#i strongly suspect not

[oldshrewsburyian]

It’s my boys!

[arlathaans]

dragon age: dreadwolf - dragon age day 2023 teaser map locations

[ineffable-baker-street]

[thetarttfuldickhead]

Yes, but consider: Roy/Jamie hook-up parallel to Isaac's Roy/Keeley break-up observation.

Say Isaac and Colin's chilling by the water cooler, as you do, Isaac looks up to see their Coach and their CAM walk in, Isaac's eyes widen.

"Whoa, Roy and Jamie are hooking up."

Colin gives him one of his world-famous skeptical looks. "What? Who told you that?"

"I've told you before, bruv, it's body language. Just look at them: they won't look directly at each other but they keep sneaking glances and they're smiling. Yeah, Roy too, that's his smiling face. Jamie walking a little stiffly but's looking more relaxed than he has in ages." He grins as he sees the realization settle on Colin's face. "It's science."

It's a huge fucking mess for all of us if they fall out, but good for them and about fucking time, Colin has a moment to think before he needs to run after Isaac to stop him from telling the whole team.

(Maybe he makes it. Maybe he doesn't. Maybe it turns into a very weird and noisy morning for Jamie and Roy.)

[carnivalcarriondiscarded]

What’s up with the ties between Sally & Eddie?

There are quite a few - to the point where I’m starting to suspect that they may be foils, or at least inherently tied together in the story.

First let's bring things back to the clocks. The “day” side has an obvious resemblance to Sally, like how the “night” side resembles Eddie. There’s not really much I can say here since we don’t know much more yet, and who knows if this has changed behind the scenes. But just think about that, the rarity of the color purple, night vs day, and the “monster”. Keep it in your head, I think it may be important. 

Also the fact that Eddie is the only one with a watch, but Sally’s face has an incredibly similar face on her door.

Obviously Sally has some sort of beef with Eddie, despite him being nothing but friendly and (to our knowledge) being undeserving of it. One thought I entertained was “maybe Sally is dismissive of him because he’s a worker,” but that holds zero water when you consider how perfectly friendly Sally was with Howdy (karen Sally debunked <3). The second thought I had was “maybe Sally senses the queer in Eddie and it intimidates her” - which would make sense if Sally is a lesbian like I suspect. Internalized homophobia, anyone? This holds up if Eddie is going to turn out to be - not open about himself, but comfortable in his skin in a way that, say, Frank isn’t. Which I have a feeling that will be the case, which would likely make Sally put on airs even more so than usual. 

Anyone else seeing a continuous trend of (social) masks and performances unfolding in the Neighborhood? I sure am.

But let’s talk about why I think they might be foils. They balance each other out in an interesting way, despite their only solid similarity being that Both will work/perform no matter the weather. They have a lot of closely related differences:

Eddie has been mentioned (and implied within the story so far) to have a deeper well of knowledge than he lets on, but acts humble about it. Sally has been mentioned (and implied) to know less than she portrays, but acts like a bit of a know-it-all - she pretends to know things that she doesn’t. 

Eddie’s role is about helping others at his own expense, while Sally’s is using others to reach fame. 

Eddie strives to connect with his Neighbors and is all about accuracy/precision. Sally is in her own little world and has proved to be more than willing to improvise / not think things through before acting.

Eddie is slow to anger, and Sally is easily irritated. 

Selfless vs Selfish.

Night vs Day. 

And to put them in the Johari Window - i believe that Sally resides in the Blind Spot (known to others, not known to self), and Eddie resides in either the Facade (not known to others, known to self) OR the Unknown (not known to others, not known to self). Personally I’m starting to believe that Eddie may reside in both. 

It’s far too early to draw any real conclusions, and theorizing on all of this is difficult. I feel as though - as usual - we have puzzle pieces but no frame of reference for the way they fit together, what picture they build. And who knows, tomorrow’s update may shred this to ribbons, but I doubt it. 

