#not to say anything about whether his choices are justified or not

[etoilesombre]

[donnapalude]

i was thinking there's really something in max calling anne "the truest person i have ever known". black sails is a story about stories in many ways, not the least of which is about the stories we tell to ourselves about ourselves in order to survive our own choices. flint and eleanor mostly tell themselves that they are good people and that their 'bad' actions are justified or don't represent them i.e. they are not part of their identity. max cuts off pieces of her identity so that she does not perceive her actions as opposed to her self-concept. silver abandons any definition of his identity so that he can be flexible enough to do anything necessary to survive. and so they choose and they can live with it. but when it comes to anne, she can't do it. when she needs to choose whether to take her revenge on max she says "i don't wanna do it. i don't wanna live with it after". during the show she has been characterised as someone struggling to find her identity, tending to lean on others to absorb part of theirs. and that gradually changes after she meets max, but even at the end of the series it appears to be still a work in progress. yet, even at the beginning, and again throughout the show, even when she doesn't know exactly who she is in all of her facets, as soon as she perceives something about herself, as soon as it surfaces, she honours it. when she realizes she does not want vane's men to keep raping and beating max she does something about it, immediately. when she realizes she does not have it in her to kill max, she stops. she is not able and i think more importantly she does not want to tell herself any lies to live with it. she is similar to silver in that she has run from looking at herself for a long time, but she is opposite to him in that she is probably the character more intentioned to embark on a journey to shine light on her interiority moving forward. she is also the only character, as far as i can think of, that seems to conceptualize the definition of her identity as a process of discovery of a sort of tangible 'true self' that exists somewhere within her and that encompasses every moment of her life, every decision. in that way she is someone that never really tries to be the author of her own narrative, it's almost like for her, her story has already been written. not in the sense that her future is predetermined, but in the sense that she thinks events and choices have shaped her and will keep shaping her as they happen regardless of her will for them to do so. in that sense, when she tries to find herself she is less writing her story and more reading it. while everyone else considers their identity a negotiation between what they can keep in and what they can omit from the narrative they self-create.

[yallemagne]

I'm watching people trauma bond with Calypso from EPIC in real-time. Y'all. A character can be a woman and be a rapist at the same time. And her being a woman doesn't mean that ACTUALLY there's some trauma in her past that justifies her imprisoning men on her island and taking them to bed against their will, it means that she's a rapist that just happens to also be a woman.

I love how Calypso is depicted in EPIC, she's just dripping with a nastiness that is only matched by Penelope's entitled suitors. She's sugary sweet at the outset, but when Odysseus rather violently rejects her, she laughs at his rejection, saying he's adorable when he's angry and that he doesn't have any choice but to submit to her will as a god. And then she goes right back to the sweet lover in paradise ruse!!! It's sickening! She denies his autonomy because it gets in the way of the fantasy romance that she's forcing upon him.

So, I'm frustrated with people trying to paint it as though she's the victim in the situation, that what she's doing is somehow okay because she's a pretty woman and they feel bad for her. That's so patronizing.

I've seen people justify her behaviour by saying she's lonely. Tough shit get a hobby. Being starved for affection has never justified being an abuser.

I've seen people insist she truly cares about Odysseus because she tries to talk him down from suicide... but an abuser talking you down from taking drastic measures to escape their abuse isn't them showing genuine care, it's them not wanting the game to end, it's them exerting control over your very life. If anything, it's more disturbing because she is the one who drove him to be suicidal. So she's playing this game where she drives him to the precipice and then tries to lure him back down with "reminders" of "their love", those reminders actually being of the words of his dead loved ones that she's pilfered and warped as though they were her own.

The most ridiculous argument I've seen in defending Calypso's behaviour is saying that we can't use terms like "rapist" for her because "it was a different time" so "it's not certain whether or not what she did would be considered non-consensual for the time"... Like must I even point out that... that sleeping with someone against their will has always been and will always be rape? Anyway, her actions fit the ancient definition of rape to a t anyhow, so it's weird to try and weaponize "cultural differences" for the sake of having plausible deniability in Calypso's favour. Rape is also used to mean kidnapping, which is why we have pieces titled the Rape of Ganymede, the Rape of Persephone, etc..

Even if Jorge were to come out and say that, somehow, nothing sexual took place on Calypso's island in seven years, that despite her explicitly telling Odysseus that his "no" means nothing to her as a goddess she somehow never went so far as to sexually assault him... it doesn't make her abuse any less bad that she spared him that one trauma! Like holy shit dude.

Imagine if there was an adaptation that featured Zeus' rape of Io, and the audience responded to every literally dehumanizing action Zeus took against Io by saying "ooohh but he's lonely. i feel bad for him the most he's just a widdle lonely baby man. his wife is so meaaan."

[galacticlamps]

ok I have A Lot of thoughts about the staircase confession (well really about Edwin's whole character arc, but all roads lead to rome) but for now I just wanna say that, yes, I was bracing myself for something to go terribly wrong when I first watched it, and yes, part of me was initially worried its placement might be an uncharacteristically foolish choice made in the name of Drama or Pacing or Making a Compelling Episode of Television but at the expense of narrative sense--

But I wanna say that having taken all that into account, and watched it play out, and sat with it - and honestly become rather transfixed by it - I really think it's a beautifully crafted moment and truly the only way that arc could've arrived at such a satisfying conclusion.

And if I had to pinpoint why I not only buy it but also have come to really treasure it, I'd have to put it down to the fact that it genuinely is a confession, and nothing else.

That moment is an announcement of what Edwin has come to understand about himself, but because it takes the form of a character admitting romantic feelings for such a close friend, I think it can be very easy, when writing that kind of thing, to imbue it with other elements like a plea or a request or even the start of a new relationship that, intentionally or not, would change the shape of the moment and can quickly overshadow what a huge deal the telling is all on its own. But that's not the case here. Since it is only a confession, unaccompanied by anything else, and since we see afterward how it was enough, evidently, to fix the strangeness that had grown between him & Charles, we're forced to understand that it was never Edwin's feelings that were actually making things difficult for him - it was not being able to tell Charles about them. 'Terrified' as he's been of this, Edwin learns that his feelings don't need to either disappear completely or be totally reciprocated in order for him to be able to return to the peace, stability, and security of the relationship with which he defines his existence - and the scale of that relief a) tells us a hell of a lot about Edwin as a character and b) totally justifies the way his declaration just bursts out of him at what would otherwise be such a poorly chosen moment, in my opinion.

Whether or not they are or ever could be reciprocated, Edwin's feelings are definitively proven not to be the problem here - only his potential choice to bottle it up - his repression - is. And where that repression had once been mainly involuntary, a product of what he'd been through, now that he's got this new awareness of himself, if he still fails to admit what he's found either to himself or to the one person he's so unambiguously close with, then that repression will be by his own choice and actions.

And he won't do that. Among other things, he's coming into this scene having just (unknowingly) absolved the soul of his own school bully and accidental killer by pointing out a fact that is every bit as central to his self-discovery as anything about his sexuality or his attraction to Charles is: the idea that "If you punish yourself, everywhere becomes Hell"

So narratively speaking, of course it makes sense that Edwin literally cannot get out of Hell until he stops punishing himself - and right now, the thing that's torturing him is something he has control over. It's not who he is or what he feels, but what he chooses to do with those feelings that's hurting him, and he's even already made the conscious choice to tell Charles about them, he was just interrupted. But now that they're back together and he's literally in the middle of an attempt to escape Hell, there is absolutely no way he can so much as stop for breath without telling Charles the truth. Even the stopping for breath is so loaded - because they're ghosts, they don't need to breathe, but also they're in Hell, so the one thing they can feel is pain, however nonsensical. And Edwin certainly is in pain. But whether he knows what he's about to do or not when he says he 'just needs a tick,' a breather is absolutely not what's gonna give him enough relief to keep climbing - it's fixing that other hurt, though, that will.

Like everything else in that scene, there's a lot of layers to him promising Charles "You don't have to feel the same way, I just needed you to know" - but I don't think that means it isn't also true on a surface level. It's the act of telling Charles that matters so much more than whatever follows it, and while that might have gone unnoticed if anything else major had happened in the same conversation, now we're forced to acknowledge its staggering and singular importance for what it is. The moment is well-earned and properly built up to, but until we see it happen in all its wonderful simplicity, and we see the aftermath (or lack thereof, even), we couldn't properly anticipate how much of a weight off Edwin's shoulders merely getting to share the truth with Charles was going to be, why he couldn't wait for a better, safer opportunity before giving in to that desire, or how badly he needed to say it and nothing else - and I really, really love the weight that act of just being honest, seen, and known is given in their story/relationship.

[welcometothejianghu]

Welcome to another round of W2 Tells You What You Should See, where W2 (me) tries to sell you (you) on something you should be watching. Today's choice: 重啟之極海聽雷/Reunion: The Sound of the Providence/The Lost Tomb Reboot/this thing has too many names

Reunion (I'm just going to call it that) is a 2020 action drama about the most specialest little babygirl in the tomb-raiding world, his two husbands, and the cadre of assorted weirdos they pick up as they try to follow a set of directions left by a dead (?) man in the thunder.

Imagine if someone showed you the Mandalorian, and you were like, gee, that was a neat little sci-fi one-shot! because you'd never heard of Star Wars. That was basically my experience watching this show, having no idea that the Lost Tomb franchise (DMBJ) was even a thing. Turns out that not only is there a whole big continuity out there with these characters, but that Reunion takes place a few years after the main story's resolution. Don't worry, though -- Reunion doesn't spoil you for that resolution. It doesn't spoil you for much, period. Look, DMBJ has a weird relationship to endings, okay?

I have written a more thorough where-to-start guide for DMBJ as a whole, so if you want to consider other entry points, well, that information is there for your consideration. Yet it is my opinion that this is the best entry into the overall franchise, and a fun thing to watch just in general, and I'm here to make my case for both of those.

The rest of this rec will assume that you have no familiarity with the DMBJ series. That's okay; you don't need any. All you need is to trust my five reasons you should watch this.

1. Old Man Yaoi

As you begin this show, you are introduced to the Iron Triangle. That's them in the picture up there. Left to right, you have: Xiao Ge, magically tattooed immortal hottie who just got back from ten years in [scene missing]; Wu Xie, our protagonist, who's just a little guy and it's his birthday; and Wang Pangzi, the literal best.

(And yes, Wu Xie is in his 30s and Pangzi is in his 40s, which is not technically old man anything, but ... look, if you watch, you'll see why I think I'm justified in calling it that.)

They are extremely married. They are a disaster trio of disasters so disastrous that no one else should ever be subjected to their chaos. They're going to make sure lots of people are, though, don't you worry about it. Sometimes those people even deserve it.

However, because the show (tragically!!) decides that Xiao Ge has somewhere else to be like 95% of the runtime, most of the relationship you get to see is between Wu Xie and Pangzi.

I'm saying this now as an old gay nerd who just this year celebrated her 15th wedding anniversary: I have never, never felt so represented in media as I have watching Wu Xie and Pangzi interact. There's a little wake-up song they sing together near the end of the show, and it just ... it packs so much character development into thirty seconds. These boys have been living adjacent lives for so long that they've made up their own little shared songs about the mundanities of daily living. That is just what happens when you marry your best friend and then decide to get old and weird together. Ask me how I know.

Look, if you want to know whether this show is for you or not, watch to the end of the first episode, to the part where Pangzi flips over the table. If your heart is filled with joy (as it should be), keep going.

Love makes a tomb-raiding syndicate family.

2. A fun-filled action-packed romp of nonsense!

If you're familiar with Hellblazer canon, this will make sense to you: Reunion is Dangerous Habits. If you're not familiar with Hellblazer canon, try it like this: Reunion is a terrible place to start because it plays on your extant affection for a character who gains a terrible status effect almost immediately. It's a also great place to start because it throws you right in the action with measurably high stakes and gives you a reason to build that affection very quickly.

I'm also going to warn you right off the bat: The plot of this show got cut to ribbons by censors.

