point of no return.

There are two forms of revival and we represent one of them, as in, there was the puppet form of Carlo and the undead form of Carlo. Presumably, the undead form was incredibly destructive, and thus stored away; We are the second try for Carlo's rebirth, this time in the puppet form, but we cannot even wake up without the aid of Sophia.

Lies, God, and the Finality of Death

But doesn't Geppetto actually succeed in one of the endings? Simon fails to become a god, (well, presumably only because we kill him in the process of doing so) and then we confront Geppetto. If we hand over our heart, Geppetto actually does revive Carlo. We see the resurrected Carlo, but with one simple smile we realize this isn't the Carlo the game has been leading us to believe existed. This ending leaves us with distrust and unease rather than a sense of peace and resolution. Simon fails to become a god, and at the bad ending - even if he "wins" - the game makes us wonder if So does Geppetto. No matter what, Carlo could NEVER be truly, and in both senses of the word, honestly, be revived.

[Simon Manus - like Simon Magus, the biblical figure who tries to buy into the supernatural power of God. And Geppetto, of course alluding to the 1883 italian novel The Adventures of Pinocchio - a puppet master, a creator indeed, but of wooden imitations of life, and a poor imitation of God]

So, why I think Carlo could not wake up? Because whatever needed to happen could not be done after the actual point of death, and Sophia and Romeo's hearts were both transferred before they actually died. His spirit had long gone from this world. Krat has methods of eternal life, but these transfers happened while they were still alive. While the alchemists and Geppetto could certainly cheat death (as we maybe even would with modern day medicine), they could not defeat it. Carlo can no longer wake up, Carlo can never wake up again, because he is dead.

[chronologicalerrors]

Crowley, Angels and Free Will: More Good Omens Meta

I’ve been thinking a lot about Crowley in the Land of Uz recently. Particularly this scene:

A: Come on! You're a little bit on our side. C: Not even the littlest. A: Well, you're not on Hell's side. C: I go along with Hell as far as I can. A: So whose side are you on? C: My side.

Until this point, although Crowley has never seemed particularly ideologically aligned with the other demons of Hell, we could assume that Crowley’s fondness for life on Earth was a gradual process. He and Aziraphale have come to appreciate the lifestyle (cars and restaurants and music and wine and houseplants and coffee and various aspects of human invention) and the life they had amongst the people, and each came to vastly prefer it to a life in their respective Head Offices. But here, in Uz, we find out that Crowley realised this a very, very long time ago. He’s already discovered the joys of some human delights, particularly the wine. And just look at how knowing his face is here when Aziraphale first tastes food:

That's the face of someone who's been doing this for a while...

This story takes place in 2500 BC. Crowley’s been on Earth for 1500 years or so, only bumping into Aziraphale very occasionally. It’s not known how long Crowley’s only been going along with Hell, but the suggestion is that he’s always been this way. Playing the part of the demon, all while making his own choices. This incident with Job clearly wasn’t the first time he impeded Hell’s plans. He’s been playing his own game since leaving Eden, probably.

The implication here is that he was never really on board with Hell from the start. He was cast out of Heaven for asking too many questions, but never really took to the idea of ‘the other side’, or sides in general. He’s always been on his own side, coming up with his own ideas. The Metatron, who evidently knew Crowley when he was an angel, says as much in the final episode:

Metatron: Ah, well, always did want to go his own way. Always asking damn fool questions, too.

Ever since he was an angel, Crowley was going his own way. He never particularly bought was Lucifer was selling, he just wanted the freedom to decide things for himself. As Crowley says, he never meant to fall. Heaven just couldn’t accommodate an angel who didn’t follow the rules. Hell isn’t the right place for him either, though - and he knows it. Over the years 'my side' has become 'our side', but he's never really aligned himself with Heaven or Hell:

So what’s going on with Crowley and why has he never fit in with either side? For my money, it’s because Crowley has free will. Something angels and demons aren’t supposed to have. Aziraphale says as much in their discussion in Edinburgh in 1827:

A: Look, I am good. You, I'm afraid, are evil. But people get a choice.

But Crowley isn’t evil, and has seemingly never been that way. He’s been an angel with too many questions, and a demon who wouldn’t kill goats or fire guns. He’s always exercised a right to choose how he behaves, what actions he takes. He tries to stop Aziraphale calling his actions 'nice', but he does indeed often choose to do good, even though he's technically a demon. Crowley does things because that’s what he wants to do.

Aziraphale is developing this way too. Angels aren’t supposed to do what they want – they’re supposed to do what God wants. But with Job, Aziraphale does what he thinks is just, even though it's not what he was supposed to do, for the first time. That’s the poignancy of their final conversation in Uz:

A: But what am I? C: You're just an angel who goes along with Heaven as far as he can.

Crowley was an angel like this once too. Aziraphale hasn’t yet broken away from Heaven, though. He’s not quite ready to go his own way, be on their own side, make his own choices. To choose Crowley. He will choose this eventually, but it’s been a more gradual process for him.

Crowley, though. He’s been like this since he was an angel. Which means – was Crowley created with free will? Was he made this way?

God plays an ineffable game of her own devising, after all...

[litnerdwrites]

About the dancing chapter...

I agree 100% with this comment by the amazing @deathbealady (no seriously, I didn't even realise how similar this situation was to Mor's) and I wanted to use it as a jumping off point to talk about Eris Vansera. To be clear though, I like fanon Eris and am currently undecided about canon Eris, for reasons I'll explain later.

For now, we can start with the IC asking Nesta to try and seduce Eris. I refuse to believe they weren't given this idea by Elain, either because she volunteered Nesta outright, or because she put the idea of using Nesta's artistic passions that, at this point, they know were effectively weaponised by her mother, to seduce an older male with the idea of marriage.

Either way, the fact that the IC knew what Nesta's mother had done, and decided to take advantage of it without ever asking what she thought of it, or what she might like, despite it being the same thing done to Mor when she was Nesta's age, if not younger. It's made especially worse given that Nesta likely feels unable say 'no' to the IC, because if she does, she'd likely be threatened with Elain being made to do it.

If that isn't bad enough, and I wouldn't be sure if it could get worse if I wasn't about to tell you why, then we can take a look at the age gap between Eris and Nesta. I've heard people argue that it's fine, since they're both consenting adults, but I think that the term 'adults' needs to be redefined. Humans are considered adults at the age of 18 or so, but only have a fully developed frontal love at 25. Meanwhile, fae are considered adults by the age of about 50 to 80 (with the latter being the age that a High Lord can be named such, but some people say it's 50). This has some pretty serious implications.

Starting with the fact that if females in Illyria and the CON are married off/wings clipped when they have their first period, which seems to be from around the same time human women have theirs, to 18 if they try to prevent it through medication, then they aren't adults themselves. They aren't even half way there in the (I don't want to say mild, best case, better or anything like that case because it's all messed up) cases where the woman is 18 or so. It also implies that a fae female's frontal lobe isn't developed until she's over fifty, since we don't have evidence to suggest the contrary.

Just because Nesta was almost 25 when she became fae doesn't make it alright either. Given that her aging must have slowed astronomically when she was turned, it's fair to assume it would have a huge impact on maturity and brain development. Which means the Archeron sister's in general might have serious gaps in the way their brains develop, especially Feyre, since she was resurrected and her body changed. It might even be slightly different for Nesta and Elain since they were killed, pulled apart and put back together in the cauldron.

Since it was the cauldron, there's a chance that their brains were also changed to be like fae, but either way, both possibilities and scenarios come back to the same answer: The Archeron Sisters are still mentally children, and will likely remain so for several decades longer, perhaps even longer than regular fae due to the unprecedented and irregular nature of their existence.

