#its kinda up for interpretation

[this-should-do]

Inspired by a quote from the novel “White is for Witching” by Helen Oyeyemi

[kelocitta]

In honor of the @rw-ship-showdown I wanted to write about Artihunter as someone who jokingly slapped them together pre-downpour and still thinks they are actually very compelling. Just not in the super soft love wins kinda way (Although I get why people like that more) And the only way I know how to do that is talking too much so heres a far too long slug essay-

Obviously the slugcats don't offer a ton of characterization but theres not nothing to work with. Their stories, whether by their roles in it or the overarching themes do provide a backbone to work with. Even gameplay itself can provide a bit. (for some more than others) Hunter, to me, is ultimately a story about selflessness. The goal is to revive Moon, which is very much an act of kindness from both Hunter and NSH. But the weight of that action is much more significant for Hunter- Hunter is deeply sick. They're on the clock, and for all their skill in combat none of that will ultimately help them to survive longer than their body can hold out. Moon is a close friend of NSH but that means little Hunter- Hunter really gets next to nothing out of helping them, and ultimately pays quiet a bit spending their limited time alive fighting to deliver that neuron so that someone else can live.

To spend ones limited days on helping another, in a game that very much stresses the unwavering cruelty of the world and nature- is pretty notable. (And you could even say that Hunter being the Hardmode of Rain World adds another layer to this)

And then we have Artificer. A storyline that very much stands out to people as more… villainous (so to speak) than the other slugcats. Artificer's story covers a lot of things. Trauma, violence, revenge, etc. Revenge is a bit of a selfish desire- That need to see someone hurt as they have hurt you. A punishment that ultimately does not fix whatever harm was done- but feels good to see because you were hurt and now those responsible share that pain.

Artificer's actions are founded in that need for revenge, their pups killed for overstepping boundaries they didn't know existed. Is it not fair for them to be angry at that, to punish the scavengers for their violence with their own? Why should the scavengers ever be forgiven when they and their pups were not? And that's how you get that loop- Harm for harm over and over.

The original action has been lost in a spiral of violence for violence. And here stands Artificer- their very spirit scarred. Not just because they sought revenge, but because they never ceased trying to scratch that itch for violence as an answer. Artificer only has two paths for their story- killing the scavenger king (Someone who, really, has little to do with the original 'crime' of the scavengers, but represents an important individual to them- as did the slugpups to Artificer), locking themselves as karma one for good and spending the rest of their life chasing creatures that no longer even fight back in a warped sense of closure- or to dissolve themselves in the acids of the void sea because they're too far gone to find any real peace.

They can't meaningfully recover from that state, not alone, twisting in on themselves. Even if they halt their actions, they've been using violence as a feeble defense against their own pain- violence that no longer has any real direction or basis. Artificer gets no real closure from killing the scavenger king. All they can do is continue the cycle, or try to scrub it away. No real peace in a prison of their own making. So you have a creature, who even with a strict timer on their life- a body that will crumble to disease, spends its last bit of time on saving another. And another who was so caught up in the pain of loss that were eaten alive by their own anger, poisoned their own soul on such a deep level even self-proclaimed gods have no solution for them. What peace can they offer each other? For Hunter, its only a fleeting moment of happiness- of selfish love, before their own body fails them. A bit of indulgence in something for themself. For Artificer, its a single, comforting thread to ground them again, something tangible to protect and care about again. But thats a thread that will ultimately be snapped under the cruel indifference of the world. Hunters timer will tick down regardless of if it takes another with it. Its a tragedy- its doomed to end badly. Whatever good it offers to either of them to find each other will only provide the fleeting comfort of a band-aid that will be ripped away too early. But all that can be worth indulging in anyway, if only for the moment. It doesn't change the ending, but the ending was never going to be happy. Its can so yuri

[jemmo]

Making sense of love for love's sake: the game

Despite all the things i absolutely adore about how the plot unravels and expands in love by love's sake, upon first watch, there's some things i couldn't piece together, which @lurkingshan echoes in their post:

'The way the author was messing with Myungha and forcing cruel choices on him really does not track with a desire to help him find happiness.'

