#just because i didnt want to leave it as

[princeno2]

[cracklewink]

Harmony Syndrome Part 5/5

The last chapter of my mlp infection AU! Thank you to everyone who followed along. Some final thoughts on my twitter @cracklewink if anyone's interested : )

[wtfforged]

doodle from september that i colored, you guessed it, during dnd. my sanji-is-just-a-bit-taller-than-zoro propaganda also. zoro my beautiful prizewinning tomato plucked fresh from garden

non-loser version bc i think he looks cuties on his own.

[literallysatanofficial]

Alright, I'm going to attempt to hopefully clear up a few misconceptions and assuage some worries about this Disco Elysium sequel and the general situation at za/um right now.

I see the shitshow that is unfolding on social media, and as someone who has known about this whole disaster for over half a year now I'd like to weigh in on it and provide some context for everyone who may not know the full story.

First off, Robert Kurvitz was fired at the end of last year. December 2021. As is strongly implied on Martin Luiga's twitter, the reason for this is greed (calling them "money men" and "crooks" and other similar statements for like, months now), and the executive producers, Tõnis Haavel (who has previously been tried for fraud) and Kaur Kender (who has previously been tried for... other things.) screwed everyone over. Kender provided funding for the game, as the majority of the original za/um cultural association did not have the financial means to.

The original za/um cultural association consisted of Robert Kurvitz, Jüri Saks, Martin Luiga, and Aleksander Rostov, originally founded in in 2009. The group, along with Argo Tuulik, played many different ttrpg campaigns over the years, several of them set in Revachol (centred around Precinct 41), and slowly built the world up from there. Kurvitz released the book The Sacred and Terrible Air, set 20 years after Disco Elysium, back in 2013* but the novel flopped, and it was decided that they would make a video game. Rostov has always been more than just an artist for Disco Elysium, as you can see from the dev threads he frequently updated promoting the game, as well as on his personal instagram, tumblr sketch blog, and several other accounts he used while the game was first gaining traction.

*The most notable credits for TSaTA are as follows:

Author: Robert Kurvitz, Editor: Martin Luiga, Cover Design: Aleksander Rostov, Worldbuilding: Robert Kurvitz, Martin Luiga, Kaspar Kalvet, Argo Tuulik. Helen Hindpere and Kaur Kender also appear in the credits.

I say this because some of the staff at za/um are now accusing fans of being unable to overcome the "auteur theory" of it all (ie. seeing Kurvitz as the singular creative mind behind it all) but the fact is that they have now lost not only the original ttrpg campaign's game master, The Sacred and Terrible Air's author, and Disco Elysium's lead writer/director (Kurvitz) but also their lead writer for the Final Cut's political vision quests (Hindpere) as well as their "co-founder" and art director/designer (Rostov). They are all CREATIVE LEADS, and not just well known only for their reputations/titles.

Luiga himself (who originally broke the news) was an Elysium world builder and provided much of the pale and innocence-related lore. He was also a part of the original tabletop campaigns (Chester McLaine is his player character!), but left midway through Disco Elysium's development due to creative differences (or as he says, "bad vibes" at the company). He is credited as an editor, but claims to have written a good chunk of the text in the game, including much of Joyce's dialogue about the pale. I have seen people discredit him due to his early departure, but Rostov also tweeted out confirming that he, along with Hindpere and Kurvitz were no longer at the company, with no additional comments. Rostov also posted a drawing on his twitter several months back depicting a man jerking off over an NDA, so take that as you will.

So what does this mean for the future?

Luiga has said that he has hope for the sequel, which could either mean that the script was finished or nearing completion before Kurvitz was fired (likely, and fits a pattern in the industry) and it's just a matter of finishing the actual game development aspect, or it may be that he has hope for the original za/um creatives to be able to re-acquire the IP.

I think it's worth pointing out that the original pitch for "Disco Elysium" was actually "The Return", and Disco Elysium was meant to be the smaller-scale prequel to introduce players to the world. Considering that the team was planning on this sequel all along, I think it's possible that a large amount of the "original" game was written years ago, so it's not all that far fetched to believe that the basic outline may be finished, or even that a large portion of the script already exists. Keep in mind that there are a large number of writers for both Disco Elysium and The Final Cut, and it may still be possible to work with a base that the others provided. We have no idea how far into development the sequel may be. Of course, proceeding without three key members of the original team is kind of a kick in the balls, and imo really quite disgusting, especially with how long the company has been keeping their departures secret (dishonesty is not a good look lmao), but it may still be canon, true to the authors' vision, and genuinely a good game in the end.

