#or if its something deeper and you go all analysis mode about it!

[mspaint-turtles]

i think one of my fave things abt the tmnt fandom is theres so many ppl who have varying ideas abt the turtles' genders and theyre all so right. Agender? Absolutely. Nonbinary? Sure are. Transmasc? Yes. Transfemme? Of course. Cis? So cool. Queer or questioning? I see it. Genderfluid, bigender, demigender? So true bestie. I love it so much.

youre so incredibly correct for this ITS VERY FUN TO SEE PEOPLE WITH OTHER HCS AND IDEAS ABT THE TURTLES THAN MY OWN!! its great to see how people interpret them :3

[torchickentacos]

So obviously Advance is your favorite gen in the anime but I’m wondering do you have a personal ranking of the other gens by chance? I’ve been a bit curious as to what you think about the rest of the series.

HELLO ANON this is late, as are all my other responses right now, BUT!!! Here's my ranking, with bias. If I took bias out it would be very different, but this is based on my personal opinions and enjoyment of them rather than me in writer brain analysis mode, though there is overlap. NOTE!!! I ADORE ALL OF THESE, AND ONE BEING AT THE BOTTOM STILL MEANS I LOVE IT WITH MY WHOLE HEART <3333

1.) AG. Frankly, nostalgia is a large part of this because from a neutral standpoint, AG is kinda wack, inconsistent characterization, weird pacing, et cetera, list goes on. But it's so full of LIFE. It's vibrant, it's loud, it's got explosions in most episodes, and it has the Hoenn Coordinators, which for me is a huge point. I think it had really compelling characters in Drew and Harley and May and AG Ash. I wish characterization was more consistent across them, but ultimately it just altched onto my brain and hasn't let go for maybe.... 19 ish years now. Also, AG is just WILD. Divorce episode. Kidnapped by skarmory. In Japanese intro, it makes mystery dungeon red/blue canon. TOSSING PEOPLE OFF OF WATERFALLS. I adore it. It's chock full of batshit insane energy. Choose a random AG episode and you'll be getting whiplash from every scene. it's WILD, and they let Harley say boytoy several times.

2.) Original Series. Similar points as above!!! it's so unapologetically FUN and VIBRANT. It's the most iconic, and has line after line after line I can quote from the heart. Frying pan as a drying pan, my beloved. I think it has arguably the MOST consistent characterizations, and a consistent story and plot rather than feeling all over the place like certain other seasons. It's just FUN.

3.) Diamond and Pearl. I really like DP because it tried something with Ash and Paul that I really liked. Rivals before Ash and Paul were generally friendly, or at least could come together in some situations. May and Drew had their whole thing, Ash and Gary argue but are there for eachother, Ritchie and Morrison existed, I guess, even Harley, who is the most sinister rival up to this point, was only sinister because of his own personality stuff and not any deeper reason. But Paul shook it up. Paul challenged Ash in ways he hasn't been challenged before- it was largely ideological in nature, challenging everything Ash knows and believes in, and i LOVE that. It's a GOOD RIVALRY. I would change many things about paul, he is my IKEA shelf to fix, but I find that one of the most compelling character relationships. AND THIS ISN'T EVEN GETTING INTO HOW MUCH I ADORE DAWN!!!!!!!!!!! Also Brock had the best characterization here, IMO. And, hot take, Conway is SO FUN when he isn't... you know. in creepy conway mode. unfortunately. sigh.

4.) BW. Do I ever watch it? Not particularly. Are Cilan and Iris in it? Yes, therefore, higher spot on the list. Also, good battles, fun gym leaders, fun meowth plot. Nothing super specific to say about it, I just like it!!!

5.) Orange Islands. just good vibes, not much to say. I like it but would consider it my least-watched along with SM, unfortunately. HOWEVER it has Tracey, and for that it goes here because I love Tracey. <3333

6.) XY. I had a DIFFICULT TIME placing XY because it is riddled with issue after issue for me personally. But I think its art style and music and pacing and animation is my favorite of any season. I liken XY to the following: Imagine you have wagyu beef, expensive brioche bread, fresh homegrown tomatoes, and fancy ass cheese. You put them together and somehow end up with a mcdonalds cheeseburger. It has ALL THE PERFECT PIECES and yet when put together it, uh, had issues. But I do really love all the individual pieces and the potential of XY.

7.) Sun moon, but only because I know it less. I do find some of the voice acting rather grating in this season specifically, and from everything my sister has said the entire lusamine arc was, uh ??????????? weird?, and I don't UNDERSTAND some decisions made, but I do know it has a well-deserved cult following who adore it!! I just never quite joined, but I do still love it from a distance.

8.) I am so sorry, but Journeys. I want to love it. I do. I truly do. However, I just... have thoughts. I have not seen as much of journeys, but I do think that it felt incredibly jumbled and all over the place. I love Goh and Chloe, but ultimately in my personal ranking, they don't save Journeys.

[maoistired]

2, 3, and 20 for both aigis and bridget? :]

2. Favorite canon thing about this character?

For Bridget I like that despite being the best silly yoyo girl in the game she has some real moments of hesitation and discomfort. Strive of course digs deeper into that whole thing but I think that despite poor translation xx still does a good job too. Bridgets happy go lucky personality mixed in with her goal are clearly a distraction for her, seeing it as a the big fix all for her problems. Which is why I relate to her so much. There aren’t many real moments with her in xx but I absolutely love the official art of her that shows her resting in a train and looking up, its one of the few arts of her that show how alone she truly is. And even when the superstition is lifted in her town and she can return she chooses to continue being a bounty hunter and avoiding her family. I just really like the story of Bridgets denial of her gender identity to accepting it and fully coming out. Even better is her line with Sol in the match opening which implies she’s finally been visiting her family and town again after her talk with Ky.

For Aigis I really like the clear progression of her Character throughout the game, from being the strange humanoid robot made to destroy shadows, to a emotional character who feels guilt for her past actions and gains true emotion and purpose from the protagonists. Her arc in the answer is also just the best. Denying her humanity because the one that gave it to her is gone forever and the guilt and grief that surrounds her is to painful for her to continue being human. The ending of Fes always gets me emotional. Aigis being drawn as human in that scene shows just how much she has truly changed and grown to accept herself. Along with the answer ending letting her finally live a normal life with her friends in there remaining year of school without letting her guilt push them away further.

This has basically just been and over analysis of both their stories and journey to happiness. But i cant help it, it’s why they are my fav girls!! :3

3. Least favorite canon thing about this character?

Hmm for Bridget, some of the uncomfortable interactions she has. Like with I-no and Johnny in her story mode for xx, but thats their fault not hers. I dislike her story in plus r (although the missing brother thing has tons of potential that I love) but that’s technically not canon since Daisuke didn’t write it.

For Aigis, the bathhouse scene definitely. Reload also made her character really weird in my opinion, like the character development she has in Fes and portable had been watered down a lot in that game, so much so that they removed her human features for the ending… They changed a lot of her lines too and it feels like they just wanted her to be the haha funny not human character which I dislike. I have no idea what they do for her in the answer remake and I’d rather not find out.

All my opinion though, so it’s ok if you like Reload.

20. Which other character is the ideal best friend for this character, the amount of screentime they share dosent matter?

Non canon:

Bridget and Aigis!! They are besties in my heart!!! Bridget would be so amazed by Aigis’s power and interesting appearance and Aigis would enjoy Bridgets yoyo tricks! They are similar but also very different which makes for an interesting dynamic in my opinion, I should definitely write about them more to show my full vision!

Canon:

Bridget and Bedman (Romeo) interacting would be cool, they have something in common for caring about their siblings a lot, and denying parts of themselves. Delilah too of course! Bridget would be the cool cousin that visits and shows off her epic yoyo skills! Bridget with her possessed bear Roger and Delilah with her giant possessed robot bed.

Aigis and Mitsuru are interesting to me. They surprisingly don’t interact much despite Aigis being built by her family, which I always found to be a really underdeveloped thing that would have been cool to show more. They both lose the people they tried so desperately to protect in the end and they were both forced into this role of getting their personas and fighting during the dark hour. They feel like two people that wouldn’t say much to each other but just sitting quietly next to one another is enough to understand everything they need to know. Like a silent friendship/sibling relationship if you will.

Sorry for how long this is I got a bit carried away lol >_<

[swadesqms]

From Zero to Hero: Why Everyone Should Start with Basic Statistics Training?

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Fortunately, there are plenty of resources available that provide introductory courses on basic statistical methods such as mean/median/mode calculations; probability distributions; hypothesis testing; regression analysis; correlation coefficients; sampling techniques etc. These courses will give you an overview of all the topics necessary for getting started in this area so that you can go from zero knowledge about stats to having at least some familiarity with its principles before delving further into specific applications like machine learning algorithms or natural language processing (NLP).

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By taking advantage of these accessible resources available online today anyone interested in deepening their understanding & proficiency within this field has access not only learn but also apply what they know right away - allowing them quickly progress “from zero hero” status within no time at all!

Also Read: ISO 14001:2015 Awareness Training

[stagefoureddiediaz]

Hey, given that I love reading your meta and spec and costume analysis, do you think that during BT breakup we could get something paralleling Eddie’s "the idea of us"? Because I suppose that, even for different reasons, a relationship with Taylor was exactly that same for Buck: an idea, an ideal, something you had to build from the foundations to resemble something "functional" and validating, and the more he got aware he was simply fearing of being abandoned once again, the more commitment he put into building this idea into reality. Only, he misunderstood the assignment....

Hey Kiki

How lovely to have you in my inbox and I'm glad you enjoy my ramblings!

I do think we're going to get something along the same lines as Eddies 'the idea of us' for Buck, his own version of it - I think it will probably be very different from the confident but quiet way that line was delivered by Eddie. Eddie knew he was going to hurt Ana and had accepted it was part of doing the right thing - necessary and unavoidable so Eddie shouldered that and got on with it. Buck however - wants to avoid hurting anyone the way he's been hurt in the past and so he keeps digging himself deeper and deeper which means that the hurt is going to be even greater for everyone.

In someways we the audience have already had it - only Buck told Maddie not Taylor 'I want to believe I asked her for the right reasons, but I can't help wonder if I was just scared of being left again.' That is Buck verbalising - for the first time- that he's not being honest with himself about why he's in the relationship. Now the audience is just waiting for Buck to actually end things - to realise he can't avoid the fallout and bite the bullet. He is getting there, its just taking a while for him to fully understand what he actually wants. We have to think of Buck as being in survival mode for the entirety of season 5. From the moment Eddie was shot, Buck has been doing what he has needed to do to get through each day - taking what he can get and where he can get it from - ensuring that everyone else is okay first and foremost. It's what Buck does and he hasn't yet stopped to look at what he actually wants, needs and whether what he currently has is good for him.

Buck has been going round attempting to fix everyone else's problems and not tending to his own - Christopher and Eddie - their needs are more important in the aftermath of the shooting -its such a traumatic and shocking event and his brain is scrambled - but it didn't happen to him so he pushes his feelings aside and directs his focus at them - that allows Taylor an in - because he is vulnerable so he accepts that affection and clings to it.

If we imagine for a moment that the shooting hadn't happened - Buck and Taylor would probably have hooked up again in an almost friends with benefits way or in an attempt at a relationship until Taylor dropped him, or Buck realised that he needed more (far far quicker than he currently is) and ended things.

So we have Buck focusing on Eddie and Chris, and he is also aware that Maddie isn't well, so he is focusing some of his attention on Maddie, Chim and Jee-Yun - more things for him to fix - but thats okay because if he keeps busy and focuses on all of them then once they're okay he can sort himself out. Maddie leaves and Buck is in a bind - she doesn't want people coming after her - but she's honoured her promise to Buck by keeping him somewhat in the loop and she's his sister and he believes her, so he lies to Chimney and ends up with a black eye for his trouble - a harsh lesson in not being able to keep everyone happy and also that there are different types of relationship.

This is one of the reasons why I think they've been holding off on showing any sort of reconciliation between Buck and Chimney - because it is super relevant to Bucks own relationship - everything Eddie said on the balcony about Buck and Chimney loving Maddie in different ways and knowing her in different ways because of that - all very much relevant to Buck understanding 'what he wants in a relationship and partner' I think he understood what Eddie said and has applied that understanding to others, he just hasn't applied it to himself yet and once we see him and Chim actually talk - things will click into place for him on a more personal level.

So we have a Buck that is being pulled in to fixer mode on several fronts, ignoring his own needs and therefore accepting a relationship that isn’t doing him any favours. But now - things are beginning to mend, some of it gets worse before it gets better, but Buck is there through it all. Some semblance of conversation has happened with Chimney - so Bucks guilt about that has, while not completely gone away, eased off.  Maddie comes back and Buck is reunited with her. she’s clearly better and while she still has work to do (and we know that includes reuniting with Chimney) she’s in a place where Buck can step back on his need to fix things. Then there is Eddie - who gets worse - so Buck steps in more - and Eddie lets him and Eddie begins to get better - he’s not there yet, so Buck still needs to be all the way in with him and Chris - he gets to keep on fixing - finding Charlie under the guise of horse therapy for Chris - putting the pieces in place to begin ‘fixing’ two things in one go. 

But now everyone is on their respective healing paths, Buck can step back - it leaves room for his own thoughts and feelings to reestablish themselves and thats what we’ve been watching through 5b - Buck kissing Lucy was a part of this - it was his own need for healing trying to help him - to sabotage this relationship that he’s been clinging to, but which is in effect preventing him from tending to his own needs - only Buck manages to subvert it and now he’s doubling down on fixing his relationship with Taylor. However as things continue to mend and heal for others, it’s bringing Bucks own wants and needs into sharper focus. 

As Maddie learns to love again and accepts she’s a good mother, Buck will being to accept what they’ve already spoken about - that he’s a clinger - but if Maddie can learn not to flee, then he can learn not to cling when he doesn’t need to. As he reconciles with Chimney he will begin to understand the differences in their separate relationships with Maddie and that will allow him to reflect more widely on his own relationships and understand better how is level of understanding around Taylor isn’t right - isn’t the same as Chim and Maddie have with each other. 