See, the DMBJ books, being books, are allowed to get away with supernatural shit! So you've got zombies and ghosts and curses and monsters and immortality and all your other standard ooky spooky semi-urban fantasy trappings. But the DMBJ adaptations, being live-action, are heavily regulated in their content. This is why, in the early Reunion episodes, our heroes are menaced by human-looking creatures that are actually ancient mannequins made of leather that are piloted, mecha-style, by evil clams. Because evil clams are more scientific than zombies. I guess.

So yeah, the plot of this book already had to get mangled into a more "science"-compliant shape even before it made it to filming. The real problem is that a whole lot more of it got cut after it was all filmed and put together. I have read an explanation of what the actual storyline was supposed to be, and yeah, if you know what you’re looking at, you can see (and hear) the scars where major elements got hacked out with a weed whacker.

Therefore: You cannot expect this plot to make sense.

But that's okay! You're not here for the plot to make sense! You're here to watch some characters you love run around through ridiculous and sometimes beautiful labyrinths, trying to solve puzzles you're never given enough information to understand, all in search of the resolution to a mystery that had half its guts torn out before you got to see it -- and you are here to love it. If you have ever laughed and cheered your way through a Mission: Impossible film without pausing to care too much about the plot holes it’s dodging left and right, you are in the correct frame of mind to appreciate this. Just believe that whatever engaging nonsense the show tells you is correct for the time being and go with it.

You cannot watch DMBJ and care about the laws of physics. You simply cannot.

Do not, however, let me give you the impression that the shoddy plotting is accompanied by equally shoddy performances. A major part of this show’s incredible watchability comes from how the cast is shockingly good. There are some serious heavy hitters among the actors. A major part of why this Wu Xie and Pangzi are my favorite together is the incredible chops both Zhu Yilong and Chen Minghao have, to say nothing of their real-life affection for one another. (See that scar on Wu Xie's neck? That scar is there because Zhu Yilong commits to the bit.) Effortlessly charming Mao Xiaotong turns potentially irritating wunderkind Bai Haotian into a perfect precious weirdo baby. Wu Erbai's entire second-season character arc could have been unintentionally comedic, but veteran of queer cinema Hu Jun sells even the undignified moments as relentlessly tragic. And of course Baron Chen absolutely kills it with...

3. This giant fucking loser

This is Hei Xiazi. That's not his name, but it's close enough. Allow me to do a dramatic reenactment of my watching his first scene:

[camera pans over to him]

me: Ugh, I recognize this kind of wannabe badass character design. I hate his type. He's self-important, hyper-masculine, and just a big jerk, and the show thinks he's soooo cool. Barf.

[thirty seconds later]

me: Oh no. I was so wrong. I love him forever now.

This is because he is (as indicated above) a giant fucking loser. Yes, he's a good fighter who knows lots of things. He's also a wet potato chip of a man. Sure, he can get you into a headlock, but he can also annoy you into submission, and that's honestly more fun for him. My wife has used the phrase “Vash the Stampede-coded” to describe him. My wife is not wrong.

And the kind of ridiculous thing is, being such a loser is what wraps back around to making him cool again. He's a loser because he just doesn't fucking care. His masculinity is the opposite of fragile. You tell him to wear a dress and makeup, he'll do it -- and sure, he'll complain, but only because he enjoys complaining. He has no dignity. He’s tits-out. He's gender. He's the worst and also the best.

Hei Xiazi is a major character in the other installations, to the point where he and his boyfriend (more on him later) even have their own movie. But of course, I did not know this on my first watch, so I kept expecting the show to explain his whole deal. It does not, but you don't really need it to. He sees better in the dark. He doesn't age. He's a thug for hire. There, that's all the bio you need.

One of the things that makes him great is that he is the least sexually threatening person ever. Across all the properties he's in, he spends a fair amount of time with women -- sometimes in very close quarters -- and they are perfectly safe around him. I actually wrote a whole post about it once upon a time (warning for tiny spoilers for a series that isn't this one) wherein I claim that not only Xiazi but Reunion in general is the television equivalent of the shirt that says I RESPECT WOMEN SO MUCH I DON'T HAVE SEX WITH THEM.

That said, this loser does get a sort-of romance plot here -- and honestly, I find it very cute! It's not even the only instance in this series of a bisexual guy in a long-term same-sex relationship getting a girlfriend, and I like that other one too! Look, the handle of my DMBJ sideblog is @katamaricule because I joked that Wu Xie treats polyamory like a katamari, and if you don't move fast enough, you're going to be rolled right up into his gay little cuddle puddle.

This is not a show for exclusive ships; this is a show for inclusive ships. The Jiumen Association is a polycule. You don't even have to know what the Jiumen Association is to know it's true.

4. The power of friendship

This show has a lot of characters.

I'd say the supporting cast is divided into three categories: characters who have been in previous installments, characters who have not been in previous installments, and characters who probably should have been in previous installments (or at least mentioned) but who were only created for Reunion so we have to pretend like we've known about them all along.

There is no way to tell which is which -- which is part of my argument that this series makes a good entry point to the franchise.

Take Huo Daofu. Huo Daofu is a brilliant doctor masquerading as a donut stand operator who treats Wu Xie with all the cold disdain of a man confronting the person who left him at the altar years ago. On the one hand, yes! We do know Huo Daofu from a previous series, and we've known he's both a doctor and a bitch. On the other hand, oh, we have no idea why he's like this about Wu Xie, and we probably never will. The show just treats it like it's for an excellent reason, and you know what, from what you know about Wu Xie, it probably is.

Consider also Jiang Zisuan. One of the show's principal antagonists, Jiang Zisuan turns out to be the brother of ... well, let's just say it's someone whose having a brother really should have come up before this. It has not come up. (And that's even before we get into the issue of his surname.) His stated identity as that person's brother is so bizarre that my favorite interpretation is that he isn't actually that person's brother -- all the flashbacks we see are just his delusions about a relationship he's completely invented. But there's no way you'd know how fucking weird this is on your first run.

Then there's our friendly little support himbo, Kanjian, who shows up to all occasions with two tickets to the gun show and not a thought in that beautiful head. (His name just means "vest," which is par for the course when it comes to the author's naming conventions.) He was a lot more menacing in the last series (where they kept putting sleeves on him, geez), where most of what we learned about him is that you can loan him out to other tomb-raiding families. Now he's a golden retriever with great aim and a slingshot. It's an upgrade.

The trick is, you cannot be surprised when someone shows up and the show treats them like you should know who they are, even when there's no possible way you could know who they are. I mean, for heaven's sake, Liu Sang arrives in the middle of an obvious beef with Pangzi, the origins of which are never satisfactorily explained, while also having a giant do-I-want-to-fuck-him-or-do-I-want-to-be-him crush on Xiao Ge, which is also never satisfactorily explained. Whatever, you just roll with it. He's got good hearing, a bad attitude, and questionable taste in idols. Now you're good to go.

(I should throw in a special note here that Liu Sang is many, many people's little meow meow, and not undeservedly. For a fuller explanation of why that is, please consult this other post I made.)

Part of the fun of this big cast is the adorable interactions you get. All the characters have appropriately big personalities, and the show loves letting people you wouldn’t expect bounce off one another. It’s not your typical action-hero show where nothing happens without the protagonist in the room. There are lots of exciting combinations and tons of charming dynamics! Unlikely friendships form all over the place! Enemies become allies! Allies become friends! Friends become friends with other friends! Some friends become enemies again! You'll need a scoreboard to keep up!

This is not to say the show treats all its characters perfectly or equally -- one of the precious few main female characters doesn't even get a real name, for heaven's sake, and the less said about the brownface racism, the better. It is, at its heart, a dude show for dudes made in China, with all the troubling decision-making that implies. Where it does deserve credit, though, is in understanding that its supporting characters are actual people with personalities apart from their function in Wu Xie's narrative. Sometimes the show just asks "what if [random character A] and [random character B] had to interact?" and has fun considering the answer! Which is almost always a delight to watch, and sometimes even breaks your heart.

5. Amazing rewatch value!

And by this I mean the experience of watching this show is remarkably different once you have any understanding of the rest of the DMBJ universe.

For instance, there's a point where two characters are scuba-diving past some submerged coffins, and one character tells the other whose coffins they are. Working only on information Reunion has given you, you're like, oh, that's where they buried the guy who built this creepy place, that's a little weird. Once you recognize that name from other series, though, your reaction is far more, excuse me, they did WHAT to WHOSE corpses?

Or another point where a character you've already met is on a train, and there's a handsome gentleman who just happens to be riding with her. He hands her his business card! Aw, that's sweet, he seems like a nice guy! Well, no, Xie Yuchen is not nice, but he is one of our allies, and he's Hei Xiazi's boyfriend, and a lot of what he's doing hits real different when you have a fuller grasp on why he's doing it and for whom. (Honestly, a major reason to watch Reunion first is so you're not fully and appropriately upset by how your black/pink gays merely have one teeny tiny scene together.)

From the way the series treats the persistent absence of Wu Sanxing, Wu Xie's third uncle, I absolutely, 100% assumed that he was a completely new character to this installment of the series, an extremely long-lost relative that we've somehow conveniently managed to never talk about before now. So imagine my gobsmacked surprise when I went to watch a different series, set much earlier in the timeline, where the opening scene prominently features Wu Sanxing as an actual character in the present-day narrative! ...Well, sorta. Look, there's a lot of fuckery with his identity in earlier parts of the story, and fortunately you need to know none of it to understand Reunion. But when you do, it suddenly makes a lot more sense why Wu Xie talks about someone who was a major part of Wu Xie's adult life like he died when Wu Xie was nine.

AND THE FLASHBACK SCENE WHERE A-NING GETS KILLED BY THE SNAKE, AND YOU'RE LIKE, OKAY, AND THEN YOU WATCH ULTIMATE NOTE AND IT WASN'T LIKE THAT AT ALL look, I know there are kinda reasons for this, different production companies and all, but seriously, what the fuck

All of which to say is that the experience of watching Reunion the first time is, hey, this self-contained romp is a lot of fun! The experience of rewatching it after watching any of the other DMBJ installments is a transcendently wonderful head-clutching avalanche of one moment of recognition right after another.

And here's the thing: You will watch more. Reunion is a gateway drug. If you are interested enough to make it through all 62 episodes, you're going to be interested in watching more. Which is great. The English-speaking fandom needs more people. Come down into the tombs. It's great down here. We've got snakes and arguably unintentional homoeroticism. Join us. Join usssssssss

Are you ready for an aventure?

There are a couple different ways to watch the first half, but there's (weirdly) only one way to watch the second, so for both of them, I'm going to send you straight to iQiyi: Season 1 (32 episodes) and Season 2 (30 episodes).

And just so you’re ready when Reunion is done, here’s how you find the rest of the DMBJ series, in the absolutely non-chronological order in which I, personally, think you should watch them:

The Lost Tomb 2 (AsianCrush, YouTube)

Ultimate Note (iQiyi)

The Mystic Nine (iQiyi, Viki)

Sand Sea/Tomb of the Sea (Viki, WeTV, YouTube, also YouTube)

Also, there's a lot of movies and side series and other pieces that are worth seeing, and even a couple of full series I've left off the list, and you can just slot them in wherever. And maybe we'll get Tibetan Sea Flo-- IT'S HERE! IT'S HERE! And someday maybe I'll actually have time to watch it! What a concept.

They're so perfect. Perfect triangle. Perfect boys.

[a-star-that-burns-brightly]

CH2-13 Thoughts + CH2-14 Predictions

Hello DRDT Fandom! CH2-13 came out about four or so days ago as I'm posting this, and I finally mustered up the energy and mental strength to write down my overall thoughts, and also general predictions for what I think is to come in the next episode. A lot happened in this episode and we have a lot to cover, so let's get started! Before we do though, I think I should give us a reminder of where we currently are in terms of the swear chart and the bingo card, as of CH2-12 Swear Statistics

Bingo Card

Just like the last post, I'll be separating my talking points into character categories, so let's jump straight in with the big man himself...

