#like anything else that takes on genre tropes in a meta lens

[stardust-falling]

Hello.... Can I ask your top 5 (or top 3) favorite characters from SVSSS? And why you loved them? And your top 5 favorite moments from the series? Thanks if you want to answer....

Top 5 favorite characters:

1 - Shen Jiu 2/3 - Yue Qingyuan, Shen Yuan 4/5 - Luo Binghe, Gongyi Xiao

Honestly, it's super hard to decide my favorites, hence the 2/3, 4/5 here lmao. Depending on the meaning of "like" I really don't dislike any SV characters (obviously OPM, QJL, WYZ can go get fucked if we're talking about emotional affection/blorbofication, but I do still enjoy them in a meta sense for their roles in the story). But because SJ is both my favorite in terms of "I feel affection for this character and he is my little scrungly blorbo" as well as "I want to study him under a microscope like a bug" he gets the top spot easily.

Top five favorite moments is pretty hard too, since things are my favorite for different reasons... So I'll pick my favorite scenes for analysis, not necessarily for emotional reaction or attachment, in no particular order. Going under a cut because I rambled, as usual:

I really, really like the entire Holy Mausoleum arc, but I specifically like the part where SQQ and LBH are confronted by OPM and QHT. I feel like it's here that we can really see beneath the unreliable narrator and actually see that SQQ truly does love LBH back. Holy Mausoleum in general just says a lot about Bingqiu without saying it directly, and I do encourage everyone who thinks that SQQ doesn't actually love LBH back please reread that part while looking for it because damn, SQQ's narration tries to hide how much he actually cares for this boy.

Qijiu extras, the scene in the Lingxi caves. Between SJ's paranoid and irrational internal monologue that shows that despite everything, he really doesn't actually see himself as he is or as a legitimate peak lord, Yue Qingyuan's appearance at a critical moment to keep SJ from spiralling past the point of no return (contrasting this to his inability to return to Qiu Manor in time), the fact that even though they are not on good terms, YQY is still able to calm SJ down from qi deviation, and that SJ tolerates both his presence and his touch, it shows a lot that despite his paranoia and his hurt, a part of Shen Jiu still trusts Yue Qingyuan. The fact that it's revealed that they're in the very cave that YQY was trapped in with Xuan Su is just the icing on the cake... the truth is laid out before them, just a step from being revealed, but still isn't... I just think this scene really is so important to show how 79's relationship stands on a deep level, both the trust that is still there as well as the barriers.

Skinner demon confrontation, after they're captured. The irony of the first mission being to take down a demon that's literally wearing someone else's identity as their own is great. There's also Luo Binghe's sexual awakening upon seeing SQQ shirtless, which is honestly quite funny to me as an ace person. But my favorite thing, I think, is the way that SQQ sets up Die'er's defeat by using LBH as bait which, while it is successful due to the genre's conventions, also makes Luo Binghe's trust waver... it sort of sets the tone for the entire emotional conflict of the novel. Despite SQQ knowing that LBH will be fine, since it has all been decreed by plot, he underestimates how much it will hurt him-- and he's thinking about hurting LBH in terms of how it will affect SQQ himself later on, rather than LBH's own pain. Then, afterwards, SQQ leaves LBH behind to go into seclusion, he gives LBH the new manual but doesn't move him out of the woodshed, and there's no indication that Ming Fan's bullying stopped during that time either. When SQQ returns, he ends up sacrificing himself and taking the poisoned hit for LBH... in a way this all just parallels the actual plot of the novel in short-form and I think that's very, very neat.

The water prison arc-- everything from LBH's visit where he stops LPM from attacking SQQ, where SQQ refuses to answer LBH's question because of his inaccurate perception of the situation, LBH's volatile emotions in this sequence, Gongyi Xiao's assumptions that LBH had assaulted SQQ and SQQ's complete obliviousness to that possibility, plus just GYX being the best boy ever tbh, he doesn't deserve to live in this messed up book and certainly doesn't deserve to die. This sequence has so much about how inaccurate perceptions of situations can lead to wildly off-base interpretations and how a lack of proper communication can escalate a conflict where it really didn't need to escalate. The "perceptions and interpretations vs. reality" idea is another major theme in SV, and this sequence really showcases a lot of that in a clear way.

Maigu Ridge. This one's controversial. A lot of people have a lot of opinions about it and let me just make a disclaimer that I'm not including this one because I enjoyed reading it on an emotional level. Maigu Ridge is FUCKED UP!! It's a massively fucked up situation for all parties! It's uncomfortable, and definitely something that warrants a trigger warning before reading the book-- and yet, it's so interesting to analyze from a hypothetical standpoint because the situation is just so, so messy in terms of who gives consent and who doesn't-- and does anyone really have the option to consent here, since both parties are under the complete control of the narrative-- in terms of who hurts who, etc. There are a lot of little details to debate, and of course there's the instant, knee-jerk surface reaction that people get, which I can totally understand especially if you didn't go in expecting this sort of scene and ended up getting triggered by it, but once you start to peel back the layers you can actually find that this scene is way more complicated than 'one party as the aggressor/one party as the victim.' It's a deconstruction and subversion of tropes, but also a really interesting place to analyze themes of consent as a whole, and the effects on the individuals involved. For this, honestly, people just need to remember that these are fictional characters. It's not saying anything about IRL survivors, and I'm a major proponent of considering massively fucked up situations through a fictional lens in order to understand the shades of gray that may exist in similar but less-extreme situations in real life, without the possibility of your deliberations causing harm to any party since in the fictional scenario, since none of the characters are real (I can't even begin to tell you how much of my own trauma I've processed based on extreme fictional scenarios). But on the flip side, if the scene upsets you or triggers you, it's perfectly valid to dislike it! It's also perfectly valid for you to dislike the Bingqiu relationship because of it! It's not for everyone and I completely get that, but also, keep in mind that people analyzing the scene in different ways doesn't have anything to do with how they'd react to real-life situations. It's all about what works best for each person.

Anyway that last one got really long, just because I've seen so much knee-jerk reaction in fandom with it and tbh, I feel like I have to cover my bases these days.

A lot of people say that SVSSS is less well-written than MXTX's other books, and while it does have issues, I wouldn't say that the book isn't well-written. I have no idea how much of what I talked about in those scenes above is deliberately intentional storytelling and how much just sort of happened, but those are just some of the reasons that I really do think it's actually a very good book, genuinely, and not the only scenes at that, I just limited to five here.

I hope you enjoyed reading all my ramblings-- SVSSS brainrot is real and the hyperfixation is going strong haha.