As Eddie works through his trauma and moves forward and learns to accept himself for who he is - embracing what he’s kept locked away for so long, Buck is beginning to see that ‘he misunderstood the assignment.’ Its such a loaded sentence - it pulls on so many of the strings Buck has in play - he misunderstood what Eddie meant by the will, he misunderstood how much his life is better with Eddie and Chris, he misunderstood that he’s been building the family he wants so desperately with the Diaz boys, he misunderstood the depth f his feelings for Eddie, he misunderstood that he’s been forcing things with Taylor an he misunderstood that when people say relationships take work, they don’t mean that its should be like pulling teeth - they mean that that work might be hard, but its always enjoyable and worth it.

This is all ongoing and will come to a head over the next 3 episodes culminating in the end of his relationship with Taylor and I think Buck accepting that he needs to go and do some work on his own foundations before he can start further work on the ones he’s been building with Eddie and Chris without realising - then they can actually start work on the structure - not just the foundations - because they will all be in the same place - completed intersecting foundations as they start the next phase of building - upwards and fully together!

I’m not sure if I got a bit off track here, but I think it went somewhere interesting?!!

[funkymbtifiction]

I always got a 1ish vibe from you also. You reflect on your behavior, yes, but reflection is different than self-analysis and anxiety; it's like you're trying to find a deeper meaning, a moral rightness of behavior in yourself or others to measure by.

Valid. That's why several friends and other typists consider me to be a 612. But I said I wasn't going to talk about tritype anymore. :P

I suspect some element of Fi is involved as well, because I intend to live as a person of integrity, and that involves a lot of self-reflection, analysis, and beating myself up when I fail to live up to my own high standard. I can be critical of others who compromise their morals and angry at myself for not standing up for what I believe is right, out of a desire to avoid being attacked for it. I do reflect on my behavior all the time, and my default is to detach from my emotions and attempt to intellectualize them. Scrutinize them. Figure out why I am doing this, what my motive is, why someone else would do this, what their motive is. I seek intellectual understanding above all. I shut down my emotional or gut reactions to go into head-mode. Why am I doing this? Why are they doing this? What does it all mean?

To further your argument, if you read any of my novels, fantasy or otherwise, purity of intent and ethics are a huge recurring theme; I love to put my characters into situations where they must choose between their integrity and the easier path. I love morally ambiguous characters and to explore them without judgment, but I want the good guys to be above reproach (at least, to make the right decision most of the time) and of high personal integrity. Either my hero is morally gray and on the path to redemption, or he has a strong personal character. I'm also drawn to 1s in fiction out of admiration for their integrity (like Elijah in The Vampire Diaries / The Originals).

I've read how hurt you've been when others have been dismissive, moved away or acted in ways related to behavior, rather than a sense of safety. You can't make sense of WHY they would do that. Your own sense of self, of your own morals, is intact. A 6 is implicated and affected by others' actions; its integral to them.

I think it's 6ish though in the sense that I no longer feel safe with them. Among like-minded people who share my beliefs or morals, I am safe to share my strong opinions, but when that dynamic shifts, I can't trust them anymore to be receptive to me. I don't mind being the only person in a group to hold X opinion, but I'm also not going to share it for fear of being attacked. I won't compromise me for you and I am not okay with a lot of things/behaviors. In matters of morals and ethics, I always know what the right thing to do is, but when it comes to the rest of life, I founder around full of self-doubt and fear.

The WHY is important. I ask questions constantly to try and make sense of people and their dynamics and decisions. But most of the 1s I know just say "nope, that's wrong." They don't then intellectualize and tear it apart in an attempt to understand the why of it, or what would make someone do that awful thing. Gut types seem solid in their "no," it's instinctual and I question and measure and weigh arguments and read conflicting information to come to a consensus, and half the time I conclude there is no solid truth in certain things, it's all a matter of opinion, and go on about my day.

This is just a very slight hunch also, but there's something Hermione esque about you, and you have always had an affinity for her also. Certainly she's anxious - but in a conscientious way, not in a 6 way. And from what I recall, you briefly considered her to change from a 1 to a 6? I wondered if that might be your own type being attracted to and pulling away from 1?

Maybe. I like her the most because she was the most sensible and made many decisions that I would (not shoving SPEW down people's throats, though) in terms of obeying the rules and keeping her friends safe. Turning over Harry's new broom to a teacher for investigation was the rational decision (and then they got mad at her, and I got annoyed at them for being stupid about it, lol). I put a lot of emphasis on being rational. This could also support the 612/triple super-ego theory that some people are operating off of about me...

Thanks for your thoughts. It's fun reading them, and is giving me a nice break in-between rewriting massive sections of my WIP. :)

[beyond-far-horizons]

Analysing the Zutara Cave Scene from a Writing and Psychological perspective

Forgive me, I’m an enthusiastic newbie to the ATLA fandom and Zutara (mainly because I knew the ship was perfect for me but was not canon and so I held off watching it for years.) So I know you’ve heard it all before but I wanted to break down this famous scene in more depth from my background as both a writer and a student of psychology. It’s also important since the age old ship wars are being resurrected (which I want no part of) and Zutara and this scene has been looked down on and belittled from some quarters. 

Warning - Wall of Text TM incoming!

The main thing that gets most people is these mortal enemies going from hating each other to being open and vulnerable in about five minutes of screen time. I get the impression more time and therefore more conversation has gone on off screen, but it’s amazing that Katara goes from tirade at the literal face of the Fire Nation (a country whose plagued her people and killed her mother, and Zuko himself who has hunted her and her friends, captured her at least twice and has had several intense fights with her) 

to tenderly touching Zuko’s face and “let me use our one of its kind Holy Water TM to maybe heal your face.” 

Also as others have pointed out Zuko lets this ‘peasant’ (who defeated him, wounded his pride and foiled his lifelong goal several times) touch his scar when he doesn’t let anyone else do that at this point, even girls he’s been close to. 

I doubt many Zutara shippers think this happened because the two suddenly decided the other was hot, even though there might be an unconscious physical attraction under all the animosity. But no-one can deny the writers were trying to show a shared connection that makes them open up to each other. That to me makes the relationship much deeper whether it’s platonic or romantic. 

Katara, despite her understandable rage at Zuko, is surprisingly open to forgiving and helping him as soon as he  -

a) mentions they have something in common - the Fire Nation being responsible in some way for the loss of their mothers.

b) his resolution to make his own destiny and overcome his difficult past associated with the scar.

I just love this about her character. She’s passionate, feisty and full of integrity but she can’t stop herself wanting to help make things better, even to one of her worst enemies. Her compassion is such a strength and it comes out even more when she realises she’s accidentally hurt his feelings re his face.

Zuko in turn is softer with her than I’ve ever seen him with others, even Iroh most of the time. He doesn’t get angry or even really defensive and he opens up about his mother for the first time. Extraordinary considering he’s talking to an enemy.

But this isn’t the first time he’s tried to win Katara over against his normal combative persona. When he captured her in Ep 9 you’d expect him to threaten her, especially surrounded by his men and bloodthirsty pirates. Instead he asks for her understanding and tells her (the little peasant and enemy of the Fire Nation) about his lost honour.

He then goes momentarily into full skeevy villain mode (which I loved) and offers her necklace back by placing it round her neck. (As an aside, yes this was totally the wrong tactic considering it was her mother’s who the Fire Nation killed, but I do love that he unknowingly offered her a Water Tribe betrothal necklace.)

Analysing it more deeply from a writing and psychology perspective, I’d say Katara represents the integrity and vulnerability that is at the core of Zuko’s character - the thing that got him that scar and banishment from his warlike family. 

The same side he struggles with and that Iroh tries to heal and encourage within him. It’s masterly from a writing POV that they brought this mirror up and allowed Zuko to connect and own this aspect of himself again briefly before Azula (the opposite representation and Zuko’s ‘shadow’) literally crashes the party. This is truly his ‘crossroads of destiny’, raising the stakes and therefore making us  - the audience - ache all the more when Zuko makes the wrong but understandable decision to choose Azula and his family’s version of him and betray not just Katara but Iroh too (dat angst.)

(As an aside look at the framing of the above shot. They do this alot showing him literally caught between two sides. In the previous scene with Azula and Iroh, they show both the unscarred and then scarred profile of Zuko to show the ‘two sides of him’ symbolically represented by Azula and Iroh.)

Two sides, Fire and Water, the battle of opposites and the bringing of balance is of course the core of ATLA, and Zuko and Katara’s fraught relationship sums this theme up perfectly. Another reason so many still ship them and feel aggrieved by the non-canon ending. 

I think Zuko is so wounded by Katara’s refusal to forgive him and so determined to earn that forgiveness is because she represents his true ‘honour’ - the right way to be - to fight for balance and justice with integrity no matter what. Thus he must make amends to her, not just as someone he has wronged, but as the mirror of that aspect in himself. 

Thematically this is tied up beautifully in him asking her to join him to defeat Azula in the final season and them working together to do so. 

(As another aside, the theme of balance and Yin and Yang is also mirrored in Zuko and Katara’s relationship and character development. At the start Katara is the caring, altruistic almost motherly sort and Zuko is the angry, aggressive pursuer. However like Yin and Yang that contain an aspect of the other within them, whenever Katara meets Zuko she becomes more aggressive and is allowed to process her grief and anger, unlike with her friends. Zuko, in turn is often softened by her, reawakening his compassion and deeper feelings. Yes these aspects are also fostered by others, but Season 3 highlights this dynamic to Zutara allowing Katara to address her anger and Zuko to practice caregiving and support.)

Coming back to the Cave Scene -  the most poignant part for me isn’t actually the face touch (even though I love it). It’s the final glance between them as Katara and Aang leave. Katara looks back worried, it’s as if she can sense the threshold Zuko is on and feels torn between staying and supporting him and her duty to Aang. I feel if they had had more time together Azula would have had less chance to turn Zuko. 

He looks back at her softly and there’s a beautiful musical cue, hinting at things unsaid and unfinished, she gives him a final lingering glance, still anxious, then goes. 

We all know what happens next. 

Conclusion

Looking at this from a purely plot point of view it - 

raises the emotional stakes and therefore make Zuko’s betrayal hurt worse.

Sets up Zuko knowing about Katara’s healing abilities and Spirit Water so he knows there is a possibility the Avatar could be saved. This all plays into the shenanigans of Book 3, letting Zuko go back to the Fire Nation, Azula giving him the credit and then letting down her father etc.

Giving Zuko more character development work to earn everyone’s trust esp Katara’s when he finally makes the right choice.

However I’m surprised that Bryke didn’t realise how this episode would look to the eyes of most fans esp Zutarians. Yes you could say it’s hetero-normative and why can’t they be just platonic etc but it was the Noughties, it’s a kids show and they are blatantly playing into those well known tropes - Zuko’s previous verging-on flirtatious treatment of Katara, his uncharacteristic softness and openness with her, her touching his scar, the music, their lingering glances, Aang’s jealous look (you could argue it was animosity towards his enemy but while we get this from Zuko, it is definitely played as suspicion about a potential rival so close to ‘his girl’ from Aang’s side.)

Ultimately the writers didn’t choose the romantic route, which I feel is a real shame and missed opportunity because of the depth of feeling and potential there. But what I really resent is when people act like Zutarians were stupid and/or biased for seeing and loving that potential. I hope this analysis has shown that the romantic subtext was strong (and much more believable for me than with Katara and Aang) and in line with the core themes of ATLA itself. This also refutes the suggestion that Zutara was somehow dark, toxic or shallow cos ‘he’s a bad boy’ or something. 

Zuko was owning his own struggles, emotions and destiny in this scene, it’s why Katara finally opens up to him. She doesn’t have to ‘do the work for him’, but she supports him in it as he supports her later on when he earns her forgiveness. And that’s why I love it!

Thank you for coming to my TED talk...

[voltimer]

'The Magic of Johto's Level Curve'

(or, 'a leisurely analysis of the singleplayer balance of Pokemon GSC and HGSS')

The Johto games - especially HeartGold and SoulSilver - seem to have a very good reputation. Some often put the aforementioned HGSS into their top 3 or describe it as the core Pokemon experience. I personally agree with this sentiment and HGSS is either #2 or #1 depending on my mood (it usually competes with Black 2 and White 2).

Despite all its praise though, there seems to be an incredibly consistent point raised against it: the level curve. I see it described as unbalanced, janky, and generally bad.

There are two main problems people tend to cite. First is the level progression in Johto itself, with Gyms 5, 6, and 7 not exactly being a smooth progression upwards and then Team Rocket's Archer and the 8th Gym having a notable level spike compared to those last three. Wild Pokemon levels are also usually a lot lower than the major boss fights they are ahead of, making raising new 'mons harder and grinding for boss fights longer. The other problem is Kanto, whose problems can essentially be said to take Johto's levelling issues and ramp them up. The jump from fighting Blue to the Elite Four rematches and Red is also very significant.

What I'm not going to do here is refute that the above isn't true - these level scaling inconsistencies are certainly present. It's also very different to the vast majority of main series entries, whose level curves are more linear and gradual. Gens 5 and 7 even have a feature which multiplies exp gain based on how much lower or higher you are than the Pokemon you defeat which in a way acts like a rubber band around each game's level curve, ensuring you can catch up easily but not go too overlevelled either. Playing GSC and HGSS when the rest of those entries are like that is a bit jarring. Pokemon is so well-known for having quite a formulaic design across its main series and when compared to that formula with regards to level progression and the like, the Johto games do seem a bit off-colour.

What I am going to do though is try to explain why this so-called bad level curve is at the very least not actually that bad, or, if I can convince you well enough, that the Johto games actually have a unique and (what I call) magical singleplayer game design not properly replicated in any other entry. It goes to the core essence of Pokemon's theming, and it fits with the fact that Johto's narrative also happens to put the most focus on those themes than the rest of the series.

When I say the core essence of theming, I mean the very basics of every Pokemon adventure: you, the player, leave home to go on a journey around your region, meeting various people and overcoming various challenges along the way together with your partner Pokemon. Challenges you overcome are all thanks to the bonds you share with your partners and how you raise them with love and care. As you get older, this is the sort of thing in Pokemon that you probably end up taking for granted. It's typical "power of friendship" stuff, and most people will tend to come to conclude through learning about the game mechanics that this sort of thing is superficial and that stats are all that matter in the end. The more modern Pokemon games also have such a big focus on larger-than-life stories with big climaxes featuring the box Legendaries that it's easy to lose this basic level, down-to-earth narrative theming.