Levi

Quick Disclaimer: I myself am still trying to unlearn the mindset that having low or no empathy is in any way a moral failing. If I say anything wrong or rude, please politely correct me. Remember kids: Your feelings, thoughts, and emotions, what you feel and how you feel them if you do at all, do not have any moral weight, they are simply aspects of your brain and you cannot control your brain. The only thing that has moral weight is your actions.

So as we learned in the previous episode, Levi has the murderer secret! And as we learn in this episode, he apparently killed four people, one of which being his father. DRDT continues to take Danganronpa's standard tropes and incorporating them in unique ways, in this case Levi represents the trope of the Chapter 2 Serial Killer reveal (Genocide Jack, Peko, Maki). I love that DRDT keeps doing this and I hope it keeps it up You know what else is staying consistent, though?

(x) Levi: That incident happened when I was in my junior year of high school. Levi: My junior year was also the year that Hope's Peak scouted me as the Ultimate Personal Stylist. Levi: To my understanding, it would've reflected poorly on Hope's Peak to recruit a murderer, so they pressured the court into not pressing charges.

US-HPA being morally corrupt as all fuck, that's what! Like no, seriously, it makes more and more sense as for why Xander David and Mai were most likely forming a revolution against this damn place, cause wow. The choice to scout out Levi during his Junior Year, when he was still in high school, is...interesting. Given that this Hope's Peak takes in College-aged students, why not just wait until Levi has graduated high school? In fact, that probably would've been even better because by then Levi definitely would've perfected his skills in styling by then, and thus would further justify him being enrolled in the academy. We don't know whether or not Levi was scouted before or after his incident, but given how Levi explains the events, I'm willing to bet this was after. Which...makes thing especially strange. But I'm sure it's no big deal. I mean, it's not like we have any evidence of US-HPA preying on vulnerable childre--

(x) Min: The Ultimate Contest for Eminent Students was made for a very specific target audience. Min: Those children who had no talents, who would consider spending their entire lives preparing for one single test for even a chance to become an Ultimate...

Oh. Well isn't that funny, huh?

Part of Hope's Peak's branding in general is the promise of a better future, which is something that Levi clearly wants. So I can most definitely see why the idea of being enrolled in the academy appealed to him. Levi being a delinquent in his teenage years definitely tracks, given how we know that his family was full of bad influences (including himself more than likely). And I am absolutely not surprised that Levi ended up killing his father. I think a lot of us theorized for a while that the person he killed was linked to his family.

I'd absolutely adore to learn more about Levi's family situation and what exactly their relationship with each other was, because "We were bad influences on each other" can mean a lot of things. Given the fact that not even the police cared about the death of Levi's father, I'd be pretty willing to believe that Mr. Fontana is a wanted man who has done a lot of criminal harm to others. That might even be where Levi formed the mindset that people are defined by their actions. Maybe, that's my best guess and it doesn't even include his mother and brothers, lmao. Anyway, that's enough of Murder, Corruption, and Daddy Issues. Let's talk about the other thing that was revealed about Levi this episode, or more-so put into words. His low, if zero empathy. Firstly, those who are headcannoning Levi is ASPD, I see you and I love you. So much. But I would be lying if I didn't admit that my first thought upon watching this scene was "Levi is so Autismcoded" lmao But in all seriousness, I absolutely adore this side of his character. In general something I've always loved about Levi is the fact that he, to put it bluntly, does not know how to act. He's constantly seeing what others do and copying them, and asking them for guidance when he doesn't know what to do. His first appearance shows him using Xander and Teruko's appearances to wager what kind of person they are, which is more than likely how he got into styling in the first place. He's basically masking and trying to appear as what he views as normal because he's aware that his lack of empathy is not something most humans possess. And his actions reflect that of what he thinks a good person would do in these scenarios, whether that be your friends not inviting you to an event, or someone profusely bleeding from their neck. To put it in simple terms: He's masking. I love that. It really reminds me of the experiences had by my neurodivergent friends, and even though Levi is not canonically neurodivergent, the fact that so many people headcannon him with ASPD or Autism really goes to show how DT-Dev nailed that kind of experience, and how well they wrote Levi's low empathy in general. Well-done, DT-Dev :D ...Also I think it's safe to say that Accomplice!Levi is not happening. Damn it, I really liked that theory lmao.

Ace

[not even three minutes later]

...See, this is why I always believed Ace was telling the truth about David and Arei's conversation, because wow this man is competing with the former in the Shitty Liar Olympics.

If Ace's sense of security around Levi wasn't already shattered, it sure as hell is now. Which is very upsetting to see, but also very entertaining to me as an aficionado of toxic yaoi. I was never really an Acevi girl, it was just never something I was attracted to (probably because for a majority of CH2 Part 1's airing I really didn't like Ace lmao), but this combined with the Other Thing I'll talk about later has definitely sold me on it. I hope they get worse.

I can't remember what post it was, but I remember seeing someone talk about Ace very much projecting a friendship onto Levi that was never really there between them, and looking back, I absolutely agree. I mean, where the two of them really friends? I do think that Levi does, or did, genuinely like Ace. I don't think he would've been hanging around him in Chapter 1 if he didn't. But it was simply just that, he liked Ace. Ace loved Levi, and saw him as his lifeboat in the midst of this scary unfamiliar situation. Even if everyone else either was annoyed by or straight-up disliked Ace, even if he could die at any moment, he could still rely on Levi as a presence of safety and security, but that all came crumbling down.

ace can you please change your sprite

The fact that Ace, the man famous for jumping to conclusions, not thinking anything through or in depth, and switching his opinions on others on a dime, is even asking for Levi's defense at all, is proof enough to me that even after everything Ace still wanted to cling onto the fantasy of their friendship he had built up in his mind. But upon hearing that Levi never cared about what happened to him, he can no longer do so. ...And why do I think Ace got attached to Levi so quickly?

(x) Ace: I was totally right all along to burn our friendship--No, I can't even call it it "Friendship." Ace: There's only one person in my whole life who I've ever been able to call my friend. That I ever thought, even for just a short time, that you and I were "friends" is an insult to his memory.

Yeah it's time to talk about this.

So for those who are not in the know, DT-Dev confirmed in a now-deleted ask that this friend of Ace's is named Taylor Riley.

(thank you to @/nicohakobyan / weightedblankett on twitter for providing this screenshot)

We know very little about this man other than his name, his gender, the fact that he was Ace's friend, and that he's dead. We don't actually know that fourth one, but I think "insult to his memory" speaks for itself lmao. As such, we do not know the details of his relationship with Ace... But I've made more out of less before, so let's get to talking. Here's what I think:

I think that Taylor was a presence in Ace's life much similar to how Levi was to him in Chapter 1: A strong protective figure that helped to make the scared-of-everything Ace feel a sense of safety. And then some form of incident happened that resulted in Taylor's death, leaving Ace alone, heartbroken, bitter, and terrified. That sense of security he once had was ripped away from him, and without Taylor, he doesn't know what to do with himself anymore.

And then in the killing game, he meets Levi, who provides him with a similar feeling of safety. Immediately he begins to project the memory of Taylor onto Levi and as such becomes attached, quickly considering Levi a friend because of it. And I'm not entirely pulling this idea that Ace was projecting Taylor onto Levi out of my ass, either.

Ace: dark blue/purple (reasoning: refuses to provide reasoning)

When we first got this answer, most people assumed this was referring to Levi, but I honestly think it is more likely that this is referring to Taylor. But those colors are still part of Levi's design, which automatically sets up a parallel between both Levi and Taylor Ace projected his relationship and the memory of Taylor onto a man he barely knew, and when that man lost his patience with him, his fantasy was swiftly kicked with the steel-toed shoe of reality. Hell, Ace's reaction after Levi snapped at him may had been due to his illusion of safety crumbling beneath him, but going down the road of this theory, Levi snapping at him might've been the first time Ace truly saw Levi and not Taylor. He had been giving this man a script and a role to play, and Levi responded by tearing up the paper and telling him to fuck off. In a sense, you could say that in that moment, Ace lost Taylor a second time.

Since I don't think Ace is going to be the killer as he was knocked out and thus did not have any knowledge of the murder mechanism (at least not including the theory that he tried to kill himself, which... Is a possibility, but I don't think that's the case). And if he does live past his chapter, I honestly think Chapter 3 will mark his breaking point. Any fantasy of Levi that he was clinging onto with his pinky has now shattered into pieces ten times over, the person who tried to kill him is still alive and for all he knows, could do it again whenever the hell they want to and people will take their side over his own. Next to no one in the cast likes him and they make that explicitly clear, and worse of all, he will still be trapped in this godforsaken...whatever facility this place is meant to be. So to cap off this section that got way too long, Ace Trauma Dump is on my Chapter 3 bingo card, and if we get to see Taylor and his design includes dark blue and purple I will actually become spaghettified. Please survive Ace, you are finally starting to become not C-Tier

Hu and Veronika

Lumping these two together because I have about the same amount to say about both of them and their secrets were revealed together. Hu's secret is the Hopeless Child one, and Veronika's is the Self Harm one. I think after CH2 Part 1 most of us predicted as such, but it's still very satisfying to be right. What I'm more interested is this supposed pact that they made off-screen. I have to assume that Veronika went to Hu pretty quickly to reveal her secret to her given her general disinterest in topics of suicide and self harm. So I'd wager this pact was probably made at around CH2-5. Not that that really tells us much about the actual conversation, but it's nice to have a time-frame for reference.

I don't expect the actual conversation to be shown because from what we currently have it doesn't really add much of anything, but it would definitely be cool.

(x) Hu: I've been quite selfish this whole time, keeping my secret because I didn't want you all to think less of me...

I've said this before in this post, but I absolutely believe that David eventually coaxed and pressured Hu into revealing her secret to him, as well as why she kept it for so long. And I also think David implanted, or I guess more accurately watered the seed in Hu's head that she was inherently selfish for not sharing her secret. That, I think we would benefit from a flashback, but maybe I'm just biased because I desperately want Hu lore. Please DT-Dev, I'm on my knees Hmm... what else?

(x) Veronika: After all, my own so-called secret isn't even the worst thing I've done. Isn't that so utterly disappointing for this motive?

Oh yeah there's that. What the fuck, Veronika? Like, I feel like this is something I should've expected this, but for some reason I didn't. I'll be honest here, I really have nothing right now. But whatever Veronika is referring to here, I feel like it has something to do with her 'dearest friend' mentioned in the CH2 Q&A (who's name is Alyssa Belyaeva.) What Veronika actually did? I do not have the slightest clue, you can never know with this girl. But no matter what she did, I will probably love her even more for it. Glad that DT-Dev seems to agree with the precedence of supporting women's wrongs.

Teruko

...So I'm glad to see we're all in agreement that that is not her fucking secret. I mean, I'm sure it applies to her. She is an orphan, her parents are out of the picture, and though we don't know the whereabouts of her brother and neither does she, she most likely assumes he's dead as well. But honestly, given the fact that again this is not her fucking secret, I'm starting to wonder if that's really the case... Can Teacher Tawaki theory still live on? I'll save that for another post.

Anyway what was I talking about? Oh yeah, that is not her fucking secret.

And this little bitch knows that for a fact.

I won't go too deep into this because there have already been people discussing it better than I could, but this silent agreement the two of them have to not share Teruko's true secret is so palpable and interesting to me. David knows that Teruko's secret isn't that, but for whatever reason, he is keeping his mouth shut. And he just gives Teruko that shit-eating smirk. Have I ever mentioned how much I love Teruvid? I fucking love Teruvid. But yeah, I still think 100% that Teruko's secret is that the killing game is all her fault. It just does not make sense for Xander and Min's secrets to belong to anyone other than each other as they are dead. And in general it just makes sense for Teruko's character and her role in the story. And I can't help but feel like Teruko's actual secret will be revealed at the end of the Chapter.