Argo Tuulik, original Elysium world builder and part of the old ttrpg campaigns, as well as a main writer on Disco Elysium, is still working at za/um. Justin Keenan, former writer on The Final Cut who wrote the political vision quests alongside Helen Hindpere, still works at za/um (and has been promoted to lead writer, according to his LinkedIn), as does Kaspar Tamsalu, who painted several character portraits, (René and Gaston) and worked as a concept artist on the original game. Plenty of the original creatives still remain. The sequel could very well still be in good hands at the development level, even if the higher ups are "crooked".

So, in conclusion... If this game comes out and they still haven't worked things out with Kurvitz, Rostov and Hindpere? Honestly... fuckin' pirate it. But it is very likely it could still be a great game that plays out as it was meant to! All that being said, FUCK za/um as a company, don't support them through Atelier or their merch store. I wish everyone luck if they do attempt to get the IP back, and I sincerely hope this fan pressure will help get things moving for them.

[jakes3resin]

Hmmm thinking thoughts about Modern Clegan Break Up Fight AU

Just the pair getting into a fight because Bucky wants to go public about their relationship, but Buck doesn't understand why. Their close friends know, and they know. Who else needs to know? Buck asks this, and Bucky says he wants everyone to know. He wants to do all the cheesy romance shit like meeting the parents and siblings and stuff. Bucky wants to go to parties or events with Buck as his date. He wants to go out on public dates where people see them and know. Buck says he likes their private dates, and he likes how they don't have to be a side show for the people they go to school with (university not high school).

They go back and forth until finally Bucky bursts out that he wants everyone to know because he doesn't want to be the one left behind anymore. Bucky's the good time guy, or so everyone who's ever hooked up with him or gone out with him has said. He's scared that Buck will eventually agree with them (like Buck ever would but Bucky is scared). So now he wants to prove to Gale that he's serious about this, serious about them.

But, Buck's scared in his own way. His dad's still in the picture, and he would rather die than let his shitty excuse for a father anywhere near Bucky. Because his dad is the type to show up and try to teach the boy dating his son a lesson. Except he doesn't say that to Bucky. He says John I don't want to go public with this.

Poor Bucky takes that the exact wrong way. Usually he can read Buck like the back of his hand, but right now he's too emotional and stuck in his own head. He can't see past the facade right now. They start to really argue, building off of each other's energy until finally Bucky says that he can't be with someone who feels like they have to hide being in love with him.

Bucky storms out saying they're over. Heads back to his apartment where he tries to calm down and breathe. He goes and drinks some water to calm down. Except he accidently slices his hand open dropping his water glass. He gets blood all over his bathroom trying to fix it. That's how Curt finds him.

Curt is Bucky's roommate. He wasn't even supposed to be there that weekend. He was actually supposed to be in a different state for a concert the next night, but he forgot his wallet and turned back around after only being on the road for an hour. He finds Bucky bleeding and crying his eyes out, telling himself that that's what he gets for trying to be more than a good time. Curt goes into lockdown mode cause that's bullshit. He cleans Bucky up, and when Bucky looks at him with bright teary eyes and says he and Buck broke up, it's heartbreaking. Bucky sniffles and says he doesn't know what to do because he can't face anyone after this. Curt stuffs Bucky into his car and books it. Bucky forgets his cellphone in the apartment in the rush to get out of there. He realizes it a few hours later when it's too late to turn back.

Buck, meanwhile, has had his panic attack and calmed down. He knows that neither of them were in a good place for that argument, and he gives Bucky some space (a few hours) before he shows up to try and talk to him again. Only Bucky isn't at his apartment, and when Buck can't find him at any of the parties or bars on campus or with their mutual friends, he starts to get scared. Bucky's phone goes straight to voicemail over and over again. Buck goes back and breaks in (uses the spare key Bucky gave him) only to stumble upon an apartment trashed and covered with blood. He freaks out and calls everyone he can think of. Everyone joins the search, and it turns into a whole thing.