Johto is significant for not having any larger-than-life aspects overshadowing its core. Instead, the core takes centre stage. There is no real overarching story besides your adventure. Team Rocket's antics take a sub-plot role but in the end act as a foil to your story, being one of the more major obstacles you overcome. Catching Ho-oh or Lugia is no cataclysm either, but rather a reward for your achievements throughout the game and thanks to your good and pure heart - recognised by the Legendary in question. Moments throughout the game like how you deal with the situation at the Lake of Rage, or the Dragon's Den trial where you're asked questions to test your ideals as a trainer (which, of course, you pass with flying colours) all contribute to this core as well.

The way Professor Oak congratulates you after defeating Lance ties the knot perfectly on the main campaign:

"Ah, <player>! It's been a long while. You certainly look more impressive. Your conquest of the League is just fantastic! Your dedication, love, and trust for your Pokémon made this happen. Your Pokémon were outstanding, too. Because they believed in you as a Trainer, they persevered. Congratulations, <player>!"

These are just examples of the main story events, though,and Johto has a lot more than that. The region is filled with things to do beside the main campaign - Berries/Apricorns, Pokegear calls, the Ruins of Alph and other optional caves, the Bug Catching Contest, and (in HGSS) the Pokeathlon and Safari Zone, just to name a few of the more notable ones. Tama Hero's review of Pokemon GSC talks a lot about this and it's well-worth a watch even beyond the section describing the games' breadth of side content.

Tama Hero also touches upon the supposed level scaling issue, and her response to the complaints is that there is a "sprinkling" of opportunities for small bits of exp gain throughout the game which should help you stay on track in most cases, and where you can't match levels, you can outplay your opponent.

I certainly agree with the latter. It always feels entirely possible to beat bosses at a level deficit throughout Johto. The Johto League is one of the key cases where you'll probably end up at level disadvantage, but I've consistently been able to defeat it with a team of lv 40s on average (so nearly 10 levels behind Lance's peak), and I'm pretty certain that my not-even-10-year-old self did so as well, even though it took me many, many attempts. From various people I've talked to and bits of let's plays I've seen over the years, this seems to be the common experience too. I think only a minority of people have had to grind to match Lance's levels in order to beat him at all. Granted, it might take you a couple of tries at that level disadvantage (or a great couple of tries more, like little ol' me), but that's surely not an unreasonable expectation. The concept of getting stuck at a difficult stage in a game could be called a universal one, and I think most people agree that it's always pretty satisfying to finally surmount a challenge like that. This can even be said about other Pokemon games - Kanto, Hoenn and Sinnoh also all have large level spikes at the end. In fact, at least when it comes to the end of the maingame, I'd argue Hoenn and Sinnoh have a larger level spike than Johto, but they're not considered impossible or anything

Regardless, though: it's certainly possible to win difficult battles in Pokemon at a level disadvantage. Tama Hero argues that the strategy required to do so isn't something the game teaches you very well, but I think this is a tad pessimistic. In the end I think that most wins will just come down to understanding of more fundamental skills that you've probably learned through the course of the game naturally - using type matchups (gyms are all type themed), using moves with stat changes (the earlygame is full of moves like Growl and Tail Whip), using status moves (no doubt you're going to see the effects of Paralysis and Burns throughout the game at least), and apt use of items (bosses always use potions and often use held items). Players also have more control over the battle than the enemy, with the default Switch mode and a huge amount more items available. It's true that the games don't teach you the deeper, untold mechanics very well, but learning about those only unlock even more ways to succeed for the numbers-minded veterans.

On the topic of those deeper, untold mechanics I also want to talk about something which Tama Hero doesn't mention at all - Effort Values, or EVs. Most of you reading will probably know about these by now, but for those who don't, EVs are hidden values which can increase a Pokemon's raw stats by a certain amount based on the other Pokemon they defeat. They were present in a slightly different form in Gens 1 and 2 in the form of "stat exp" but the premise was the same: your Pokemon grow twofold when you defeat Pokemon, by gaining visible exp for levelling up and visibly gaining stats every time that exp bar fills, but also by gaining stats little by little every time they defeat any Pokemon. Your Pokemon's EVs weren't visible to you in-game until Gen 6 with the Super Training graphic, and numerically weren't until Gen 7 where you can press X on the Pokemon's stat screen to show what are called "base stats".

EV optimisation is crucial to competitive play because the stat boosts they give are quite significant. Competitive players will "min-max" spreads, putting as much as possible into 2 stats to maximise strengths and not wasting any on stats they aren't making use of. In maingame playthroughs, though, EVs will usually end up being a balanced spread because you'll invetivably be facing a variety of Pokemon with different EV yields throughout the game. EVs can also be increased with the Vitamin items (Protein, Calcium, etc.) which you find a handful of throughout the game (and can buy at a premium) and can be used to manually raise EVs, though only to a certain point.

In Gens 3 and onward, a Pokemon can have up to 252 EVs in 1 stat, and 510 in total. At Lv 100, 4 EVs in a stat grant 1 point extra to it. For the singleplayer campaign the conditions are a bit different, but if we assume as a standard that by the Elite Four your EV total is maxed out and you have an even spread, your stats will all be up to 10 points higher than they would be without EVs. In Gens 1 and 2, you can actually max out all of a Pokemon's stat exp values but you're unlikely to cap them all for a good while beyond the maingame so we can consider them about the same as in the later gens for this.

But why is this important?

Firstly, the difference EVs make in the above scenario account for what is usually about 5 levels' worth of stats. Depending on your exact distribution, it could be a couple more or less levels' worth in each stat but the bottom line is that they make your Pokemon's strength higher than it may seem based on level alone.

This means that the wild Pokemon grinding that is criticised for being too tedious in Johto as a result of low levels is also better than it seems because even when you don't level up, you're gaining EVs for every one of those you defeat. The stagnant levels in the midgame of Johto also contribute more to your Pokemon's growth than it may seem from the slow level gain. The Pokegear rematches which you gain access to after defeating Team Rocket before Gym 8 may also be a little infrequent, but they also very often give you Vitamins afterwards to add to all of this.

Secondly is what seems to be a fairly unknown fact: in-game trainers do not have any EV spreads. Thanks to the work of speedrunners, we have exact data of enemy trainers' Pokemon to show this. Trainers do have IV spreads based on their "AI level" (more 'advanced' AI levels will have up to 30 IVs across the board) but the difference near-perfect IVs will have on their Pokemon is not as great as the combination of random IV spreads and relatively balanced EV spreads yours.

That 10 level deficit vs Lance is suddenly more like 5 in practice. Some of his Pokemon also happen to have pretty high stats naturally in Gyarados and the Dragonites, and the level deficit will still be slightly present, but once we factor in strategy again, you can abuse their type weaknesses and make good use of items, status and whatever else have you to swing the odds in your favour.

The only way you can find out anything about EVs in Johto is from a NPC in Blackthorn City who gives your Pokemon the Effort Ribbon if they have reached their total of 510, and the only practical way for a player without the technical knowledge to have achieved this is to have spent time throughout the game doing lots of little bits of training - in other words, putting in the effort - to have incidentally capped their Pokemon's EV total. It's only fitting that you find this NPC towards the end of the Johto campaign because it's likely that by this point a couple of your team members will be eligible for the ribbon.

This finally ties back to the point of core theming. EVs are an invisible stat giving your Pokemon an extra edge over their in-game opponents, or, at worst, one closing a gap in strength between them, as a result of all of the time you've spent raising those Pokemon throughout the game. In other words, EVs are essentially the statistical representation of the "dedication, love, and trust" you have for your Pokemon which gets you through seemingly difficult challenges. Levels, then, are only a surface representation of your Pokemon's strength: they create the feeling of an uphill battle, but you can win against the odds by believing in yourself and your partners. It's probably exactly what you thought as the naive and uncynical child playing through a Pokemon game for the first time, and probably one of the ways you made such fond memories of it. In hindsight, this is definitely how it was for me. It is a sort of magic, really.

There is still a big Red elephant in the room, and I do think that the level gap between the end of the Kanto Gyms and Red is maybe too hard to go and beat immediately after even with the power of EVs and such, but Red is by all means a superboss and final challenge of the Johto games, and I don't think it's unreasonable to have to grind for a while to build up for and to finally be able to take his team of Lv 80s on. The same can be said about the Elite Four Rematches in this game and others, Steven in Emerald, or that one Barry fight in Platinum if you do decide to beat the E4 rematches 20 times to make his levels nearly match Red's. If you're setting out to fight a superboss like this, the grind is part of the prerequesites. It's definitely still possible to beat someone like Red with a 10 or even 20 level deficit if you play well, though. I admit, I haven't beaten Red in a long time, but I have beaten Emerald Steven with a ~15 level gap before. Tama Hero also said she has beaten Red with a team of level 50s in Crystal in the review.

I said before that the other games in the series haven't replicated this sort of thing as well. Gen 5 was the beginning of a marked shift away from this design, with its overarching story-driven style and a change to exp gain which would honestly be incompatible with the level curve in Johto. Gen 6, whilst returning to the exp system without level deficit multipliers, saw different means of statistical representations of the 'dedication, love and trust' trio in Pokemon Amie, which can break the game almost as much as the Exp Share when enough Affection is built up. Gen 7 brings back Gen 5's exp system whilst retaining the Exp Share and Affection systems, and actually ends up even diverging from the EV design which went before by having in-game trainers and Totem Pokemon with competitive, min-maxed EV spreads from as early as the Trainer's School. Whilst I am yet to play Let's Go and Sword and Shield, their Exp system with a 'permanent Exp Share' of sorts makes it a huge amount different and from what I've seen and heard, overlevelling is quite easy despite the game being designed around the feature. I really hope that Brilliant Diamond and Shining Pearl at least return to Gen 6's exp mechanics, or better, reunite us with the held-item version of the Exp Share which doesn't make me feel like I'm cheating whenever I use it.

Before I go too off-topic, though, I should probably return to the original thread of this post to make some concluding remarks. What can't be denied that the way GSC and HGSS are designed may not be for everyone. I know for sure that a lot of people prefer to be able to breeze through a Pokemon game at a brisk pace without many roadblocks, but as someone who in recent years has come to appreciate much slower-paced and immersive singleplayer Pokemon playthroughs, I can't help but love the way GSC and HGSS are designed in the way I've explained, or appreciate their unique identity amongst the rest of the series. Coming to think about this has also shed light on why I adored HeartGold as much as I did when I first played it way back 11 years ago. I poured hours and hours into the game, and as a result, its magical design put me under its spell.

_____________________________________________________________

Though I linked to the references I did use when they appeared, here they are again. Do check them out if they're of interest to you!

Tama Hero's GSC review: https://www.youtube.com/watch?v=FgtMVKP2T6Y

speedrun.com trainer data for HGSS: https://www.speedrun.com/pkmnhgss/guide/k2zij

speedrun.com trainer data for SuMo: https://www.speedrun.com/pkmnsunmoon/guide/d2683

Tama Hero (YT) is one of the few people I know who actually makes longer-form Pokemon analysis content besides Aleczandxr (also YT), who whilst not being a 'PokeTuber' has made some brilliant analyses of storytelling through setting in Sinnoh, Hoenn, Johto, and just recently, Unova. I did not refer to them here but I can highly recommend their content, at least.

Thank you very much for reading to the very bottom here. This is my first time writing something like this and I appreciate it.

[demonslayedher]

Your content on Kny is interesting, being a Kny fan I would like to share a cusiority. During the final battle did you notice that the Hashira were passive about the death of some? When Shinobu died only Tanjiro had a reaction because of how busy he was; Mitsuri didn't seem sad and when Iguro remembered who died in the middle of the final battle he didn't even mention her. What did you think? It would have been nice if Gotouge had shown us what the Hashira's thought when the others died

[cont.] I'm the anonymous person who asked you the question about the Hashira who fell in the fight, Tumblr makes people write very little. Apart from Tanjiro they seemed cold to me, even for Tokito; the only one affected was Himejima; when always Iguro mentioned him during the clash with Muzan it was like he was thinking normally. There wasn't time to mourn for the dead but I was expecting a slightly deeper reaction. Anyway for Shinobu yes there was Inosuke and Kanao but the pillars are important too

  Thank you for the Ask, time to get into it! This served as a good excuse to flip back through of a lot of the later volumes... or rather, a huge chunk of the series. Short Answer: I don’t think Mitsuri knew about Shinobu’s death.  Longer Answer: A walk-through of the Pillars’ situations in the final showdown and a partial analysis of Kimetsu-style story pacing. 

Disclaimer: I finished this around 2am. I chose to leave it rambling and unedited and typo-ridden. HAVE MY FEELS, I’M DISHING THEM.