And to preface, this is not something i fully get yet either. I think i'll need a good month and a sizeable reading list of relevant resources to understand just what/who this author/sunbae is and what his role is and how he is associated with myungha. But as always with the best shows for meta (aka bad buddy), as a plot unfolds, you can always find a better understanding by looking backwards and re-contextualising what you've already seen. so i watched ep 1, specifically the scene between myungha and his sunbae at the bar. And i will talk about how everything said in this scene has a whole new meaning now we know the full story, but for now i wanna focus on that question that they keep coming back to; "Then... will you change it for him?".

When you watch the show for the first time, your brain follows the simplest, most obvious version of the story you're being told, one where myungha has been pulled into the world of his sunbae's novel that's being turned into a game and given the opportunity to fix the thing he didn't like about it; making yeowoon happy, and thus you just think the rules of the game are imposed by the author, and so when these cruel choices first come up, you see them as the difficult roadblocks that are nevertheless necessary to any kind of game, forcing the player to make an impossible choice so that the game can continue in a certain direction and its only after that you learn whether it was the right choice or not, or there is no right choice, it simply changes the game you are playing.

And when its revealed what this game actually is, at first i tried to interpret these cruel choices, namely the choice between yeonwoon and myungha's grandma, and at best i could come up with the concept of this being a choice between staying stuck to the past aka choosing his grandma, even though he knows that choice doesn't mean she's safe bc he knows the future where he loses here, its an inevitability, but thats the small happiness he knew before it was taken away and thus that happiness is known and safe, theres no risk, versus choosing to pursue a new happiness, a love of yeowoon and thus himself, which he doesn't know, he hasn't experienced yet, and could be risky. Its a happiness that isn't guaranteed like his grandma, but its a happiness that looks to the future and has hope in it that he can find a new happiness to pursue despite what has happened in his past.

And that fits nice, okayish. But then i watched ep 1 and heard that question "Then... will you change it for him?" And watching through the rest of the eps, we come back to this scene at the bar and each time we get a new run up to the author asking this question, either new dialogue is added or we hear a different piece of the conversation entirely. It starts at the beginning of ep 1 as:

"Because Cha Yeowoon is the only one who's miserable." "It can't be helped that some people's lives are like that" "The fact that some people are destined to live that kind of life is what's vile."

Then a bit later in ep 1 we go back and its expanded.

"It can't be helped that some people's lives are like that" "The fact that some people are destined to live that kind of life is what's vile." "Why? Do you think you'd write it differently?" "Yes, definately. Someone like Cha Yeowoon, or someone like me with an awful life, can also be happy."

And then all the way on in ep 6, we get this new dialogue.

"I don't like talking about destiny." "Why?" "Because it means everything is predestined." "Then do you not believe in fate?" "Fate and destiny are the same. My grandma likes to say that. She said life is like a written book, and how you'll live and die are written in it. (...)I don't like things like this. Even if fate is already destined, I think it can still be changed. Otherwise, there's no point in trying." "Really? Then Myungha..."