One thought I had was that they’re in cahoots about something - it doesn’t have to be something malicious or some sort of secret plot, it could simply be something they both know and are trying to keep quiet about. Eddie is trying to connect with Sally since they have this in common, but Sally is actively putting distance between them to preserve their secret / plausible deniability. Do I actually believe this? Meh. I’m just throwing spaghetti at the wall to see what sticks.

So current base thoughts: Sally is dismissive of Eddie either because he intimidates/scares her on an internalized level, or she’s actively trying to put distance between them for a currently unknown reason. There’s probably a secret third option I haven’t even considered!

[the-rogue-mockingjay]

Do y'all ever think about the way Aymeric says "That [my father] did not die by my hand matters little; if anything, it heaps greater disgrace upon my name."

greater disgrace.

Thordan was a bloody menace and he needed to be stopped by any means necessary. He was a threat to Ishgard, and Aymeric did the right thing in ordering his death. Yet. At the end of the day...

However justified it was, and for all of Thordan's crimes - not least of which was having Aymeric arrested and possibly even tortured for the simple crime of wanting the pointless bloodshed to end! - it still leaves Aymeric with his father's blood on his hands. A bastard son (punished for a sin that wasn't his) who murdered his father by proxy.

I think it weighs on him more than he lets on.

(And right at the beginning of Post-Dragonsong: "Am I then to be scorned for building upon the system of nobility that I once sought to tear down? And what strange jest is this that places me at its pinnacle? An archbishop's bastard at the head of the House of Lords..." It's subtle, but he really does not seem to regard himself very highly. Almost like he doesn't feel he deserves the respect he's given. C'mon buddy, let's go get you some self-esteem, some therapy, and a got damned break.)

[likeabxrdinflight]

Naturally I have a lot of thoughts about Azula's role in the live action adaptation. I'd say about 95% of them are positive thoughts.

First of all, I love that she is this baby-faced, squishy-cheeked kid (I know her actress is a little older than the character but that's okay.) At Elizabeth Yu's age, I also easily passed for 14-15, she just has a young-looking face and clearly hasn't lost all her baby fat. And that is perfect, actually. I've criticized the sharpness and angularity of the animated Azula many times over, she has always looked far too old for her canonical age. I've said it before and I'll say it again- it's a problem that so many people watched the original cartoon and thought Azula was older than Zuko. I can't even blame them for it, she's drawn to look 20 or older. So it is wonderful to see a version of Azula who looks closer to her canonical age. I think it really drives home the point.

That said, this Azula is definitely different than her animated counterpart in other ways. The animated Azula was (almost) always perfectly in control. She could become angry and snap at people- but it was fairly rare, Azula always seemed the image of perfect calm, control, and precision. She was deadly precisely because she was so cool and collected and did not get easily rankled. This was also part of what made her breakdown so shocking.

The thing is, the breakdown is not especially foreshadowed prior to season three. There are a few moments that show the chinks in Azula's armor, but most of them don't come until "The Beach," and then after Mai and Ty Lee's betrayal. I've always believed that betrayal was the real inciting incident for her eventual psychotic break- I've argued before that it sent Azula into what's called a prodromal state, which is like a sort of "pre-psychosis."

More on the animated version's mental state here

Point being, there's really only one instance in season two that suggests any flaws to Azula's cool exterior, and it's one of her very first scenes. You know the one: "almost isn't good enough." It makes for a very subtle build-up to the breakdown and her eventual fall. But it comes at the cost of depicting her predominantly as a capital-V Villain prior to it. You're not really supposed to sympathize with Azula until "The Beach," arguably not until "Into the Inferno." For most of the animated show's run, you're supposed to find her scary and threatening.

And this is done effectively- almost too effectively. She's an obvious foil to Zuko, and serves as such a good primary antagonist that they had to neutralize her in the finale by giving her the breakdown. It's like they knew there was no way a healthy Azula was going to be beatable during Sozin's Comet. She appeared to be an effortlessly talented fire bender, a brilliant strategist, and a more dangerous opponent than even Ozai.