(Disclaimer: This isn’t meant to be a plug for my own fics, but since they are born out of my emotional experience of canon, mentions will make their way in. U fu fu.) First, absolutely yes on there being no time to mourn. From the moment the Ubuyashiki Mansion blows up in volume 16 to the actual end of the fighting in volume 23, that is one hell of a night; this final arc(s) had NO CHILL. Like, wow. It’s been a long time since I followed another battle-driven manga, but that seems like a lot, especially for a relatively short series.  And I was initially happy to dismiss all the lack of satisfying sadness as being due to the fact that they are in *PANIC MODE* and entirely focused on fighting, but that is also not necessarily the case; they do come off slightly cold.  I want to touch a bit on what we want to see the characters mourn each other, but also why I think it works out a bit better that we didn’t; from a purely narrative standpoint.  LET THEM BE SAD: Parasocial Needs Science says we form bonds with fictional characters that affect our brains in very similar and impactful ways, so our feelings are legit when they get killed off. It affects us like a breakup or other goodbye and makes us crave closure.  As for my own assumptions, we look for proxy characters in-universe to give those characters we love the attention we wish to; their sadness validates our sadness, watching them get emotional can be super cathartic, and a good mourning arc can provide satisfying closure.  This is something we got with Rengoku, canonically loved by like, everyone. Hell, even the guy who killed him was sad. Just to rub salt into it, the most recent fanbook that includes a section about how the Pillars see each other, and it drives home that even if we never saw much or any canon interaction between him and any other given character, they’re all like, “Oh yeah, Rengoku, he’s a great guy.”  And, he’s the only character we really get space to mourn, pacing-wise. First, because of when it happens in the plot, this gives the story time to show us each and everyone one of the Pillars hearing the news; it gives them times to process it (which Tokitou clearly needed), and most of us, it takes us in depth through how it affects Tanjirou, our main character whose emotions that we, the readers, are most in touch with. Rengoku got star treatment in the way he was mourned, and we readers get to lap that up.  So then when we don’t get that in-universe star mourning treatment, it does feel a bit jarring by comparison. Gotouge did say she was sorry to hurt everyone, but these are the conditions the little humans were up against all along and a point driven home again and again; even with power on par with demons through the attainment of a mark; even Pillars are just breakable humans who will never be able to regenerate like demons can, hence why their stakes are so much higher in every battle they go into. Furthermore, the Pillars are more ready for this than anyone else, they of all the characters would be the best at keeping their emotions in check in the heat of a battle.  Which means they had to keep them in check for seven volumes of near constant battle, love it or hate it.  KIMETSU LOGIC: The Writing Sins That Make This Manga What It Is I could go on and on and on and on about the writing sins this manga commits and how it shows that it’s Gotouge’s first time writing something of this length. In manga not all of it can be blamed on the author alone because the editors have a very significant influence, but yeah, this is not the most amazingly crafted story out there, by a long shot.  Would I change any of it, though? Well, a few things, yes, of course, out of personal preference. But on the whole, no. It’s the collective errors that stamp KnY with its style and make it what it is, and I find it as endearing as all the randomly super goofy art.  Now, when it comes to the lack of Pillars reacting to new of each others’ deaths, I wouldn’t necessarily classify that itself as a fault, and if I were Gotouge’s editor, I probably would have encouraged her to keep it to a minimum too. After all, I would be considered with selling a new shot of tension with every week’s installment to keep any readers from getting bored with the constant battle. And dang it, THAT TENSION WAS HIGH, those battles were remarkably emotional and tense through and through.  The breaks in tension that we got were necessarily and not distracting, with the notable exception of Iguro’s past. That was clumsy placement. I’ll be honest, I didn’t bond with Iguro as much as a character because he lost his earlier chances to be appealing to me, and by the time the chapter with his flashback came out, I DIDN’T CARE, I waited anxiously all week to see what was happening to Tanjiro and was invested enough to have an appetite for the additional Sumiyoshi and Yoriichi bits, but dang it, Snake Pillar was getting in the way of what my emotions were primed for at that point.  But, such is the way of fickle weekly readers; with THAT MUCH tension going on, readers crave a little breather here and there with a look at who else might taking in a breather in a flashback. We got bits and pieces of that mostly through flashback, like Tamayo’s memories of conversation with Shinobu experienced in real time through Muzan, as well as in-real-time moments with the characters having very slight chances to catch their breath (no pun intended).  But, how well those breaths worked depending on each character, and how the readers’ emotions were getting slammed week to week. Just like how I as a weekly reader (by that point) had no appetite for an Iguro flashback while eager to move forward, there likewise would have been limited appetite for mourning, and we’re stuck with who we got as proxy characters to react through.  ACTION, REACTION: The Rhythm of Basic Writing Advice It has often been said that in writing, something should happen in a scene, and the next scene should be a reaction to it. In the next scene something new happens, and likewise, there is a reaction. We could also thing of this as stages within the same scene, like the part when the music changes or the moment the battle has ended but we’re still on the battlefield.  In Rengoku’s case, we got one big happening, and then a whole lot of reaction drizzled through the story after that.  In the Infinity Fortress case, we get a big happening with the Ubuyashiki Mansion blowing up and then--a big happening!--a big happening!--a big happening--! A--uh oh, there’s a reactio---NEVERMIND, THINGS ARE STILL HAPPENING, GOTOUGE, PLEASE, THIS HURTS, OW, OW, HOW ARE YOU SO CRUEL, WE GET IT, THIS SITUATION IS AWFUL, PLEASE STOP HURTING THEM---

The reactions are there, scattered throughout. They’re short, but they sure make themselves count.  While Tanjirou is our Empathy Personified hero, it’s natural that we get more of his reactions, but the lack of them in other characters is, I would say, a natural fault of having a huge cast to work with it. Once you start dragging too many other characters into the reactions, the actions have trouble moving forward, and with the level of seven volumes worth of tension it’s the actions that keep readers hooked and buying magazines.  THEY’RE ONLY CORVIDS, OK: Now We’re Actually Looking At Canon Details Now that all being said, although it’s easy to dismiss a lot of Kimetsu Logic as amateurish at first, on further reflection, the little worldbuilding logic does excuse itself for not plunging each of the characters into a period of reaction to actions happening elsewhere.  Not all the birds had Yushiro’s papers. Not all birds were created equal. It’s really hard to navigate that place. Ergo, communication was probably highly imperfect; not all the crows knew everything going on. We don’t feel that as readers because we’re seeing Kiriya and his sisters get all the available communications.  In Iguro and Mitsuri’s case in particular, I suspect that might not even had been Mitsuri’s crow (as that one has a distinct personality and accessory) giving her orders to gather where Muzan is. It was probably any old down-to-business crow working with the information it had as clearly as it could in the battle that was most difficult to physically navigate. If Mitsuri’s crow (named Urara in the most recent fanbook) had been there, I imagine she’d have been having difficulty that whole time to even stay within a close range of that battle. Furthermore, a crow like that with a strong bond with Mitsuri might had also judged that telling her about Shinobu’s death was a dangerous distraction, and chosen to withhold information.  The fanbook specifies that Iguro’s crow Yuuan was the one who told him about how Tokitou got a red blade (in fact, this is basically the only thing said of this crow besides its name and gender). To able to report in such detail that Iguro could analyze that Tokitou attained the red blade by the strength of his grip, that probably quite an accomplishment to have either witnessed that much, or to pass on crucial information that detailed and quickly. At that time, Iguro and Mitsuri were physically separated and she was distracted by the crow giving her orders to gather where Muzan was, so she might not even have overheard that Tokitou had died. As for Iguro, the second fanbook tells us that because Tokitou was young he had hoped he wouldn’t die. There was no opportunity to mourn him, and they weren’t close enough for that to throw him off much from battle, but on a Pillar to Pillar level, I think the amount of thought Iguro did dedicated to Tokitou showed a certain level of esteem for him and regret at this passing.  What would have been nice? Maybe a little look over his shoulder to Mitsuri like “I hope she didn’t hear that.” That would have revealed a tender side of Iguro in a very short use of panels.  I want to come back to analyzing Mitsuri’s reaction later, so let’s keep focusing on the loss of Tokitou. Once he attained more of his sense of self back, it seems he preferred the company of Corp Members closed to him in age (if we go by his little flashbacks, which in true Kimetsu Logic, are things we didn’t know about until they come up in flashbacks). Most of the Pillars weren’t especially close with him, even if they did care about his wellbeing, as they seemed particular aware of how young he was. Sanemi probably had never interacted much with Tokitou until that battle, and *OKAY, HERE IT IS, THE UPCOMING FANFIC SELF-PLUG* one of the things I really liked working with in my post-canon fic is that there’s a point at which thinking about Tokitou forces Sanemi to deal with all the trauma he’s buried from that battle. I figure it would hit him later; he had a good excuse of a distraction. Ugh. Man. My heart hurts again thinking of that chapter.  Let’s also not forget, after Himejima showed his respects for Tokitou both quickly and sincerely, he couldn’t allow Sanemi to deal with Genya’s death until after everything was over. All the Pillars had to think like this.  What would had been nice? I liked this reaction scene to two simultaneous and horrific deaths exactly as it was. Ow. Ahhhh. Owwwwww, it’s hurting again. This is catharsis exactly the way I like it.  Let’s keep going with Himejima, the only one to have known to expect all this, and who stayed ready and likely hoped to bring down Muzan all by himself without any other sacrifices (welp, so much for that). There’s a scene in the novels that implies he had some idea that Shinobu wasn’t intending to make it out of the upcoming battle(s) alive, and I imagine he felt the same regret and bitter acceptance in advance that he also felt with Ubuyashiki. If we heard the news about Shinobu like Tanjirou and Giyuu did, I imagine he was hurt but it wouldn’t have been noticeable, and he probably would not be surprised even at how quickly it happened.  What would had been nice? Anything. Just a “How pitiful” and some tears as he runs through the halls woulda’ been great.  So since Giyuu did hear it loud and clear with Tanjirou, I first want to point out that whether that was Tanjirou’s crow or not (might not had been, because his crow was busy with a letter delivery from Senjurou at the time too), that crow must had loved to shared details; maybe even details that were not necessary. Like, would telling the lower level Corp members everything really help? Wouldn’t the loss of each Pillar make them lose their nerve? Was it because that crow was wearing one of Yushiro’s papers that it had to report extra detail for Ubuyashiki HQ? Whatever the case, Giyuu is initially shocked about Shinobu and then is like, “what is that paper the crow has? It sure is reporting things fast.”  What would have been nice? ANYTHING MORE THAN ONE PANEL OF SHOCK. Come on, Giyuu, give the GiyuuShino shippers S O M E T H I N G. Granted, if Tanjirou had been killed in battle with Akaza, I believe Giyuu would have had an initial outburst of emotion, but then gotten himself under control real quick and stayed that way until it was safe to break down (which he did immediately later on, since the threat was gone--but he was just as soon picking up a sword and stabbing him, so again, Pillar-mode must come before experiencing emotions). I interpret canon as that even though Giyuu might had found it easily to address Shinobu in conversation due to frequency in how much they had conversed and the fact that she would usually talk to him first, he would never had considered himself especially close with her (since he never saw himself close with any of the Pillars). I feel their relationship had potential to grow closer if Giyuu had actually gone out of his way to communicate more with her, and he probably would had if they both survived, but at the time she died he probably still felt a distance, which is why it did him harder when Tanjirou--someone who Giyuu did actually get to a point of enjoying conversation with--was dead right in front of him.  (Side not, oh man, OH MAN, being a weekly reader was so tough then. I still have so many emotions from that week. Oh man. Oof. Ouch.)

Of note, Giyuu had the best opportunity for reflection on a comrade’s death since he had enough recovery time once he woke up to build a fire and treat wounds, and Tanjirou took that chance to read a letter. 

What would have been nice? AGAIN, GIYUU, ANYTHING, but after that battle I think he deserved to disassociate a bit.  Also of note, I don’t know that they had complete information either, because NO ONE (by “no one” I mean Tanjirou and Inosuke) seemed to hear anything about Zenitsu single-handedly killing Upper Moon Six and surviving it. What would had been nice: “Good for you, Zenitsu, I hope you’re okay” or “Six? Again? Didn’t we already do that? There was a third??” or “well I got Upper Moon Two SO THERE” or “..........are you sure?” or even way, way after all is said and done, off in epilogue times, “you fought WHO by YOURSELF???” but I digress. Now back to Shinobu, losing her so early on in this marathon of high-stakes battles made her death seem forever ago by the time we got to another Pillar death. It would had been nice for more of them to react both with “no, not Shinobu!” and “we are in deep trouble” sort of ways. That made the glimpses we got of her in flashback feel way, way more nostalgic, since for our experiences as readers, she had already been gone a very long time. I like that the battle with Douma got stretched over so long a span of the manga, they really showed the stakes in how difficult of a foe he was, even if that battle was itself was relatively shorter than others. And as stand-ins for the readers to mourn Shinobu, I love how we got that both through Kanao and through Inosuke.  But yes, it sure would had been nice to get something from... Mitsuri.  Now, if I had only read the events of canon, manga chapter to manga chapter, and even the Taisho Secrets, I still never would have guessed that Shinobu and Mitsuri had such a warm friendship. I know this purely from the fanbooks and novels, and that is something I find a writing error that detracts a lot from the work. Some of the most apt criticism I’ve heard of the Kimetsu pacing is that it could have stood to give us one of more arc to bond with the characters at least a little more, so we could really, really be emotional over loosing them. We get all our spare Pillar interactions in works outside of canon and after Tanjirou initially gets to know Shinobu, he has no more on-screen interactions with her; she mostly appears in Taisho Secrets.  Pillar Training was fun and all, but maybe another arc with stakes in it that occurs closer to home and brings out some different sides of the Pillars in Tanjirou’s presence, instead of each of them getting one dance each with our protagonist. That would had been a chance to show Shinobu and Mitsuri’s friendship, in which case, we would had really, really wanted to see Mitsuri’s reaction.  But, Mitsuri had a job to do in the very, very, very heavy tension and battles that ran in weekly magazines for months on end. She carried the very heavy weight of needing to provide brevity. Her silliness contrasted against all that tension was fresh air for readers who had been holding their breath (no pun intended! kinda) through so much. And man, our reliance on her for that made it hurt all the more when things suddenly got very serious for her.  But, that means she was also unable to play a heavy emotional role too early on. There wasn’t room to give her a satisfyingly emotional reaction to Shinobu or Tokitou; when after all, this is the girl who was fretting about dearly beloved Oyakata-sama, was horrified to see the explosion, angirly attacked Muzan, but was saved from certain doom almost immediately after she was taken by surprise in the Infinity Fortress, and then she’s BACK TO 100% FANGIRL MODE. Like, giiiiiiiiiirl, Oyakata-sama just diiiiiiied, tone it down a notch.  I feel like I had more to say.  OH YEAH.  WHERE DO WE GO FROM HERE?: To fanfic, duh.  Going back to reaction and action and producing something with sellable pacing, again, I wouldn’t risk bogging down the tension-heavy final arc with too much open sadness (less is more definitely applies when the reaction scenes were often SO GOOD), but it clearly set up the desire for it. And, the length and intensity with which a work of fiction can live rent-free in audiences’ minds is a measure of its success.  If we MUST turn to fanfiction to get that emotional closure (or force the Pillars to get theirs), then this is proof of a job well done in making us care.   Herein lies the freedom with fanfiction: It doesn’t have to be good. It doesn’t have to sell. It doesn’t have to fit a regular serialized format. Fanfic is whatever it wants, all it has to do is indulgently scratch an itch.  I have way more stomach for sappiness in fanfic than in original canon, because I have higher expectations of canon to honor writing conventions, and to make decisions that will serve the overall story, not necessarily cater to my tastes.  But fanfic? Fanfic, you are here to serve me. Dive into those characters’ dry eyes with a jackhammer and gives me their tears. I don’t care how much you have to fry their brains to do it, give it to me.  I mean, I don’t write fanfic like that, noooo. At least, not that I post publicly. Ssh. No one needs to know aaaaaall my particular canon itches I wish to have picked raw. But all the more power to people who DO post that publicly and provide a great service to all the other people with that same need.  But, in the spirit of writing fic that tries to honor the spirit of canon, I try to sprinkle the juicy emotional potential canon could have had around as needed, to draw out what I feel canon just didn’t have the opportunity to give us. It’s ultimately self-servicing for what I wish canon would had done, but my style of published fic does try to stay widely appealing as a gen fic. Everybody’s got their own balances and tastes, and that’s cool.  And that is freedom canon authors don’t have.  I’ll conclude by saying that, although we as readers collectively earned it, the ending of Kimetsu no Yaiba was too bright and happy and specifically chose bittersweet moments that would be easy to swallow (pretty smart for a quick ending), but entirely skipped all the really heavy stuff in the immediate aftermath.