And while we don't hear the author ask the same question, I feel like him getting cut off like that insinuates that the conversation leads to that same ending point. All that is to say, every time we hear this question being asked, its like we learn more and more about what this whole thing is, what the game is, what myungha is saying he will do by agreeing to do what the author asks. And every time, we see myungha being more defiant against the idea of yeowoon being resigned to his miserable ending. He starts off thinking that kind of life is destined, and while it's miserable, its not something he can fight. Then he says he'd want to write the story differently, bc yeowoon, or even him, could be happy. He challenges the idea that yeowoon, and thus himself, is fated to be miserable, and opens up the possibility for happiness for them both, but doesn't yet have the means or resolve to do it, its like he knows its possible on a fundamental level, but doesn't see it as something he can actually achieve. But then we circle back to the idea of destiny and books, both of which came up in the previous quote, and seems incredibly pertinent seen as this whole thing is about a novel this author has written. Myungha talks about how he hates the idea that life is a book where everything written is predestined to happen, from the moment you live to the moment you die. He says "Even if fate is already destined, I think it can still be changed. Otherwise, there's no point in trying." That vile way of life he described before that he said was destined, he is now saying it can be changed, and that possibility is now something he's holding onto, its what he sees hope in so that he can keep trying, bc now he finally is trying, he has the resolve, he's trying to realise this thing, this impossibility of rewriting the life he thought was destined through the way he loves yeowoon.

And coming back to those cruel choices, given this fresh context, it made me think. bc this isn't actually a game that myungha has been put into where the rules are dictated by an author completely separate from him. He said himself, he'd rewrite it, he'd change things for yeowoon. And when you start to think of it less as him fighting against a rigid, removed system and more like him being a character in a story he is trying to rewrite himself, that has both the author and his own limitations, or just his own if you're in the school of thought that the author is some figment or part of myungha himself or his conciousness, then you can start to see where these cruel choices might come from. They could be myungha, the author making edits to this new story, imposing his own doubts and limitations on himself. When he says he has to pick between Yeowoon and his grandma, what if that's the new author myungha seeing this story unfold and thinking no this isn't right, he can't have it all, i'm not deserving of this much happiness.

And what makes me like this idea even more is that when we get that second choice between ending after 14 days or getting 100 days back at the cost of resetting Yeowoon's affection to 0, that whole conversation happens in what I think the bar actually is which is this frozen moment in time where myungha is in the water with this extension of a voice in his head that is talking through these things. That conversation in itself needs its own post, but when you look at it both as a decision to break up or not or a decision to hold onto life or not, you can see how the author is just this soundboard relaying the decisions myungha is going through in his head. The author's voice is his own, weighing up his decisions. And if he is the author here, it only reinforces that the person making the rules of this game is him. You can even extend it further to the idea of the debuffs, where he puts in place this thing that makes it so he causes harm to yeowoon when he's around, and its only by garnering affection that he can prevent it. He gives himself a reason from the get go to stay away from yeowoon and reason it as him doing it for yeowoon's safety, when in fact the only way to make yeowoon safe is to increase his affection, which he can only do by being near him. Its a system that at first gives myungha a reason to stay away aka not like himself, but ultimately says the only way you're going to make yeowoon like you, or the only way you can like yourself, is if you accept risk. And that in itself screams to me of a myungha writing in these game systems that are trying to encourage his own-self love while falling at the hurdle of his own lack of self-worth.

The idea is still messy in my head even for me, but i just really like the idea that myungha could be trying to fix this thing both as a character and game master, and that both these versions of him have these flaws that manifest in their different ways to cause the events we see. It kinda is the definition of being your own worst enemy, the idea that in order to work towards loving yourself, the biggest obstacle you have to encounter is yourself, bc we are the ones holding ourselves back, making all these rules that make it harder to like ourselves and pursue our own happiness. The voices in our head telling us that we aren't good enough and aren't deserving are our own, and while the things that happen to us can inform what they say, we're the one's reinforcing those words. And what this show teaches us is that, if we're the one holding that pen all along, we can choose to change what those words are. If we make the rules, you don't have to create a game with concrete ultimatums, you can create a game where rules don't control you. Instead, you make the decisions, and you can make the ones that make you happy.

[iceman-soup]

amab masc!reader x bot!price

Sure, he's your superior, but if Price gets you that hard whenever he calls you "sir," then who are you to deny him some role reversal?

And yeah, maybe you both realised it was a thing by accident, when he sarcastically said "yes, sir," just to be a little bitch, but the way you blushed and had to adjust your trousers certainly didn't go unnoticed, and it's not really his fault that he had to call you into his office later anyway. I mean, he could've avoided teasing you, calling you "sir" even then, but what's the fun in that?