Live action Azula does not have this same feeling to her. There is still something "scary" about her- we see her watching people being burned alive with little to no reaction, and her face is quite blank at Zuko's Agni Kai. She's still cunning and still willing to manipulate things to her advantage- we see this in how she plays Zhao. So if this version gets a season two I have no doubt that this Azula will still serve as a dangerous antagonist to the Gaang and I don't doubt this is still an Azula capable of bringing down Ba Sing Se.

But she's not quite the calm, collected character she first seemed in the animated version. This Azula is a little less hinged. She has more moments of snapping and losing some of that perfect control. She's more frustrated and feels more at the mercy of her father. She reads far more like the Azula we saw in "The Phoenix King," the one who talked back and protested that her father couldn't treat her like Zuko. That Azula, however, was about one bad night's sleep away from a psychotic break. This Azula, presumably, isn't there yet.

I can agree that something of her original character gets lost when you essentially start foreshadowing the breakdown from the jump. It's not gonna be a surprise to any new audiences. She's not gonna be quite the same. But it does humanize her much sooner than the original show did, and it asks the audience to consider her circumstances from the jump- is this a sympathetic character or not? I obviously think she is in the original, and I do think in the end she was meant to be. But it's much more of a debate. The live action show unequivocally says "yes" and does not make it a debate at all.

I'd be tempted to say it's not trusting the audience to read between the lines, but given all the Azula discourse...they might be right to take this more direct approach.

Anyways. Live action Azula also feels more like a real teenager. She's petty, she's irritable, she's desperate to remain in her father's favor and beat her brother in the artificial competition her father has set up between them and will go to any lengths to do so- lengths she probably wouldn't have in the cartoon. She has a strong drive to prove herself and to protect the image she constructs about herself as the "perfect daughter." But that image also feels far more fragile than it did in the animated version.

This Azula doesn't say that "almost [perfect] isn't good enough." She says that "it [perfect] isn't good enough." It's a subtle but meaningful difference.

(Side note- I think the reason this Azula is fine shooting lightning in the direction of her father, seemingly in defiance of his orders, is a direct result of the change to the Agni Kai- she watched as Ozai berated and burned Zuko for not giving him his all, versus in the original where Zuko's sin was in not fighting back period. So here she's showing Ozai her "all", she's giving him everything she has to prove she's capable of doing more than Zuko running drills and smoking out resistance rings.)

I like this change. I like this more desperate, more grounded take on Azula. She feels like a real girl in a horrendous home environment. This Azula was raised in a family where it's expected you be cool with setting people on fire in the throne room and where there's a tangible symbol of Daddy's love sitting beneath him at all times. This Azula was forged in the fires of competition and manipulation that's more subtle than the animated Ozai ever seemed capable of. (More on Ozai later, but he's a much more subtle character than his animated counterpart despite still being...pretty blatantly Evil). So I think it makes sense that she's not quite as calm and controlled and perfect as the animated version.

I don't know yet which version I'll prefer when all is said and done- she was ultimately a minor role in this season. Animated Azula is iconic and always will be, but there's a lot I've always been critical of about how she was depicted in the original show. I think a lot of us that love and empathize with Azula do so despite the way she was written, not because of it. This version might change things a little.

But it also might make it seem infinitely more cruel if she isn't given some kind of redemptive ending (or at least one that implies some hope for her.) The bleak ending of the original show might feel really bad for this more sympathetic version of Azula. So if they stick with that...I dunno. It could hit or miss.

For now, I like what I'm seeing. And Elizabeth Yu understood the assignment.

[scary-senpai]

Thanks, I hate it. I would gladly hand over all my credit cards & banking info if y'all promised to spend it on therapy.

[groenendaelfic]

A Dutiful Welcome (5412 words) by groenendael

Summary: His Majesty The King of Sweden and his very male, very biracial Consort arrive in London for a state visit. Philip’s duty as heir is to welcome them graciously and with all the honors befitting their station. Philip has thoughts. Wilhelm and Simon are in love.