And yes, as difficult (and even dull) as it would be to slog through, there’s a part of me that wants to see all that, for the sake of closure. 

And now I sleep byyyyezzzzzzzzz

[coldtomyflash]

I've seen your speech pattern analysis on Flash characters. I was wondering if you had any advice on how to create speech patterns for OC characters?

oh heck this is one of the coolest questions i’ve ever received.

i’m gonna try not to go overboard/overwhelming and just give a bit of advice, and then if you want more details please come back and follow up!

There’s a few things to think about up front with character voices / speech patterns. The biggest and most obvious is language and cultural background. The second is personality. The third is personal history. Fourth, briefly, is gender. And the final one I’d say is idiosyncrasies to avoid ‘same voice’.

Culture and Group Dynamics

Depending on the setting, there’s a decent chance you’ll be writing characters from different cultural backgrounds. Even if you’re focusing on a single culture, there will be subcultures. Even if you’re focusing on a single narrow group of people, there will be age and generational differences.

Think about where your character is from. If it’s a fantasy world, that’s still (and even more, in some ways) important. What country, what ethnicity, what mother tongue? Did they grow up urban or rural? High socio-economic status or working class? What sort of educational background and peer group did they have growing up (and presently) and how does that factor into their vocabulary and mannerisms, if at all.

All of these can influence how people talk. There are regional accents and different modes of speaking to signal your group membership. There is code-switching across groups, for those who have had to learn multiple linguistics codes to survive and thrive in society. 

How much slang does this group and therefor this character use? What references (modern, outddated, topical, etc) do the rely on? What kind of references (pop culture, music, academic, etc)? What colloquialisms and proverbs do they say? Are these the same or different to their characters, even within the same culture, subculture, or group, and is it because they’re from a different place/sub-group or because of their idiosyncrasies?

You can use these to help your reader get to know more about your character’s background without having to spell it all out directly. Speech patterns and style are a great way to show instead of tell when it comes to details that are hard to drop in organically in other ways.

An important caveat: don’t write a bilingual character who switches languages in speech unless you’re ready to do a bit of research on that. In AATJS I did an absolutely horrific job of this because I was thinking more about fronting the fact that character was Italian rather than thinking through how people actually talk, and it came out exotifying and embarrassing. It’s important to make sure that the way you use language to bring in a character’s cultural and/or ethnic background feels authentic and manifests is a way that respects that language and its users. You can write a character with a complex cultural history without using multiple languages if you’re unprepared to do research and talk to bilingual speakers.

Personality

Probably the most salient thing in a writer’s mind when they’re trying to write character voices: is this the funny character? the serious one? the brainy one? etc.

Don’t overuse stereotypes and archetypes for creating speech patterns (or characters in general) if you’re trying to make a rounded, 3-dimensional character. Instead, go about three levels deeper.

Think about whether they��re introverted or extraverted, whether they are neurotypical or neurodivergent, whether they are introspective enough to express their own emotions clearly or whether they stumble when asked why they did a particular thing or feel a particular way (most people don’t or can’t clearly articulate exactly why they did something or how they feel, and come at things a bit sideways to circle around their motives and interior realities when pressed to make them external and concretely verbal).

Is this character calm, is their voice soothing, do they speak slowly? Are they excitable and loud and is their speech free-flowing? Are they angry? Do they swear? Do they use references for humour or are they more into puns? Do they laugh at their own jokes? Do they talk with their hands?

This character has social anxiety: how does that manifest in her speech? Does she clam up and get very quiet when she gets nervous, or does she go rapidfire and a little too loud (does she process by turning in or by distracting herself by turning outward)? Does she get very careful and deliberate in choosing her words (is she a bit high-strung?)? Ask yourself which fits best with the other elements of her personality and what you want the reader to know/interpret about her. 

This character is incredibly smart and a bit awkward: how does that manifest in their speech? Do they tend to use 5-dollar words, or do they expend a lot of energy choosing their words more carefully (how considerate are they to their audience when speaking and does that influence their speech)? Do they stumble over their words and explaining things, or are they good at making points with clear language learned from a lifetime of tutoring and helping others?

This character is the bff, who tries hard to make sure everyone else is happy first: how does that manifest in his speech? How does he switch between his happy-mask versus his more authentic self, and what changes in tone, word-choice, and inflection come in when he does?

-

Personal History

I’m only drawing a distinction between this and personality (archetype, really) so that I can draw attention to ways to add simultaneously unique and shared layers to characters that are distinct but related to group dynamics.

Here’s sort of what I mean: the level of education of a mother (or primary caregiver) of an infant can determine that infant’s vocabulary size. While we can break down all the ‘why is that’ layers to this, the one I want to point is to the simple truth that the more education a person does, the more specialized language they end up learning over time. This doesn’t have to be formal education though -- the more you learn about something and the more you read and access new knowledges and perspective, the more and more words you learn, and then if you start using those words, they trickle down to those close to you.

So.

What’s your character’s educational background? Is it the same as their friends who you are also writing? Is the same as their family’s? How does this character’s family influence their speech? Are they formal, informal, warm, authoritative? 

If you’re writing siblings, they’ll have some shared things! But also some very different ones! Me and my sister talk nothing alike in terms of vocabulary, but a lot alike in terms of mannerisms whenever we spend a bit of time together!

If your characters grew up around each other, they’ll have a lot of the same references. People from the same cities or regions will have things specific to that region, either due to sub-culture effects or because of local references. 

The city of Calgary, Canada for instance has the Plus15 which are a connected pedway system between the buildings in downtown, so named because they are 15feet above the ground. Drive 3 hours north to the city of Edmonton, and you have an underground pedway just called the pedways, no special name. Go a few provinces east to Toronto and their underground pedway system downtown is called PATH. These are all known to locals and part of the vernacular, but are opaque to people outside those cities. And the whole idea of them is probably opaque to people who aren’t from super cold cities that don’t require building-connecting pedway systems for pedestrians to get around high-density areas like downtown (or university campuses) without going out into the cold. 

Friends, families, and groups are like that too. In-jokes, shared histories, speaking in references. What are your characters’ relationships to each other and how does that history influence the way they approach talking to each other?

-

Gender

I don’t want to spend too much time on this one because ugh, gender. What even is it?

But like it or not, it has an impact on our speech patterns. There are cultural and societal norms in how men and women are likely to speak, and breaking those norms will be noticed regardless of whether you’re trans, enby, queer, or not. There are norms that people who are queer may fall into as well, sometimes without even noticing at first. A lot of these aren’t about word choice per se but instead about mannerisms and tone and body language, but some overlap or are specific to language.

Speaking in broad generalizations here, women use more emotional language and tend to speak with more hesitancies/qualifications. So more “i think, i feel” and less “it is”. More conversations that front emotions and dig deeper into those, with longer sentences to explain in detail. The obvious caveat is that personality matters more (i.e., is this a person who likes to talk about their emotions in detail or not) but it is something to consider because there will be general but subtle differences that you can use to help further distinguish your characters’ voices. 

Sidenote: this can also be exacerbated by different cultural backgrounds and languages (a simple example is Japanese which has different words for “I” depending on your gender as well as your personality, familiarity with the other persons in the conversation, and situational appropriateness, so interesting ways that gender and social expectations intersect in language).

Anyway this isn’t typically a huge problem except that I’ve found that a lot of writers have a tendency to overgeneralize the speech patterns that fit with their ascribed gender due to early-life socialization, or conversely to overgeneralize patterns that fit with their gender identity (when not cis) either due to heavily identifying with their gender identity’s speech model (or sometimes possibly due to a knee-jerk sort of backlash). I say this as an enby who both struggles with it and notices it and tries to edit and correct for it. 

I could get into all sorts of examples of ways this can lead to voice issues, but in general i think the point here is to make sure you’re writing any given character in view of that character’s personality and history, with gender only as a modifier for how some of these might come out in subtle ways but which can be important to help tell us about your character (and if you’re writing queer characters, it’s all the more important to consider how their relationship with gender and socialization might impact which speech models and styles they identify more with).

-

Idiosyncrasies

So, you’ve got a character. You’ve got their personality and history down. You know how they manifest in their speech. And you’re still getting some ‘same voice’ issues.

People really are unique snowflakes. Let that be reflected in their speech.

This person uses contractions differently than that one. This one says “ain’t” and that one says “isn’t.”

This person makes Simpsons references and that one doesn’t like Simpsons, and makes Brooklyn Nine Nine references instead. That other one doesn’t use referential humour much at all. This one loves old movies and hasn’t seen any of the new stuff so they make references all the time but no one ever notices.

This one loves the word “excoriate” and that one doesn’t even know what it means because what the hell, who uses the word excoriate?

This one talks about food a lot, it overlaps with their interests. This one uses metaphors. This one grunts in response. This one exclaims. This one says “like” and that one hates it. That one refers to themselves in third person. This other one uses reflective language an usual amount (e.g., “love me some candy”). This other one keeps misusing the word inconceivable and that one speaks almost without contractions but still comes off as more charming and humorous while correcting him.

I have an aunt who says “girl” or “girlfriend” a fuck-ton and she has been my whole life and I don’t know why because none of her sisters do, but she does and it annoys me so much the way she says it. I swear a lot when I’m feeling casual despite never ever doing it in a professional or even slightly-less-than-relaxed space, so the idiosyncrasy of comfort levels has a massive impact on my vocabulary in ways which, I promise, almost no one who meets me first in a professional space expect.

Let your characters be individuals and try to make them as unique as possible without overdoing it, or over-relying on a single verbal tendency or habit. 

-

And ... that’s all I’ve got for now. Completely failed at being concise. I meant to give like 2-3 bullet points or examples for each, not paragraphs, but here we are. That’s one of my verbal tendencies: long flowing verbosity :)

Hope this helps! 

[exeggcute]

this is not a coherent or complete thought but I’m rotating some stuff in my mind about like, this kind of gradual pop culture creep where a lot of people are constantly defending the artistic merits and meaningfulness of just about Anything with the implicit sense that the weight of its meaning (in a lofty sense) is a measure of how much you're rightfully allowed to enjoy it—as in, “[Action Flick] is actually an insightful commentary on [The Modern Self], and this is why I liked it so much, not simply because I had fun watching it”—even in cases where these artistic defenses are becoming increasingly... flimsy. 

but I think this dilutes the overall usefulness of certain types of analysis and, maybe more important, is not really necessary in the first place? enjoying things to Enjoy Things is a valid form of consumption in its own right. not that I would discourage plumbing the depths of a work for deeper insights or its overall impact beyond superficial impressions, nor is every work created equal (because I think there are some things that do require a certain mode of serious engagement if you want to get the most out of them), but I think it���s misguided in a lot of ways to presuppose that because some works are enjoyable due to their artistic merit, all works must therefore have deeper artistic merit to be enjoyable. which is how you end up with people bending over backwards trying to retroactively justify the pleasure they derived from something because it wasn’t enough to have just, like, enjoyed it for its own sake. so no, not everything that strikes your fancy is going to be as “deep” as a really complex refined work, but it doesn’t actually have to in the first place and that’s perfectly fine

[warlordgab]

Analysis of shipping: Revisiting detracting arguments

I know some people were expecting more content here, and I'm sorry for taking so long to put this thing together. This post will be a little different from the other analyses you’ve seen here...

It's no secret this blog is mainly about LuNa...

...and NaLu

And several post made here are meant to showcase how their respective stories build them up through consistent bonding; defend their position as potent relationships by means of evidence and logic; or both.

We know standing next to each other in the same panel or frame are not “moments” if the context and/or the story doesn’t turn them into a meaningful interaction.

We know a girl slapping a guy is not something inherently romantic, and it’s not a defining trait of a potent relationship, specially when context says otherwise.

We know that brief rescue scenes are not always the sign of a potential romance as there are several elements needed to turn them into actual moments for a pairing

But, there are some arguments that persist because shallow shippers think they give meaning to their premises, disprove the potential another pairing has, or both. This post will deconstruct a couple of those arguments used to argue against LuNa and NaLu's position as potent relationships in their respective stories.

1) Romantic pursuit Vs. Consistent bonding

I was going to call this one the “Touka Argument”, or Touka's Rhetoric. Naming it after FT's Touka...

...she seemed to be the embodiment of nearly everything shippers argue against relationships as LuNa and NaLu until we got a comedic plot-twist worthy of a trolling writer.

Still, the argument goes a little bit like this: any one-sided pursuit of romance should become part of the endgame pairing. It doesn't matter if the story doesn't take such "affection" seriously, it doesn't matter if it is meant to be a joke with little to no weight, all that matters is the character actively looking for romance while proclaiming “love.”

A character who appears much later in the storyline openly expressing "love" for the MC. Meanwhile the MC shares far more development with a romantically inactive girl.