[life-rewritten]

Lovely Writer Ep 1; An Introduction to Ambition, Masks and Secret Goals

We did it, guys! After trying hard to get back into this writing groove thing, I think I have found it, the show that will make me want to write. And we all say What??  Oh, my word was the first episode of Lovely writer so great. From the first moment the show starts, you can tell there's meta, it's calling out the BL industry; sarcastically, with comedy, shallowness, and yet there's this air of secrecy and depth to it. It's funny because the industry's problems made fun of are essentially going to be our big villain of the show, the thing that's going to try and rip our couple apart. So to see the first episode already lay a foundation for us to start realising the disconnect with what's being done on the surface vs what's being truly displayed secretly shows us already this show is playing with the ideas of masks and the lengths it would take to actually survive in this world/industry portrayed in the show. The thing as well is we are watching this show through the lens of Gene; he's also someone who's become very disconnected with how he feels about the problematic elements of this industry vs how people want him to think about it; they want him to thrive off it, to use it for his ambition, to use it to make himself known. So already, we are also introduced to the theme of ambition and the theme of secrets. The characters are acting in a way to get something done for them, and yet they're hiding their truths to please something; the industry, a person of power, or just something they want. And that's fascinating already to start with. That's already going to be fun to unpack and write about.

I just really love how deep this show is already becoming;  hidden with comedy and romance, we see depth, we see realism and calling out issues that we face in the real world concerning the BL genre, and still, we see yet, a love story brewing as well, it's a perfect combination. Or is it? And not to be so fully surprised, I did say that Tee is a great director, he made TharnType mean something to me, and that's because he hides his themes and his actual message behind layers and layers of subtext, he focuses on flaws of characters, but he makes them feel real, yet he also tackles real conversations about things that happen in real life and hides it behind a passionate romance and comedy. That's why this is so great for me. In already episode 1, Tee has shown up and done everything I knew he could do with Lovely Writer, and I am so freaking excited. The words are pouring out of me. Once the show started, I wanted to write, analyse and talk about this show.  I wanted to bring to the surface the meta, the subtext, the foreshadowings and the character depth. I am truly ready for this show, and I hope you all are too. So episode 1, how were we introduced to the themes of the show so far; well, let's find out.

An Introduction to Ambition, Masks and Secrets

So the show starts off as a typical romantic comedy Bl; at first, you are like, it's funny they keep mentioning these little truths about the genre and the industry. It makes sense; we're seeing the story through the eye of a frustrated writer in the industry who has to do a lot to be part of it, so it is funny but also surreal to see the issues being brought up about the industry. Because of this, you know this show is meta. It's taking its self not seriously, but it's actually serious below the surface. So immediately, my sensors start to ping, could there be more depth to this story, are there hints showing us what to look out for, is there more to what Tee wants to say with this show. And actually, the first thing is the introduction to Aey. They mention him at first during the casting call discussion; the way they introduce him is interesting to me because I know he's an obstacle to our story. He's a love rival, and he's sneaky.

Aey is an interesting villain if you wanna call him that. He's obviously going to be a barrier, and you know, his smile on his face seems like a mask, not particularly for evil, just something he has to use to get his way. Just like Nubsib, he's faking an image, and we see his real face in the bathroom, this episode. Especially when he looks through some comments and tweets, which I don't know what it's about because there were no subs, but I'm guessing either mentioned his sexuality or how cute how he and Nubsib will be together or something else that pokes at his insecurity. Right now, he's ambitious,  his thoughts are on succeeding, and so he acts docile, nice and friendly to get what he wants; however, we can see that the reason why he's right now trying to get Nubsib's attention isn't because of love; it's because of the job, of wanting to keep appearances, of knowing this would make him more successful, this will make them famous and please their growing shipping fandom.

That's the exciting thing; the question is, does he really like Nubsib or is he just faking it. Is there more to his connection with Nubsib? Also, just the fact that he's not a one-note character but he already seems to have layers is so exciting for me; this show is already doing what I hope it would do for me, it's being meta, secretive, smart, structured and still having comedy and romance on the surface. These characters all seem to have layers, truths hidden and interesting reasons for why they do what they do. That's fascinating to me. So because of that one scene where we see Aey almost break his mask and then go back to putting it on to please people and write on his social media, I'm already seeing the theme of ambition in this series. I see it in Gene, Nubsib (for Gene mostly), Aey, even Hin, who's a bit interesting with his own want to write and need to be noticed. Interesting.

The lengths our characters have to go through to achieve their ambitions might make them take on masks that they aren't particularly comfortable with, and also isn't an accurate display of their own values and truths but never the less they have to do this to achieve their ambition.

Gene: The Mask Of A Writer

We can see Gene isn't really a fan of BL writing and the tropes associated with it. In fact, he deplores it, he finds it hard to write about, and he doesn't think there's any substance to them. His focus is that what they portray is shallow, unimportant and toxic, just like how he sees the industry promoting them. It's why he's fine being an introvert; he feels safer in the confines of his home doing what he loves to do; writing, but he's decided, letting people in is not worth it. Mostly people from his industry who seem callous at times, greedy at best, and just corruptive. He disagrees with that and tends to want to distance himself from that. But what can he do? He wants to write, he wants to survive by doing what he loves to do, he wants to thrive in his job; however, he has to make sacrifices to get to that goal where he can comfortably write what he wants.

He's not really comfortable there, he wants to write something else (something with more depth, something with more understanding, something that makes him feel like him), but he can't, so he takes on a mask to keep on doing whatever he can for his ambition.  Writing is all Gene seems to have, from constantly being tired, irritated, and too focused on it to even take care of the state of his house, of himself, and of his relationships. Nothing is more important than writing. That's his ambition, what makes him happy, what makes him safe, what makes him comfortable. And that's very relatable; as an introverted writer my self, Gene finds an escape from the real world when he puts his mind at work, and he creates however slowly, the love and excitement he has for writing are being shadowed by the lack of belonging he feels for the genre he has to write about. The moral conflicts, the uncomfortable topics and just overall the shallow results of his stories. They don't mean anything to him, just a way for ends meet. And that must be incredibly frustrating and tiring. Yet Gene has to do it to get his ambitions done.

That's why it's funny/important that Nubsib is invading his space. Nubsib's presence is showing up and unravelling Gene's masks, his truths, his reality. Nubsib is pushing Gene out of his act and making him question his ambition and truth. But also, in a way, Nubsib is providing depth for Gene for this genre as he starts to be truly inspired by his unknown attraction and connection to Nubsib.