This brings me back to the subject of Nesta and Eris. He is a grown adult many centuries older than Nesta, with frontal lobe development and centuries of experience. Nesta is barely even half way to being an adult, while he is over 500. Moreover, the IC believe that Eris is a monster.

Now, I'm well aware that there's likely more to the issues between Eris and Mor than what we've seen. Between Eris's own words regarding 'circumstances' that he wouldn't explain, to the narrative going out of his way to show us good parts of him. Such as the way he moved to protect his mother at the HL meeting, and how he let his own father torture him but still protected the IC's secrets and took the unnecessary verbal abuse from Cassian. There's even the fact that Eris simply lets others believe him to be the villain, and let's Mor control the narrative for her own comfort, as opposed to spilling whatever happened, even if it would, somehow, absolve him.

Now, to be perfectly clear, there is little Eris could say that would absolve him, truly, of what happened. I acknowledge that he's a victim of his father, however that doesn't mean he can't also be Morrigan's abuser. And yes, even if he didn't touch her, neglect is abuse. Leaving her there for dead, regardless of the reasons, is a messed up thing to do. The categories of victim and abuser are not mutually exclusive.

The narrative wants us, as readers, to question Eri's actions and begin to wonder what happened between him and Lucien and Mor. It wants us to open up to the idea that Eris may not be as bad as he's made out to be, and that there's something more sinister happening, since it puts some level of suspicion on Lucien, Mor and Beron. However, just because that's the story we're being fed as readers, doesn't mean that the characters have the same perspective, or are living the same story, necessarily.

If you think about it, they have no reason to believe that Eris isn't a psycho who abuses woman and would slaughter his brothers to get to the crown. His comment about circumstances does read like an abuser trying to justify his actions with little effort, while giving no real reason, not that one would make up for what the IC believes he did. It's not a good enough reason to absolve him or make him seem like a good person.

He still hunted Feyre down, even though he had no reason to once she and Lucien made it to the Winter Court, and it, logically, would've caused more trouble for Beron if they were caught. Especially since a whole fire fight took place, and it would be easy for Kallias to connect that with autumn citizens, since he didn't know about Feyre's magic. If anything, hunting them at that point would've caused more problems and they'd be better off just telling Beron that Feyre and Lucien were there. A high lady, if Beron acknowledges the title or not, trespassing in foreign lands with a banished son would be enough to raise a fuss about.

He, also, has people who've known him for centuries, from Mor to Lucien (though the latter probably has more accurate info given his connections in various courts, and the fact it's unlikely Mor shared many words with him over 5 centuries) and the fact he's essentially blackmailing the Nc. This is more so an issue of his having certain pieces of information being a cause for the IC to fear what he may do with it, or what might be found out by their enemies if they use torture or a daemati.

I'm not saying, by any means, that I hate him. I think he's actually written better than Rhysand at this point, since unlike Rhysie playing hero, Eris knows he's a terrible person and low key owns it. Whether or not that's subject to change is dependant of SJM's writing in the future. There's a chance she may actually turn him into Rhys 2.0 by pretended he was a good guy all along.

However, regardless of his reasons, he has done so many atrocious things that the IC have no reason to think he's a descent person. Mor clearly hasn't said anything about what happened and, as much as I don't like her, she has no on page motive to antagonise Eris otherwise. That might change later, especially if she's the traitor, but as of now, her behaviour seems understandable, somewhat, based on the version of events that she gives.

Yet, despite all of this, the IC still think that essentially whoring Nesta out to Eris because it suits their goals. Regardless of the risks to Nesta's safety, regardless of how Nesta feels about the matter and and simply going off of Feyre's guesses about how Nesta feels without ever feeling the need to confirm if any of them are accurate to Nesta.

Let me summarise: Rhysand and Feyre, Nesta's own sister, thought it was a good idea to use Nesta's artistic passions to seduce a man that is literally 20 times Nesta's age, letting said man ask for Nesta's hand, and letting Nesta consider accepting despite the IC believing he is a woman torturing psycho that would throw her to the wolves at the first chance if it helped him in the end.

Let's not forget that while Eris may be bit of a grey area for us at the moment, the IC knows that Eris also lives with abusers, like Beron, who'd have no issue using physical violence against Nesta. So even if they thought Eris wasn't a monster for some reason, they'd still be putting Nesta in danger. Especially if Beron is working with the Death God, who wants the trove and is using Bryallin to find it.

Oh, and this was all after Cassian came to the conclusion that Nesta was suicidal, and was sexually assaulted in a vision, if I remember right, while on a life threatening mission in a place the rest of the IC, even Amren, is scared of.

Regardless of what Rhysand says, he allows abusers near enough to his family, or the ones he doesn't care as much about, I suppose, and is seemingly willing to let them marry said abusers if it gets him his goal. Rhysand who was abused. Rhysand who's mother was forced into child marriage.

Rhysand who seems to ignore the fact that the Archeron sisters are children. Children can't consent, if it wasn't clear enough to him already. Also, consent must be informed, and last I checked, Nesta wasn't informed about Eris beyond him being a snake. She isn't given a heads up about how abusive he's believed to be, how he may have to kill/watch you die if his dad decides so, or how he's likely to leave you bleeding out in the woods if you're injured. This is literally what the IC believe he is like and they didn't tell her.

Consent needs to be voluntary. I think it's been well established that Nesta likely doesn't feel like she can make real decisions because of consequences she may face.

He's also completely willing to send a suicidal (you can't argue that he doesn't know since Cassian reports everything to Rhysand, and kind of Feyre, apparently, from her Valkyries to her progress in 'healing'/being brainwashed so there's no reason he wouldn't report that too) into life threatening situations, put them in a place where they could jump to their deaths at any moment, with magic that could provide literally anything but alcohol, and filled with weapons.

To conclude, Eris is a grey area in ACOTAR that, at this point, reads as what Rhysand kind of should've been if SJM didn't make him a good guy for no reason. Meanwhile, this 'good guy' is endangering his sister in law through abuse, emotional blackmail and brainwashing, while putting her in proximity with a known abuser. Might I remind you that she's a minor? With possible developmental gaps. And he's doing it all because her being in danger makes his life easier, and the cousin that the dude abused is going along with this without any issue.

[tonythr]

Floating platforms in Hollow Knight are weird, lore-wise

Soooo I haven't seen anyone actually talk about this, but those things just keep *bugging* me.

These things.

Why did Team Cherry put these particular platforms in the background?

Ok, there are numerous floating platforms in this game, of course, because the player needs them to traverse big spacey rooms vertically. They're not even an issue lore-wise, because their existence can be explained by them being attached to the fourth wall, which is what the player looks at the Knight through. It's basically a game construct that we are not supposed to think about as a part of the suspension of disbelief.

BUT THOSE THINGS are not attached to any wall! They're just. Floating. There. In the air. Without any support. And THEIR existence can't be explained by the game wanting to provide the player some convenience. The Knight can't interact with them, we never see anyone else use them or even acknowledge them, so they MUST be something that TC put there for lore reasons, as a part of that beautiful thing that we call environmental storytelling... Right?

That or they just put them there without really thinking about the implications that this anomaly creates. But that's a boring and very unlikely explanation, so I'm just going to discuss what that might mean for the game's lore, assuming they're put there intentionally.

So, I have several thoughts on why those platforms might exist as a part of the in-game universe.

First theory. Hallownest is literally frozen in time

Ok, so this is probably the most obvious one. Throughout the game we see some evidence of the Kingdom being literally put on hold with the intention to keep it alive indefinitely.