Chapters: 1/1

Fandom: Young Royals (TV 2021), Red White & Royal Blue (2023)

Rating: General Audiences

Warnings: No Archive Warnings Apply

Relationships: Simon Eriksson/Wilhelm, Martha Fox-Mountchristen-Windsor/Philip Fox-Mountchristen-Windsor, Alex Claremont-Diaz/Henry Fox-Mountchristen-Windsor (mentioned)

Characters: Philip Fox-Mountchristen-Windsor, Wilhelm (Young Royals), Simon Eriksson, Martha Fox-Mountchristen-Windsor

Additional Tags: King Wilhelm (Young Royals), King Consort Simon, POV Outsider, POV Philip Fox-Mountchristen-Windsor, state visit, Philip Fox-Mountchristen-Windsor Being an Asshole, but only internally, because Wilmon outrank him, Duty, Decorum, protocol, Versus, Homophobia, Racism, Classism, or something, Simon Eriksson is a Little Shit, Wilhelm is a Little Shit (Young Royals), Future Fic, Not Britpicked, Canon - Movie, Philip is not envious of anything whatsoever at all, Wilmon only have eyes for each other

Series: Part 1 of Kings in London

[hailperseusjackson]

given the show’s track record so far with the trio knowing everything umm.. i’m scared for The Reveal

[liskantope]

I'm generally very fond of Kat Rosenfield and the way she puts her views on her podcast Feminine Chaos, but in one of the most recent episodes, she muses on the question of "is it better to desire or to be desired?" (apparently younger women tended more to prefer the latter, to the slight consternation of both Kat and her podcast partner Phoebe Maltz-Bovy), one of Kat's musings is a little hard for me to know how to digest.

I was thinking about this, maybe too philosophically, and... I think that, to desire things -- I mean, not just people, but to, I don't know, to desire anything, to, like, be able to inculcate that, that feeling inside of you, is to be kind of alive to possibility in a way that is exciting and that makes a person feel like kind of, I don't know, that feels like the fullest expression of your humanity. Whereas, to be desired, I mean, like, that can be nice, you know, in the sense of like, "yeah, I still got it", which is sometimes nice to feel, especially as I am, you know, advancing in middle age. But, I don't know, you're not gonna pay your rent with it, and it's not gonna enrich your life, particularly. All it does is, I mean, I think, in like the worst cases, foment a certain amount of anxiety, because like, you know, what happens when people stop desiring you, if like, if that's the better thing, it's got an expiration date on it. Whereas, desire, you can want stuff your entire life.

This is a blend of two sharply distinct elements for me. Firstly, her attitude about being desired not having much effect on one's life strikes me as reaching over-the-top levels of insensitivity to what un-partnered not-super-conventionally-attractive people have to think about -- it feels to me like an expression of (somewhat gender-tinted) "attractiveness privilege" if you will (Kat Rosenfield is, um, quite gorgeous by my lights and probably to many others as well). Seriously, being desired "doesn't pay the rent"?! (Arguably it reflects a more general sort of privilege -- Rosenfield long before 40 has established a great, fulfilling career, is happily married, and owns a decently nice home for instance -- that makes it hard to remember that desiring relatively basic things one doesn't have or feel particularly hopeful about getting can be a quite painful form of "wanting stuff".)

But it's so over-the-top that I feel fairly sure there's a much more charitable way to understand what she was getting at, that she was considering the question in a very contextual frame of mind and would probably immediately understand my (surely much more common-sense) point of view if it were put in front of her (which Phoebe did not do) and she were forced to be a little less, as she acknowledged, philosophical. At least, I'd like to think?

The other salient aspect of the above quote for me is that it includes a really beautiful take on what it means to desire, whose general terms have more and more reflected my thoughts as I get older. I honestly think the capacity to desire and the capacity to be desired are equally important in their own ways, and a lot of the importance of the former was encapsulated eloquently in Kat's explanation. And I feel somewhat of a bitterness about the value of being able to desire, a smaller version of the bitterness I feel about the value of being desired: I am becoming very concerned as of late that I no longer have the capacity to be strongly attracted to anyone romantically (or maybe even sexually), and I find that kind of terrifying actually.