Some shippers may argue that the girls or guys who are actually "in love" are the ones who will win their object of affection. Others may admit this is a extremely subjective matter as some of these girls end up winning, which makes it hard to analyze this stuff properly. But, there's one thing that helps people to keep an objective perspective: development

If we take a look at relationships like Gruvia from Fairy Tail, we get to see that their most powerful scenes are not the ones that involve the characters being all mushy over each other, but the moments of actual emotional significance; actual build-up...

...created by impactful moments

Some of Hiro Mashima's works prove he's aware that what truly matters in this particular regard is not how often a character makes claims of love, but how much development she or he has with a significant other.

What about Eiichiro Oda and his works? We got one notable example from the Whole Cake island arc

One sincere gesture of kindness from Sanji (the local pervert and Casanova wannabe) was enough for him to get to Pudding's heart...

...when he shattered the image she had of herself as monster with that gesture, and later an armor-piercing question, she ended up falling for him as he was the only person on that island that saw her true face and still deemed her as a beautiful woman instead of a monster. Sanji had such impactful moments with Pudding without going "horny" mode on her.

Other authors know that this kind development is needed for the logical progression in both good storytelling and decent characterization. They may not say it out loud, but their works speak for themselves while showing even characters who are not looking for romantic love can eventually develop such bonds.

Take a look at relationships like Kenshi and Kaoru from Rurōni Kenshin...

...they became an item, despite neither of them being romantically active, because they bonded over time, supporting and caring for each other, to the point of developing a much deeper connection. No over-the-top corny lines nor becoming all horny on each other; it was just consistent bonding, which ultimately triumphed.

It's shouldn't come as a surprise given the author of Rurōni Kenshin mentored Eiichiro Oda.

And to add it more to the irony, there was another girl interested in Kenshin who got a role much greater in the anime than the manga, and who was more mild-tempered, feminine, and seductive.

Another mangaka who understood this matter is Seishi Kishimoto, brother of Masashi Kishimoto (of Naruto fame), and author of O-parts Hunters.

The moments shared by the main characters led Ruby to become Jio's emotional support, and both of them to get emotionally attached to one another. Another girl was interested in Jio, but consistent bonding made Jio and Ruby's connection remain as a potent relationship... as well as some other plot points.

And of course, there's the critically-acclaimed Fullmetal Alchemist (Brotherhood for anime-only watchers) by Hiromu Arakawa.

Edward and Winry. Two well-written characters who weren't  romantically active before ending up together, yet their relationship and later upgrade made total sense... I could name Roy and Riza too, but that would be overkill.

The point is that it's not the romantic pursuit (or gag-like claims of "love") that makes or breaks a pairing; it's all about the moments that leave an impact along with shared experiences which give a strong companionship the potential for a relationship upgrade.

2) Every shonen story is the same story?

While this argument sounds ridiculous, it serves as an umbrella for several other claims some shippers may use.

A lot of anime fans know that most popular shonen stories, such as Dragon Ball, usually feature underdeveloped relationships. So, more often than not, shippers may claim or imply significant moments and actual development mean little to nothing in a shonen story. This reasoning can be easily mixed with the "romantic pursuit" argument.

Another related argument is the "informed attribute," which means you can off-screen the whole relationship and just let a character or narration "tell" you how a pairing happened instead of "showing" you how they developed. Basically, a violation of "show, don't tell."

While it's true several shonen stories share similar tropes, the more you examine each story, the easier it becomes to tell them apart.

Eiichiro Oda wrote a story that could easily fit the concept of "romance," as in a dramatic narrative treating themes such as heroism, idealism, mystery and adventure...

In fact, according to Sugita, a former One Piece editor, "Oda revealed that One Piece was something of a deliberate subversion of Dragon Ball through having a vastly more complex story and characters, while Dragon Ball is a manga infamous for its simplicity."

This is consistent to Oda's own statement: "I write ONE PIECE as dramatically as I can. If I had written a pure battle manga, it would have been easily defeated by Dragon Ball."

Given the amount of themes the series covered and the engaging emotional narrative, the argument of this story being the same as every other popular shonen doesn't hold up. The characters are all bound together as true companions not by a desire to become "stronger," but because they're "in love with adventure" as the author put it.

What about Fairy Tail? Hiro Mashima wrote a fantasy shonen series centered around thematics that are common in other shonen stories: Companionship and Family.

While some people already commented how the manga seems to have strong similarities with One Piece, Hiro Mashima had his own ideas when making the story. As he himself said once: "Usually a shonen manga starts with just a main character, who then slowly accumulates his or her allies as the story progresses. But in the world of Fairy Tail, everybody pretty much knows each other at the beginning. That was sort of what I was going for." 

In another interview he even stated one of the thematic differences in relation to his previous work: "Rave Master was about friends saving the whole world, but Fairy Tail is about closer-knit relationships."

This is consistent with what we've seen in Fairy Tail, as the titular guild is all about that theme, how different people of several backgrounds are connected by intimate bonds and the search for exciting adventures.

What about the characters?

Both Eiichiro Oda and Hiro Mashima (just like many other mangakas) grew up watching and/or reading Dragon Ball. But, are their main characters Luffy...

...and Natsu...

...just mere replicas of Goku and other shonen heroes?

It's true that many authors follow the shonen hero archetype when writing the protagonist of a series. Both Luffy and Natsu are golden-hearted idiot heroes, and both of them have personalities that reflect the idea of "No Challenge equals No Satisfaction."

But, unlike Goku their ultimate aim is not all about following an endless cycle of self-improvement. At their core, both Luffy and Natsu are thrill-seekers who are constantly looking for fun and adventure.

Luffy is all about freedom, and even if he's not the sharpest tool in the shed, he can still display actual leadership qualities when the situation calls for it. Natsu, like some other of his guildmates, is a mischievous trouble-maker but still pretty much the embodiment of the values of Fairy Tail.

The more you examine both characters, the more differences you can find...

All of this is related to shipping mainly because people may claim "every shonen story is the same story" to justify pairings that do not have enough canon material supporting them.

So, if the hero and the heroine have a far more substantial development and actual chemistry, shippers who oppose such characters getting together may imply the following: "if several popular mangakas make their official couples with no regard for moments or build-up, why Oda or Mashima should be any different."

Because each author is different, and even if their stories use similar tropes from time to time, elements like themes, purpose, focus, plot, and characters will vary from writer to writer.

3) Anime Vs. Manga

'It's easier to watch a series than read a story'

Which is why whenever a manga gets an anime adaptation, if the story is good, its popularity rises.

However, sometimes the directors and writers of the anime do not share the same vision as the mangaka. And people who are up to date with both mediums can perceive such differences. Dragged out fights, OOC moments, inconsistencies with plot points from the source material, etc. are common place in some adaptations.

But, some directors and other staff members take some liberties to add "shipping fuel" according to their own views and taste.

I apologize in advance if this comparison offends someone, I’m just using it as an example. The anime adaptation of Bleach made by Studio Pierrot featured some ship tease...

Such scenes weren't written by Tite Kubo, the author of Bleach. And they could easily pass as something "romantic."

However, during an interview, one of Bleach's editors, Toya Taichi, stated that "in Kubo sensei’s mind, Orihime is the heroine character and Rukia is a comrade" and he later summed it up as "feeling like a pal" (相棒 in japanese).

When it comes to modern japanese storytelling, the term "heroine" (ヒロイン in japanese) is interchangeable with "love interest." Orihime herself was even present in the Shonen Jump heroines covers. But, people who take filler scenes as the real deal may think otherwise.

When it comes to Fairy Tail, A-1 Pictures did a decent job in adapting the story but they also added shipping fuel, small things like Gray following Lucy and getting teased by Happy for it, or the big things like the non-canon expansion of the flashbacks involving Lisanna, which some people still treat as the signs of endgame pairings.

People who watched this version before reading the manga are more prone to overhype relationships that have little to no supporting evidence from Mashima's works. Fortunately A-1 Pictures toned it down later, too bad some shippers never forget...

If we talk about One Piece, the story is very different to say the least. TOEI Animation didn't stop in this regard, as some people may recall I already posted several of the changes they made for the sake of ship tease, and unlike A-1 Pictures they keep going and going with the moments they keep adding being more and more blatantly shippy (specially with Nami and Sanji) as time goes on.

Since One Piece is very long-running manga, more and more people only watch the anime and they take all those additions as the real deal despite the heroine of this story sharing far more development and solid chemistry with the hero.

However, not every fan is into well-developed relationships, so not every manga-reader will go LuNa/NaLu. Same could be said about anime-only watchers, as not all of them are swayed by filler, so not all of them will disregard LuNa/NaLu if they like consistent bonding.

The point is that the anime adaptation has a strong influence in how the fans perceive the story, the characters, and the bonds they build. And not every anime adaptation presents a favorable image of the in-canon premises made by the mangaka.

Here’s a little bonus:

Who's the One Piece heroine according to Oda?

When talking about Strong World, the movie he wrote, Oda said “I really wanted to make a ‘hero saves the heroine’ story." A movie about a hero (Luffy) saving the heroine (Nami). He added: "You might think otherwise, but I had no intention of bringing in someone new to fill that [heroine] role. So when I had to think about whom to use for it amongst the straw hats of course that meant Nami.”

He also stated in 2019, when an interviewer addressed the fact his wife is similar to Nami, "They say a mangaka often marries a person who's similar to the heroine."

Across the several years the manga had been going, Nami often appears in the Shonen Jump heroines covers due to her role in One Piece.

You can see the latest Jump heroines poster here

Who's the Fairy Tail heroine according to Mashima?

One of his latest works (HERO’S) answers this question...

Context: Ellie is talking about Haru, Natsu, and Shiki (the heroes of Rave, Fairy Tail, and Edens Zero). Each one of these girls has the role of "heroine" in each of their respective stories. One of them even ends up with the hero.

BONUS: The Elephant in the room

As you probably noticed, I used a lot of official statements to back up my post. However, even those who oppose LuNa and Nalu use those kind of statments...

In the case of One Piece, several fans considered "romantic love" a concept completely foreign from the series due to a couple of quotes from the author. When asked about this particular subject, Oda stated that the members of Straw Hat crew are "in love with adventure." And later when asked again, the mangaka said that since this is a shonen story "romance isn't depicted."

Based on these answers, several fans created the myth of "romantic love" not existing in One Piece. Many held onto this conclusion with so much intensity that they always dismissed the bad girl Alvida's obvious attraction to the hero (Luffy).

However, as a clever and perceptive reviewer pointed out we're talking about the same author that once claimed he doesn't kill characters and went as far as to say "I hate when supposedly dead characters come back to life." Yet his story has a couple of "supposedly dead" characters who turned out to be alive. No spoilers here.

Some of his statments are meant to be taken with a grain of salt. He said "romance wasn't depicted" but as of recent years it's been a thing in One Piece...

...Señor Pink and Russian are one example of how traditional romance gets integrated in both story and characters. So, using the author's words to invalidate all possibility of romance in One Piece no longer works.

Ironically, haters take Oda's old claims literally when talking about Luffy, but they completely forget about it as soon as someone mentions Nami or Robin in this particular regard. A clear display of a blatant double-standard...

When it comes to Fairy Tail, some haters love to quote that Natsu and Lucy are "more than friends but less than lovers."

Yet, they choose to ignore that in recent years, when asked about the relationship between these characters, Mashima himself replied: "I feel that the Natsu and Lucy ship is more suitable."

Some time before that statement, during a New York Comic Con, when asked what he feels is “right” in this regard Mashima held up his drawing of Natsu and Lucy...

...so everyone could see his answer to the question.

So, using Mashima's old quote to deny the plausibility of a relationship upgrade here and there is not going to work either.

If people want to defend a pairing or prove a potent relationship has what it takes to become canon, they should try to stay true to the author's works, and the story's internal logic, instead of trying to find a way around them and/or promoting a baseless process of elimination, all to justify another premise.

Consistent bonding, chemistry, and natural development coming from the author’s works should be superior to mere rethoric, hype, and/or anime filler

[foryouthegays]

Forming a secret organization [Dream SMP] liveblog and summary!

Good laugh times: 7:40, 1:18:15, 1:19:25

Protect mr philza minecraft from baby zombies (he really went all out on that bit today): 20:35, 32:40 34:45, 1:16:35

Sellout pog: 30:45, 1:00:50, 1:30:55, 2:01:15

Summary:

Techno started the stream in the Nether. He quickly went back to the overworld and to his house, where he meets up with Phil and Ranboo. He mentions that the house smells like gunpowder, and Phil quickly ushers them outside and they continue their conversation.

Techno nudges Ranboo away from the conversation, and he leaves the call. Phil and Techno watch as Ranboo leaves the house, and then Techno tells Phil his news. He talks about how taking down L’Manburg wasn’t the greatest plan, especially as he’s only one person. He wants to bring other people to their anarchist ways.

Phil agrees to form a secret organization for anarchists, because they can’t fight ten to one.

Techno and Phil go to Ranboos house, asking for a feather, and Ranboo asks if he’s getting kicked out. They say no, and then Ranboo says that he has something that might get him kicked out.

He talks about how he sometimes doesn’t remember what he does, and that he was the person who blew up the community house.

Techno asks why, and Ranboo says he doesn’t know.

Phil and Techno agree that they don’t really care about the community house, and Ranboo continues, saying that he has one of the discs. Phil and Techno agree again that they don’t care about the discs at all.

Techno and Phil leave.

Techno leads Phil to a stronghold, which he calls a ‘structure,’ and they cover it with gravel to hide it. They enter the structure, and they find a library, some useless doors, and keep exploring, finding nothing. Techno is confused, thinking that there had to have been a reason for the stronghold's existence.

While looking at a connected Abandoned Mineshaft, Techno finds an enchanted golden apple.

They go into the lower parts of the stronghold, and they find a prison. Techno mentions that the bread he found earlier tasted around 2,000 years old, which gives us a rough (and joking) estimate of when the stronghold was made.

Phil finds a strange portal, and they talk about how advanced the previous civilization must had been, to be able to make unbreakable blocks. They hear a villager writing, and dig up to a strange room.