 The more the love becomes authentic, the more Gene starts to understand maybe why BLs might be written and why it might be loved by many fans because of that meaning of love that is portrayed when done correctly. So perhaps, Nubsib is making Gene realise more about the other side of things; maybe he offers a different perspective, especially since he's going to be one of those tropey BL characters.

Nubsib: The Mask Of A Lover

Nubsib is very much ambitious, he takes levels to make sure he gets to Gene, but also he hides his true self and wears a mask of two faces. Even his manager knows his real personality and says it; he's faking an image. He hides who he really is to Gene to come of nicer and sweeter, but also he does all of this to get his goal of making Gene trust him. Making Gene first think he's a good boy.  Now, of course, immediately, I notice his two-faced behaviour. I see red flags; this isn't a healthy way to pursue a lover; it's full of lies, secrets and not truly knowing the real person's character. So are we going to unveil more about his intentions, why he's so invested in Gene and what he gains from doing all this, this way? Why is he so ready to ensure this time, Gene doesn't escape or that he doesn't lose his chance to finally be with Gene.

Acting doesn't seem to be his agenda; Gene is, you know, which is why you can feel already from the bat that he knows Gene before. He's pretending they haven't met before/, or he's seen something in him that's made him want to be near him; that's fascinating and interesting, that's the lengths he's taking; to wear a mask to get what he wants. It's interesting because, in a way, his lying, manipulation and secrecy is the opposite of what his presence is going to be for Gene in the show. Remember, he's meant to add authenticity to Gene's life, and love, and vulnerability, and so it's worrying because it's almost like Gene is falling in someone who he doesn't even honestly know. But this is just episode 1; as much as yes Nubsib is manipulative and secretive, I think there are things we'll get to see about him that's still authentic, at least for now; one of the things that stay true is his feelings for Gene, that's what's driving him, and Gene who has been so devoid of that connection maybe that's why Nubsib has to find a way to break down his walls in that way. We can see it's not easy for people to see Gene's vulnerable side. Nubsib makes him vulnerable, and maybe Nubsib knows this about Gene if they have met before; maybe he knows this is the only he can maybe try to make Gene notice him since Gene is so quick to run back home and throw himself into his world of writing. But is it okay? No, it's still manipulative and deceitful, but I think it's going to have consequences. And I can't wait to see how that unfolds. You also see some parts of when his masks fall, and that's concerning Aey, which is funny because  I think they're the same type of people. This is why I'm intrigued by this show; they both will do whatever it is to get what they want.

Aey: The Mask Of An Actor

And then we have Aey; he's even more fascinating; he's pretending to like Nubsib for his own agenda. Even Nubsib can feel it. They've known each other for a while. They can read through each other's masks. That's why they have an interesting plot arc coming. The show does start by making note that he rarely would get a role this big because of his queer identity. Apparently, that's an issue/ problem with the industry (both in fiction and in reality, sadly). They think LGBTQ actors don't attract money if they're too 'queer',  so Aey is determined to get success, notice and fame. He's already found ways to get to this point by overhearing Nubsib when he finds out about the audition. Nubsib is already known and supported by people. Aey may be different. Maybe he's had to struggle to be noticed.

In a way, he's doing all he can to ensure this works for him, but in order to do so,  he also wears a mask and hides who he really is to everyone. In fact, the reason why he's chosen for the role is because even though he is queer, he doesn't seem like it. This is what was said in the show. The only person who seems to see him truly is Mhok, and that's an exciting development being hinted at. There's someone again who is connected to unravelling his mask and knowing his genuine authenticity. I think this is a big theme surrounding romance in this show.  So Aey is going to be an interesting obstacle, just like Sib, everything that comes out from his mouth are lies to get what he wants, maybe even his smiles and fake niceties aren't truly his character; he seems devious (not in a negative way), he seems cunning, like he knows how to be one step ahead. This is probably what he's made himself become to be chosen, noticed and taken seriously. To get what he wants. This makes him a fascinating antagonist; I don't think he's a villain, just someone who has a fascinating character arc in the show. I can't wait to explore it.

Hin: The Mask Of A Follower

And then there's Hin. As much as he's chirpy and nice and friendly to Gene, he seems quite, I won't say jealous, but he does show he wants the chance and opportunities Gene has with writing. He asks the manager by text as the audition happens,  to read his book and let him know if it's possible for publishing. It seems he tends to be overlooked; he's curious, wide-eyed, always looking positive, but what if this is also just a mask? What if we're gonna see more to this arc too. It'd be interesting to see if he'll feel annoyed at Gene complaining about having the opportunity he has to write BLs, when others may not be chosen the same way. But that's just a theory about Hin. If all the other characters are just as ambitious in getting what they want, what's to say, Hin wouldn't be later. What role would he play during the show's ending, perhaps just a supportive friend, a guide to help Gene deal with whatever comes, but it is interesting to know he also wants to write. My first thoughts always point to negative with that because it suggests rivalry. And I think rivalry is also an interesting theme, an occurrence that happens in the industry. So maybe there's more to him, or perhaps not.

So yeh ambition and masks and the lengths the characters would go to fulfil what's important to them in this show have been built up already. Most of our characters all share similarities of having to become or do something that doesn't pertain to the truth of who they really are. They see no choice in the matter; they have to do this to survive or to be happy. This industry is a competition, it's harsh, and you need adaptability, tough skin and methods to survive and get what you want. Especially since Lovely Writer is about the Acting industry as well. These characters all have to be actors somehow, Gene has to pretend he cares about BL, so he sells and makes it big, Nubsib has to pretend he doesn't know Gene, so he can win Gene's heart, Aey has to pretend he cares about Nubsib, so he becomes famous and supported by his fandom, and maybe even Hin has to pretend he's okay with following after Gene, so he can find opportunities to learn more about the industry and also find ways to publish his book. An interesting theme that occurs in real life. Obviously, as Gene and Sib fall for each other, those ambitions come out to the surface, become obstacles in the making, and they have to choose to sacrifice some of it for their love and happiness. One way or another, there's a consequence to not being who you are; somehow, the truth always comes out.  Okay, let's do this show. Let's get to know these characters. I certainly can't wait.

[yeah-oh-shit]

Sherlock S5/Dracula Meta

I’ve been thinking about this for a long time. I’ve never written any fan theories or meta before (although I have so many), so please bear with me. I know my theory is going to sound a little out there, but I here it is: I think BBC Dracula is actually Sherlock S5, or else that it is somehow going to lead directly into it without warning. 