Eden

... I mean. Do I really need to say more? I swear I made this exact joke in the previous thoughts post, but I can't help it. It applies perfectly to this CG. When this CG, this fucking JUMPSCARE of a CG, popped up on my screen, I'm pretty sure I ran around in a circle screaming in my room for a total of ten minutes. The first of two times I would do that during this masterfully crafted scene. I want to think of some kind of insightful analysis, but the truth is basically in your face. Eden was the one who gouged out Xander's eye. Why did she do it? Where does this fit into the overall lore? I DON'T FUCKING KNOW What the fuck am I supposed to say? This CG is basically all we have, and we'll definitely have to wait for more information. Especially since Eden is totally the culprit, but we'll get to that in the predictions section. (yeah if you can't tell my writing juice is starting to run out, but if I get this out any later than today I will kill myself)

David

(...for a scumbag, he's kinda cute.) So first of all, David is slowly becoming the funniest character in the cast in my opinion, which is a huge achievement in a cast full of very funny characters. And in general I think as a character he perfectly captures DRDT's general tone of half-and-half both silliness and angst, like yin and yang. Secondly though, the big thing that David did in this chapter (besides keeping Teruko's secret and being funny) is lying to Eden about the rest of the conversation he had with Arei. Ultimately, I think David himself saw that action as a good deed.

Think of it from his perspective: This is a man who has had hope and change presented to him on a silver platter multiple times, and then had it violently ripped away from him. And the most recent example of that, Arei, presented him with a better future and the possibility of change only to be killed upon trying to act on said change. If he told Eden that Arei still had hope, that she still wanted to change, it would aspire Eden with that same hope that in his eyes is destined to crash down on her. So instead of inflicting that same pain onto her, he instead chose to say nothing at all Maybe I'm giving David too much credit, what he did was still at the end of the day, incredibly dickish. But that interpretation is what makes the most sense to me personally. That's all I really have to say in regards to David... So, let's move onto what was, in my opinion, the star of this week's episode.

Arei

Arei Nageishi.... Ohhhh save me Arei Nageishi.... Arei was already one of my favorite characters in the cast due to her personality, design, voice acting, and most of all the character development she had throughout the course of Chapter 2. But this episode, this scene... It cemented her a well-earned spot in my top four, sitting only behind Whit, Teruko, and David.

The flashback scene of Arei and David in this episode is honestly up there with some of the best scenes in the whole show to me, almost solely because of how it caps off Arei as a character postmortem, and the story that she, along with Chapter 2 as a whole, is meant to tell. This whole chapter has been themed around the idea of what classifies a good person, and this flashback scene provides such a great payoff to that theme and it is everything I could've ever wished for. The message I got from Arei's story is that, ultimately, the idea of a "Good Person" and a "Bad Person" are nothing more than just that. Ideas. And in being ideas, they are above anything else, arbitrary, subjective, and at the end of the day, incredibly meaningless when it comes to discussing actual human beings. Insistence on categorizing yourself and the people around you into boxes of "pure saint that can do no wrong" and "irredeemable demon who will burn in the pits of hell" is a fast track to viewing a complicated, colorful world into a few shades of black and white. That's how David views the world, and has viewed the world probably for years. And I'm going to be honest and say that I think before being confronted with the truth of David's actions, Arei was heading right down the same path that he had headed.

(x) Arei: Of course I wanted to change myself. Who wants to be a grab-bag of negative personality traits? There's not even anything positive you could say about me. Arei: Still, for the longest time, I thought it was stupid to even try. I'm rotten to the core, and I might as well be a different species from saints like Eden and you. Arei: A pig never hopes to grow up into a human, because it knows that such a metamorphosis is impossible.

And this is the line that really, really makes me think that. She calls David and Eden saints because (up until this moment) she viewed both of them as the ideal of what makes a good person, similar to how David views Xander. And on the contrast, claims herself to be rotten to the core, ontologically evil with no redemption in sight. She's even performing David's habit of self-dehumanization, likening herself to a pig in the same way David likens himself to a cat in the LGI video, which goes to show how this mindset of black-and-white is, above all else, a dehumanizing view on the human race that relegates people into cardboard boxes with the flaps taped shut. If she didn't find out the truth of David's actions, I am confident that she would've done down the same path that he did, becoming convinced that she will be a terrible person until the day she dies because she cannot reach this worthless standard of a good person that she has set up in her head. But we know that's not how it goes. Arei does realize that the man she once thought of as a saint might be, in his words, a lying manipulative scumbaggy piece of shit. And upon realizing that, the second half of the message unlocks itself. There is no such thing as irredeemability.

Change is a part of being human. Humans are not built to run in a hamster wheel for the rest of their days, reliving their mistakes over and over again wallowing in their self-hatred and guilt. Eventually, they have to get off the wheel and start taking the steps necessary to grow, change, develop and flourish to properly better themselves. (This applies to yourself just as much as it applies to the worst, most depraved individual you know by the way) The alternative is living in a four-by-four black box of self-loathing and relentless stagnancy, which is not productive for the person or the people they've hurt. It is only when you reject these black-and-white categories of "Good Person" and "Bad Person" and accept that no matter what you've done, you're capable of becoming better, that you can achieve true growth and change. The way this message was executed, especially through a character that dies before the halfway point of the story, is something that I marvel at as an aspiring storyteller. DRDT's beating heart will always be its character writing, and this scene is one of the primary examples of that. Thank you, DT-Dev, for making Arei Nageishi and the rest of your amazing cast of characters. :D

Extra Thoughts !!! - FURUYA FANDOM (me) THE TRACK PLAYED LETS FUCKING GOOOOOO!!! - I am very excited to find out more about Nico's attempted murder given all of the questions surrounding it. If the method of murder really was replicated, and Nico wasn't the culprit themself, you guys should take a wild guess who that implicates. (this is probably obvious by this point, but I really don't believe in the theories that suggest that someone other than Nico was responsible for Ace's attempted demise, be it Hu or Ace himself. I feel like it doesn't line up with the current narrative direction that Nico seems to be going in, the physical evidence of them stealing the turpentine, and...I'm gonna be honest, I just don't like it lmao. I'm sure DT-Dev would do it well, but just as a premise I do not favor it. Nico's attempted murder + subsequent regret from it felt like such a big moment in the chapter's narrative in relation to the themes of All That Glitters and the cast revealing sides to themself that weren't as prevalent before, as well as the themes of change and moving on from the past littered all throughout the chapter. I think if Nico's attempted murder was responsible by anyone but Nico, it would just dampen the impact of their overall story for me. That's just me though.) - WE FINALLY GOT ANOTHER NONSTOP DEBATE LETS GO BOYS!!! Nonstop debates I MISSED you - "Hey why does Whit know so much about hangi--" Look. This man is so unbelievably suspicious in every single way that for the sake of my sanity, I'm just gonna assume DT-Dev chose a random character to give the hanging explanation. It is the only way I will survive this chapter - But hey, at least we got this

- As always, I adore the new sprites we got this episode, especially Ace's new ones. It's probably the first sprite of his that actually appears emotionally vulnerable when he's not bleeding profusely from the neck. And of course, I loved David's shit-eating grin towards Teruko, I hope he never changes. - Speaking of Teruko, us getting Tutor Teruko was lovely. She is perfect, she is a little bit of everything all of the time.

(x) Whit: If you're so inclined to complain, Sir Light Pollution, why don't you try and think of some good evidence? Charles: Light pollution? Whit: You know… Cuz he had stars, and now he doesn't, and light pollution makes stars disappear… or… or… something….. Charles: I am truly impressed…by how bad that was.

- I love these dorks so much. I can tell DT-Dev has a lot of fun writing them.

- Teronika Consent animation! I guess after Acevi's Soap Opera, DT-Dev decided to feed the yuri crowd as well. Love it when we get to see those little sprite animations, too.

Predictions for CH2-14 - The episode is 40 minutes long, the longest episode we have had so far. (40 minutes of DRDT content... I'm excited just thinking about it!) Because of that, I think I will just start with my biggest prediction: I think we're getting the culprit reveal this chapter. I don't think that just because of the length either. When you really look at it, we have basically used every piece of evidence at least once with the exception of three: - The conditions of the gym (which I assume will be discussed next) - The scuffs on the ground - The ball of starchy clothes All three of those pieces of evidence I think can definitely be cleared up in the span of 40 minutes, especially since full focus is now on the murder case. I don't necessarily think the trial will end in this episode, but I think we have at least one more trial episode to go before the post-trial + execution + ending of the chapter. - And as the culprit reveal is approaching, I have formulated a tier list of who I think is least - most likely to be Arei's culprit. I will provide my reasoning for each.

No. 17/16 - Xander Matthews + Min Jeung I mean, what it says on the tin. They're dead, and thus couldn't had committed the murder. No. 15/14 - MonoTV + Arei Nageishi There are explicit rules against them being the culprit. Rule 8 and Rule 11 in particular. No. 13 - Teruko Tawaki She is the protagonist. Didn't stop Kaede, but I highly doubt that's where DT-Dev is going. No. 12 - David Chiem Other than the previous five who I've all disqualified from being the culprit, David is probably the character I suspect the least. He has an alibi for the time of the murder, getting breakfast with J and Veronika, and thematically...well, he's basically being set up as the antagonist. I don't think we'll be rid of him this early lmao. No. 11 - Charles Cuevas Charles has a fear of blood and dead bodies, and though I wouldn't say that completely disqualifies him from becoming a culprit in the future, in a case like this with such a complicated mechanism like this where he'd have to be in very close proximity with the body at all times? I highly doubt it. He also has an alibi for the fish (He was with Whit). No. 10 - J Rosales J both has an alibi for the fish (Arturo following her around), and an alibi for the morning (getting breakfast with David and Veronika), and both of those alibis can be confirmed. I don't think she did this. No. 9 - Veronika Grebenshchikova I'll be honest, I really don't see Veronika committing a murder at all. She clearly wants to see this through to the end, and killing someone would come with the risk of her being executed, which I don't think she would see as a satisfying conclusion to her story. That, combined with the fact that she has an alibi for the fish (bothering Teruko) and an alibi for the murder (getting breakfast with David and J) makes me think she didn't do this. No. 8 - Nico Hakobyan You might think it's weird to place Nico this low on the overall tier-list despite them not having an alibi for the fishes, and their morning alibi being...somewhat flimsy but I'll get to that with Hu, but here's my logic. Nico was driven to attempt murder from very specific circumstances. That being, Ace's relentless bullying and abuse towards them. Nico has said before that they'd understand murder if the perpetrator didn't like the victim, and while I don't think they exactly liked Arei, I do not think they harbor the same animosity towards her as they did towards Ace. I truly believe that Nico would only ever resort to murder if they truly despised the person in question and saw no other solution. So that is why I feel comfortable placing Nico at eighth. No. 7 - Hu Jing Hu is also another character that I think some will be surprised to see so low, but I don't think this was her doing. She has an alibi for the fish (cleaning up with Eden), and though again her alibi in the morning is very flimsy (having tea with Nico in the morning,) I do believe she is telling the truth because if she was lying about her alibi, I think the brutally blunt Nico would call her out for it. I'm sorry, I just simply cannot imagine Nico letting that shit slide regardless of how many theories I read. Not to mention I can't really think of a motive for why she would kill Arei specifically when, if she really did want to kill someone, Ace is right there. No. 6 - Whit Young Whit is supremely fucking suspicious and a lot of his behavior in the trial is literal shenanigans, even more so given the fact that he doesn't have an alibi for the actual murder. But he does have an alibi for the fish (again, he was with Charles) which is the main sticking point of Whit!Culprit. His other sticking point is his lack of motive, both in terms of the secrets and Arei specifically. I don't know like- just look at this man, do you think he did this? /joke