Hospitals get called, and then the cops get called, who since they're college town cops are suitably useless. Buck spends the next three days thinking Bucky hurt himself or was hurt bad enough he can't make it to one of their friends or a hospital.

Bucky is having a lovely time by the way. He managed to get a ticket to the concert, maybe Curt had an extra, and it's a great band. He's still heartbroken, but sometimes you just have to scream along to some artist you only learned about yesterday cause it's better than crying. He and Curt end up so hungover the next day that they don't get on the road back to their university until it's super late. They don't tell anyone they got back in town and pass out not knowing everyone in their life thinks Bucky is missing.

Bucky shows up to classes the next day, and he doesn't understand why Brady loses his shit when he sees Bucky walking around campus like their entire friend group hasn't been losing their shit all weekend. Brady drags him away even though Bucky's whining about missing his morning class.

Big reunion scene back at Bucky's apartment where Buck breaks down in tears because he's just so fucking relieved Bucky is okay. They work through their shit, and Bucky has to promise never to go on anymore impromptu road trips.

[poisonousquinzel]

idk yall, something about members of the Batfam calling her Dr. Quinzel while she's in recovery just gets me

-

Batman: Gotham Adventures #10

Writer: Ty Templeton Pencils: Rick Burchett Inks: Terry Beatty Letters: Tim Harkins Colors: Lee Loughridge Editor: Darren Vincenzo

[vigilskeep]

i need to wynnepost. somebody has to

[jasongraceenthusiast]

“ten is a bad person” you never even tried to understand him

[mossmanismoss]

Redesigned Callisto for the 8th time

[possamble]

I absolutely really need to be writing anything but random ideas while I procrastinate and this is so awful rough bc I literally wrote it on my phone in one sitting while avoiding work but

Do you see my vision. Her Nosy Bitch Syndrome would actually be good for him when they've both chilled out a little in the postcanon.

[narcissisticpdcultureis]

what is armchair diagnosis?? isn’t that kinda like self-diagnosis? do you support self diagnosis?

heyo! i completely support self-dx, i've been self-dx with multiple things myself (either currently or before i got confirmation, only really my depression and bpd were things brought up by a therapist first). armchair diagnosing is more like when someone who actually knows very little accurate info about a disorder and/or a person and tries to "diagnose" said person with said disorder. we bring this up specifically for npd because it's very common for people to armchair diagnose people who are abusive, self-centered, toxic, ect with npd simply because they view npd as "bad person disorder."

[lokh]

oughh i wanted to do a cute laishuro take on the blu ray extras (what if laios had been eaten instead) but lets be honest. they absolutely would not have made it as far without laios

[oatbugs]

procrastination is starting to have its consequences finally

[note-boom]

Life and Death Parallels within the ADA

Someone in a tag said a while back to throw some of my tags of this post onto a post, and I meant to do it way back in February but kind of got lost to the timestream.

But I'm back and I really do have thoughts about the way the ADA is structured to really be, as Atsushi was told just before the Kamui revelation, a place where the members give the organisation unique strengths that cover each other's weaknesses. And I thought about how there's a sort of equal divide between the older generation (Ranpo, Yosano, Dazai, and Kunikida) and the younger generation (Kyouka, Kenji, Tanizaki, Atsushi) and how each of these characters have both a similar aged parallel to them in the agency as well as a minor-adult parallel.

I'll try to be as concise as possible (I failed), but hear me out...

We have Ranpo/Yosano, Dazai/Kunikida, Atsushi/Tanizaki, and Kyouka/Kenji as similar-aged parallel sets that pair a death-coded individual with a life-coded individual. On the the adult-minor side, you have Ranpo/Kenji, Yosano/Atsushi, Dazai/Kyouka, and Tanizaki/Kunikida as parallel sets in their story arcs rather than thematic ones.

So, to start with the first set.