It ends up being the igluu where Orphans parents lived, and they start laughing, but then, DreamXD logs in. He breaks the portal, and then leaves. Techno begs dream to put the portal back, because it would’ve added to the lore, and that their characters didn’t know what it was, and were going to use it as a table.

Dream logs in again, and puts one (1) portal frame block down, and then leaves again. Phil tells Dream how to place the blocks incorrectly so they wouldn’t form a portal, and he logs in to place them back.

DreamXD hears Techno joking about going to the end, logs in, and then logs out when Techno says he’s joking. Then, Techno explains the difference between DreamXD and Dream, saying that DreamXD has canonical access to creative mode, and is like God, but Dream is just some homeless teletubby. DreamXD logs in, says ‘they actually are I am the protector,” and logs out.

In chat, Techno asks ‘who was that dram fanboy, how did he get whitelisted,’ and DreamXD logs in again, hits Techno with a sword a few times, and logs out.

Techno and Phil decorate the meeting room a bit, and they start talking about what the association should be called. Techno says that he wants it to be the ‘[blank] Syndicate,’ and before they can agree on anything, Ranboos nametag is spotted, and they agree to kill him if he comes into the meeting room.

Techno puts down a sign with the organization's motto, which is ‘Sic semper tyrannis,’ which means ‘thus always to tyrants.’

He starts writing in the manifesto.

“This syndicate is formed to promote anarchy and fight tyranny in all its forms.

“We shall have no Leader; no member shall be compelled to act if they do not choose to.

“No member shall reveal information about the Syndicate to outsiders.

“Technoblade shall serve as the Recruiter to induce new members into the Syndicate with Approval from a Majority of members.”

Phil and Techno leave the Stronghold, and realize that the Igluu wasn’t actually Orphans parents, but instead a different Igluu that Ranboo had been using for Cartographers. They go back to the house, planning to meet with Ranboo, but on the way, they find a strange tower made of stone. Its hollow, but theres no chests or anything inside. They continue and meet with Ranboo, who has gifts for them. Techno gets a Netherite shovel with Efficiency V, Mending, Silk Touch, and Unbreaking III.

He brings them under his house, and we find he has a ‘comfort room,’ made of netherrack, that has several mob heads on the walls, an extra set of armor, and pets sitting next to the ladder. They talk about the map on the wall, and Techno seems concerned, or a bit scared.

Techno and Phil leave the call, and talk about how extremely strange the room, and Ranboo, was. They recount their adventure, and move the villagers into a more efficient layout. Ranboo joins them after a few minutes, at 1:38:00, and they work on curing the zombie villagers and giving them jobs

Liveblog:

I love when technos computer says he isnt streaming so he just rambles about that before it says he does and then he does the starting the streammm thing. Also if u havent heard the starting the streammmm thing u r missing out it is amazin

Techno pls get a new laptop im gonna cry

HE SAID THREE HE SAID THREE if u dont know, techno says three v nicely

“I havent even shown you the secrets, how would you guys be able to snitch??” SIR????

Oh my god is he using his phone to read chat,,,,,i hate him i hate him so much u haVE 5 MIL SUBS AND CANT EVEN GET A SECOND MONITOR WHYY

Ranboo!!! Philza minecraft!!!!! Hi!!!

5:40 ‘why does it smell like gunpowder?’ Techno there is no smell in minecraft. Lore pog?

6:45 AKDFJGLSA RANBOOS FUNDY IMPRESSION IM

8:45 ‘any second now its gonna be 11 percent updated, and thats like halfway done, if you think about it’ adhd autism solidarity right there lmao

I dont think techno can physically pay attention to lore for more than a minute at a time. He just like, sees a dog and zooms in on it while someones talking and its such a mood. All techno know is get distracted, kill orphans, protect philza minecraft, and anarchy. Love him

10:45 he just got COMPLETELY distracted w his laptop im actually crying form laughter

So uh. 17 mins in. Techno (without saying anything). Kills a zombie that was trying to kill ranboo. Thats. Thats a thing he only does for people he trusts. Uhhh

Technos voice at 21:30,,,,,,hhghn why is he like this why is he randomally doing weird voices

26:35 ‘hacker voice: were in’ HGKDFJSL

Ok but techno making fun of doors is so funny tho. Also he rlly did go all out on the baby zombie bit tdoay im actually crying

Techno when phils being chased by two creepers, a few zombies, and skeletons: i do not see it

Techno when phils being chased by one (1) baby zombie: loOK OUT PHILZA MINECRAFT

42:00 god apple poggggg

45:50 techno sir why do u know what 2,000 year old bread tastes like

Dsmp techno :handshake: minecraft story mode techno

Hating doors

Dsmp techno :handshake: smp earth techno

Living right above a stronghold

48:35 ‘dude, they had all this super advanced technology because they didnt waste time trying to figure out how to make doors’ FSKHGJDAL

50:25 UH?? WHAT IS THAT LMAO

OH ITS ORPHANS PARENTS LMAOOOO

GDFJKHSL DREAM HI

51 MINS IN HGJSKDFJASL DREAM PUT IT BACK IT WAS A GOOD TABLE DREAM

56:25 ‘listen, I’ve read a lot of mythology Phil, and nothing bad has ever happened from angering the gods.’ You SURE about that?

I will actually never get over techno making fun of dream its so funny to me 1:01:10

I am so, so extremely queer for technos planning/schemeing voice like when its kinda quieter and deeper n slower? Hhgnn

Also is latin canon in this universe? Pog

Asmr Technoblade makes a cult :)

Ok ok ok ok SO i know that techno wants to make all the members equal (and i do think that hell try his best to make that possible) but bc hes just,,,so FREAKING powerful both in terms of pvp and resources, i feel like his opinion IS gonna matter more, but also im p sure hes the writer of the arc so like. He has more important opinions anyway so unless he is v obviously controlling the other members of the group, i think this could be a fun collab thing. And i am SO excited to see all yalls analysis for what other people think of him ahhHHH i love analysis.

1:17:10 “whose idea was it to make baby zombies stronger? Why are the babies stronger?? Have you ever fought a baby in real life? I have, and it was trivially easy to defeat, Phil.” TECHNO????

Also i can NOT believe that someone thinks techno doesnt use dark humor,,,,have u WATCHED his videos?????

1:25:05 Like literally RIGHT after he makes a joke abt how ranboos shovel’ll be good for digging graves for his enemies, which was taking soooo long before

Ah yes, technoblade, the 21 yr old child 1:28:40

[jbbarnesnnoble]

Chaser - Downdraft (Part One)

Chapter Title: Downdraft

Series Summary: Storm chasing is your passion. You decided in high school to study atmospheric science and spend your life studying storms. An accident leads you to the Avengers compound. A mother hen Tony Stark, a confused and concerned supersoldier, and some meddling friends, life is taking a new and unexpected turn.

Part Summary: You and your team head out to track a storm, putting you on a collision course with danger. 

Features: Storms and storm chasing, incorrect science

Pairing: Eventual Bucky Barnes/Reader

Notes:  In this part, we’re introduced to reader and her ragtag team of storm chasers. We also see a bit more of her relationship with Tony. We haven’t met Bucky yet. 

Word Count: 1866

Log #15042018

Location: Lynchburg, Virginia 

Downdraft (n.) - “a column of cool air that sinks toward the ground. It is most often accompanied by rain.” 

The air was heavy with the promise of a storm. You knew the conditions were perfect for tornado formation. Usually you didn’t venture too far to the east in the midst of tornado season but you’d been tracking the storm system and knew the potential for fireworks was there.

For as long as you could remember, you were obsessed with the weather. Your mother would recall how you could tell it was going to storm without ever looking at a radar map when you were a child. You almost wondered if you had some kind of mutation. It was an ability that persisted into adulthood. Your mother’s favorite story to tell was about how you begged her to go home one day when the weather was clear and rain wasn’t in the forecast. Three hours later a storm rolled in that knocked out power for most of the town and brought down some of the bigger trees. 

“What’s the game plan, Twister?” Sheridan asked you. Casey Sheridan was one of your partners in the field. The man was a trained first responder, volunteering back home with the local EMS. You had a small team assembled, all with the goal of studying storm systems to advance the science communities understanding of them.

“Thanks to our generous benefactor, we don’t have to pull a Jo Thornton and get right up with the tornado. The AI system will control the flight of the probes into the tornado and give us perhaps the most comprehensive data to date. The more storms we do this with, the more complete the data set becomes. Even if the probes become damaged entirely, the data will hopefully transmit. They have a home base they’ll return to and enough energy for a three day trip. Thanks to Stark we have them,” you explained. 

“I hate that we work for a billionaire,” Deacon grumbled. No one was fully sure of what Deacon’s real name was. You knew it because you hired him. He adopted his nickname from Fallout 4 and stuck with it.

“We don’t work for him Deacon. We’re an independent group of scientists with funding from Stark Industries…there’s a difference,” you argued. He raised an eyebrow in your direction.

“Potay-to, Potah-to, Twister. Stark pays our bills, and I for one say, eat the rich,” Deacon replied. You shook your head at him. 

“Well when you’re done plotting how you’re going to overthrow the bourgeoisie, I need you to finish a last check on the probes, Deacon. You know. Your job,” you said. You saw him roll his eyes and laughed to yourself. 

You had two modes of transport. The van followed the pickup truck. The probes would be launched from your truck closer to the tornado. All you had to do was press a button on a remote you had in the cab of the truck. It was the first time the probes were going to be used. Up until then, your research had depending on distance analysis and observing the damage after a storm.

“National Weather Service just issued a tornado warning. It’s go time. Radar indicated rotation about two miles south,” Cody said. She was your eyes and ears on almost everything. She and Casey worked together tracking the radar and any warnings. Your main job was ensuring your team stayed safe and analyzing the data that came in. 

You had a degree in meteorological and atmospheric sciences. It was your passion. You had graduated from Cornell and had your master’s, with a dream of getting your PhD eventually. Your encounter with Tony Stark had changed your life for the better. 

Anxiety was setting in as you and your team headed south toward Lynchburg. You had a good idea of where the tornado would touch down based on the radar imaging. Cody and Casey remained in the van with Deacon driving. You were on your own in the pickup. You always worried going into a storm. About your safety. About the safety of your team. It was only natural.

“FRIDAY what’s the radar looking like?” you asked the AI as you drove. Tony had outfitted your truck with access to FRIDAY. You argued at first but she was helpful in a pinch. He had done a lot to add protection to your truck and the van. You knew he worried about you, which still shocked you. 

“There is rotation approximately a half mile south,” she said. You nodded to yourself, and opened up the comms, another gift from Tony.

“We’re about a half mile out. There’s definite upward motion on that cloud up ahead. Pull off to the left coming up. We don’t want to get too close to this thing,” you said.

“Rain. We need to be ready to move. If this thing is rain wrapped,” Cody said her voice trailing off. 

“Looks like we’ve got touch down. I’m deploying the probes. FRIDAY’s sensors will guide them toward the tornado,” you said as you pressed the button. You watched as the probes flew off toward the storm, praying they worked. When confirmation came from the team you had silent moment of celebration.

“Twist, I think we gotta go, this thing is going to come up toward us and we don’t want to get caught out,” Casey said.

“Copy, Sheridan. Let’s continue moving to the south. We can avoid running into it and still gather images. Keep your eyes up Deacon, you never know when something will pop up,” you said. 

You drove forward, keeping an eye on the storm as you tracked it’s path, doing your best to judge what a safe distance was. You didn’t expect the debris that knocked into the truck that made you swerve off the road and flip. 

——————————————————————————————————–

Tony was pacing around the lab. Bruce was doing his best to reassure Tony. Most of the team had never met you, but Bruce had. Your innate curiosity always managed to turn things around and diffuse the tension when Bruce and Tony would argue.

“We have a problem,” FRIDAY said, breaking the tense silence.

“What’s going on?” Tony asked, trying not to sound panic.

“Sensors in her truck indicate that there was an impact and the truck has flipped on its side,” FRIDAY said.

“Is she alert?” Tony asked.

“In and out, sir. I will patch you in to their comms,” the AI said. Tony knew as soon as he was patched in.

“Status report,” Tony said.

“Christ Stark a little warning,” Sheridan snapped.

“Noted. Now, status report,” Tony said.

“A piece of debris hit the pick up. We were about one hundred feet back. She went careening off the side of the road and the truck flipped. EMS ETA is about ten minutes. She’s been in and out of consciousness but there doesn’t seem to be major external injury,” Cody replied. 

It didn’t take Tony long to get to Virginia, not with a quinjet. He was grateful to have Helen Cho on his payroll now, because as soon as you were stable, you were going to the compound, no arguments. There were few people Tony cared about on a deeper level. You were one of them. 

“Kid’s in surgery, but the doctors think she’ll be fine,” Tony said. He called Pepper as soon as he had news.

“She won’t be happy about being dragged to the compound,” Pepper pointed out.

“Tough. She needs to recover, not be out on the next chase. Her team agrees. They’re all going on vacation to be with their families, no argument. She needs to rest. And we both know she won’t do that if she’s not at the compound,” Tony said.

“You’re on your own then. Because we both know she’s not going to like it,” Pepper said. Tony sighed. 

“She’ll be on board when I give her free reign of the lab,” Tony said.

After talking to Pepper it was a waiting game.Tony had to pull serious strings to be able to see you. Your family was hours away and they weren’t going to come. He knew that. If you were awake, you’d know that. It had been that way for a long time. Another reason Tony worried about you, why he looked out for you. 

“Hey kiddo,” he said once you were awake. 

“Tony?” you asked, your voice raspy. 

“Yeah. You had a bit of an accident,” he said. He watched your expression change as the memory of what happened came back. You groaned. He wasn’t sure if it was in pain or annoyance.

“How’s the truck?” you asked. He snorted. 

“I’m having it brought back up to New York. Too much Stark Tech in that thing to let it go to a salvage yard,” he said.

“So it’s totaled?” you asked.

“Afraid so, kiddo. Gert is no more,” he said. You had named the truck, something that amused Tony to no end. 

“And the others?” you asked.