No. 5 - Levi Fontana The number one suspect in the fandom for a while, and he's only at number five. He ultimately lacks an alibi for the morning, and his alibi for the fish was that he was doing his laundry... With no one else around. Shady as fuck. But I think given his principles discussed in this episode ("it is a good thing to make sure someone else doesn't die"), and the genuine desire to be helpful he has expressed throughout this trial, I think him being the culprit is unlikely. That's why I was adamant on him being an accomplice for a while because I still thought he had some role in the case, but oh well. No. 4 - Rose Lacroix I'll be honest, Rose is only this high because her alibi situation is worse than Whit's and Levi's combined. Both of her alibis are that she was sleeping in her room, which cannot be proven and can be very easily lied about. But other than that, I don't think she is the culprit. I think this case requires too many physical maneuvers for someone as lethargic as Rose to pull off successfully, and if she were the culprit I don't think she'd bring attention to the missing grippy tape at all. No. 3 - Arturo Giles Arturo does have an alibi for the fish (following J), but does not have an alibi for the morning. Unlike basically every other character here, something else that puts Arturo above them is that he was capable of overhearing Eden and Arei's conversation and forging the note. But there is also a discrepancy present that is also present with every character here, and that is the fact that Arturo did not witness Nico's attempted murder or the condition of Ace's body and the gym, so there was no way he could've replicated the murder method used for Ace on Arei. So though logistically he is a more likely possibility, I don't think it was him. No. 2 - Ace Markey Ace, to me anyway, is the second most likely candidate to being Arei's killer. He does not have an alibi for the fish and could've very easily grabbed them after David and Arei left the Relaxation Room, and he doesn't have an alibi for the morning either. He has a very clear motivation for taking a chance at killing someone, of "someone literally sliced my neck open not two days ago and I know I am not safe here I need to get the fuck out." If you choose to factor in strength, Ace is one of the strongest members of the cast and would be more than capable of the physical maneuvers made to kill Arei. Though I personally don't believe in this theory, if you think Ace attempted suicide instead of Nico trying to kill him, he has the murder method down lock too because he tried to commit it onto himself. He has been shown to be nosy, so it is not improbable that he listened in on Arei and Eden's conversation. And lastly, he is one of the only two suspects who was capable of stealing the grippy tape that was used in the murder. All of the evidence is practically stacked against him... But there are a couple of problems. One, if you believe that Nico did try to kill Ace, than the point about Ace knowing the exact method of death goes out the window. He was knocked out by the turpentine, and woke up in extreme pain in a blinding fury of rage and bloodlust, I don't think his surroundings would be the first thing on his mind. But a much bigger issue we have is the question of... Why would Ace take the tape? Following this theory, his murder plan wouldn't had started until the day after Nico's attempt on his life, it would make no sense for him to take the tape then. These two sticking points are why, though a likely candidate, I do not think Ace is the culprit. That award of main suspect goes to...

No. 1 - Eden Tobisa Yeah, if you've spent any time on this account you probably know I'm an Eden!Culprit truther. There are many well-written posts about this theory that I'm sure you've seen so I'll try to keep this short, but though the theory does have a few flaws to it, the big one being Eden's alibi for the fish that she was cleaning up with Hu, I think Eden being the culprit makes the most sense from an evidence, thematic, and motive standpoint. I know some people have dropped the theory upon the fork reveal, but DRDT is not unbeknownst to killing off characters with certain mysteries left unanswered. That is basically all for my predictions related to the culprit, but I still have some predictions for the overall episode. - Nico's gonna get placed in the hot-seat, obviously, which will definitely cause a reaction out of both Hu and Ace. And I honestly feel like the two of them are going to keep interrupting Nico until they eventually snap. And I hope that happens honestly because unless you count the "I'll kill you" line, we have yet to see or hear Nico when they're actually angry angry. Nico obviously doesn't like conflict, but they might have to get over that if they actually want to defend themself knowing the other two. - I'm still holding out hope we'll get a Random Guess segment lmao - And lastly: I need Whit to break the forth wall at least once I didn't put that on the bingo card for fucking NOTHING

Conclusion I'm gonna be completely honest, I do not have the energy to write anymore and I just want this out lmao. But overall, this was one of my favorite episodes in the whole series. I loved the Levi and Ace stuff, I like that we now have all the secrets, and like I said, the scene with Arei is probably one of my favorite scenes in the show. CH2-14 is going to be a wild ride I can already tell, and if we do find out who the killer is, you will see me screaming. Regardless of if it's Eden lmao.

UPDATED SWEAR STATISTICS CH2-13

UPDATED BINGO CARD

[hephanna]

On the Cat King, Edwin & Charles. [And David the Demon + Crystal, and Jenny + Maxine & Niko].

Not to unnecessarily pipe in my two cents when it hasn't been asked for, BUT I just wanted to mention some of my thoughts on The Cat King, Edwin, Charles (and Crystal + David the Demon) sometimes fantasy shows use supernatural elements as allegories for real life situations (this is seen with Buffy, Supernatural, and yes Dead Boy Detectives) and therefore just because it's supernatural/fantasy, it cannot immediately be dismissed as 'not needing to follow real life moral rules' For example in Dead Boy Detectives, David the Demon, despite being a demon, is clearly an allegory for an abusive ex-boyfriend - Jenny even points this out on-screen. David is in Crystals' head, harassing her and tearing down her self-confidence (telling her she isn't worth anything) the way an abusive ex-boyfriend may linger in their victim's mind even after breaking up. He takes away her memories (and therefore her identity) the same way an abusive boyfriend takes away the identity of the woman he is abusing, her sense of self, her connections. And Crystal must take her sense of self, her memory, her confidence back by defeating David. Although David is a demon, he is still meant to reflect a real-life abusive ex-boyfriend, even a human one. The same thing is true with the Cat King - not saying he's an abusive ex-boyfriend - but his behaviour cannot be justified by the fact that he's a supernatural creature. The audience is still meant to reflect, to make connections via the supernatural on real-life situations. Now, I'm not saying the Cat King was wrong for trying to shoot his shot with Edwin, or that Edwin wasn't attracted to the Cat King, HOWEVER, Edwin's attraction doesn't mean the Cat King is entitled to his time or affection - nor does it mean the Cat King has a right to disregard Edwin's boundaries. Disregarding their introductory meeting, and discussions about whether or not it was morally correct of the Cat King to ask Edwin to have sex with him after putting a magical bracelet on his wrist, several incidents after that also demonstrate the Cat King taking away Edwin's choice from him (such as using a truth spell on him to force Edwin into confessing why he's a detective in hopes of not being sent back to Hell) - regardless of the Cat King's response "I like your secret parts" you shouldn't force someone into being vulnerable for you before they are ready - the same way it would be wrong to read someone's private journal, or get someone drunk with the purpose of asking them invasive questions you know they wouldn't answer sober. The Cat King views himself as entitled to the 'real' Edwin, regardless of whether Edwin feels comfortable sharing that with the Cat King. This is also seen when the Cat King saves Edwin from Monty, and then gets upset when that doesn't get him what he wants (a kiss, sex, whatever) and Edwin gets frustrated with the Cat King, reminding him he's a person, not a toy. The audience is meant to emphasize with Edwin, and understand the situation he's in and how it parallels real life situations. (i.e., someone thinking you owe them sex because they bought you a drink at a bar) Edwin forgives the Cat King at the end, because a part of Edwin's character journey, along with self-discovery, is also forgiveness. He understands the Cat King is also struggling, in the same way he understood Simon was struggling, but there struggles do not mean the way they treated Edwin was acceptable. That doesn't mean the Cat King can't grow from this, and learn to respect Edwin and his boundaries. That also doesn't mean you can't still ship the Cat King/Edwin and enjoy an unhealthy power dynamic, boundary pushing, etc., this is still fiction after all, and I'd be a huge hypocrite to say that all my ships are morally good and acceptable. But I just also think "it's a fantasy show! it doesn't need to follow our morals!" is a flimsy understanding of the text - just acknowledge that something doesn't have to be morally correct for you to enjoy it, but don't remove the morals altogether.

There is a reason, after all, as Edwin accepts his sexuality, he realizes he is in love and wants Charles, not the King Cat. There is a reason (I think, at least) that the show creates obvious parallels between Charles & the Cat King - and shows Charles very obviously not liking the Cat King. Also, just another little thought, this is also demonstrated with Jenny & Maxine. Maxine seems 'innocent' because she's a sweet, blonde librarian who is writing Jenny Love Notes - and the Love Notes are even acknowledged, as creepy from the get-go, but then it's like "oh, but it's just a sweet, innocent woman who's writing them, it's actually super romantic!" And then the twist is, no, actually, it still is creepy. Maxine was literally stalking Jenny for possibly months, watching her through her window, and as we saw: not accepting Jenny's boundaries when it became clear Jenny was uncomfortable. Like the Cat King got upset and mad with Edwin, saying he wasn't going to 'play nice' anymore, Maxine got upset with Jenny and then tried to kill her, yelling 'why won't you let me love you.' Again, just because you like someone, and even if that person was initially or still is attracted to you - like Jenny was initially attracted to Maxine - that does not mean you are entitled to their love, their privacy, or their body. Everyone still have free choice. There is a reason Jenny did not immediately forgive Niko for pushing her to go on a date with Maxine, and why Niko felt so guilty - it wasn't Niko's fault, at all, because Maxine made her own choices, but Jenny had been uncomfortable with the situation from the get-go, and she was proven right - and put into extreme danger because of it. This isn't to say the Cat King is terrible - again, I enjoyed the Cat King character. I liked his interactions with Edwin, his sarcasm and tricks. But his behaviour towards Edwin went beyond flirtation and wanting to be with Edwin, and at times was coercive, manipulative, and toxic. Which is okay! As we learned during the end, Crystal was also toxic during her life and then wanted to change and become a better person. The Cat King can also be toxic, and then learn and want to change and better himself. I just personally think that's an important aspect to acknowledge of the Cat King's journey - instead of sweeping it under the rug, or telling other fans they're "reading too deeply into it" and "just don't understand what demonstrating sexual interest in someone is." Or "it's fantasy." Because there's demonstrating sexual interest in someone, and then there's routinely and purposefully bull-dozing over someone's boundaries, which we see the Cat King to do Edwin. Anyway, apologies for my huge ramble, I am not trying to be mean to anyone or say anyone cannot ship the Cat King/Edwin (and I am admittedly biased - Edwin/Charles holds my heart) but I enjoy show analysis, healthy debate, etc,. and just really wanted to share my thoughts and engage with the community. All my love, Hephie.

[peachyfnaf]

haven't exactly watched the show in over a month but hearing what's going on. It's like everyone in it wants to ignore moon's health, plus fans just acting like he should die because of this.

he needs help first and foremost. not like a second death

FOR REAL- THAT'S PRETTY MUCH WHAT'S HAPPENING. EVERYTHING IS GOING WRONG AND NOT IN A FUN WAY, NOT ANYMORE. Not to mention that ever since his hallucination of Solar, Moon has been acting so incredibly out of character it's legit frustrating me. Hell, everyone's been out of character. He would not fucking say that. She would not fucking say that. None of them would fucking say that.

Imma use this ask as an excuse to rant about things that are making me Peeved now lmao.

First off, HERE'S THE THING, some people want this version of Moon to die rn? That, I get. I understand. Because this Moon fucking sucks. This Moon is so out of character compared to the one from like a month ago. He's acting like a villain about to twirl his damn oily mustache all like "I need to kill Ruin and Bloodmoon muahaha!1!". WHICH I COULD JUSTIFY IF HE WAS DOING IT FOR THE SAKE OF HIS FAMILY/DUE TO SHITTY MENTAL HEALTH. BUT NO. HE'S DOING IT OUT OF PRIDE AND THE SELFISH WANT FOR DEATH. HE'S NOT EVEN DOING IT FOR SOLAR ANYMORE.

And that just makes NO FUCKING SENSE because not only was New Moon's whole thing that he was going to be better, literally THE ONLY THING OLD MOON WANTED HIM TO DO WAS TO KEEP THE FAMILY SAFE AND HAPPY. AND NEW MOON IS DOING THE EXACT OPPOSITE OF THAT. I'm so upset rn jdkfhdsf

And then not to mention the way the other's are treating him- Sun is off my shitlist as of today due to the crisis he's having because, for some reason, the choice to whether or not we're killing New Moon is solely in his hands??? Wack. But. Earth and Lunar. Earth and Lunar. I'm not favorable to them right now at all. Earth, according to her, is supposed to be good at reading/understanding people, if not a "therapist". She should understand that Moon said what he said out of a place of fear, anger, ect. Not from his heart. She has every right for it to have hurt her, but for her to basically disown him? Also wack. The only thing I like about her rn is how she seemingly crushed Bm like a bug lmao. And Lunar? God, Lunar was just so unnecessarily bitchy to Moon in that one ""heart to heart"" episode. That "Fuck him!" pissed me off so very much. Dude, that is your brother who is going into a mental spiral over the death of someone he loved. That is your brother. Wack as hell.