Warning: this is going to be a long piece. I’m going to break this down as follows, because there are many different pieces of evidence to examine: 

TFP, the story and the episode

Gothic Horror, HOB, Dracula

Vision, Timing, 20/20

The Final Problem

The first one is a fan theory I read probably 6-9 months ago that sadly I can’t find anymore (if you know who this person is, please please comment so I can give credit!). Basically this person was talking about how the naming of the episodes typically has some tie to what occurs in the original story by that same name, but how TFP has nothing AT ALL to do with the original story. In the original story, Sherlock goes face to face with Moriarty, and we are all lead to believe that both he and Moriarty die over the Richenbach falls. In all reality, ACD had meant to kill off Sherlock in this story, and stopped writing Sherlock Holmes stories for ten years before bringing him back in “The Empty House,” due to the public outrage and demand for more stories. So, the logic follows that maybe the one thing that they have in common is that they are both pitted as the end to Sherlock Holmes (in the story, he is dead; in the show we are given [force fed] an ending, it's made to seem like the final piece). The author of this theory also pointed out the show runners in this way are comparing ending the series with TFP (no canon Johnlock) to ending the show with Sherlock dead. We are left with a straight-washed version of John and Sherlock, with Mary’s voice controlling the narrative and that narrative being: It Doesn’t Matter Who You Are. The chemistry between John and Sherlock has been more or less completely lost throughout S4, and so we are left with this empty, dead-feeling version of them that doesn’t feel true to the characters we know and love. Even casuals thought S4 sucked.. this is why. They metaphorically killed them/killed the show.

Before S4 aired, Mofftiss had said that if they pulled off what they had planned, it would be the biggest thing in television. Well, what we got in TFP doesn’t really fit that at all, does it? What could they be referring to: A secret sister? Not really that epic. Even if we find out that most of S4 didn’t take place (either EMP theory or some other way of explaining it) that isn’t really a new trope. The audience discovering that they have actually been seeing things that are inside the main character’s head the entire time has been done over and over (Sixth Sense, A Beautiful Mind come to mind off hand). So what could this huge, history making move be? The argument that the meta I read previously made was that the show will come back (from the dead) unexpectedly, with no warning. That it will be a revival and in that revival, we will get canon Johnlock. I can’t remember if OP explicitly theorized that Dracula is actually Sherlock S5, but I think so. 

Now, I was with this theory from the beginning.. there is just something that feels possible to me, despite the fact that it sounds far fetched. Dracula seems like a weird, random thing to do when Sherlock, Moftiss’s mutual obsession, isn’t finished. (Also creating an escape room to keep up hype is odd if the show is over, but I digress.) I just don’t believe Moftiss’s constant claims that they couldn’t get everyone together to film S5 because of schedules, that they wanted to take a break, that they don’t know if they will do more (when Moffatt has talked about wanting a 5 season arc before, not to mention John Yorke). And then there’s the fact that we know they have filmed scenes that we have never seen (Niagara Falls anyone?). All this evidence that S5 is definitely coming, combined with the fact that we haven’t heard anything about it but have heard about Dracula, sort of fell into place for me. Despite me being willing to buy into it, this theory still seemed a little far fetched. But wait, there’s more!

Victorian Gothic Literature, HOB, Dracula

A lot of people have been talking about how gay Dracula is going to be, and citing evidence of the connections between Bram Stoker and Oscar Wilde (Dracula was written directly after his trial and Dracula is read as having characteristics of Wilde) as evidence. This, along with the extremely homoerotic last clip of the trailer, certain parts of the text that read as queer coded (I haven’t read Dracula, so I don’t know much but have seen some things floating around that seem v gay to me), and what we know about queer coding in Victorian gothic literature in general, all make a convincing argument. Gatiss actually recently confirmed (more or less) that Dracula will be bisexual in the upcoming series. And while I’m all about gay vampires (I am a huge vampire fan, seriously I love Vampire Diaries and True Blood and was one of “those girls” during the middle school Twilight craze), there is something about Dracula being Moftiss’s first cannon gay show that feels both disappointing and incongruous.

I want to bring up the All Ghost Stories are Gay Stories meta by heimishtheidealhusband. Now, this meta was written in 2015, in anticipation of TAB. Its great and you should definitely check it out if you haven’t/don’t remember it. The part I am most interested in is actually the reading of HOB, which I will get to in a bit. The takeaways from the first bit of the meta are that monsters and ghosts (to a different extent) are representations of queer desire in Victorian gothic literature. I’m summarizing drastically here, but as queer desire was obviously unacceptable in Victorian times, writers would obfuscate it by creating an “other,” a monster or ghost, that represented the queer or “inverted” desire and also demonstrated the fear and horror that society had for homosexuality. So the monster becomes the representation of homosexuality (homosexual acts or desires) that is pursuing the protagonists. Oftentimes, the protagonists were originally obsessed with the monsters or the concept of them, before actually confronting them, but are terrified and frightened when it actually occurs (think Dr. Jeckyll or Frankenstein). This meta also specifically talks about Dracula and vampires as the most queerly coded of the Victorian monsters: “Think about your vampire tropes: Dracula sneaks into your bedroom at night, lusting after your bodily fluids. The victim, meanwhile, is paralyzed with fear, but also excitement. (Oh hi phobic enchantment, I see you there!) The tension mounts until there’s a climactic penetration of fangs into flesh. And lots of sucking. Then think about the fact that the one doing the penetrating and the one being penetrated can be - and often are - both male.” 

This all seems to bode great for our queer reading of the new BBC Dracula, yay! Vampires are clearly queer coded, and making it explicit makes sense and seems like a no-brainer. But I think it’s important to point out the ways in which this is also potentially (and likely) problematic. In Victorian times, there weren’t really many other options for portraying homosexuality. This is part of what makes what these writers did so brilliant - they were unable to show these desires as normal and healthy, because it was too dangerous and society didn’t see them that way (hence the use of the word “inverts” for homosexuals). Using the horror genre allowed them much more freedom to explore homosexuality, identity, and societal reactions to it, but also obfuscated the difference between reactions to homosexuality and the thing itself. In some of the stories, like Frankenstein, the monsters are actually misunderstood. Frankenstein’s monster only turns evil after experiencing society’s horrified reaction to it. However, in a modern context, I wonder about the message it sends to remake a Victorian story in a modern time and make the monster queer.

To flush this out a bit, I think it would be helpful to take a look at how Moftiss (and particularly Mark Gatiss) have played with this Victorian monster trope already, in Sherlock. Which brings us to HOB. heimishistheidealhusband points out that ACD’s original story “The Hound of the Baskervilles” would definitely fit into the scope of Victorian gothic literature, and their meta “All Ghost Stories are Gay Stories” does a particularly good job of breaking this episode down with the lens of Victorian gothic literature and queer coding. I am going to quote this reading here, and also also want to touch on the reading of this episode by Rebekah of TJLC Explained.