[thinkin-bout-milgram]

Hello! If it’s okay, I’d like to know your thoughts on the Trikoto theory (3+ alters). I think it’s a cool theory! And pretty likely, honestly. (Here’s a document about it in case you don’t know what I’m talking about. I didn’t make it, and I unfortunately don’t know who did, I just found it in another blog)(I really hope that link works lol)

Hey FF! I was wondering when you might send something in. Not the topic I expected, but I'm here for it!

I've definitely heard of this theory before. I can't say I know for sure where it originated, but I've always been under the impression that a blog called @bertrandcaillet started it as they're the first one I saw talk about that theory and they told me about it a while ago. They've since deactivated, though, so I can't really check with them to see if that's true.

I think the trikoto theory is interesting, and I fully agree with what's said on the document about how it would be nice if Milgram is showing a system with more nuance than just having two alters.

That being said, I personally don't believe this theory for a number of reasons. I'm going to do my best to explain why here. I do want to say going into this that while I do have extremely minimal psychology teaching (as in, undergrad psyc MINOR), I do not claim to be that educated on DID or similar struggles. So, anything that I say will be focusing much more on Milgram as a piece of media from a writing standpoint, because that's what I have much more extensive experience in.

I will say that I am very aware that most systems have more than 2 alters. That being said, I think I also remember from my psyc class that the average number is, like... 16? I'm not at my dorm right now and that's where my notes are, so I can't check, but I remember specifically thinking about it in the context of Mikoto and trikoto theory, so I'm pretty confident it's Above Three. That means that either way, it's not like we're doing The Most Common Number, so I think two versus three is largely irrelevant on that point.

For the sake of clarity, I'll be using the names in the doc (Akakoto, Midokoto, Aokoto), but I only personally believe that two of them (Akakoto, Aokoto) exist. I've taken to calling them Orekoto and Bokuto, but for this post, Akakoto and Aokoto it is.

At its base, my problem with trikoto theory is that I don't see a lot of evidence for it. Most of what I've seen has been talking about the implications of it if you assume it's true, but I've just never really been convinced in the first place. I'll just go through some of the main reasonings real quick:

The RGB Colors

I do acknowledge that I'm very much not a visually oriented person, so the color shifting is something I'm less inclined to notice. However, while the background of the room is blue and the train station and apartment are pretty green, I don't feel like there are ever really any red backgrounds (other than when the headspace becomes red as ooposed to blue). Because of that, I have a hard time believing that the backgrounds themselves contribute to the idea that there are three. I definitely think the red/blue coloration in the eyes and such are indicating different alters, but I don't think that specific fact supports there being three of them.

The Voice Changes

This might be a me issue, but I only really hear two different vocal inflections. I understand the point about there being some harsher (?) sounding vocals that don't have the growl, but personally, I still think the tone matches the one described as Akakoto enough to count. Similarly, the parts towards the end that are picked out for Midokoto ("I'm probably not to blame," etc.) actually sound more like Aokoto to me even if I do try to track the three voices.

I'm hesitant to go too hard in believing the different voices because to me, doing so would severely limit the amount of control Natsuki Hanae would have over the emotions he wants to put into the song. The vocalists in Milgram do a fantastic job at using specific vocal intonations to convey deep layers of emotions in their songs. I feel like it would be very limiting to only be able to use certain vocal effects (ex. growl) in specific places due to the limitations of the characters. If there are two, the two voices are far more separate, which gives more space for customization within the bounds of each voice.

This is also a little bit iffier on evidence, but there's the Es cover of MeMe. I don't know how much Yurina Amami knows about Mikoto's story and the entire video is in grayscale, so take all of this with a grain of salt, but to me, I feel like Es uses two voices here, not three. Notably, they even have a bit of vocal growl on the "switch" and on "split and half, make that heart beat," which are both squarely in the Midokoto tone. They do still have the two voice split, sounding a bit more apathetic and aggressive in the Akakoto parts and cuter in the Aokoto parts. To me, that signifies that there's suppose to be two voices going on, not three, but you could argue that that's just Es' perception of Mikoto, so it's not decisive or anything.