AND not to MENTION everything going on w/ Monty- I literally love them 90% of the time but them deciding to NOT LISTEN TO PUPPET when she told them to NOT RESCUE EARTH ALONE literally made me sigh in frustration/disappointment. That is the one thing, the ONE THING she told them not to do. And Monty did it anyways. And Puppet is a MULTIDIMENSIONAL BEING WITH POWERS/ABILITIES/MAGIC FAR BEYOND ANYTHING MONTY COULD UNDERSTAND, AND THE ONLY THING SHE ASKED FOR MONTY TO DO, WAS FOR MONTY TO TRUST HER. And they Didn't. They didn't trust her, and they went alone, and now they're paying the price. Sighs.

No one is talking to each other. There's too much happening at once, aka the story is so bloated. This arc simultaneously feels too rushed and too slow. I'm so fucking salty. And now I'm gonna go eat food and draw sdkfjhds

[eerna]

I came across one of your posts about tdp (they're great btw I really like reading them) and one of the tags talked about how the show writers treat Callum like a vile character whose done evil things when he hasn't. Can you elaborate on that? And do you think there's a huge difference between on how the show and fandom treat Callum and rayla?

Aww thanks~ Sure, I don't mind elaborating!

So Callum. This show has a problem where the characters have no logical progress, they just do whatever the plot needs them to do, and Callum is a great example of this. Callum is meant to be an awkward average guy who feels like he doesn't belong anywhere. He's the adopted son of the royal family, which means he's not a peasant who is born into a career, but neither is he a real prince, since he is passed over in the inheritance line. He's not good at being a warrior, or a leader, or any other things that might guarantee him a place in court. Things change when he discovers he has a talent for magic, but since he is human and can't connect to an arcanum, he is forced to choose between letting this one useful thing he's good at go, or doing the "evil" dark magic. An interesting character setup: will he go against what he believes is right to realize his full potential? I wonder where this arc will go! The answer is nowhere, he becomes the first human in history to be able to connect to true arcanum magic the way magical creatures do. Okay, so here is his second character setup: the one and only creature in the world who can connect to EVERY arcanum at once! He will spend each season learning how to connect to different arcanums, and through him, we as the audience will understand the world better. That is exciting, as it's something the magical creatures can't do! Except THAT'S also abandoned right away, and his THIRD setup pretends it never happened and we return to a continuation of the first setup: will he join the dark side and become a vessel for the evil guys to use, will he fall into the same trap of "I would do anything for those I love" as the villains? This could be interesting, but it is now over halfway through the story, so the writers have to resort to cheap writing tricks to make the stakes higher and the tension more real. You see, Callum's "downward spiral" relies on him making bad choices for the right reason, but those bad choices aren't truly bad because the writers are scared of writing a hero who messes up for real. Those bad choices are using dark magic twice, but both times he used it out of selflessness, as a personal sacrifice to save Rayla. He used an already dead ingredient to turn some chains into snakes to save his friend... twice. Both times Rayla reacts as if he'd just slaughtered a whole herd of adorable magical baby deer in front of her. The Starscraper elves say his soul is dark and he has been consumed by evil. The only logical reprimand is given by Sol Regem, who just says "I can smell you've done dark magic before" and gets upset bc Sol Regem is a racist asshole character so it makes sense a single whiff of human magic would anger him. But these other characters are meant to be 100% correct in their assessment of Callum's morality. There is no discussion of whether the end justifies the means, there is no nuance or suggestion that maybe a dead bug is worth saving a life, Callum has done something objectively wrong and should never repeat it again. Here it all dissolves into the age old "is dark magic as presented in TDP morally ok" discourse, which I won't rehash here bc it is well discussed and the TL;DR is: no, TDP didn't do a good job setting dark magic up as an inflexible evil, but the story still acts as if it is one. And it is dumb, because Callum doesn't need to do dark magic to make mistakes! Several times throughout the season I thought they were gonna put him at odds with the rest of the cast, and maybe mess up and "fall into darkness" that way. For example, I thought that when everyone disagreed with him on the topic of destroying Aaravos' prison, he was going to defy everyone out of paranoia (since he is the most sensitive one about this subject) and accidently cause Aaravos' escape that way. But no, they don't even argue over it before finding a solution that makes everyone happy and it turns out that Aaravos was freed by a series of contrivances that tell us nothing new or interesting about any character involved in it, which is CLEARLY a much better story.

This third storyline gets even more muddled by Callum choosing to do the Starscraper Morality Challenge or whatever it's called to try and fix the damage dark magic did to his soul. Okay, so we've established that Callum's love for Rayla makes him act in morally questionable ways, which led to his soul deteriorating, and now this ritual will help him find his way back from it. And so the ritual reveals that he can redeem himself if he focuses on... wait. Am I reading this right? The answer to his issues is RAYLA????? So this means that somehow, loving Rayla is both the reason for his evil deeds, and a way for him not to do evil deeds??? I suppose the story could be saying that loving Rayla doesn't mean doing whatever it takes to save her, but listening to her advice and trusting her when she says she doesn't want to be saved by dark magic, but that is just such a dumb character arc that isn't about Callum or his character arc in the least. His way to deal with his issues has nothing to do with his realizing his potential, it has nothing to do with his journey of connecting to the arcanums. It is a "man needs a woman to act normal" story, and that is just plain dumb and boring and no proper character arc.

And here we transition into your second question. I am not sure what exactly you meant, so feel free to clarify, but I will do my best to answer as is. I think that Rayla and Callum are treated by the fandom EXACTLY the same way as by the show, but sadly this means they suck (it is no secret I was super duper into shipping them once upon a time, so no one is allowed to call me a hater over this opinion). The first two seasons were fine, but from s3 onwards their relationship also faces a lack of a proper arc. In the beginning it seemed like the emotional, gentle Callum was going to de-radicalize the cold, emotionally constipated Rayla and teach her the joys of having people who care for her as a person and not just a weapon. However, this was quickly abandoned for reasons listed in my Runaan family post - Rayla needed a quick escape from her emotional issues to remove any bad parenting responsibility from Runaan and Ethari's backs. From then on their writing problems are a mix of the previously mentioned "characters doing what the plot needs them to do" issue and playing into fan shipping expectations. And thus when they start dating in s3 it is in the blandest, most boring way possible. They are super happy together, they have no friction, Rayla is suddenly more than happy to be emotionally open. Then the plot needs them separated, so she remembers she is supposed to have emotional issues and leaves. Then the plot needs them back together so they start dating. None of this is supported by a logical arc. S3 and onwards reads like a fanfic in the most negative way possible. The "frozen ship" monologue from s6 made me feel like my brain was actively trying to escape my skull, so I KNOW the crew working on the show is aware of the fan perception and are actively playing into them on purpose. Fan tropes are perfect in the context of fanworks, but they also make canon material worse.

Whew. This was long. But Yeah that's basically what I have to say about that.

[lansplaining]

why i don’t think jin guangyao killed rusong

(or had him killed) 

“Then... then even if you had no choice but to marry Qin Su, you still could have neglected her,” Lan Xichen said. “Why did you have to... And why go through with the trouble of siring A-Song, only to kill your son with your own hands?” 

Jin Guangyao clutched his head in his hands and said in a bitter tone, “...After the wedding, I never touched A-Su again. A-Song... was conceived before we were married. At the time, I was afraid that a delay would cause complications...” 

So he and Qin Su had consummated their union in advance. If not for that, he would never have ended up committing incest with his own younger sister. He didn’t know whether he should hate his father, who was hardly a father at all, or his own paranoid, overthinking self! 

Lan Xichen sighed. “Next-- and do not attempt to prevaricate-- but answer me. Did you intentionally plot Jin Zixuan’s death?” (7 Seas trans., 86-7) 

This is the sequence where Jin Guangyao lays everything out. Given what he chooses to reveal, it seems safe to assume that he isn’t hiding anything. So why do he and Lan Xichen just completely drop the Rusong question? There’s potentially an answer in the way Xichen frames the question-- that is, it’s a two-in-one of “why did you sleep with her and conceive a son only to kill him” and JGY’s response answers both-- I didn’t know when I slept with her and when I conceived him. 

But why does even the narration seem to forget about it? Why doesn’t it say, “he would never ended up committing incest with his own younger sister and having to kill his own son”?

I think... because he didn’t. I get annoyed by attempts to answer questions that hinge on how someone “would” or “should” act because everyone is different! But! Murdering your own son is something that would demand at least a little emotional unpacking, surely?? Or at least a little more explanation. He was a total innocent, and a child! But we get more time breaking down murders that are ten times more understandable, if not justifiable in the eyes of those listening, just from surface knowledge of the relationships. 

We even get other opportunities for it to come up, and it doesn’t. In the very next section, for example: 

“Despite us being born of the same man, why was your father able to spend his leisure time at home with his beloved wife, playing with his child, while I didn’t dare be alone with my wife and my blood ran cold at the sight of my own son?” (88). 

Again, dropping in “while I was driven to kill my own son” feels a little more rhetorically powerful-- if it happened. 

JGY leaves out potentially morally exculpatory evidence again and again when he isn’t asked for it directly-- like SiSi, like an explanation of how his mother was treated in the brothel he burned. The fact that he doesn’t go into Rusong’s death, and the fact that Lan Xichen just lets it pass without explanation, makes me think that the official version of events-- that he was killed in political retaliation-- is true. 

[still-breathing-au-p3r]

All things considered, it was an alright visit. 

That leader of theirs really never stops surprising him. He’d never really expected and definitely hadn’t intended to bond with the kid as much as he had, but here he was. Shinjiro had been under the impression that Arisato mostly just coasted through life without much thought. He’d say he reacted rather than acted, but to be frank, he didn’t really react most of the time, either.

So seeing naked hope and then that welding-torch spark of fury in Arisato’s eyes had been a surprise, and a damn unnerving one. Especially since the rest of his face had stayed as flat and blank as ever. You only ever look that hopeful or that pissed at someone if they actually matter to you.

He is extremely out of practice with mattering to people.

But that’s something he’s going to have to get better at in order to keep the promise he and Aki made, which is why he’d had Arisato fetch that re-enrollment form. Going back to school is much more for Aki and Kirijo’s sake than Shinjiro’s own.

Even before everything had fallen apart, it isn’t really as if Shinjiro gave much thought to what he wanted to do with his life. He’d never taken school all that seriously. His grades had been fine enough, but that was mostly to appease Aki, and later Kirijo, with her ‘education is the most important thing in the world’ attitude. 

It’s not like he was planning on going to college after high school. Even if his grades were that good, he’d never be able to afford it. Aki’s always had a bright future in anything he might choose, whether that was boxing or something else. Combine his scholarship offers and his well-off parents, and money won’t ever be an issue for him. 

And Kirijo? Her grades were perfect, of course, so between that and her frankly ridiculous kind of money, she could do whatever she wanted if she didn’t decide to inherit the family business. 

Then there’s Shinjiro. He’s not like either of them. He has no aspirations. He’d never had any long-term goals at all until joining S.E.E.S. to eliminate the Dark Hour. And after the night that had ruined everything, he’d abandoned the few half-baked ideas he’d had for the future.

He’d abandoned the idea of the future entirely.

Why go to school when he wasn’t going to live to be nineteen? How could he justify staying with S.E.E.S. when he was nothing but a walking bomb with a broken timer, a liability? How could he justify continuing to live at all when he had already taken away one life and ruined another? 

Why get close to people when he would only hurt them in the end?

And yet against all odds and probably some god’s better judgement, Shinjiro finds himself still alive. He finds himself surrounded by people who insist on caring about him, and are really damn pushy about it. It’s all a bit surreal to experience.