This is pretty much what is implied in the tablet in the Pale King's workshop - that PK was trying to literally pause Time itself, so that the inevitable Dawn would never Break.

(Quite an interesting theme, actually - the idea of avoiding the inevitable not by trying to actually avoid letting it happen, but by delaying it by an infinite amount of time. It deserves its own post, really)

So, with Time itself being literally frozen, it's pretty safe to assume that this is exactly the reason as to why some parts of the Kingdom are literally stuck in one place, right? I mean, it's pretty much a trope to have floating rocks and buildings in a place that is stuck in some kind of time stasis. I'd say this is a pretty solid assumption, but when we actually look at some of the other parts of Hallownest we see that it's pretty lively for a place that is frozen in time. The rain is pouring, the stalactites are falling, all those machines in the Crystal Peak are still working...

Some of that stuff can actually be explained by either the Radiance's influence or the Knight's movement. The Infection is presented as the inevitable force of change that resurrects everything and moves it towards Light. The air thickens, the bugs arise from the dead, the Infection takes over the Crossroads, the Moss cultists get turned into mush, and so on. Meanwhile, other creatures possessing a Will are also capable of bringing change to this land. The Knight constantly breaks things, forces the ground to crumble beneath its feet, and overall just brings destruction to Hallownest, bringing the world closer to its natural end. It's no wonder that the stalactites start falling conveniently right as the Knight passes underneath them.

BUT there are still many things that can't be explained so easily. Like, if the Kingdom is supposed to be frozen in time, then why is the rain still pouring? Why is the Wyrm's ash still falling at the Kingdom's Edge? Why is the sand still falling from the ceiling? Why do larger things seem to be fixed in place, while smaller things are seemingly unaffected by the Kingdom's stasis?

That and the fact that at no point we see these floating platforms being acknowledged by the game's lore in any way other than those two places makes me think that this theory is probably incorrect, unlike the next one.

Second theory. Those two particular places are just that special.

The only two places where we actually see floating platforms being a part of the background (if I'm not missing any) are located near some of the most mysterious places in the whole game.

First, we have the ones that are located near the Colosseum of Fools. To be honest, even the interactable platforms there just seem useless, as some of them don't even protect us from the Bellflies. They all look like some kind of decoration (alongside with those strange thin pillars with circles on top of each) leading us along the road towards the corpse of a huge beast which the Colosseum is located inside. What even is this creature? Is it a higher being? Is it a Wyrm (don't mossbag me, he's wrong about those things being its claws because we see a third one in the foreground lying aside from the main structure, detached from the body)? Is the Lord Fool its reincarnation? Is it connected to the Ancient Civilization? How are there so many warriors there? Why does it still thrive after everything that happened to Hallownest? There are so many questions about that place left unanswered that I wouldn't be surprised to learn that the magic of the Colosseum actually affects time and/or space around it, making it possible for the floating platforms to exist.

Second (and this is the most important one), we have the platforms that are located inside and outside the Hive. As far as I know, this is the only place in the whole game that has this many floating platforms located in the background.

This basically confirms that this is absolutely NOT a coincidence and is a part of the intentional in-game lore. The whole place is floating!

The Hive seems to be in its own kind of stasis, probably due to its isolation. Vespa says that going against nature is a folly, so this anomaly is probably something... natural.

And you know where else floating things are a natural occurrence?

The Dream Realm.

So, the Hive and the Dream Realm are both places that are tied to the Light, which is a kind of force or energy that can alter reality and even create new realities, which are not necessarily bound by the usual laws of space and time. The Hive is not located in the Dream Realm, and it's safe to say that it's not some kind of in-between-the-worlds situation like with the Lifeblood Core, so the stuff that's going on there is less crazy than what we see in the Dream Realm, but it is also the only material place that is connected so heavily to the Light, so it is safe to assume that the anomaly that lets the platforms float is directly connected to that mysterious force.

The only thing that I can't understand is how the Light in those places connects to the Colosseum of Fools. It's not a well-lit area, and even inside the arena the only source of light is just regular fire. Could it be that this mysterious force is not defined by the Light itself, but by something more... incomprehensible?

I wonder what that force even is. The Radiance is definitely not the only source of it, and we know we're gonna see some really shiny stuff in Silksong. I personally hope for more platform lore.

[elmhat]

// dsmp rp

The interaction that takes place between Sam and Techno at the start of his prison visit is arguably one of Sam's strangest moments. He seems close to not even letting Techno in.

So, Sam's weird behavior, in order:

TECHNO: Hello. SAM: Technoblade? TECHNO: Hi! Is this the warden? SAM: Yes. TECHNO: Yoo, mister warden, what's up! Can you come out to talk to me? I'm trying to visit this prison! SAM: You're trying to visit the prison? TECHNO: Yeah, man! I mean, I heard everyone else was visiting the prison, and I just— I wanted to be included, y'know. SAM: Okay, yeah. You can go ahead and go through the portal.

At the beginning of this interaction, Sam's tone suggests that he didn't expect to see Techno here. When Techno says he wants to visit the prison, Sam sounds confused and reluctant, but decides to let Techno in anyway, despite no visitors other than Quackity being allowed into the prison at this time.

SAM: Hm. I heard you might come for a visit. [CUT] TECHNO: I'm trying to visit Dream! Can we get that arranged, y'know? I know I didn't call ahead, but, like... SAM: There's— I'm not really letting anyone visit Dream right now.

When Techno enters the prison lobby, Sam implies that he got a warning from someone—which we can assume to be Quackity—that Techno would arrive. This is after Sam acting confused about Techno's arrival just sixty seconds ago. Then, when Techno says he wants to visit Dream, Sam says he's not letting anyone do that, despite already letting Techno in to do exactly that. Which other prisoner did Sam expect him to visit, Connor?

TECHNO: One second, everyone's yelling at me to make you louder on discord. [CUT] TECHNO: So anyways, you said you were gonna let me visit Dream! That's fantastic! *chuckles* SAM: Well, we weren't letting anyone visit Dream. TECHNO: [overlapping] Yo, yo, Sam, mister warden, sir. SAM: [overlapping] Why do you want to visit Dream? TECHNO: Believe me, I know what your concerns are, and don't you worry. I already got my parents to sign the permission slip. I can go on this field trip, alright? *pulls out Quackity's note and hands it to Sam* I got— I got a voucher. SAM: *quietly* Okay. *louder* Well, there's some things we have to do, if you want to enter the prison.

We see Sam's continued reluctance around allowing Techno's visit to take place, right up until he's presented with a "permission slip" from Quackity, at which point Sam hesitantly agrees to it. Even after it's been implied that Sam and Quackity discussed and planned this exact situation beforehand, Sam won't actually honor the agreement until he sees it in writing. This also comes with the implication that Quackity knew that Sam was looking for any reason at all to turn Techno away, and took all the measures he could to prevent that from happening.

The result is that we get a Sam who doesn't seem to have made his mind up yet about what he's going to do. He doesn't want to make Quackity mad, but he also *really* doesn't want to have anything to do with Techno. Could any of this conversation have been an act? To convince Techno that Sam was oblivious to his arrival and therefore had no malicious intentions? Eh, it's possible. But it looks more to me like Sam is trying to wriggle out of whatever arrangement he made with Quackity by playing the ignorance card, not caring how strange his behavior is coming across.

[booksandpaperss]

How Stranger Things (poorly) handles racism as a topic compared other heavy topics it successfully tackles

before we get started, I would to direct you all to some other accounts who have already discussed this that you should check out either before or after reading this post: @wewebaggit @googoogagaeyes @elekinetic and anyone else please feel free to tag yourself or another account that’s discussed this and I’ll happily boost it

Content Warning for in show examples of racism and discussions of racism, as well as mentions of homophobia and the AIDES epidemic

.