Ranpo (life-coded) and Yosano (death-coded): I feel as if these two have sort of reached the most balanced level of thematic parallels than any of the other pairings. Ranpo's past was full of this enjoyment with life where his parents' occupations dealing with darker forces of the world were hidden from him. Meanwhile, Yosano's past was full of death and darkness that was not hidden from her. And in Yosano's backstory, she was called the angel of death; in Ranpo's Origins tale with Fukuzawa, he confronted an angel of death of a sort. Yosano was deteriorating into death while Ranpo was slowly thriving under Fukuzawa. And then they met...and Ranpo found someone to bring back to life, and a place in the ADA where he could use murders and death and the darkness of the world to spread light/life by literally shining light on the mysteries, while Yosano found a place where she could use death to bring life in the ADA.

Dazai (death-coded) and Kunikida (life-coded): I think this parallel of life/death manifests the most in their ideals...Dazai's ideal is sort of entrenched in death and trying to die a painless suicide while Kunikida is all about spreading life for himself and others no matter how much pain it brings him. What's so wrong with these two is that they also have inclinations towards their "opposite coding," so to speak. We constantly see people pointing out Kunikida's secret desire to die while we clearly see Dazai doing his uttermost to live a good life and carry on Oda's legacy. Life haunts Kunikida as much as death haunts Dazai, and yet death chases after Kunikida (all the people he's witnessed dying, RIP) as much as life comes after Dazai (all his failed suicide attempts, double RIP)

Atsushi (life-coded) and Tanizaki (death-coded): This is honestly pretty tricky because we barely know anything about Tanizaki. Even though Kunikida and Dazai's past-pasts are still pretty mysterious, we have a good grasp on their characters. But Tanizaki's personality dissonance and as-of-yet unknown past with his sister definitely contrasts with the way we're know Atsushi's past and values. Both, however, are incredibly protective, but the way Tanizaki and Atsushi approach it is pretty different; Tanizaki seems to have this mentality that he must kill the threat while Atsushi seems determined more to save the victim. (I also find that one throwaway about "wimp of the east (Tanizaki)/wimp of the west (Atsushi)" interesting because maybe it's just in western lit, but west denotes sunsets and death while east denotes sunrises and rising, except in Buddhism where the west is shown as a direction of enlightenment(info check?)...which provides another host of interesting parallels to Atsushi and his relation to the book but let's not go there). All in all, these two are a bit of a stretch, but it's interesting to see that Atsushi's mysteries lie more towards the future (usually associated with life) while Tanizaki's life more in the past.

Kenji (life-coded) and Kyouka (death-coded): This one's pretty straightforward, not just because they're the youngest members of the ADA. But you see their life philosophies and personalities lean towards what they're coded as, as well as their pasts (Kenji as a farmer, cultivating life, and Kyouka as an assassin, dealing death). And yet what drew each to the ADA....Kenji was drawn to the ADA after witnessing death after a lifetime of growing new life while Kyouka was drawn to the ADA after being given life after a long childhood of killing.

However, in the end, the Armed Detective Agency is a detective organisation devoted to saving people, and all of them end up choosing life for it. But the different ways they go about it just go to show that you can have any crazy skill and still spread some sort of life through it. All of them are haunted by death, anyway, and yet all of them choose to spread life regardless.

Now onto the second set, which I'll keep shorter by simply saying that the pairs - Ranpo/Kenji, Yosano/Atsushi, Dazai/Kyouka, and Tanizaki/Kunikida - just have similar story beats, in a sense.

Ranpo and Kenji raised fairly happy, rudely awakened by the world, and yet choosing to believe in continuing to keep up a positive attitude; I'd say, though, that Ranpo does it primarily through shutting his eyes to the world while unmasking it while Kenji does it through acknowledging its pain and refusing to let it bring him down.

Yosano and Atsushi both with honestly terrible childhoods spent witnessing some of the most cruel sides of human natures growing up to be champions of life, only Yosano has definitely developed more steel and walls while Atsushi's definitely softer and more open still (they're both crazy stubborn, though).

Then Dazai and Kyouka's past with the Port Mafia and a disillusionment in reality that was abruptly interrupted when they realised they had to do something about it as useless as it sounded; Dazai thanks to Oda dying and Kyouka thanks to Dazai telling her to save people anyway.

And again, Kunikida and Tanizaki's probably a stretch given we know nothing about their pasts, but I really really find it interesting that Kunikida was a former teacher and Atsushi first assumed Tanizaki and Naomi to be students; also, I've mentioned this in other posts but Kunikida and Tanizaki are paired together a lot and have...their moments. It's pretty interesting to perceive these two people with strong ideals that are almost the reversal of the other ("the world for one person" vs "myself (one person) for the world").