Especially when it ended up with him pressed against the wall, one hand over his mouth to muffle his moans as you fuck him senseless, leaving hickeys high enough on his neck to be visible whatever he's wearing, pulling his hand away to hear his cute little begs and whimpers as he wanks himself off as best he can whilst you pound into him.

Breathing heavy when he calls you "captain," even though you're nowhere near that rank. His hole clenching around your dick, milking your cum from it and making him fall into you when you loosen your grip on him. Whining that he's not cum yet, pouting when you take his hands and pin them up against the wall again.

"Please, Captain, sir," he sobs, hips bucking against nothing, desperate for friction. When you reach a hand down, light touches to his cock to tease him, he cries out a far too loud "please," forcing you to shut him up with your mouth, sharing kisses as you move your hand up and down til he cums all over it, his teeth biting your lip as he moans out a final "sir," whimpering and leaning into you tiredly.

[tiredpacdad]

most exhausting hospital trip ever

[twentyfivemiceinatrenchcoat]

i’ll go see you again tomorrow (spring is coming to an end) ; sashisu

[ part 0 - first meeting ]

synopsis; the gradual blossoming of a youth shared with three strange classmates, at the weird, isolated boarding school you all attend. as the seasons of your first year together pass, the relationship between you changes into something you don’t need to put into words to understand.

word count; 1.6k

contents; sashisu/reader (but can be read as either platonic or romantic, or something inbetween!! i wrote it with the latter in mind), gn!reader, no curses au (dw they’re all still a little bit insane and damaged), very shoujo manga-esque, reader is a little bit in love with all their friends, just wholesome comfy vibes :), characters may be ooc but pls bear with me </3

a/n; this is the shorter opening piece of a sashisu/reader series i’m writing and the first out of six planned parts!! :> the rest will be much longer this is just me setting the tone. sorta. i’m extremely normal about sashisu and i wanted to write something summery and sweet so <3

you first meet them in a sun-soaked classroom, with blue-tinted windows.

the room in question, clearly not having been of use for some time, is just a little dusty. enough that you notice it, nose scrunching up as your gaze trails over the space.

tiny specks of light dance around, meeting and intersecting between the gaps where streaks of sunlight fall and illuminate the floorboards. they’re oddly mesmerizing, a little hard to forget. the flicker of their movement begins to etch itself into your retinas; for some reason, you can’t quite take your eyes off them.

eventually, your attention is caught by something else, coaxing you into moving your gaze towards the translucent windows. they glimmer softly, tantalizingly in the sunlight, reflecting the blue of the sky. through the glass, it’s all you can see at first — a sky so blue that it’s a little irritating. big, white clouds are scattered like splotches of paint across a blue canvas, treading gently over the boundary of your vision. 

in a similar fashion, the ground of the schoolyard is littered with dots of white. for just a second, you delude yourself into thinking that it’s snow; it’s not until you spot the skeletal trees and their pale blossoms that you see them for what they are. soft petals flutter down to the ground eagerly, covering everything in a pure white. 

it really is eerily reminiscent of a snowy landscape, ephemeral in its beauty. it gives you the impression of having stepped over some sort of threshold, into another realm, another world entirely. coated in apricot blossoms, soaked in sunlight.