. While we're discussing historical accuracy in stranger things and homophobia + ignorance being present even in well meaning characters, I want to point out that if the writers of the show weren't so squeamish about addressing racism in any in depth way, than this type of historical accuracy would be for racism too.

what I mean by this: in this sense, the show is not consistent. It's clear that the writers have done their research on 80s homophobia and how openly prevalent it was, if the AIDES allegory in season 2 and the way homophobia was very clearly present in seasons 1 and 2 (it still is in seasons 3 and 4 but the first 2 seasons showed it in the scope of the entire town), but racism was just as overtly prevalent, and yet the writers have neglected to address it in the same thoughtful and coded way. if the show was just as consistent about racism as it is about homophobia, than the white characters would be at the very least shown as ignorant just like the straight characters are.

and I'm not going to say that it's completely ignored, because that's not true:

-in season 2; mike makes an ignorant comment that implies Lucas should have been Winston because he's black, and Lucas calls him on it. There's also the very racist undertones (that are practically overtones) of Billy's treatment of Lucas. -There is almost nothing in season 3 except for a jokey joke when Nancy says the whole party is her family and the receptionist, who is a black woman, gives Lucas a skeptical look.

-Season 4 is a little better, with the implications (key word: implications, I'll come back to that in a moment) of Lucas's season 4 arc being that he was trying to fit in because he didn't want to be racially targeted and bullied for being a nerd at the same time anymore, that he felt like even more of an outsider compared to the rest of his otherwise all white friend group who, as far as he knows, are all cishet and giving him shit for wanting to lessen how much he's perceived as an outsider because he's automatically seen as even more of a "freak", and his friends just weren't getting it because they were white and ignorant. So the writers aren't blind to race and racism.

However. None of the examples that I've just listed are addressed later in any in depth way; not like the homophobia is. The only one that's even remotely delved into instead of simply being glossed over is Lucas's s4 arc, and even that is still very flitted around and left up to interpretation of the audience.

The writers seem to have a very "hit and run" sort of policy with addressing racism. They clearly know they should, and they at least seem to know that having a black character in an 80s setting with a cast of mostly white characters inherently creates a lot of racial subtext-

-for example, the very loud subtext of Jason (a white boy much older than Lucas) seeing Max (a white girl) in a trance alone with Lucas (a black boy) and immediately assuming the worst + Jason's white friends tackling an 11 year old black girl to the ground: subtext that I'm still not sure if the writers and directors were even aware of bc they never addressed it and their track record isn't great-

-but they hardly do anything about it.

I'm not surprised, considering this show is headed by two white men, but what really gets me is that they all truly could have tried harder. Like I said earlier, it's clear they've done research and put thought into addressing homophobia (it still could've been handled better but that's an entirely different conversation), and it's evident from Max's s4 arc that they also did research on Depression, PTSD, and the impacts on someone of their abusive family member dying. So the lack of care and thought put into addressing racism in the same way is clearly more than ignorance (which would still be bad, when you're writing a show this big in 2023 with topics like this you're actually, shocker, responsible for making sure they're addressed properly, ignorance is a choice at that point), its just fucking lazy. they don't care. And this not caring is inherently harmful on a show this big and frankly, I'm tired of so many viewers and people in this fandom straight up ignoring this fact, just like the show runners.

And I haven't even covered the complete lack of effort put into Patrick's backstory, or the fact that Erica is very much the sassy, mature for her age black girl stereotype (she deserves so much better). Oh, And we can’t forget the copaganda.

I'm glad that season 4 started to explore the dynamic between Lucas and Erica and expand on both their characters, and from the looks of things that will continue in season 5, so the writers have a chance to do their research, actually put effort more effort into the sinclair sibling’s characters, and improve, and I'm hoping they will but as of right now I don't trust them to, and won't unless they prove me wrong.

TDLR; the main issue is that Stranger Things is clearly a show that addresses topics like depression, abuse, homophobia, and racism, but the racism part is neglected compared to the others, just like how Lucas and Erica's characters are handled poorly compared to the white characters,. it's lazy, horribly insensitive, and racist in and of itself. There's a clear bias, and even if it improves in season 5 we still should be talking about it, and more white people (yes white queer people included, we are not exempt from this discussion, if anything we should care just as much about it as when we’re talking about homophobia) in this fandom need to start listening when black and brown people do talk about it instead of just waltzing through and ignoring it for your own peace of mind.

also I should clarify that I myself am white, I made sure I did research before making this post in order to talk about this accurately and consciously, but if I made any mistakes or said something insensitive or used an incorrect term or anything else, feel free to correct me and I will readily fix it

as a final note: please check my rebligs of this for links to more posts that talk abt this issue

[crystallizsch]

hello i am once again thinking about grim, and by extension the heartslabyul duo because if there’s anything else that lives in my head rent-free it’s how the main four are as close as friends as they are throughout the entire game so far.

(help this ramble became longer than i intended)

-> i know it's a pattern that the previous dorms help out in the next book which means once book 7 ends, we’re assuming book 8 would be about ramshackle(?). which means it’s diasomnia’s turn to have a big role in the following dorm. -> but it got me thinking. throughout the books, heartslabyul (specifically adeuce) is always present somehow. no matter how much screen time they actually have and how relevant they are to the conflict at that time. (actually i think something similar could be said with diasomnia but i want to focus mainly on adeuce) -> throughout the books, we're just set up with how good of friends the four are. the prologue, books 1 and 2 start to develop the four's chemistry together, and by book 3 we get one of the first signs that yuu cares about these three to the point they're willing to risk it because their dumbasses decided to sign a deal with azul. -> in book 4, while adeuce didn't have much involvement, i believe twst JUST hammers home that all four of them are friends friends. we are shown how ace and deuce went through all the trouble of transportation DURING THE HOLIDAYS because they thought yuu and grim were in trouble. like they could've easily just went "hey it must have been nothing" but they were worried enough to go check on them, not even thinking that someone else could've had handled it already.

-> since the pattern was that the previous dorm helps the next dorm, why does it seem like in book 5 it seems that heartslabyul, or at least, adeuce has as much of a big role as scarabia? the scarabia duo was there to notice the signs with vil but it was deuce who dealt the last blow to him. (honestly i don't remember much but i don't know how much help scarabia even helped pomefiore other than being in vdc hhh) -> so then it made me think, huh. it's like twst is setting up that these two will be more important than we think and will definitely not be going away soon. -> and then THE END OF BOOK 6. ouughh the end of book 6. their reunion just solidified for me how much they all care about each other. adeuce were not prompted by a direct "we're in trouble, help us" text this time. they just found out yuu and grim were somewhere in danger and it agonized them that they could do nothing about it but wait and hope they're safe. -> book 7 finally we're back to finding out ways to help yuu get home. and since they're all admittedly close friends (dare i say found family) at this point without explicitly stating it, i get the vibes of "we'll help you get home because we care about you but we're not going to think about the depressing possibility we might never see each other ever again".