But yeah...that has been parallels within the ADA concerning themes of life and death and their character's narrative arcs.

Bonus? Fukuzawa and Naomi....a middle aged president and a teenaged clerk, both protective about the people they claim to be their own, smart in their own ways, with seemingly "support" roles.

[dykedvonte]

thinking abt what you said with house viewing Benny as a son and I’m obsessed. Like. The man spent most of his life before the war presumably alone, and then after the bombs fell he was alone again, save for AI he himself devised. Then he decides to pull in some Tribes, and one kid shows promise! So sure, treat him well, train him, groom him to be his protege, then next thing you know UH OH he’s got developing paternal feelings towards this guy. Wanting some semblance of a family when the time has long since passed, yet fostering that feeling all the same seems so accurate for him. Benny meanwhile only views him as a boss, and not a particularly good one at that. makes me wonder how House must’ve felt when he found out about Bennys plans

I view it as House blames only himself for this, cause he kind of does in canon (strap in this is a long one).

When reflecting on the issue of Benny, House chastises himself first and foremost for not acting quickly enough when it comes to priming Benny. He describes Benny as being ambitious, ruthless and capable; compliments coming from a man like House. House has an ego and while he is logical enough to understand there was never any evidence Benny saw him as a father-figure, he lacks the humility to admit he let his own views on his relationship with Benny blind him to the activities happening behind the scenes.

I doubt that House was as aware as he makes out about what Benny was doing, he knew early on but certainly not early enough to stop Benny from hacking and obtaining a securitron along with getting the chip in the first place. I take it he was distracted by all the possibilities he was calculating of Vegas' success and growth with him steering and Benny as the new figure head, not because of any normal affection for Benny but the admiration of his capabilities. It's to be noted that House believed menial incentives (likely caps, booze, basic needs, etc..) were enough to keep Benny tame like the other Chairmen but, as evidenced by the Omertas and Mortimer in the WGS, this is not enough when it comes to more driven Vegas citizens. This implies he still undervalued Benny and created a space in which Benny felt the need to rebel.

House in my eyes is not sentimental in the traditional sense. I can imagine his pride was severely scorned as someone he certainly deemed dumber than him was, albeit only for a little, able to out-gambit him. It would definitely hit home seeing how his brother also betrayed him but I feel like that's why he's so apathetic when he tells the Courier to do as they see fit with Benny. I doubt the way he terrorized his brother brought him any emotional satisfaction other than a "Now who's in charge!" ego boost. Putting that same emotional intensity towards Benny isn't worth it because who does it benefit? Wasted time, wasted planning, and most importantly wasted potential are all he gets from continuing to be hands-on with Benny. I say the closest example is not being able to throw out old toys due to the memories attached but knowing it's necessary as they are broken or just taking up space for new ones, and then asking someone else to do it so you don't need to get caught up in the feelings of throwing something you put so much effort into. It's not Benny House cares about in my mind, not in a way that sounds healthy to any non-emotionally constipated individual, but what he could've represented for him, which is why he so quickly offers the same position to the Courier.

As for Benny's view on all of this, it was a long time coming. Benny didn't and doesn't believe House is a completely shitty boss. He admires what he's been shown and admits House knows how to run the strip, but disagrees with the directions. Ideologically, House is an anarcho-capitalist while Benny is just an anarchist. House wants to run the strip to profit, though money is not what he's concerned with being rich with anymore. Benny wants a free state that he wishes to become a place for the people, except for the Chairmen who would be on top (I like to remind people that Benny's motives were selfish but not for personal gain/power as was it for the people he actually saw as family). Benny was never looking for a father but a future. He was not interested in being adopted, or having the chairmen adopted, as bigger names still overshadowed in House's legacy.

Truly, it's easiest to summarize as House feeling strongly and thinking positively enough of Benny to start incorporating him into the future of Vegas (a huge honor actually) while Benny was so disillusioned by House's ego and indifference that he thought the only way Vegas could be the future is with House gone.

[socksandbuttons]

always remember the line Lunar says to eclipse "arent u my mom?'