Here is what heimishtheidealhusband has to say about this episode: “Here’s why BBC Sherlock’s treatment of Hound is particularly beautiful. The creature – the hound – is our queer monster. In ACD’s Hound, the hound was indeed physically altered – he was painted in phosphorous to give him a hellish, glowing appearance. And the hound was actually the one to do the killing. In BBC’s Hound, there’s “the hound” – the monster that everyone is afraid of which is actually imaginary, and “the dog” – the real thing that actually exists. In other words, in this version, the “queer creature” in the horror story has been de-monstered. Homospectrality is being flipped on his head – rather than separating the man from the queer, they’re separating the queer from the monster. Because the dog isn’t inherently evil, it’s just the poison in the air that everyone is breathing that makes them fear it, and see a monster instead of an innocent dog. So in this treatment, if the dog/hound represents queerness, heteronormativity becomes a poisonous element in the air we all breathe.” 

This is why it is so important that Hounds is plural (as opposed to the original story “The Hound of the Baskervilles”). They are emphasizing the differentiation between the two dogs, the differentiation between the monster and the queer. Rebakah of TJLC Explained also points out that despite all the conspiracy theories, there is actually no monster inside Baskerville, but rather a rabbit that glows “like a fairy,” (let’s all take a moment to remember the skipping dance and sing-song voice Ben does in this scene, in case it wasn’t obviously queerly coded enough). It’s hard to imagine a less-threatening animal than a glowing bunny. 

Mark Gatiss has been very open about his love for horror and the gothic. He has studied the gothic writer M.R. James, and was involved with the BBC documentary about James that explored his “repressed sexuality.” He clearly loves and respects the genre, and is familiar with queer readings of Victorian gothic lit. In HOB, he chose to engage with the genre in a modern context, and to separate the monster from the queer. In doing so, he points out the inaccuracy and harm that coupling queerness with monstrosity generates. With this in mind, the choice to make Dracula feels like a step backwards, especially when you bear in mind that Gatiss has actually said that he isn’t really interested in gothic horror anymore. In an interview with Shadows at the Door in 2017, Gatiss stated: “I used to think nothing could exist without waistcoats and bubbling test tubes and now I’m actually more interested in modern horror; the gothic but in a modern context. I don’t think it has to be about the old and obviously I still love it but it doesn’t have to be about candelabra and castles. You can get the same feeling from modern methods, and in a way that is more frightening.”

All this isn’t to say that gothic horror or vampire stories isn’t still interesting and worthwhile as a concept, or that a canonically queer Dracula wouldn’t/couldn’t be badass. (I for one would love a Vampire Diaries remake wherein Damon’s character is a woman, but I’m off topic..). It doesn’t even mean that there can’t still be something complex or provoking in this representation for a modern audience. But it also feels dangerously close to repeating the queer coded (or even plainly queer) villain that we have all seen a hundred times from horror films and Disney movies. At best, still doesn’t seem particularly new or exciting, and at worst it could reinforce frankly problematic and dangerous stereotypes.

I am now going to analyze the actual trailer for BBC Dracula that was released a few weeks ago, because it is going to help me to illustrate this point. One thing that struck me most when watching it was just how horrific it really is. The 45 second long trailer includes: a fly that crawls into an eye, a bloody fingernail being ripped off, a blood covered hand, something that appears to be being birthed, a scary, old-looking Dracula with a bloody tongue, and bloody flesh that is being carved. There are at least 3 instances of mouths: the fangs at the very beginning, the mouth with bloody tongue, and the frame after the gunshot of a mouth that looks desiccated like a zombie, that only flashes for a split second. All in all, it’s not only scary, it’s quite disgusting. The three bloody or otherwise monstrous mouths that we see relate most strongly to the covert sexual tones of Victorian gothic literature (and also remind me of Moriarty’s oral fixation in TAB). These are some of the most disturbing of the images. While the intro fangs are pretty mild, the clip of Dracula’s frightening face and bloody tongue (which is followed immediately by the bloody flesh being carved) and the decayed mouth are both quite gruesome. If we apply the metaphors that we know from Sherlock, they are making some pretty damning connections. The mouths in-and-of-themselves could be read in a sexual way, but then there is the added fact that the decayed mouth appears directly after a gunshot, which we know has been tied to dicks/gay sex in Sherlock (and generally). The bloody flesh being carved on a table also recalls the food/sex metaphor in Sherlock, specifically reminding me of how disgusting the meal scene is in John’s wedding to Mary. Food and eating can be really disgusting, and this trailer makes a point to show us that. When we connect this back to the sex metaphor again, and give it a queer lens, we are once again being metaphorically told that queer sex is disgusting and horrific. 

Whether or not Moftiss are purposefully making these metaphorical statements, they definitely went out of their way to make this variation of Dracula particularly scary, horrifying, and gruesome. It’s always possible that they are just hyping up the goriness in order to get audiences excited. It’s also possible that they are highlighting the disgustingness of Dracula’s monstrosity as a means of engaging with the public perception of homosexuality or that they will complicate the narrative in some other way. But even if we give them the benefit of the doubt here and assume they aren’t trying to paint queerness in a bad light, this highlighting of the disgusting nature of Dracula’s monstrosity doesn’t seem to push forward any kind of unique, modern narrative. We have seen this, this is exactly what Victorian gothic literature is all about. They needed to explore homosexuality through its repression, to make it monstrous, because they lived in a time when there were few alternative ways to explore it (except for maybe the example of our sweet “bohemian” boys - check out this meta from artemisastarte to learn more about bohemianism and queerness in Sherlock Holmes). But in our modern day, is this really that exciting? Is this the kind of queer representation we want and deserve in 2019 (soon to be 2020)? To me, the answer is no, especially in light of the incredible and complex work they have done in Sherlock toward building a queer love story that is normalized, and completely removed from any conflation with monstrosity. 