-> so very abrupt transition;;; this led me to thinking about the overall “alice in wonderland” theme throughout twst. -> is that why adeuce has been with us this entire time? to remind us of that theme? we are in twisted wonderland after all. (I'm not really sure about the thought of yuu being alice but it's an interesting one to consider too) -> to tie in more with the alice in wonderland theme, i'm briefly going to go back to diasomnia. in book 7, there's like a theme of dreams. in fact, throughout the game it was all about dreams and visions and stuff. and in book 7 we're just diving into it. -> and in the story of alice in wonderland, there seems to be the implication that everything that happened in wonderland was just based on a crazy dream that alice had. like we don't know if anything was ever real. (i'm not really a fan of the "it's all a dream" twist but the connections got the gears in my brain turning) (also mickey must be relevant too but i have no thoughts about the implications of his existence at the moment 💀) -> i know we're not done with diasomnia's book but it seems to be set up as a catalyst for something bigger along the line (thinking about the possibility that there is even something bigger than a malleus overblot is very wild to say the least)

-> SO ANOTHER abrupt transition but still related, i thought about the parallel between the "overblot grim" in the beginning of the game and the "jabberwock(y)" in alice in wonderland. they're both chimera-like creatures that are like the final bosses or something. -> and what if a way for yuu to "go home" is to "slay" the jabberwocky (or in this case the overblot grim) just like in the story of alice in wonderland / through the looking glass. -> there's theories i believe that ace is set up to be some kind of "trump card" based on his name and the fact his unique magic isn't revealed yet. but also i want to add deuce in there too remembering how he held a big role in stopping vil in book 4 like some kind of foreshadowing. -> maybe the main role diasomnia will have is only about all these dream shenanigans. and i'd like to think instead that at the end of the day, this conflict with an overblotted grim is ultimately between our main four. some representations based off alice in wonderland. -> going full circle, is this why we have been shown so much of the friendship between all four of them? to establish this possible eventual conflict? and to make it harder for us to choose about "going home"? do we even get the choice?

do we "slay" the jabberwocky or will we decide to stay in this seemingly dreamlike fantasy wonderland instead?

[asterdisaster06]

i love you ain't that the worst thing you've ever heard?

ghost x reader [exes], slight soap x reader [mostly platonic], platonic 141 x reader

Pt 1. Pt 2. 3.

summary > Soap interactions with you, bringing you food after you skip dinner in favor of taking a nap, Price wants to see you - see pt 1 for overall fic summary

word count > 1.6k

warnings > should be none

a/n > future chapters should be longer, this just felt like a nice cutoff and I'm just starting to get the hang of fanfic writing. gotta love our boy Soap though. it might be a while for the next chapter though since i'm working on other works too

ao3

“Goddamn, who let a little birdie in here?” He laughs. 

Soap. You had heard quite a bit about this particular Scotsman from your ex lover. You had an inkling that you two would’ve gotten along, even bringing it up to Simon once or twice about meeting him. He denied your request, sighing goodnaturedly about how you two apart are already the death of him - let alone together. You claimed that this was all the more reason to meet him, or at the very least, let him know of your existence. Simon had always paused around this point and you had never pushed it, and now you’re kind of glad. The last thing you needed was another person that was no longer a stranger around this base. You were supposed to be having a new start, and that would be very difficult if MacTavish knew of your existence beforehand.

However, you hadn’t expected to run into one of Simon’s teammates so soon into your arrival on base. The world seemed to have different plans though. 

“You wouldn’t happen to know how to get to my room?” You ask politely, pulling out your information to show him.

“Aye, I do happen to know the way, follow me, Lass.”

You were honestly counting on him not knowing, but you’re realizing now that he’s the kind of person that would figure it out whether he knew initially or not. It seems like you’re stuck in the company of this man and his mohawk for a little while longer. It’s not like you particularly disliked him, in fact it was quite the opposite. It’s just the memories of your past are being dredged up by him, and his association with Simon wasn’t helping.

“So, what’s up with the mask,” He asks, drawing out the ‘a’ in the last word, coming off as teasing you. 

You were attempting to come up with a half truth, because you truly hadn’t worn this mask minus on missions at your old base. It was simply this place that brought out that side of you. Or maybe it was a person rather than a place.

“I just find it comforting, y’know?” You decide on, finally. It wasn’t a lie, the mask truly did offer you comfort around here. It just probably isn’t for a reason that Soap would detect. 

“I think you’d get along well with one of my masked comrades, maybe bond about hiding identities or somethin’” Soap chuckles.

You offer a slight smile in return, the anxiety that had recently left coming back in full force. You knew exactly who he was talking about, and you vehemently disagreed with what Soap had to say. 

“You should join us for dinner after you get settled in, I could be your little tour guide,” Soap says, winking at you. 

“I’ll have to think about it, stranger,” You offer back, smiling.

“Oh yeah! The name’s Soap. Soap MacTavish,” He laughs. 

“You can call me Angel,” You say, blushing as you realize the implications.

He sends you a curious look with an eyebrow raise. “Oh? Let me at least take you out to dinner first, Bonnie.”

“Very funny, it’s my callsign. Like I assume yours is, unless your parents really hated you,” You joke, almost enjoying this banter with Soap. 

“Oi, we don’t judge around here,” He laughs, referring to your silly callsigns. 

“I suppose I’ll see you around, Soap?” You ask, ready to settle down in your own space. With your own silence to accompany you.

“Is that a yes to dinner?” He jokes, aware of the double meaning of his sentence.

“Oh knock it off, I’ll have to think about it,” You smile, wondering if this is how it could’ve been in another life. A life where you had actually gotten to meet Soap under different circumstances. You unlock your door, entering and turning back to see Soap still there. 

“Don’t think too hard! I wouldn’t want you to worry that pretty little head of yours too much, Bonnie,” He teases, already deciding on a nickname for you it seems.

“We hardly know each other, and you have no clue what I look like,” You laugh, pushing him out of your doorframe, amused at his antics nonetheless.

“Oh, I’m sure you look slightly better than a troll under the bridge at least,” He says with a toothy grin. “You’re not ugly, are you?” He asks ironically.

“Quite the opposite,” You offer up with a crooked smile. 

“That’s what I thought,” He says with a smile that rivals the Cheshire cat. “Now, would you do me the honor of accompanying me to dinner?”

“You’re a big boy, I’m sure you’ll be fine alone,” You say, tiredly. It’s not like you wanted to cut your friendly banter with Soap short. On the other hand, you didn’t exactly feel like socializing. Not after your tiring day already. 

“Alright, alright rookie. But I am bringing something around later to make sure you eat. If it wasn’t me it would be Price, so don’t think it’s any trouble,” He says, predicting your words before you could even voice them.

“Who are you calling a rookie, Sergeant?” You chirp out. 

“Are you not one? Price just mentioned that we would be getting someone new, or maybe I was zoning out when he mentioned your details. Actually no, I definitely was. I think I was throwing crumpled up paper at Gaz - you’ll meet him later,” Soap explains, smiling at the end.

Gaz. Kyle “Gaz” Garrick. Simon had spoken less of him specifically but whatever he did have to say, it was only full of praise. That or another story of his unfortunate luck lending him time hanging from a rope out of a helicopter. That story had always made you laugh. 

“I’m technically a Lieutenant,” You manage to say between laughter. 

“Jesus Christ, another one? I wouldn’t have coined you for one,” Soap exclaimed.

“And why’s that?” You ask, curious but already knowing the answer. People have always underestimated you based on looks and size. Starting from your first days at the academy to when you first got your callsign to even after you were nicknamed the ‘Angel of Death.’ Other soldiers had only reinforced Simon’s words that you weren’t worthy of your position, let alone the opportunity to even try. 

“Just the way our Lieutenant, or I guess I should start referring to him as ‘First Lieutenant’ now, responded to the details that I didn’t hear. He almost seemed to be. . . worried about having someone else to worry about. Looking at you now though, I can tell we’re going to have nothing to worry about,” He ends with a smile.