He has no idea what to do with any of it. All these feelings. 

But he’s ready to make his first choice.

He’s done a lot of thinking ever since waking up. It’s not like there’s really much of anything else to do but think while he’s stuck in a hospital room like this. He’s not sure how long he actually has– his failing organs don’t exactly have an expiration date tidily stamped on them– but if he’s really and truly getting a second chance…it doesn’t sit well with him just to waste it. 

He and Aki promised, after all. 

So as Aki, Arisato, and Yamagishi make their way out the door, he notices Kirijo lagging behind. Perfect.

She startles, like she wasn’t expecting to be directly addressed, but by the time she turns around to face him she’s got her pristine heiress’ composure back perfectly in place.

She frowns at him quizzically for a moment before his words seem to properly register. She actually laughs, which isn’t exactly what Shinjiro was aiming for, but– he’ll take it.

Kirijo hums and tucks some hair behind her ear– but not any of the hair that’s actually hanging over her eyes. Shinjiro knows he’s not really one to talk, but if his hair was constantly covering half his line of sight like that, he’d do something about it. He doesn’t know how Kirijo or Arisato stand it. 

It’s also a damn good thing that she’s standing well out of arm’s reach, so he doesn’t have to divide his attention between having this conversation and preventing himself from doing something incredibly stupid. Something like reaching out to comb his fingers through her bangs and sweep them out of her face himself.

She ‘may have’ pushed for a rush order, huh? Something warm blooms just under his sternum, but he’s quick to yank that up by the root. This isn’t the time to get emotional.

He doesn’t deign her with an answer. If a thin sliver of hope is as good as he’s going to get, it’s still more than he deserves. And it’s still enough for Shinjiro to finalize his second decision. 

He has to do this now before his nerves get the best of him.

Shinjiro opens the drawer on his bedside table back up and takes out the envelope. Wordlessly, he holds it out to Kirijo. 

The forlorn look on her face tells him that she’s getting the wrong impression, and it’s not like he can blame her after all that’s been said. Her expression brightens quickly though once she actually opens the envelope and sees what’s inside. She looks at him with wide eyes and tentative hope. Or eye, rather– the one he can see, that isn’t covered by those irritatingly compelling bangs.

She beams at him, all warm and sentimental, and he has to look away. You’d think two years distancing himself would be enough time to get the hell over this, but one smile from her is still enough to send his traitorous heart pounding like it’s trying to bust clean out of his ribs. 

Of course his luck’s never been that good. Of course he’s still got it this bad, even after all this time. He’s probably an idiot for even daring to hope otherwise.

It doesn’t help that he’s spent all day trying and failing not to dwell on what almost happened with Aki yesterday. What might have almost happened. He’s still not entirely sure if he actually read that moment correctly or if the painkiller fog in his brain and his own wishful thinking had made him see something in Aki’s expression that hadn’t ever really been there.

He is absolutely hopeless. It’s pathetic, really.

He has to admit to himself at least that it is nice that he can actually put a smile that sunny on Kirijo’s face. God knows she deserves more of that. God knows he in particular owes it to her, after all of the shit he’s put her through, especially recently. Seeing her like that is more than enough. This really is far more than he deserves.

She looks so damn happy. Happier than he’s seen her in far too long. Going back to school might be worth it just for the chance to see her smile like that more often.

[seth-whumps]

you mentioned that you like knight characters and i wonder if you have any tips on writing knight caretakers and whumpees? i like medieval, fantasy and knight whump but i have trouble creating ocs who are knights. i love the aesthetic, armors and whump potencial but i can't relate to them and figure out their motivation cause i'm a pacifist from modern times

Hi anon! I do love me a good medieval knight setting. Here's some tips for you!

-> Ditch the black and white.

Morality is a complex son of a bitch. Don't focus on a pillar of "normal" expectation, like "killing wrong, charity good". Try something more layered. For example, I have a knight character who will kill anyone in his way--however, he will do his utmost to send them to the afterlife with respect (leaving a flower on their chest, giving them a kind word, pressing a kiss to their forehead, etc). Don't be afraid to let a "good" character do "bad" things, and don't be afraid to justify the morally grey.

-> Make them like you.

If you're having trouble relating to your characters, a trick is to give them something of yours. For example, if you have a sibling, model their relationship to their siblings like yours--whether it's a love-hate or a die-hard loyalty--and reference that. Then, their thought processes have a point of reference, and you can feel for them.

-> Relax into the genre.

Explore the parts you enjoy of the aesthetic. You like armor? Make your OC from a blacksmithing family. You like fight scenes? Have them train classically in a sword-style you enjoy. Is the royal-servant dynamic a favorite of yours? Design them a prince friend, and develop their relationship. Delve into the parts that intrigue you, first and foremost.

-> Symbolism!

I said it in my previous advice post and I'll say it again--assign your characters opposing symbols. The ocean and the sky and a sailboat between them, and how they interact, gives a flowery poetic description between them all. It's definitely a stylistic choice, but even just keeping the symbol in your head will help with interactions.

-> Do some research.

Watch a relevant show (might I suggest Merlin?). Take a rabbit hole down Wikipedia pages. Scroll a cosplay account. The things you find might inspire you, and if not, the stuff you like can make a very fun small detail!

*Also: there are different kinds of settings to play in. You can go high or low fantasy, high or low magic (LOTR is high fantasy low magic; Percy Jackson is a medium between the two). These terms are from a different post, I'll endeavor to find it. If magic doesn't inspire you, don't include it. If it does? It's everywhere now. Go wild.

-> Hypeman it.

Just have fun with it. Choose the things that excite you, and then get really fucking excited about it. Anything that bores you gets tossed out the window. You really can just say "it's three weeks later now" and move on--classic authors did it all the time. Go crazy and do it shamelessly. Don't care about the things you don't care about.

I hope these help! If you'd like, I can do a series of medieval prompts to help you get started. Thank you so much for the ask!

[kcwriter-blog]

Let’s Talk Solas on the Balcony

A comic in which Solas and a Qunari Inquisitor discuss his views on the Qunari people is making the rounds. Per usual, it is sparking conversations and arguments about whether Solas is a racist piece of shit or not. I don’t think people’s opinions can be swayed one way or another at this point, so I’m not going to try.

What I want to talk about is the diffculty Weekes would have had writing this scene, the contradictory nature of the balcony conversation with banter, and the fact that Solas may not be entirely wrong (although he shouldn’t have said it that way).

The writing. I’m going to use the Qunari balcony conversation because it’s the most egregious, but all conversations Solas has with an Inquisitor of any race are problematic. I don’t think the intention was to cast Solas as a racist. I could be proven wrong in The Veilguard, of course, but for now, let’s say that was not the intention.

Weekes had the Herculean task of writing the “loyalty” conversation that happens after every companion quest is successfully completed. That isn’t an easy thing to do when the character is hiding the kind of secrets Solas is and who might not be feeling particularly loyal at the time.

The writer must show that Solas has doubts about his plan based on his observations of a single person – the Inquisitor. Weekes must show that Solas is looking for anything he can cling to, to justify his plans. They must show Solas’ growing admiration for the Inquisitor – in some cases against his better judgement. They must show that Solas is only just beginning to realize these people are real and destroying them would make him a monster. They must do it all without giving away the stinger. Not easy and very open to misinterpretation.

I love Weekes as a writer but even they can miss the mark. Solas has a tendency to say whatever is on his mind in the most socially awkward way possible. Probably because he spent 4,000 years conversing only with spirits. I love Cole but imagine spending that long in a place where everyone talks like that. Also Solas' first language is Elvhen, a conceptual language that is much more fluid than the common tongue. He's trying to express complicated thoughts in a language that isn't his. Again the writer has not and probably can't give us this context.

What Solas says on the balcony contradicts his banter. This could be because of the way banter triggers. It’s possible that banter was meant to trigger after the balcony conversation to show the growth of the character. But let’s look at it.

In an exchange with Bull Solas defends Tal Voshoth. Bull calls them savages and says they are sick. Solas says they aren’t. They are victims of a sociopolitical system that denies them agency so when they gain it, they don’t know what to do with it.

If you save the Chargers, Solas is the person that helps Bull through his concerns that without the Qun he will turn into a mindless beast. My family has dealt with enough racism to know that a racist would never do that. Basically, if Solas was a racist, he would absolutely believe Bull is right and he will eventually turn into an animal.

Solas’ problem- as has been stated multiple times - is with the Qun and the fact that most Qunari don’t question the regime they live under. The Qun removes agency from the people. That is anathema to Solas. The problem with the balcony conversation is that this isn’t expressed. Solas seems to be saying he believes that without the Qun all Qunari are savage brutes when he clearly defended all Qunari who have rejected the Qun.

It’s poor writing because it isn’t made clear that this is Solas’ problem with the Qunari. When he says the Inquisitor is different he means that they question the world around them. They don’t take things for granted or mindlessly follow whatever their society dictates. Again, poor writing choices don’t make this clear.

And Solas isn’t entirely wrong. The Qunari aren’t savages but they can be brutal. Most of us have played all three games. We have learned a lot about the Qunari and it isn’t all good.

Their goal is for everyone to live under the Qun. The entire second act of DA2 explores what your average Qunari believes. We must fight through Kirkwall because the Qunari have decided the city would be better off under the Qun. We know that the Qunari treat their mages even worse than humans treat mages. Circles are bad but the Qunari cut out the tongues of their mages, sew their mouths shut and give them personal minders. They are fed a chemical that keeps them pliable (a chemical they feed anyone who is judged to be a problem child as Fenris tells Isabella).

The Qunari don’t have names. They have numbers. Their “names” are just their job descriptions. They can have all the sex they want but when it comes to children there is a breeding program. They are told what jobs they will do. If they don’t do what they are told, they can be made Tal Vashoth or killed. In DA2 we free a Qunari mage who doesn’t want to be free and self-immolates because he feels that’s what he must do under the dictates of the Qun. Most Qunari, even Bull, would rather turn themselves over to re-educators than become Tal Vashoth because they have been told they will turn into savages without the Qun to guide them.

As of Tevinter Nights we know that a subset of the Qunari decided to take the “Path of Blades” to forcibly get other races to submit to the Qun.

Solas would see all of this and hate it. He doesn’t hate the Qunari people - which is an aspect of racism - only what they have become because of the system they live under. The Inquisitor is different, not because they are a special snowflake (they are because they are the hero of the story) but because they don’t believe in the Qun.

The fact that Qunari can throw off what he perceives to be their shackles confuses him and makes him believe that they and possibly Bull aren’t the only ones capable of doing this. That’s not good for his plan. That’s why he wants to know if the Anchor has affected them. He wants to believe they are special because of the Anchor so he can carry out his plan with a clear conscious.

I think this is true of the other conversations with other Inquisitors. The solution to the problem would have been for the Inquisitor to be able to strongly push back against Solas’ comments. Weekes could have then provided some clarity. As it is we get no clarity and people are left with misconceptions.

[janglingargot]

Oh, hey, are we dropping Vandelay family headcanons in the tag today? Because oh boy, have I got some headcanons after doing the math on the various timeline stamps that we're given throughout the game.

So here's the thing, right? I honestly don't think Roxanne's kids have the same father, for starters. No judgment, for the record, just observing! Hear me out:

That fifteen-year age gap seems to indicate that Kale was born in Roxanne's early twenties, right around the time she was getting Vandelay Solutions off the ground as a startup. He has her last name, and we never hear anything about a father, which indicates to me that the bio dad was not in the picture. We know that the company's rise was meteoric, going from one woman selling products out of the back of a truck, to the biggest company of its kind, in just three years. (We also know that Vandelay Technologies was well-established enough to be doing major disaster cleanup by the time Korsica was a child, and she's about six years younger than Kale.)

What that says to me, personally, is that Roxanne was not super involved in Kale's upbringing. She was young and passionate and extremely busy with her flourishing tech startup, and I assume that by the time Kale was a small child, she had plenty of money to make sure he was being taken care of, by other people. I'm not judging her too harshly for this: I'm sure she justified it to herself as the best way to support her child, and vanishing into your brilliant work at the expense of family time is the kind of behavior that countless male tech geniuses get a free social pass for.