The fact that Dracula is tied so heavily to Sherlock makes this distinction even greater. Gatiss said that they got the idea for Dracula from a still image of Benedict Cumberbatch on the set of Sherlock with his collar up. Supposedly it reminded them of Dracula and the BBC asked them if they wanted to make it. In an interview, when asked about Dracula in relationship to Sherlock, Gatiss called it a “stablemate” of Sherlock Holmes. I’m not really sure how we are supposed to take this, and he doesn’t explain at all (of course), but that would mean that they are in some way similar or connected. I think he doesn’t just mean that they both come from him and Moffatt, as that is rather obvious and was acknowledged in the question itself. Both shows are not only created by Moftiss, but written in the same format, produced by Sue Virtue, and shot at Hartwood Studios. They also really emphasize the connection to Sherlock in the trailer (which isn’t surprising because advertising), and also in the new Netflix description, which states only: “From the makers of ‘Sherlock,’ Claes Bang stars as Dracula in this brand-new miniseries inspired by Bram Stoker’s classic novel.” There isn’t even a background image, only a weird gray distortion on a black background.

Furthermore, there are also elements from Sherlock that point to Dracula, either directly or indirectly. In S4, when John is supposedly texting “E.” He asks “Night Owl?” and the response he gets is “Vampire.” It feels odd and out of place to mention vampires in this offhand way, as we have never really seen anything like this on the show. To be fair, a lot of S4 feels this way, but I believe that it is actually chock-full of symbolic meaning and that almost everything that we see that feels wrong or untrue to the show has a deeper meaning. What, then, is the purpose that this plays? Additionally, in the escape room (Spoiler alert for The Game is Now), there is a television in the first room (Molly’s lab) that is playing what is set to look like British news. In the newsreel at the bottom, they included the announcement that Mark Gatiss and Steven Moffatt are making BBC’s Dracula. Once again, this feels a little throwaway, or could be explained away as advertising (although the escape room is so fast-paced that having any time at all to look at the television, let alone read it, when it wasn’t explicitly part of the puzzles would seem rare). Once again, there is a subliminal connection made between these two shows that I would argue is purposeful. 

The decision to make a gothic show that so completely plays on this horror trope, and then to tie it both explicitly and implicitly to the show that they have already done, which has a very different messaging around the gothic as it relates to conceptions of homosexuality, seems odd. In and of itself, a Gothic exploration of queerness is possible, but feels limited by its very nature. Gothic horror through a queer lens is about queerness and otherness being equated to and embodied by monstrosity. Dracula’s trailer seems to clearly be playing up this monstrousness. I want to reiterate that I don’t think making something like Dracula gay couldn’t be cool or interesting for what it is, or that there isn’t a way to engage with the gothic without it being problematic. But in comparison to what they are doing with Sherlock, it feels unimpressive. And in light of HOB, Dracula seems to go directly against the argument that Gatiss makes so beautifully, that queerness is harmless and very distinct from monstrosity, despite what the fog of homophobia might depict. To build up this narrative in Sherlock, then cut into the middle of it with something that is explicitly connected to it but symbolically making an opposite assertion feels counter-intuitive.

Vision, Timing, 20/20

Even with all this evidence, I don’t know that I would really believe they would go through the trouble to do all of this if not for the timing. Dracula is set to come out “soon,” but people have been speculating for this winter. That would make it the end of 2019 or beginning of 2020. Now I’m going to explain a little bit about my reading of HLV, which happens to coincide nicely with The Game is Now, and ultimately this theory as a whole. 

Something that caught my eye in HLV is how much glass there is in its first scene. We open on a shot of CAM’s glasses sitting on the table. We are below them, looking up through glass (although we see later that the table is actually wood). Next we get a shot of lady Elizabeth Smallwood, reflected through glass so as to show her in double (which is particularly interesting given that she is repeatedly called Lady Alicia Smallwood, both by CAM in the text that flashes on the screen during his analysis of her later this episode, and in the S4 scene where she leaves Mycroft her card). Next we see the entire interviewing committee through glass walls (it continues but you get the picture). We are introduced to the concept of lenses, looking through them, and at times the distorted image created by them. 

CAM owns a newspaper, and he controls people through rumors: it doesn’t matter what the truth is, it matters what people believe (what they see). (This sounds a lot like Mary in S4 to me). So we are introduced again (after TRF) to the concept of fact vs. fiction, truth vs. lie, and this time with the addition of lenses. What lens you view something through matters, has a bearing on how you read something, how clearly you see it (sounds kind of like the fog in HOB). By the end of HLV, we have been removed from the narrative enough, we can’t see completely clearly. We don’t know what has happened during the time between John and Sherlock’s confrontation with Mary and the scene at Christmas. We don’t see if Sherlock and John are on the same page or what Sherlock is planning. 

This episode leads into TAB, followed by S4 fuckiness. In S4, there are many things that feel “off” but one of the biggest is that John and Sherlock are distant the entire time. In the beginning we get the indication that John is missing Sherlock, but then we see Sherlock acting as if he is closer to Mary than John, inviting her on cases in his place. She gets inserted between them completely, becomes part of the gang. After Mary’s “death” John blames Sherlock (in a feat of logic that is truly baffling) and we have them at their most distant in TLD. And then, they come back together again in TFP, but the warmth and closeness is missing.

This season makes it clear that Moftiss were writing in all the little things that made their dynamic romantic and their chemistry so clear. They were able to take that out, and they did so with intention. It is if we are seeing the show through a lens: through the lens of straight-washing, the lens or perspective that Mary (John’s wife, the symbol of a straight John Watson, a platonic John and Sherlock) narrates for us so thoroughly at the end of the series. (Also side note, this straight-washed version of the show also fits into the 5 part John Yorke structure with part 4 being the height of the antithesis or the “worst part” - I learned about York from garkgatiss’s meta). The heart of the show is John and Sherlock’s dynamic. This dynamic is clearly intimate and romantic and has been in every iteration of Sherlock Holmes since the original stories, despite never being explicitly canon. S4 really follows through on Moriarty’s promise. The heart of Sherlock Holmes is gone, missing, burned out. 

Then we have the escape room [mild spoilers]. The entrance is Doyle’s Opticians; its filled with glasses. (Side note there was definitely a wall displaying glasses that were arranged by color to look like a rainbow). Once again we have the theme of lenses. Being in an optometry office, it’s interesting because the focus is obviously on correct vision. 20/20 vision. Vision is “right” when it’s 2020. (This wasn’t my realization, but someone else went to the escape room as well and wrote about it). So now, we have this idea of being able to see correctly tied to the number 2020. To the YEAR 2020. This is also interesting because one of the signs in Doyle’s Opticians read “You were told but you didn’t listen: coming soon.” Just another indication that we will be getting more (Sherlock) soon. 

Now, finally, we come to what I see as some of the most convincing evidence about Sherlock S5 coming in 2020. It has to do with copyright laws. 