Huh, that was new. You didn’t expect that from Soap, but you suppose he’s just full of surprises. Fitting for the demolitionist that has a knack for gunpowder filled surprises. Nonetheless, you had luggage to unpack and sleep to catch up on. You eventually get Soap to leave you alone to your devices, putting on your playlist and unpacking about half of your shit before getting too tired to continue. Laying back on your freshly made bed, your eyes flutter closed and you fall into unconsciousness. 

A knock at your door wakes you and you shake off your sleepiness - rubbing your eyes and stretching as you do. The blurriness of both your vision and mind makes you almost forget where you are. Only for a second though. 

“Open up, Angel!” Soap yells through the door.

He really had no capabilities of being subtle, did he. You stumble a bit getting out of bed but find your footing and make your way to the wooden door, turning the knob and opening it. The brightness of the hallway makes you flinch slightly before your eyes adjust to the lighting. 

“What do you want?” You ask the man who’s simply standing and staring at you.

“You- you don’t have your mask on-” He stammers, seemingly caught between staring and shielding his face out of politeness. 

“I mean, I don’t sleep with it on, and you did kind of wake me up, MacTavish,” You sigh, rubbing the sleep out of your eyes. 

“Oh right! Here’s your food,” Soap smiles sheepishly, taking the tupperware out from behind his back. It has a silly little doodle of himself in cartoon form saying “Food for Angel, No touchy” which you found amusing enough to smile at. 

“Thank you Soap, genuinely,” You offer up, taking his gift of food from his hands. 

He smiles back at you, sending you a mock salute before heading off to presumably his room. Before he gets to the end of the hallway he suddenly stops and turns, yelling back at you that Price wants to see you in his office after you finish eating. He really waited until the last minute for that one, didn’t he? Despite the slight annoyance you held, it was overshadowed by the simple amusement you had watching the man. He might not have known you knew of his famous shenanigans before you even set eyes on him, but you would get there. You take a deep breath, inhaling the aroma of what the mess hall had to offer for today. It exceeded your expectations, but that could just be the fact that your old base had shit food. 

You truly wondered what Price had to say to you, deciding that he was calling you down to fire you for the disrespect you had shown him and your apparent partner by leaving so suddenly. Obviously, it was not going to be that dramatic, but you still worried a tad bit. You were aware that you would likely be working alongside Simon, and some small masochistic part of you accepted this job despite it. Maybe in spite of it. You wanted to prove yourself to him, though you’re now realizing that he’ll eventually need to know your identity. Something you aren’t keen on sharing. 

That part of you had been shed long ago, and now your new feathers have grown in.

[your-local-grubdog]

Pikmin 4: Heritage Theory

Warning for MAJOR Pikmin 4 spoilers, including: various end of day conversations, post-credit events, late game piklopedia and treasure hoard entries, and also the final boss.

As a sort of re-boot of the franchise, Pikmin 4 introduces a lot of new ideas to the series. Among them is the idea that the various alien species in the game are much more closely related than we first realized - and perhaps more connected to PNF-404 than we would have ever thought in the other three games. I wanted to go over the various texts in the game that touch on this idea and talk about them a little because, hoo boy, the IMPLICATIONS. I call it a theory in the title for a lack of better wording but it honestly just feels like a canon fact that's never directly stated. There's just that much evidence, much of which all but outright says what happened.

Apologies if the images are a little low quality, Tumblr crunched them up badly. I provide image descriptions so hopefully that makes up for it.

As this has many end game spoilers (which, final warning for those), I'm going to assume that anyone reading beyond this point knows the basics of the game's story, world, and characters. Thus I won't be explaining every last little thing.

Somewhat early on, Olimar makes the following observation in his Voyage Log:

[ALT ID: Olimar's Voyage Log, entry 60, "Lost Civilization": Some of the objects I call treasure seem to be more complex than they initially appear. It makes me wonder... who made these? And where are they? I don't sense their presence here at all, but I suppose they could be hiding in the shadows, secretly watching me. END ID]

This vaguely threatening entry does confirm that the characters, or at least Olimar, are aware that there was indeed a civilization on PNF-404 at some point. It should also be noted that the Japanese website includes notes from another character who is also aware of the ancient civilization, though the canonicity of it is debatable. I'll get back to that "they're in the shadows, watching" line in another post, as it presents its own can of worms. For now, what matters is that the characters are aware that this planet was once inhabited and Nintendo is drawing attention towards that.

Where this starts to get weird and interesting is with Olimar's Treasure Hoard entries on the Heroic Shield, Memory Fragment (Center Right), and Buddy Display. I can't show all of their text in just one screenshot and the pikipedia hasn't added every treasure note to the Pikmin 4 treasures as of writing, so I'll only be including the segments most related to this conversation.

[ALT ID 1: Treasure Hoard, Olimar's Notes, Heroic Shield (segment): That would mean these living beings must have looked something like us... I wonder who they were and what their faces looked like. Could they have been our ancestors who migrated through space to our planet long ago? (the treasure is a pin showing the helmet of a human-style spacesuit) END ID 1]

[ALT ID 2: Treasure Hoard, Olimar's Notes, Memory Fragment (Center Right) (segment): I'm amazed that such a similar species could exist in the far reaches of outer space. I've heard that organic components can travel through space on meteorites and comets. Could there be a connection between my planet and this one? (treasure is of a puzzle piece with part of a dog's face on it) END ID 2]

[ALT ID 3: Treasure Hoard, Olimar's Notes, Buddy Display (segment): I can't find any evidence of them in any of the existing creature databases. But there's something familiar about them. It's almost as if I've met them before... I guess I'll chalk it up to an ancient memory that's been imprinted on my genome. (treasure is a photograph of two earth dogs) END ID 3]

There is so much to unpack here alone. Olimar straight up theorizes that there may be a connection between PNF-404 and Hocotate, even going to far as to propose if maybe the people of PNF-404 (or at least the people who made the Heroic Shield) may be his ancient ancestors. He does also theorize that a meteorite may have carried "organic components", which is technically possible, but I'm not sure how that would occur in a way that carries said components from one non-destroyed planet to another and leading to creatures evolving in eerily similar ways. Honestly, I'll chalk that one up to an early theory of his, a red herring on Nintendo's part, and thus not something to think about too much. Especially sense, in the Buddy Display, he considers his ability to somewhat recognize Earth dogs as an "ancient memory... imprinted on my genome". While I'm not sure of the science behind such a claim, we also have to take this from a story telling perspective - which is that Nintendo is all but screaming "there is a connection here". Not just in relation to the aliens and the planets, but also in relation to the dogs.

Speaking of the dogs, Olimar's notes on the final boss of the game presents yet more evidence to a connection - this time focusing more on the connection between Earth dogs and space dogs.

[ALT ID 1: Piklopedia, Olimar's notes, Ancient Sirehound (segment): These results would indicate that 99.9 percent of the canine creature's DNA matches Oatchi's, and that the only difference between Oatchi and Moss may be the natural presence or absence of a leaf tail. END ID 1]

[ALT IDs 2 and 3, as one naturally leads into the other: Piklopedia, Olimar's notes, Ancient Sirehound (segment): If these two theories prove to be true, it would suggest the possibility that this ancient creature is a common ancestor to two canine species from vastly remote star systems. And that, perhaps, there are even more hidden secrets out there that could hint at a fascinating yet inconceivable truth the universe has yet to reveal... END IDs 2 AND 3]

I'm not sure what else to say here; the evidence speaks for itself. The Ancient Sirehound and Moss - both from PNF-404 - closely match the genetics of Oatchi, who is from an entirely different part of the universe. For the Sirehound to be genetically related to Oatchi, then members of the Sirehound's species would have had to leave PNF-404 and migrate to other planets. Their care takers - humans - would have had to go with them.