Mikoto Fighting Es

Yes, in his first audio drama, Mikoto is able to beat Es up until Kotoko stops him. Yes, that's inconsistent from what we've seen from Futa and also t2 Amane. I agree that that's because the Milgram rules only apply to one or more alters, and thus any others that may exist can get around the rulings. We saw this between trials, too, with how Mikoto (seemingly Akakoto at the time) was able to avoid being restrained despite his guilty verdict, likely through the same loophole.

(Side note: this implies to me that Milgram's system for restraining guilty prisoners is, like the protective barrier around Es, somewhat magical and isn't a physical thing. Thus, if we were to, say, vote Amane as guilty, I am fairly confident she would be unable to harm any other prisoners, as we've already seen the barriers are able to prevent her from attacking others. I still lean Amane innocent anyways, but I wanted to point this out.)

Anyways, I don't think that this is actually evidence towards trikoto theory because it works perfectly fine with just the two of them. Aokoto is the prisoner in Milgram and Akakoto isn't. This doesn't necessarily mean that Aokoto is the one who was fronting while the murder happened, though; the rules of Milgram just necessitate that the prisoner is involved in/related to a death. It can be indirect.

I think that that's exactly what Milgram is asking us with Mikoto. The question is, how do you fairly hold a system accountable? Can you blame one alter for the other's actions?

Milgram loves to complicate these, and I can see the appeal of a complication being learning about a third alter. Personally, I think it's much more likely that the route Milgram is taking is looking at how much knowledge the alters have about each other and asking how much Aokoto would have to know to make him an accessory to Akakoto's murder plans. It could go either way, though.

Some Bonus Points

I think the strongest piece of evidence brought up is the use of threes in Mikoto's design. Other than "they just liked it aesthetically," there isn't much of a counterargument I can make about it. My best one would be that they might be going for a "switching between black and white" type of thing, which would work better with more stripes, but that's pretty weak. I also had the idea that the first character of his name looks like three stripes, which might be a better or worse explanation! You get to decide, I have no idea.

The cake sells me less, though. It's true that Kazui's is a perfect 50/50 and that Mikoto's isn't, but that's because they're representing different things.

Kazui's is half and half because his song is called half, and it could also be a sign of how he and his wife didn't actually connect more in a marriage sense; they're still two fully separate people rather than being a unit.

Mikoto, if he has two alters, is still physically one guy. Mikoto is mostly sitting on the flower designs. I'd argue that the flowers are meant to show Mikoto as a whole: the connection point of the two alters.

That's pretty much all of what I have to say on the doc (in terms of the trikoto aspect, whether I believe it or not there's some good work done in character/lyric analysis that applies to two or three alter theories), but I'll go over some of my reason for why I actively believe there to be two, because there are some reasons.

Reason 1: The Song Titles

The doc explains what the meaning of MeMe is in trikoto theory, but it definitely still works with two, more obviously so. That's not evidence, though, because the trikoto theory has a viable explanation too.

I have no idea what they'd be doing with the song title Double, though. I guess it would be a play on somebody being someone else's double, meaning they're someone like them, which is no doubt part of the song title either way, but I think it's difficult to ignore the meaning of Double that means, y'know... multiplied by 2, or:

But that could very easily be a diversion and we haven't seen the second video, so I'd let that slide. However, that brings me to the bigger problem:

Reason 2: Upright Versus Reversed

AKA, the tarot cards.

Tarot cards can be read two ways, Upright or Reversed, based on the orientation of the card when it's placed/picked up/whatever. I already went over in my original theory (which is pretty outdated, I could do a way better job but I wrote that one literally first out of my milgram thoeries and I hated not having a good name scheme for the various alters) why I believe Akakoto to be the Hanged Man (Upright) and why I believe Aokoto to be the Hanged Man (Reversed).

I struggle to imagine why the devs would pick tarot, something that clearly has two meanings to it, when there are actually three alters. Maybe it'd just be to throw us off the scent, but it feels a bit too intentional to me.