(it shouldn’t be possible from where you’re standing, behind the windows — but the scent reaches you all the same. everything smells of apricots.)

it’s springtime, and you’re in the prime of your youth. 

a youth you’re about to share with three other kids, all standing in front of you and wearing mildly indifferent expressions as you give each other a brief glance.

you try not to stare too hard, but it’s difficult to resist the temptation. three new classmates, mysterious and just slightly intimidating; two guys, and one girl. the tiny glances you steal at them aren’t very sneaky, but you doubt they’d care, when they’re all doing the same. 

you study their appearances, eager to sate the curiosity clawing at your heart.

the girl is pretty.

the expression on her face is laid-back, almost bored, and she looks a little like she doesn’t quite want to be here. her hair reaches down to her chin, just barely, brown and smooth and silky. estimating her exact height is a little tough; you can tell she’s fairly short, but you don’t know how much of it is exaggerated, courtesy of her placement between the other two. their lanky legs and broad shoulders only make her look smaller in comparison.

her eyes are chestnut-coloured, a little dim, somewhat hazy. there’s a mole under one of her eyes, too, and you’re acutely aware of how charming you find it. you’re relieved to have at least one girl in your class, anyhow. you hope she’s nice.

the boy on her right is pretty, too. 

he’s much taller, and wearing a somewhat serious expression, but something about him feels almost comforting all the same. he seems relaxed, but also sharp, as his eyes trail across the room. his hair is black and silky, and it’s long — or so you assume, judging by the fact that he’s got it in a bun. two things about him stand out in particular; one, the black gauges on his ears, and two, a single lock of hair framing his face. his hair is tied up and neat, prim and proper, with the exception of his bangs. you don’t think it looks bad, exactly, but it’s an odd choice.

at first glance, you think his eyes are black, but when a ray of sunlight falls across his face you realize that they’re brown. a deep colour, oddly soothing, warm. little sparks of amber glitter in the depths of his irises, illuminated only by the sun. it gives you the impression that there’s more to him than meets the eye.

then there’s the other boy. 

he’s the most intimidating out of the three, without a doubt, though you still can’t pinpoint exactly why. he strikes you as particularly unnerving; maybe it’s the expression on his face, that you can’t seem to identify. he’s also tall, very tall, even taller than the other guy — though only by a smidge. he towers over you slightly, and that unnerves you even further. there’s something in the way he’s standing that almost seems a little menacing. his hair is white, and soft, and just a tad messy. and he’s wearing a pair of round sunglasses, even though you’re indoors.

you can’t see his eyes well, behind the black glass, but you get the vague impression that they’re blue when sunlight cascades down the contours of his face and reflects in them.

you take another moment to simply look at them, observing them, as if trying to reach some sort of conclusion about what they’re like. it doesn’t really work, but you do get some semblance of an impression.

finally, your teacher clears his throat, breaking the silence of the classroom — urging you to hurry up and get the introductions done and over with. the impatient reminder snaps all four of you out of your collective trance.

the first person to speak up is the boy with the weird bangs. that alone gives you a sense of his personality; polite, proper, the first to do the thing no one really wants to do. 

”my name is suguru geto,” he begins, well mannered. ”it’s nice to meet you.” his voice is pleasant, somehow. nice to listen to. there’s something comforting about it, that you can’t quite place; it sounds almost familiar, like you’ve heard it all your life.

then, the cute girl chimes in, casual and unbothered as she fiddles with something in her pocket. ”shoko ieiri. just call me shoko,” she says, short and sweet. 

she really is pretty, you muse, bathed in the streaks of sunlight falling haphazardly across the room. and she seems nice, not uptight or obnoxious; the kind of person that’s easy to talk to, easy to be friends with. you think you like her already. but she notices your lingering stare, and so you look away, gaze falling to the floorboards.

finally, after a slight pause, the boy with the sunglasses speaks up. you still can’t get a good read on his expression. ”… satoru gojo,” is all he says, and you can’t seem to grasp his tone of voice, either. 

it irks you, though. you’re not sure why. you almost get the sense that he thinks he’s appeasing you, by introducing himself, like hearing his name is a priviliege. that, and you feel a little like you’re being dissected when his gaze falls on you — like he’s weighing your value, deciding your worth. you think you almost catch a glimpse of his eyes behind the black tint of his glasses, and they strike you as acutely menacing, bright blue and uncanny. you decide that you don’t like him, and that his sunglasses are kinda ugly.