I also find it worth pointing out that the Sirehound's arena is filled with various human items, such as shoes and toys. It's honestly a little haunting to find them so deep in a dark cave, unused by humans for who knows how long. The ruined toys in particular really get to me. We don't know how old the Ancient Sirehound in particular is, but the idea that humans once hid in this cave from something or that their dog brought the items here for comfort is really depressing.

[ALT IDs: various hard-to-see images of the human items in question, including: pillows, pipes. gardening tools, a fork, adult sized shoes, baby sized shoes, various children's toys, and other objects I couldn't quite make out. All of them are either partly submerged in water or at the very edge of water, leaving them covered in mud. END IDs]

I think by now it's safe to say that, yes, humans left Earth with their dogs at some point in time. Yet there are still MORE pieces of evidence to suggest this idea, this time coming from Shepherd's family history. Because we really needed to be beat over the head with evidence, I suppose. All are presented in numerical order as shown in-game.

[ALT ID 1: Rescue Journal, Shepherd Family History, entry 1: Thanks to the technology that has come from space exploration, our lives have grown much easier and far safer, and on-planet rescue requests have decreased dramatically. But as migration into space continues to grow, our services continue to be needed. So I'm happy to announce we are extending our rescue services to the frontiers of space! Signed, Paniya Shepherd, 82nd Captain. END ID 1]

[ALT ID 2: Rescue Journal, Shepherd Family History, entry 2: We've done it at last! We have flown to space! Out in this great, limitless expanse, not a sound can be heard. And yet, I can still clearly hear the pounding of my own heartbeat. Space--how it overflows with possibilities! There can be no doubt. This is one giant leap forward for our kind. Signed, Ed Shepherd, 65th Captain. END ID 2]

[ALT ID 3: Rescue Journal, Shepherd Family History, entry 6: The Shepherd family has lived with dogs from the very beginning. We understand that if we love and respect these creatures as we do our own--if we pay attention and observe their behavior closely--then we can break down the walls between our species and truly understand one another. Signed, Kain Shepherd, 16th Captain. END ID 3]

[ALT ID 4: Rescue Journal, Shepherd Family History, entry 7: "Beyond the sky itself there lies a beautiful blue planet." Those words have been passed down from captain to captain, calling to each of us. I can't imagine what sort of place this blue planet might be, but it's said to be home to even more dogs and folks that we have here. One day, I hope to fly beyond the sky...and into space. Signed, Maris Shepherd, 7th Captain. END ID 4]

[ALT ID 5: Rescue Journal, Shepherd Family History, entry 8: Many years have passed since we first began to make this land our new home. Still, we need more time to complete our environmental adaptations. In the meantime, we must survive so that, one day, we can pass down this new history to our children, and pass down the ways we've learned to rescue and protect everyone. One day we will live here in peace. Signed, Mark Shepherd, 2nd Captain. END ID 5]

[ALT ID 6: Rescue Journal, Shepherd Family History, entry 9: The surface! We made it at last! Finally, we can begin making a fresh start here on this planet. Of course, it will take many long months and years before what we've built here will be anything like what we once had. But we won't be alone. Our beloved dogs will be by our side as we walk this long, difficult road. Signed, Aral Shepherd, 1st Captain. END ID 6]

There is so much here, all confirming that ancient Giyans (and Captain Shephard's direct ancestors) 1) migrated to this new planet in search of a "fresh start" and 2) proceeded to migrate to other parts of space many generations latter. It also hints that they know of a "blue planet" - a common nickname for Earth - which is home to more people and dogs. Most certainly, it is the planet they came from - making Giyans human, or at least an evolution of humanity, and perhaps all other alien races in Pikmin 4 (from Hocotations to Koppaites to Ohrians to Conohanins to anyone else from the twenty one named planets (excluding PNF-404) in the series) are also descendent from Giyans. It would explain why they all look so similar in game - though we can safely assume that Hocotations are at least descendent from Giyans based on Olimar's notes. Further more, the leafling cure requires cells from a non-leafified individual who is genetically similar to the individual in question. We're never told how Yonny gets these cells (and, given we're talking about Yonny, I'm too afraid to even ask) but the fact that the medicine works for anyone regardless of what their home planet is suggests that they are, in fact, more or less the same species.

How different the various aliens look from Humans is easily chalked up to evolution. We know minor changes in height could, theoretically, happen within just one or two generations spent on a planet with different gravity than Earth's. It would make sense that this would be exacerbated over many many more generations, especially if the gravity is much stronger. Which, to quote the Pikipedia, "According to Brittany, the gravity on Koppai is roughly ten times stronger than on PNF-404." Given their matching heights, it's probably safe to assume similar applies to the other planets, and thus over the generations the people shrunk. Again, the exact scientific validity of this is questionable, but given the semi-fantastical nature of Pikmin I believe we can suspend our disbelief enough to let this story work. We already have to do that for how the Pikmin as a species function, after all. As for oxygen becoming toxic in the 8th history entry Mark Shephard does state that "we need more time to complete our environmental adaptations". Be these natural or artificially induced (as he is only of the second generation), it is again safe to suspend our disbelief to say that humans just adapted to these new worlds. Besides, Koppaites at the very least retained (or possibly gained back?) the ability to tolerate at least low amounts of oxygen.

The real problems come in the time frame and the loss of history. It's never stated one way or the other if people are aware of their ultimate connections back to Giya, so I won't discuss that, but it is very obvious they have forgotten their connection to Earth/PNF-404. Furthermore, it's made clear that the Giyans lost the ability to travel through space by the 7th generation and only regained it by the 65th. If they had access to space flight, they would certainly have archives of their heritage - and they do indeed seem to have some idea of what it is, given how Earth has become a legend. Yet, the Shephard family history as far back as the migration to Giya was preserved - why not anything else? The inconsistencies and questions make this part of the tale hard for me to ignore, yet we have no answers. This is pure speculation, but if I had to provide an answer I think a solar flare hit Giya and destroyed their technology, making them start over. Perhaps these early Giyain-Humans were so reliant on technology at this point that there were no books or oral traditions to preserve this heritage lost when the tech was destroyed? Though, somehow, the Shephard family would have to be one of if not the exception to this. Again, the previous is pure speculation, but it's the best we can do for the time being.

There's also the question of when and how Earth dogs changed to look like the Sirehound, which would of had to happen before the migration to space given that Oatchi has the same body plan. And then why did Moss's species become so much smaller?

Still, even with all these plot holes, I think it's pretty damn clear that Nintendo intended for our favorite little aliens to be the evolutionary decedents of humans. How and if they'll use this plot point remains to be seen, but it does open up a whole bag of opportunities for the universe of Pikmin. One that, frankly, deserves to be explored.

[featherlikescartoons]

A brief-ish Analysis on the most important scene in For the Future lore: The Collector's Story

I needed a place to ramble, so here we go

To start off with, the cover of the actual book is much simpler and more childish than the symbol we've seen in the past:

So this book was probably made for this Collector specifically, or any young Collector to learn about their species. I'd also like to comment on the fact that while the book may look impossibly long, the stone pages coupled with the large font greatly shorten it. This doesn't mean it's not long, just not as long as it first appears.

This isn't important, just thought I'd point it out.

Moving on:

The contents of the book

This scene confirms something very important, there were other Collectors

and from the looks of it, they weren't very nice. More on that in a moment

The people depicted here are probably the ancestors of the Titan Trappers, seeming to worship the Collectors. But considering the Collector's tendency to wipe out anyone in their path, this isn't surprising. They seem to gain followers through fear, the type of fear they twist into awe and worship.