In England, all of ACD’s stories are in the public domain. However, in the US, this isn’t so. US Copyright laws are different from the UK, so the last of the stories won’t actually enter the public domain until 2023. American copyright duration is 95 years from the date of publication. This is important because the Arthur Conan Doyle Estate is extremely protective of how Sherlock Holmes is portrayed in the media. It turns out that despite the fact that most of the stories are already in the public domain, BBC, CBS, and Warner Brothers have all gotten licenses from the Estate in order to make their shows/films. In 2014, the ACD Estate lost a lawsuit in which they were trying to argue that the characters are “complex” and that any use of the character (at all) was still valid under copyright laws (as not every story had entered the public domain) and therefore in need of a license from them. While some of the later stories are still under copyright, they lost the lawsuit and it was ruled that the character (as written in the earlier stories) is in the public domain. They sued Miramax for its production Mr. Holmes, which portrays an elderly Holmes, arguing that it drew from the later stories and therefore violated copyright. Miramax ended up settling to avoid litigation. The Estate is known for being litigious and basically doing its best to stay gatekeeper, hoard ownership, and generally extort money out of anyone who creates anything having to do with Sherlock Holmes. While the BBC has paid them for licenses before, I’m not sure how this clearly conservative group would feel about making Johnlock canon. Even if its not legally in their power to prevent it from happening, it doesn’t sound like that has stopped them in the past from suing basically anyone that has tried to create Sherlock Holmes material without their consent, and if that material in any way seems to come from the later stories, then they might have a case. 

Which brings us to the Three Garridebs. Moftiss have said in the past that this is one of their favorite stories due to it being the story where Holmes shows his depth of feeling for Watson. As stated by Watson himself, “It was worth a wound–it was worth many wounds–to know the depth of loyalty and love which lay behind that cold mask” Generally speaking, the fandom has posited that a Johnlock reveal may happen in a “Three Garridebs” moment. And do you happen to know the story that directly precedes the Three Garridebs? The Sussex Vampire. A story in which Holmes investigates a supposed vampire only to discover a loving mother who is attempting to save her infant child by sucking poison out from his wound. Kind of sounds familiar huh? A perceived monster, who is in fact nothing dangerous at all. Who in this case is the exact opposite of monstrous, is actually loving and gentle (like the real dog that is tellingly tied to sentiment, or Bluebell the glowing rabbit).

Both the Sussex Vampire and the Three Garridebs are part of The Case-Book of Sherlock Holmes, the last collection of stories. They were both published in 1924, meaning that both their copyrights run out in 2019. It will really only be possible for Moftiss to use material from the Three Garridebs for a queer storyline starting in 2020. And if we assume that this is their plan all along, that they have even potentially set it up in S4 (looking at you John Watson getting shot by “Eurus”), they have HAD TO WAIT until now. But they won’t need to wait any longer, starting in January. 

Oh and by the way, here is an interview Martin gave recently in which he tells a story about how he had to literally give up the Hobbit because he was CONTRACTED to Sherlock S2 and they wouldn’t move filming on that. (Thankfully Peter Jackson moved filming around for him, so we still have him as Bilbo). So I would imagine that if S2 was contracted, and they were planning on making a 5 series show all along, that they are probably contracted for all of it. Which means all those claims that its just too difficult to get everyone together for filming are just another means of throwing us off the trail. 

If they have been waiting for this copyright to expire, but also unable to tell us that that is why they are waiting, it also makes sense why they have stretched it out so much. It's even possible that they didn’t realize how horrible the ACD Estate was going to be when they first started filming, and had to adjust/drag it out so that they could finally do what they want to do, what they have been planning for from the beginning.

So there you have it: the ending of The Final Problem, an analysis of HOB, Dracula, and Victorian gothic lit, and finally the symbolism of lenses, correct vision, and copyright issues all leading up to 2020. I think S5 of Sherlock is coming. I’ve been feeling it, sensing something for the last few months. I think we can all feel it. And it might just be sooner than we thought.

---------------------------------

Thank you so much to my love @canonicallybisexualjohnwatson who co-developed this theory with me, edited this, helped me with the links, and was also the one to introduce me to Sherlock/TJLC, subsequently changing my life. i love you b.

[oumakokichi]

not meta really, but do you have any headcanons for what the v3 kids were like personalitywise before the brainwashing?? we see a little of them in the prologue but it's very vague, and i haven't seen any headcanons aside from my own so i'm interested in seeing what you think

I have a few, yes! Coming up with headcanons for what theywere like beforehand is really fun in my opinion. I know a lot of people wereupset by the twist because they felt like either they “never really got to knowthe real characters,” or else that the characters we see in-game had theirpersonalities “completely made opposite” from how they were beforehand, but I don’treally feel like that was the case.

I’ve gone over it in a few posts, but I’m pretty sure thatwith most of the characters, their core personalities were definitely leftintact. Ouma was an exception to the rule, and Tsumugi attempted to twist himfurther than anyone else, specifically because she wanted him to be the bad guyin her game—a perfectly manipulated, amenable pawn of despair to her plans soshe could set herself and everyone else up to be “Hope” and Ouma would be “Despair.”But as for the others, who weren’t supposed to be cast into a villainous rolefrom the start, there really wasn’t any need for her to try to twist them thatfar, and I think a lot of their basic interests, hobbies, inclinations, etc.are all very similar to how we see them behave in-game.

The fact that their given likes and dislikes don’t alwaysmatch up perfectly with their given talents is proof of this. Despite thebrainwashing and the fake talents, their actual personalities, and the thingsthey either like or don’t like, are still theirs.Angie, for instance, really doesn’t like moisture—aninteresting thing to note, considering in-game she’s portrayed as being from amost likely tropical island, and is an artist who works with paints and ink, noless. And Tenko’s likes include nunchakus, which have absolutely nothing to dowith aikido but sound very fitting for someone who perhaps before entering thegames was just interested in martial arts in general.

What I think was changed about them for the game per se wasmostly what they wanted out of the game directly. Tsumugi is an otaku at heart;she’s very open about this, really. Even once she’s been outed as themastermind, it’s very clear that she views absolutely everything through a lensof fiction, and this includes wanting certain “tropes” or “genre twists”applied to various characters within the game. This means that she’s reallyjust going to find it boring if she gives them all what they want directly whenthey audition.

And so characters like Saihara, who ask to be a “cooldetective who can get away with closed room murder tricks,” are “subverted” byher instead, and given a backstory based on insecurity, tragedy, and the fearof ruining everyone’s lives with the very thing that a detective seeks most:the truth. But at heart, Saihara is clearly the same person. He wants to be adetective, he enjoys mysteries. He has a natural curiosity about the worldaround him and he likes doing armchair detective reasoning more than anything.He loves novels—and it’s easy to tell in hindsight that he really loved the DRnovels all along.