their gazes fall on you, at last. 

you’re the only one whose name they don’t know, now. it’s a kind of power, in a way, the power of mystery. intrigue. their stares feel heavy on your skin, and you feel more than a little nervous; but you’re intent on following the silent cue, all the same. 

and you do so, dutifully, raising your hand up in a silent hello before tentatively saying your name. then, in a voice you hope doesn’t come across as bored or unpleasant:

”— it’s nice to meet you.”

some of them hum in affirmation, as if to say it’s nice to meet you too — others remain silent. even when the introductions are finished, you continue to look at each other, vaguely and discreetly, as if trying to look inside each other’s heads. 

but then your teacher begins to speak, in an authorative voice, and you’re snapped out of the trance, once more. 

he babbles on and on, about something you’re sure is important, something about the school and the classes you’ll be having and the dorms and so on. you try to listen, you really do, but it’s tough — you vaguely get the gist, but all you can really think about is your classmates, still so mysterious and intimidating.

you try to repeat their names, inside your mind, trying to ingrain them into your memory.

suguru geto, shoko ieiri, and satoru gojo.

you still don’t really know what to think about them. shoko will probably be fairly easy for you to warm up to, but the other two are a different story. all three of them seem to have strong personalities, reflected in their eyes; a dim hazel, a deep umber, and a stark azure. you don’t know what’s hidden in them, but you have a strange inkling that you will, in due time.

that’s how the four of you meet. and in this moment, as you look into their eyes for the first time, you have no idea how much your life has changed — how much they’ll change it for the better.

you only know that it’s springtime, and that you’re in the prime of your youth. 

a youth you’re about to spend with these three kids in front of you, who you know nothing about. some part of your soul urges you to find out, for yourself.

maybe you will.

(outside the sun-soaked classroom, through the blue-tinted windows, the world observes your meeting with bated breath and barely contained excitement.)

part i

[13eyond13]

love it when a character that's hard to read intuitively for you has like a dedicated fandom interpreter who can just glance at their blank face in a panel and then give you a 3k word essay on their innermost thoughts & desires & fears and neatly tie it back into the themes & whatnot as if it's the most obvious thing in the world

[icys-junkyard]

The weird instincts always hit when they least expect it

They’re usually able to ignore the pokemon impulses, but the early days before getting used to them? The days when they’re tired enough to just run on autopilot? They can’t help the occasional slip-up.

RIP Emmet’s soggy cheeseburger

[ao-xingyume1987]

Bittersweetness (practice)

[sea-buns]

Holy fuck, man. What a trip Fearne has been on, huh?

You tell her how grateful you are to have her in your life, you flatter her, you tell her you need her, that you have to do this together. You have her make a promise that has this woman, born of chaos and fey, agreeing through shaking hands and a trembling voice.

You make her deceive your friends; you make her follow where they cannot know; you make her help you into this contraption; you make her feed this thing into you despite the fact that you both have been warned extensively of the risks. You make her watch you crumble and splinter and shatter and fracture and burst and implode. You make her watch you die, over and over and over and over, for a minute in agonizing bullet time.

You make her do all these things, because when she tries to back out, when she tries to not be the one who let you do this—how could you do this—

you tell her, "YOU PROMISED."

Because if there's one thing you know, it's that the fey do not break a promise.

[yaboisnelf]

remember when kori said dick ran away with bruce's credit card in one pocket and roy in the other. yeah. get his ass kori. 🛼🛼‼️‼️

happy pride and spiderman movie day

[throwntotheair]

Tl;Dr

Homestuck in both canon and post canon have a remarkable throughline re:

John as a Person

Dirk as a Character

John consistently hyper aware of the narrative to the point of looping back to thinking only he could be real

Dirk consistently hyper aware of the narrative and embracing it to the point that he can only submerge himself further as a narrator

They give each other a reach around and deny everyone their personhood and agency