I find this especially interesting because Belos gained followers in a similar manner, fear turned to worship. First of all, I'd like to acknowledge they are still very different. Belos's rise to power came about through manipulation and making everyone believe he could lead them to a better future, while the Collectors probably scared everyone into submission with the idea they could take down any who go against them in an instant.

But while their origins are different, they grow into something very similar. By season 1 and 2, Belos was forcefully gripping at control and using his powerful position to either capture any who rebel, and to invoke worship in the rest. Maybe I'm reading too far into it, I don't know.

Additionally, each group were trying to destroy an opposing species. Belos with witches and The Collectors with Titans

Long story short, The Collectors inspired fear and turned it into worship. Belos did something kind of similar. Also, Boscha and Kikimora also established a tyranny in this episode. Just some food for thought

Back to the book, the section that the Collector crossed out hold some heavy implications.

("But should they meddle in our affairs, we'll clean the planet and scorch the air")

Not just the ones who opposed them, the planet itself.

The Boiling Isles would be an empty mass of boiling sea if it weren't for the titan's carcasses. Without them, there would be nothing there. What if this is because the Collectors reset the planet, burning away anything that once rose above the sea and raising the ocean's temperature to boiling levels in the fire.

Or at least that's my interpretation

So, based on the information we have, the Collectors may or may not have had the power to wipe out an entire planet. Yet, they seem to have been completely wiped out alongside the titans, except for just one of their young.

We know a titan was the one that sealed away our Collector, so we can assume that it was an evenly matched battle, the two species wiping each other out. (King and our Collector probably can't reproduce, so their as good as extinct)

Okay, at this point, we've figured out a rough theory on the Collector's history, but how does our Collector play into this?

It's made very clear that our Collector isn't fond of his predecessors. He's a kid with a lot of power and was probably bored by the other's ideas of doom and gloom and the tendency to destroy anything interesting.

So our Collector decided to start doing things his own way. It's clear he didn't decide to step away from the old ways out of sympathy, rather, it was because he's a bored, lonely kid who wants to do interesting stuff like play and make friends.

Does he have any role in the destruction of his species? We don't know. Personally, I think he was placed in the mirror when he was really young, leaving him with nothing but vague memories and a book to get to know his predecessors by.

I believe this because it would parallel him more with King, both of them not being able to remember their species.

I think if the Collector learned to listen to king, they could form a really nice, genuine friendship

[halfagone]

Is it bad that I don’t necessarily agree with what seems to be a lot of people’s headcanon of Danny not being straight? Obviously people can headcanon whatever they want, but I myself strictly adhere to the rule that if there is no explicit evidence or implications from canon that prove otherwise, that I just assume a character is straight since that’s statistically what is most common?

You had me in the first part but you lost me in the second, unfortunately. You said it yourself, people can headcanon whatever they want. If you prefer him being straight, then that's really up to you! But that last line you just said is a little something called 'heteronormativity' and I'm not going to explain that here.

Moreover, I would definitely say that it can be very tricky to use 'explicit evidence' for reasoning, because it's a very slippery slope.

I'll use some other childrens' cartoons as examples to make my point clear here: In The Legends of Korra, Korra dates only guys for almost the entirety of the show. But in the very last episode, she and Asami become a couple. I know a lot of people say that they just threw that out there, but if you do some research you'll find out that the showrunners fought so hard to get just that scene in the show. If they could, they probably would have added more elements to their relationship and gave them more obvious on-screen chemistry. But they weren't allowed to.

In Voltron: Legendary Defenders, we find out in Season 7 out of 8 that before the Kerberos mission, Shiro had been engaged to a man named Adam. While the two ultimately broke off their engagement because Adam didn't agree with Shiro's decision to go on the mission despite his illness, we do see in the series finale that Shiro gets married to Curtis, who was a member of the Atlas crew.

Probably one of the more famous examples, The Owl House! As we know this is a Disney channel show, but the wonderful creator Dana Terrance made it beautifully, openly queer. And Disney didn't quite like that, so they cancelled the series. After which, the showrunners essentially decided for the final abbreviated season, "Fuck it!" And did whatever they wanted, as far as they were allowed to go.

Dave Filoni has said that he shipped Ahsoka Tano and Barriss Offee and we could have seen a romance from the pair. (And yes, this does make the betrayal that much worse.) I could use Steven Universe as an example, but I think I've made this section of my point clear here.

We only see one side of the show. We get to see the finished product, not all the hard work the showrunners and writers and artists and producers put into getting what queer representation they could. We probably wouldn't have seen any of this from Danny Phantom as a show, because we all know Butch Hartman is homophobic as fuck, but that doesn't mean there was nothing there that we as a fandom couldn't have taken to mean something else.

In the episode, "One of a Kind", there's a scene where Danny and Tucker are seen cuddling comfortably in each other's embrace. Of course friends can do this too. Hell, they can even be in something called a ✨ queerplatonic relationship ✨ but that is still queer. Even still that can easily be argued that Danny is just as attracted to guys as he is to girls. You never see Danny act like that around Paulina or Valerie while they were dating.

In "Fanning the Flames", Sam kisses Dash to break Danny out of his mind control. Except... This episode's summary explicitly states, "Danny and Sam find their platonic relationship turned forcibly romantic through the powers of Ember..." Over the show's seasons, we do get bits and pieces of evidence that Sam had a crush on Danny, but it's not until "Frightmare", episode 9 of the last season, that we get a scene where Danny realizes he might have a crush on Sam. I'm sure there are other bits and pieces of evidence, Jack had a ring for some reason in "Girls' Night Out". But "Frightmare" is where we get the first evidence of a possible relationship from them, which is a huge deal because this show is primarily from Danny's perspective.

But that is, quite literally, two seasons apart. So who is to say that- that first time Sam kissed Dash- Danny wasn't jealous of Dash but he was jealous of Sam. Here's what I'm talking about: in "Frightmare" we see in Danny's dream sequence that he wanted to be friends with the A-Listers and that's probably primarily because he likes the idea of being popular, yet in that episode and "Attack of the Killer Garage Sale" it's always Dash that Danny wants to impress and please. In the latter's episode's case almost if not equally as much as Danny did with Paulina, a girl he freely shows his crush on. And yet this is the same guy that makes Danny's school life hell and whom Danny antagonizes on many occasions. This could easily be a case of 'pulling someone's pigtails' and considering Dash's admiration of Phantom, that's not hard to believe on his side of things either.

In general, Danny's entire secret identity can just as easily be a symbolism for queer identity. All of Danny's Rogues know who Danny is, what he is, where he lives, and where he goes to school. And yet it's his parents he has to hide himself from. If you switched out the word 'ghost' for 'gay' or 'queer' in some of the Fentons' anti-ghost rhetoric, it would have been unabashed hate speech.

The Danny Phantom phandom has a lot of queer folks. We've done polls, I've seen the numbers. You said it yourself, anyone is free to headcanon what they want. But considering the community, I am not surprised that Danny being anything but straight is so commonly headcanoned. And maybe that's still not for you, but it's not as shocking as you might expect it to be.

Danny is only 14 years old at the start of the series. While we don't know the exact timeline of the series, and how long it's been when the shows ends, we can comfortably put Danny at 15 or even 16 years old at most. But there are plenty of people who don't realize they're gay or lesbian or bi or ace until they're much, much older. Yeah, we didn't get to see that in canon for obvious reasons, but who's to say we can't show that instead?