Plus, if it was meant to throw us off, I'd expect we'd get a different metaphor/symbol for the second MV (as we have been with pretty much everyone). However, the association between Mikoto and "reversible" things has continued into trial 2, even before his MV has come up.

I say this because of his trial 2 cover song: Reversible Campaign. Funnily enough, I actually thought this song would go to Kazui before it was announced as Mikoto's, but then I looked again and understood why they wanted it for Mikoto.

My thoughts get confused and fight with each other

Very Mikoto, works for either two or three alter theories. However:

I just want to waver between black and white

It's turned me upside down

There's more that seems to paint Mikoto's mind as a dichotomy, not a... trichotomy? Is that a word? I don't actually know.

The Song Lyrics of MeMe

This is sort of an extension of the above part, but there are also definitely song lyrics in MeMe that sound like they're heavily implying two. Again, you could argue that that's trying to throw us off the scent, but some of them are, in my opinion, actively difficult to justify for trikoto theory.

Split in half, Make that heart beat

I cannot for the life of me understand why any of the three alters would say "split in half" if there are three. I guess if any of them were aware of one of the other alters, but not the other? I don't think that's what was being argued, though, sorry if I missed that.

I’m already the fake one

Little harder to argue this one because I don't know how definite versus indefinite articles work in Japanese, but saying the fake one really sounds to me like there is one fake and one real. If you were just having a moment of existential crisis, in most situations, I think you'd opt for "I'm already fake."

The Mirror

This is sort of the same argument as the tarot cards, but there's also the use of mirror imagery in Mikoto's MeMe MV. Mirrors have two sides and are a reflection. You could use Haruka logic and say that it depicts self reflection, I guess, but considering the reflection acts differently, I think it's much more likely that this is meant to show the two alters.

Conclusion

Hopefully this all made sense? I respect trikoto theory and I could easily be super wrong about it (see also: my original opinions on gay Kazui theory and police Kazui theory), but I've just never really been sold. It's possible my opinion would change if I saw evidence that I felt worked better for trikoto than... twokoto? theory, but personally, I feel like most evidence I've seen for it is still better explained by there being two alters. Let me know what you think, though :)

[just-late-roman-republic-things]

Roman leaders were really like "armor is for pussies, real generals fight with their bare chests on the front lines" until they were nearly wiped out by Hannibal.

Nathan Rosenstein, "Aristocratic Values," in A Companion to the Roman Republic, eds. Nathan Rosenstein and Robert Morstein-Marx

[monsieuroverlord]

Marvel released some spicy previews for March 2024, continuing the Fall of X!

It includes the ongoing X-Men, Dead X-Men #3, Resurrection of Magneto, X-Men Forever (The Jean Grey/Phoenix-focused line), Cable, X-Force, and the ongoing Sabretooth War in Wolverine!

source here

Wolverine #45 written by Victor LaValle and Ben Percy, art by Geoff Shaw, cover by Leinil Francis Yu

"X marks the spot! The treasure hunt is on as Sabretooth picks up on the trail of an item that will turn the tide in the war on Wolverine! But as the best there is regroups with the remnants of his allies, it’ll be a race against time for the good guys to uncover a LOST weapon that could prove to be their LAST HOPE! And that’s if Orchis and the Stark Sentinels don’t get them first!"

Wolverine #46 written by Victor LaValle and Ben Percy, art by Cory Smith, cover by Leinil Francis Yu

"Brain changer/game changer! Wolverine’s memory has been altered, erased, restored, forgotten and destroyed. This time, if he can’t get his head on straight, Sabretooth will do far worse than that! The most diabolical chapter of SABRETOOTH WAR yet…and you thought those early issues were violent?!"

X-Force #50 written by Ben Percy, art by Robert Gill, cover by Daniel Acuna

"The final battle against Beast in the landmark 50th issue! X-Force confronts Beast with their secret weapon. A final reckoning. Not a dry eye in the house. TARGET: BEAST finale!"

[finelythreadedsky]

Anne Pippin Burnett, Revenge in Attic and Later Tragedy (1998)