(Candy John is maybe improving but also maybe this is part of Ult Dirk's plan)

Anyways, I think they should kiss

My personal opinion is that John is kinda boring as a character - and wasnt that his whole point? average kid with an average life - loving father, suburban house, no tragic backstories just the folly of being a teenager

But if we sink into the verse and treat him as a person, he's almost believable. He was a fun guy (pre-canon), and then became horribly depressed and consequently awful (post-canon)... But like we've probably walked by a thousand Johns in the real world who maybe didnt become gods but who still treat the world like its not a part of them and theyre going through some shit that makes empathy real fucking hard - making them unpleasant to be with

John is a believable person

Dirk is a character - all the way to how he was Dave's Bro - this bigger than life figure. Who does all this crazy and cool shit - with all the irons in the fire, with all the sicknasty tricks, etc. etc.

Dirk always seemed to be framed as someone who could never be real. So he can't become a believable person and his whole journey to villainhood is just another way for him to run away from his own (for lack of a better term) humanity.

It all circles back to the idea that John is a loser because he's basically an everyguy. I could meet a guy like John on the street and think there goes another divorcee father at forty. but if Dirk walks down the street, you will always look twice - you will always watch. That's Dirk's whole deal

And a good long way that canon and post canon seems to fight is because Dirk thinks that people want a spectacle - they want the keyfabe - they want the wrestling match

But the spectacle works best as an opening gambit - it works best as a way to grab people, hook them in - people come for the spectacle

People stay for John. And Rose. And Dave. And Jade. And (insert favorite character here).

They want people to form parasocial relationships with so they can read and be changed however minutely - however infitisemally. We can't as a matter of fact feel things about characters as written without the double think of "oh for a second that felt real". And Homestuck's general navel gazing into the nature of fiction has utterly forgotten the most important question of all

Why do we tell stories?

[okitanoniisan]

new rgg fans will never know what they missed back in ye olden days of the fandom (like, 2019), doubly so now that scott strichart's deleted his twitter and jon riesenbach's privated. twitter was so fucking fun and then whatever-the-hell at sega of america happened and caused a fucking snowball effect and now we have shitass localization and resulting discourse that makes every release nigh unbearable, misinformation, confusion, people complaining about "bad writing/mischaracterization" not realizing it's because of the shitass english loc, i'm sitting here like jesus christ these loc bitches massacred saejima's character voice, people will never see him as he was intended, as original yakuza 5 localization Correctly painted him, and now they're coming for kiryu. god help us. we used to be a proper fandom. before everyone was subjected to the remastered localizations and shaky eng characterization. no one had even played yakuza 3-5, people still called morning glory "sunshine" orphanage, kiryu was our only protagonist and people still called him "boring", it was beautiful...

anyway gaiden uses affective instead of effective because the current localization team is full of careless dumbasses who don't give a fuck about ensuring they're using correct english grammar and this is not an isolated incident

[frozenhi-chews]

I don't mind projection onto fictional characters that much, heck I do it myself. (Aspec characters my beloved.) But sometimes peojection just turns into overly sanded projections of the canonical characters themselves.

Heck not even projection, sometimes they'll just do whatever to the character to the point they're barely recognizable. Making them sanded and flat to put in the most bare bones stuff for like, memes and other forms of projection. Thinking it's cool or funny to have them be that way when it very clearly goes against canon.

Idk I'm just tired of seeing characters dulled down for whatever headcanons and ships and whatnot just because people can't handle nuance and think of them deeper than a surface level interpretation. PLEASE go back and look at the characters in canon and study them for a bit. Build headcanons off of that. Sometimes they'll do things that you won't do and that's fine. Not everything is for personal projection. (Though there's nothing wrong in being a self indulgent a little)

[saym0-0]

toy soldier is like that one post about the guy in a polycule who isnt dating anyone but is just there send tweet

[graveyard-society]

the sheer amount of headcanons i produced while i was drawing this is insane