I’ve talked before about how even seeing that some of the characterssigned up for the audition willingly or knowingly while talking about killingpeople doesn’t necessarily mean that they were a horrible person or a bully. Itall depends on what society is actually like in the ndrv3 universe—and everythingwe know about the outside world and how society must have rebuilt itself afterthose catastrophes suggests that it’s awful. If the killing game reality showhas been going for 53 seasons and is a deeply engrained pastime andentertainment hobby, that’s not something that would ever occur in a normal society. It sounds much moreHunger Games-like to me, where the idea that this is “normal” and that thesekids (kids without talent) “deserve it” is so inherently beaten into societythat it goes unquestioned, even by the kids who sign up for it themselves.

Therefore even for characters like Momota, who was shownsaying on his tape that he wanted to kill people and win the game for money, it’simportant to remember that Tsumugi wanted to use those audition tapes for shockvalue. In my opinion, she wanted to use the tapes to create the impression thatthe survivors were all drastically different people than who they used to beback when they auditioned, because that would be the thing that would breaktheir spirits and convince them that they were little more than “fictionalexistences.”

In any case, a character like Momota, who was actually sickfrom before, would have more reason than most to enter a killing gamewillingly. He was already going to die anyway, and knew he had nothing to lose,and the idea of winning a game so clearly meant for entertainment and prestigeand “looking cool” was probably appealing under those circumstances.

My headcanons for most of the characters is that theyprobably acted very similarly, but with a few subversions. Tenko, for instance,I could easily see being the same very excitable, very easy-to-read emotionalsort of person. I think she must have really had a love for watching martialarts, but didn’t really know a lot about them, and that explains why she wasgiven a title like SHSL Aikido Specialist when she really just thinks nunchakuslook cool. But she was still a person who wants to “be strong” and wants to “protectothers”; she just didn’t always know how to go about it the best way, just asshe doesn’t always know how to do so with Himiko.

Kaede is fairly similar. The Kaede we see in her ownaudition tape describes herself as a cynic and someone who can’t really trustothers easily. Considering the bleakness of the outside world and society inndrv3, and what we see of Kaede’s flashbacks to being kidnapped in theprologue, this fits pretty well. But also she undeniably wanted to be a leaderfrom the start. She wanted to be someone who could trust others, and inspirethem, and serve as a hopeful, reliable sort of figure. This means that even ifshe felt actually putting it into practice might have been impossible for her,because of how cynical she was, she still had those feelings there all along.Kaede would never have made for the “perfect protagonist” figure that she wasif she hadn’t had that kind of potential in her all along.

Miu I definitely see as having been extremely similar to howshe is in-game. Most likely she went into her audition specifically asking tobe some “high and mighty inventor,” and she wanted to be able to invent supercool stuff all the time and have everyone think she was awesome and incredible.But since Miu is ultimately a character who’s almost all bark and no bite, andwho backs down quickly when given the same treatment she tries to force onto others,even in-game she retains this sort of quality, and her genius inventing abilitiesare still subverted by the fact that she really lacks basic common sense abouta lot of other things.

In the prologue, we see her saying things like “Why’re youtalking like someone who’s got talent?!”, implying that talent clearly existsin ndrv3 society and that those without it are regarded pretty lowly, or likethey shouldn’t be giving their opinions about things. And this is definitelyhow the Miu we see in-game acts a lot, so it follows her thought process.

You probably get the idea—most of the characters I thinkfollow this sort of pattern where how they would behave or talk to others isreally similar, except that perhaps they were slightly more or less excitableor confident or jaded. And that’s pretty normal, actually, in my opinion.Rather than thinking of them as entirely separate from their in-game selves,with most of them it feels a lot more like comparing the same person but withfive or ten years of experience in-between, because experience can also changea person and how they think without changing who they are at their core.

With Ouma…the question is a little more complicated, becauseOuma’s situation was more complicated. He was given the most messed up talentout of the bunch, because Tsumugi wanted him to be her pawn more than anything.We don’t see much of him in the prologue to compare to, either—he has exactlyone speaking line, and all we can really glean is that he looks really, reallynervous, and that he has never heard of himself (or the others) having any “sealedtalents” which the Monokumerz keep talking about.

Tsumugi confirms that his DICE group actually existed, andthat they did “laughably small crimes,” meaning that they most likely wentaround pulling pranks and maybe petty theft at most. I’d say this confirms thatOuma has definitely always been mischievous at least, but certainlywell-intentioned.

If my own theory that ndrv3’s society in general is basedaround those with SHSL Talents in the real world perpetuating fiction like DRand running the killing game show in order to take things out on those withouttalent is true, then I would bet Ouma and his DICE group were probably a realpain in the ass. A group of kids running around and pulling pranks andgenerally making these very talented people at the top of society in thissituation where talent is everything and it’s all up to “survival of thefittest” must have seemed like a real slap in the face, moreso if the wholepoint of DICE was that “no one ever got hurt or killed.”

My own headcanon (meaning no one has to agree with it) isthat Ouma looks so shocked and nervous in the prologue precisely because he’dbeen getting away with all these kinds of pranks and jokes before, andeverything seemed like a game and everything was going fine—up until he thoughthe “got caught.” Then suddenly he realized that he was in really hot water and that something definitely wasn’t right aboutthe situation he was in.

His personality being “imbued with despair” even feels alittle more intentionally like a punishment than anything that’s given to theother characters. If he and his DICE group had been making a point of playingthese pranks, getting away with these harmless crimes in order to point andlaugh at a talent-based society that was based around slaughtering off thosewithout talent because really, these super-talented people are not as smart asthey think they are, well…that’s a subversive message.

And it would make sense that Tsumugi and the producers wouldwant to make sure that he was the villain, and that he was given thispersonality and role based around the idea of “hurting others” and “getting offto human suffering,” because that’s what she wanted him to be. That’s whatJunko was, after all. But it speaks a lot to Ouma’s core values as a person,that even when that’s something he was twisted into and to some degree,something he did believe he’d become, he still maintained his hatred forkilling and suffering. He knew thingswere off about the killing game, and about his own memories and talent becauseof how much dissonance there was between what he could remember and the disgusthe actually felt when he saw human suffering.

Anyway, these arejust my headcanons! This got a bit long but it was really fun to talk about. Iknow a lot of people are still tripped up by the misinformation that thecharacters’ personalities are all “completely opposite” from how they werebefore, but knowing that that’s not really the case gives a lot more room forspeculation and ideas based on what we do see of them in-game, and I find itreally fun.