Fast forward to fifteen years later, and Vandelay Technologies is a stable empire. Roxanne would have been in her late thirties or early forties by that point. She's older now, more interested in parenting, and it's sinking in for her that she's mostly missed her first baby's childhood and he's grown into someone she has very little in common with. She's got all the resources she could ever need at her fingertips now, if she wanted to try single parenting again and do it properly this time.

Enter Peppermint, who I honestly think was a planned-for and dearly-beloved IVF baby. (All the physical features she shares with Kale, mostly coloring, are also shared by Roxanne, and they're built quite differently; it's not at all hard to imagine them having different genetic fathers.) This time around, Roxanne kept her home life and work life so meticulously separate that Macaron didn't even know she had a daughter. I think whether Roxanne thought of it that way or not, Peppermint was kind of a do-over child, a chance for Roxanne to be a "real" mother and a hands-on mentor.

The way Peppermint talks about her upbringing, it seems like she felt an enormous amount of pressure to follow in Roxanne's footsteps, which she eventually rebelled against by running away. She was the late-in-life child, the mother's daughter, the technically gifted protegé. With her talents and interests, she would have been the obvious choice to inherit the company and carry on the Vandelay legacy.

But did Roxanne really want Peppermint to be her little mini-me? I'm not so sure, especially considering the things she says during their reunion. Given Pep's age and the implication that she ran away when she was no older than eighteen (she's 23 and Kale has been in charge at Vandelay for at least five years), not to mention the things she says about Kale's manipulative behavior, I strongly believe that Kale had a hand in exacerbating the misunderstandings between mother and daughter. Kale obviously deeply resented his baby sister for being "Mommy's favorite", and was probably dripping poison into her ear throughout her teens, if not well before that.

Deliberately souring their relationship must have seemed like his best shot at inheriting the company, and we know Kale was eager to ride his mother's coattails and do as little real work as possible. For that matter, he must have hated the idea of being supplanted by this upstart baby who got all the attention he never did, born when he was nearly an adult himself. I have no doubt that Kale did whatever he could to convince Peppermint to get out of Roxanne's life, not to mention his own.

[alicentflorent]

alicent comes off as a very realistic portrayal of an abuse survivor to me. loving your abuser, idealizing them, being angry but then later finding ways to justify their actions, forgiving them even when they don't deserve it (especially after death), continuing the cycle of abuse by victimizing others the same way you were victimized without even realizing it, acting out in ways that seem illogical from the outside but follow directly from the way you were treated, that's all really common. alicent has been abused by both her father and her husband (who didn't necessarily have bad *intentions* but still ended up causing enormous harm to his family), and also just by the society she lives in, because abuse is built into it. just because the audience doesn't understand how abuse works and how it affects people doesn't mean the show is badly written, it just means most people don't understand much of anything about abuse.

and i don't think the show dumbing itself down to explicitly explain this shit to the audience would actually meaningfully change people's reactions to it. the show did a pretty good job in s1 making it clear that 15yo alicent didnt actually have a choice in whether or not she married her friend's dad and plenty of people still didn't fucking get that. because the abuse culture the show is depicting and criticizing is not THAT far off from the one we live in, and most people will keep buying into it regardless of what the dragon show has to say about it.

Thank you for taking the time to write this. I agree with everything you said and I’ve made similar posts analysing Alicent from the perspective of someone with trauma and I thought that was mostly how the writers were portraying her throughout season one and especially how they portrayed her younger self who the general viewers did have empathy for. This season however I think they’ve seen how hated Alicent was and ran with the fandoms interpretation of her as a hypocritical bad mother who’s just jealous of Rhaenyra and still has no agency because she aligned herself with woman hating men - this is literally how producers have been talking about her, they’ve also said she had a good, loving marriage with viserys (which is victim blaming because they don’t acknowledge that you can be a victim of abuse even if your husband is genuinely kind to you) and the way they’ve framed her scenes have certainly been.. a choice. I mean blood and cheese alone - removing her from the narrative, having her having consensual sex during the murder and when her daughter runs into her room afterwards, then saying that Alicent (not Aegon, not Rhaenyras haters etc) exaggerated her grandsons murder as anti Rhaenyra propaganda. So while I agree with this and even think that may have been the initial idea when they created young Alicent, I think they’ve changed the way they’re trying to portray her, Ryan Condal has said disgusting things about her, I’m not sure about Sarah Hess and other producers because I refuse to watch the entire post episode anti Alicent commentary. I think Olivia is the only reason why Alicent is portrayed as somewhat sympathetic and understandable.

[wishcamper]

Don't Worry Feyre, Darling: the relationship anxiety to coersive control pipeline

CW: emotional abuse, reproductive abuse

Creds: licensed counselor with focus in addiction, trauma, and gay stuff; experience in group and family counseling, mandated DV clients, and abuse victim support.

Before the mob comes: I am not pro or anti Rhys, and I think his contradictions say much more about SJM than anything. I also believe it’s possible for a fandom to reclaim/rewrite a character who has been massacred by an author.

We’re going to begin at Rhys helping Feyre during an extremely dark place in both their lives. We’re going to end at him withholding vital medical information from her for the sake of “protecting her”. But first, some context.

Inside all of the (amazing) drama around the 2022 movie Don’t Worry, Darling , was a story that is pretty well worn at this point: men deciding they know what’s best for women and giving it to them whether they like it or not. In the movie, Florence Pugh’s Alice lives inside a computer simulation where she is the modern equivalent of a 50s housewife: dresses, calisthenics, martinis, “making a roast”. (She also gets eaten out by Harry Styles but that doesn’t seem to be an explicit part of the world’s design.) The problem? She doesn’t know she’s in the simulation. Harry Styles, in between all the cunnilingus, drugged her and put her in the program against her will. Yikes! Why!

The movie explains that he believed their life in the real world was miserable, and that he was saving her from that by giving her this perfect life. She should be grateful, if anything! What he doesn’t tell her, but that we see, is that Harry Styles also seems to struggle with a sense of inadequacy for not being able to provide. He is failing to live up to personal and cultural standards of manhood but, instead of dismantling those standards, he makes it his wife’s problem by kidnapping and brainwashing her consciousness. Hm. Interesting strategy. Let’s see how it works out for him.

With Rhysand, his motives in the beginning are more understandable - he initiates rescuing Feyre from the very real danger of Tamlin and her own mental decline. He feels justified breaking whatever magic law because of his own experiences being trapped and believing people should have a choice about where they go and who they are. He emphasizes over and over that these choices are Feyre’s and that she has freedom with him. We see through ACOMAF that helping her gives him a sense of purpose after the trauma UTM. His friends remark on how Feyre brought him back to life, never questioning and even encouraging this pattern.

But Rhys clearly has a lot of anxiety about his relationships and closeness in general. He mentions on several occasions that people around him tend to suffer because of him, and how afraid he is of doing that to Feyre. She is very receptive to this and puts effort into proving him wrong. He finds safety in the bubble of their relationship that probably feels pretty fucking good. The unfortunate side effect of this is that instead of processing and resolving his own anxiety, he directs it through Feyre and his love for her. Meanwhile, he keeps his anxious maneuvers behind the scenes, like not telling her about the bond, taking her to the Weaver, encouraging her to learn to read, to train. It may be genuinely helping her, but there’s also this sense of ‘I know what you need better than you do’. And again, nobody questions this.

We flirt with this tension at the beginning of ACOMAF when Rhys enforces their bargain from UTM. As the reader, at that point, we are supposed to believe this is cruel of him. He interrupts her wedding for fucks sake, throw your shoe at him girl! But over time we start to feel like it’s okay because Feyre secretly wanted it, it’s ultimately for her own good. Rhys is the most powerful High Lord in history, I’m sure he could’ve figured out a way to break the bargain, but he didn’t. In fact he engineered a situation where she'd be at his mercy. Why? Because Rhys was worried about Feyre, felt her deteriorating through the bond. Because of that, he felt justified in coming to collect. Personally, I have no opinion about whether crashing the wedding was the right or wrong thing to do. But it does set up, at least in the world of the book, that removing someone’s autonomy is okay if it’s for their own good, if the ends justify the means. In fact, that overstep ends up being the road to Feyre’s life in the NC and her love with Rhysand, a love that is so great she willingly tethers her very life to it. Even in ACOWAR we see how their relationship is a way he regulates his anxiety *cough*battlefield blowjob*cough*. He gets used to Feyre’s health and happiness being his source comfort and can continue to avoid dealing with his own shit internally.

In his seminal work Why Does He Do That?, Lundy Bancroft, a specialist in treatment of abuse perpetrators, debunks the various myths about what causes abuse and why it happens. His thesis is disarmingly simple: people abuse because they believe it’s justified. He says one of the signs of abuse escalation is “a growing attitude that he knows what is good for her better than she does”. Bancroft also notes that abuse is so hard to spot because “most abusive men don’t seem like abusers” (emphasis his) and that abusive men have periods of being charming, funny, even kind. Abusive men often don’t see themselves as such, because the strategy works for them - they feel good when they displace their emotional problems onto someone else.(1)

And then Feyre gets pregnant with a baby that could kill her. Besides the fact they really should have talked about this before trying for a baby given Rhys is mixed race (Cassian and Nesta too, but that’s a whole other post), Rhys claims a sense of ownership over his wife and child almost immediately. He’s constantly being described as smug and glowing with male pride. Even when he’s not smarmy, he’s consumed with his own ideas about protecting them and can’t hear the protests of others. We see his anxiety morph into more overt control in attempt to handle the situation. He believes he’s justified in keeping the danger from Feyre because he doesn’t want to stress her out. But that is not about Feyre, that’s about Rhys. HE is scared, HE is lost, and so he makes a decision on her behalf to lessen the burden he’s already carrying, whether he’s aware of it or not. He must keep her in a happy bubble else how is he supposed to go on.

Don’t Worry, Darling is at least critical of this ‘I know better’ motive even if the movie is stupid, and Harry Styles gets some frontier justice in the form of a whiskey glass to the back of the dome. But ACOSF condones Rhys’ actions and even insinuates our main character is deserving of death for calling him out. Bancroft writes that “part of how the abuser escapes confronting himself is by convincing you that you are the cause of his behavior”. He wouldn’t HAVE to do this if you just TRUSTED HIM.

But here’s what I think. I think Rhys has walked down a path of using his relationship to balance his internal conflict. Anxiety is a force in every relationship, but with Feyre he must maintain her beautiful life where she never worries in order to feel safe himself. I can have empathy for this, kind of - he’s suffered significant losses and it’s understandable he feels protective of those he loves. I think about celebrities with non-famous spouses, and how they avoid talking about them because they don’t want the scrutiny. I believe Rhys thinks he’s genuinely doing right by Feyre. But Rhys is so averse to his own anxiety that he can’t let himself trust anyone else to resolve it. He can’t let go of Feyre as his safe space and almost condemns her to die because of it.

And this is how, ultimately, Rhys traps himself. He tries to create a bubble where Feyre can never leave him, and ends up signing both their death warrants. I hope the world of fan fiction can redeem him, because I really don’t think Sarah can.

And yes, I know it’s faerie porn and it’s not that deep. But this is a series marketed toward an audience at risk of abuse and intimate partner violence. Bancroft lays out key points at the end of the book that feel particularly relevant to the larger conversation:

“Once we tear the cover of excuses, distortions, and manipulations off abusers, they suddenly find abuse much harder to get away with.

If Mothers Against Drunk Driving can change culture’s indifference to alcohol-related automotive deaths, we can change culture’s attitude toward partner abuse.

Everyone has a role to play in ending abuse.

If you are trying to assist an abused woman, get help and support yourself as well

All forms of chronic mistreatment in the world are interwoven. When we take one apart, all the rest start to unravel as well.”

Why Does He Do That? , Lundy Bancroft. https://ia800108.us.archive.org/30/items/LundyWhyDoesHeDoThat/Lundy_Why-does-he-do-that.pdf