“They’re fine. A little shaken, but fine.  The van’s coming back up to the compound too while you recover. Your team is taking time off too. Visiting their families,” he said. You looked at him. He knew an argument was brewing. It was prime time for tornado season. You didn’t want to miss it.

“Tony,”  you started to say. He shook his head.

“Kid, you broke your leg. You’re down for the season. You need to rest and recover,” he said.

“But you have that cradle thing,” you argued.

“That we only use for life threatening injuries or if we desperately need someone back in the field. There’s no shame in letting things heal the old fashioned way,” he said. 

“I need to be back out there,” you argued.

“No. You need to rest. Your team needs time to rest. They thought you were a goner, kid. You’re lucky it seems to only be a minor concussion and a broken leg,” Tony retorted. A nurse soon came in, ending the standoff between the two of you. It wasn’t long before you were being brought up to the roof, where a quinjet was, and loaded in to be brought to the compound. Tony hadn’t come alone.

“Romanoff, meet Jo Thornton. I think you two will be spending a lot of time together,” Tony said. You glared at him.

“That’s not my name,” you snapped before offering your real name up. Tony had a habit of calling you by the name of the main character from Twister. You preferred the nickname Twister or Twist, if for no other reason than it being the nickname of a character from Rocket Power.

“Well, you know what they say Dorothy. There’s no place like home,” Natasha said as the aircraft began making its descent. Tony had opted to pilot it, leaving you to get acquainted with Natasha. You had a feeling she was one of the people Tony was going to rope into looking after you. 

You allowed yourself to relax and drift off into a light sleep, dreaming of your next chase and the thrill that came with it. 

[salemsarc]

i’m not even my own - ao3

It was rare to have anyone other than Tadashi watching Kei’s games.

Kei was running off of a slight adrenaline high walking off the court. The Sendai Frogs had just won against a formidable rival, and Kei was a part of that team. Warmth pooling in Kei’s gut didn’t disgust him anymore, he accepted his passion for volleyball long ago.

Before the match, Kei was opening his texts before confining his phone to his gym bag for the duration of the game.

From: <3Tadashi<3

good luck tsukki !! i’m in the front row

A smile crept up onto Kei’s face, which surprised some of his teammates who were glancing around the locker room. Sure, he was a lot less cranky since high school, but he was nowhere near Hinata’s level of enthusiasm. Kei only sent a short reply to Tadashi before he was about to turn off his phone, another text had caught him off guard.

From: Akaashi

Hey. I’m watching your game. Can we hang out and talk after?

Kei didn’t pretend that those words on the screen didn’t cause him some unease. It wasn’t like he wasn’t on good terms with Akaashi, rather the opposite. They texted frequently (under Kei’s standards) and still made time to go out to brunch or watch a movie occasionally. Just slightly strange that he would request to see each other so suddenly, especially right after one of Kei’s games.

Now that Kei had thought about it, Bokuto didn’t have any games for that week. Akaashi attended every one of Bokuto’s games, the beefcake claiming that Akaashi was his good luck charm. That man was a saint for being able to deal with Bokuto’s antics on such a frequent basis.

Thinking time was over, one of Kei’s teammates slapped his shoulder roughly, causing his phone to clatter to the floor.

“You can text your girlfriend later, Tsukishima,” said his teammate with a teasing lilt in his voice.

Girlfriend, sure. Kei picked up his phone from the ground and shoved it into his bag. He could worry about Akaashi later.

Tadashi was waiting for him, of course, right outside of the gym. Kei’s teammates were still inside, probably doing some stupid locker room ritual that Kei had no interest in. The way that Tadashi’s irises were sparkling in pride still made Kei’s insides swirl around.

“Congrats, Tsukki!” Tadashi threw his arms around Kei’s lanky body despite the fact that Kei was pretty sweaty. “You kicked their asses! God, I’m so lucky to have such a cool boyfriend.” Kei’s insides swirled a little harder at his words.

Tadashi followed up by pressing a chaste kiss to Kei’s lips, having to go onto the tips of his toes to reach his excessive height. Kei didn’t make any fuss because he was feeling particularly sappy for Tadashi at that moment, and his teammates probably weren’t around.

“Yeah, well, everyone else also played the game too, you know,” teased Kei.

“I hate you, just take the compliment!”

“Fine, thank you for the compliment that is definitely the truth.”

Tadashi smacked Kei’s shoulder lightheartedly at that, but he knew what Kei was thinking. He always did.

“Oh! I was sitting with Akaashi during the game, are you guys going to hang out now?” Kei didn’t pay any mind to the stands during his games, regardless of Tadashi’s presence. But he did remember getting a brief glimpse of Akaashi’s emotionless resting face.

“Mm. He said he wanted to hang out and talk.” This time, Kei tried to hide his unease.

“Stop worrying so much, he probably just wants to catch up.” Hiding was pointless.

“He’s by the parking lot, I’m going to go now.”

Kei chose to ignore Tadashi’s remark on his nervousness and instead leaned down to slot their lips together. He held it there for a few seconds, just to be safe.

“Oh, wow, Tsukki. This bold in public? I’ll be waiting for you when you get home!~” Tadashi made a point to drag his pointer finger down Kei’s chest before leaving. His finger carved sparks and tingles in its path of destruction.

He should go find Akaashi.

Akaashi was, indeed, waiting for him at the parking lot entrance. He was by no means short, standing only seven centimeters below Kei’s own stature. But, the jacket he was wearing (or vice-versa) made Akaashi appear Tadashi’s size.

“Ah, Tsukishima. Thanks for agreeing to this so last-minute.” Akaashi had peered over his phone to regard Kei.

“It’s not that big of a deal. I would have just spent some time with Tadashi,” uttered Kei. He didn’t include what he thought that time would ensue, he also chose not to think about it.

“I feel bad for interrupting your time with Yamaguchi, are you sure this is okay?” Akaashi asked. He was shifting his weight back and forth between his legs. It made the oversized jacket sway back and forth, and make a small sound when the zipper collided with a nearby car. Akaashi looked nervous about something and it made Kei’s insides swirl in the opposite direction.

“It’s fine. Seriously. I spent a lot of time with Tadashi as it is,” They did live together, after all, “I don’t mind going somewhere with you for one afternoon.” He couldn’t make his face look any more pleased, as much as he tried. Kei prayed that Akaashi would pick up his sentiment so he wouldn’t have to admit it himself.

“Okay, thank you,” Akaashi’s lips curled up briefly before he showed Kei his phone screen. “Can we go here?” It was a small coffee shop he went to with Tadashi on occasion. Kei simply nodded before beginning to navigate.

Almost no time had passed when the two boys arrived at the coffee shop, it was only a small walk away. Upon receiving their drinks and Kei’s slice of cake (It was most definitely for Tadashi, not himself, grump master Kei would never consume sweet, sugary confections.), they found a table to sit at.

“You did a good job today. A lot of your blocks only had a brief window of decision, I admire your analysis,” complimented Akaashi.

“Coming from you, of course. I’m sure you overthink how you tie your shoes.”

Small talk felt empty when it was obvious that another matter was gravely present. Akaashi just chuckled before taking a long sip of his hazelnut coffee. He took a deep breath.

“Actually, I wanted to ask you some things,” muttered Akaashi while he threaded a hand through his obsidian hair.

“I assumed as such. Why else would you voluntarily spend time with my joyful demeanor?” The sarcasm came from Kei as deadpan as ever.

“Do you mind if I ask something about Yamaguchi?”

“Not really, no. Unless it’s something weird and perverted.”

“How did you realize you were in love with him?”

The question cut through the tense air like a dull butter knife. Kei certainly wasn’t expecting such an emotionally-charged question from Akaashi. Did he want romantic advice? That wouldn’t be like Akaashi, it had to be deeper than that.

“I guess it was right before graduation. Tadashi was really upset over leaving the volleyball team, especially as captain. I didn’t really mind, but I suddenly felt myself feeling upset because Tadashi was. It was when I realized that I didn’t have some silly crush on Tadashi for all those years, but that I was just in love with him.” Kei recalled the moment as if it had happened the day before.

“In hindsight, it was stupidly obvious how in love with him I was. All the signs were there. Even the dumbass freak duo figured it out before I did.”

Akaashi was listening intensely when Kei met the boy’s eyes once again. Now it was clear why Akaashi asked him to hang out, really it should’ve been a lot sooner.

Kei thought about how Akaashi’s mood dropped whenever Bokuto would go into his emo mode during a game. He hid it extremely well, but Sugawara had pointed it out to Kei once, and he never unsaw it. Akaashi’s sets were still precise as ever, but the way the ball sprang off his fingertips made it feel like Akaashi was the one getting his spikes constantly blocked.

“What signs.” Akaashi asked immediately with a sideways cough right after.

“I would sacrifice a lot for him. Tadashi sucked at English so I always would teach him whatever he struggled with after practice, no matter how much work I had. In general I gave all of my free time to be with Tadashi. What’s that song? If I had to choose between him and the son, I’d be one nocturnal son of a gun. As embarrassing and nauseatingly cheesy as it sounds, it’s true.”

Kei thought about how many plans Akaashi cancelled to go to Bokuto’s games. He would always provide the same reason, that he had to be there so Bokuto wouldn’t go into emo mode. Tadashi asked Kei if he was being held at gunpoint.

“The jealousy, too. Sometimes girls would confess to Tadashi after school, and he would come to practice feeling self-confident, but still describing how bad he felt for rejecting their feelings. I was happy that he felt more confident in himself, but some ugly part of me wanted to kiss him right in front of those girls. I guess showing them that Tadashi wasn’t available. But he was. I didn’t want Tadashi to date anyone. Turns out I didn’t want him to date anyone that wasn’t me.”

This time, Kei didn’t think about Akaashi. He thought about Bokuto talking to him during the training camp. A girl confessed to Akaashi that morning and he responded with a simple rejection. Kei may be taken, but he sure isn’t blind (with his glasses). Akaashi was really fucking attractive. It was surely a common occurrence but Bokuto was still dejected. Bokuto didn’t bring his voice volume above a respectable level the entire morning. His mood brought down the whole warm-up. Even Kei felt his arms stinging just a little bit more from the ball.

“Oh, okay. That was really detailed.” Kei had finished his answer and met eyes once again with Akaashi. He appeared more somber than anxious like he had before in the parking lot. Dark eyes were zigging and zagging to find some imaginary answer in the coffee shop.

“I mean, you asked. So, I answered.”

“Yes, I guess I did. Wow.”

“Did that help you realize that you’re in love with Bokuto?”

It was a little too blunt, even for a person like Kei, but he felt like he needed to state the everloving obvious. Akaashi’s eyes blew open like saucers and his mouth stood slightly agape. Only for a fleeting moment, however. He quickly composed himself into emotionless-Akaashi-mode and took an even longer sip of his now cold coffee to solidify his composure.

“Yes, it did. Thank you Tsukishima,” stated Akaashi flatly.

“No problem. When are you going to tell him?” Kei had no desire to press further into Akaashi’s personal feelings.

“I’m not. I can’t.”

Akaashi’s visage was inflicted with a familiar pain. Kei had felt the same emotion himself, he saw those cracks festering onto Akaashi’s state of mind. He could see the doubts swimming into Akaashi’s eyes that would leave him dizzy and longing.

“Akaashi.”

He met Kei’s gaze, and promptly gave in. Akaashi was not about to start crying in a coffee shop where he could feel the stares of a family behind him. Instead, he spilled out all the thoughts that were imprisoned in his mind.

“It’s the classic ‘ I don’t want to ruin our friendship! ’ kind of deal, I know. In the stories and movies the person ends up confessing anyways and of course, the other person feels the same way because this is a romance, coming-of-age movie after all! But this is real life! Just because it worked out for you and Yamaguchi doesn’t mean I get a happy ending too!” The subtle jab at the end, most likely unintentional, made Kei feel a dull guilt.

“I’ve known that I’ve been in love with him, I wish I was that stupid. This was just my reality check. I go to all of his games no matter what, just because he wants me there. Do you know how much I’ve missed out on from loving him? Koutarou could ask me to give him the world, for fuck’s sake, and I would do it. Yet, I feel like throwing up every time he asks me to set to him with that godforsaken confidence in his eye.”

“Yes, I’m in love with Bokuto, but I can’t fucking live like this!”

Kei had never seen Akaashi express so much emotion in his years of knowing him. It was more than every year combined. Kei cursed the emptiness he felt. He couldn’t understand what Akaashi was feeling.

Venting his emotions did nothing to stop the tears already dripping down Akaashi’s face. Upon realizing this, the setter shamefully wiped the wetness from his face with his jacket sleeve. No, Bokuto’s jacket sleeve. The player gave it to Akaashi the previous day because it was cold outside and Akaashi didn’t bring anything to keep him warm.

“Keiji! I can’t let you get sick! I would be a terrible person if I let you suffer like this,” screeched Bokuto. The same excitable man ended up getting sick and Akaashi took care of him because he felt guilty.

An uncharacteristic hand grasped Akaashi’s shoulder. Kei had reached out to him, just like that. Akaashi couldn’t help but halt his downward spiral and look up in complete surprise.

“Just tell him. If he rejects you, whatever. Then you can get over him and stop giving him everything. If not, then there you go.” Kei said firmly.

While it was just a hand on his shoulder and some words of common sense, the gesture being from Kei created a new level of authenticity. Kei felt uncomfortable as all hell for doing this, but he couldn’t watch Akaashi dig himself into such a deep hole. It was by no means a gesture of comfort, but rather of desperation.

“Text me how it goes, okay?” Kei moved to get up and leave. He felt terrible for leaving all too suddenly, but he knew this wasn’t his area of expertise.

Akaashi understood.

Akaashi picked up his emotions that he had scattered all over the table and neatly put them back inside of his head. He dusted off the crumbs of emotional vulnerability from the table. It was a moment of instability, but Akaashi had managed to pack it all down. No more troublesome Akaashi burdening his friends with his useless feelings. Everything was back in its rightful place in the universe.

“Goodbye, Tsukishima. I hope you have a wonderful rest of your day.”

[kitsoa]

So, about your Theory ...

So, we talked on Reddit a while ago, Kitsoa, and I have some more thoughts about your theory. It’s more rambling and longer than what I previously intended – my apologies for this.

Kitsoa- Hello again! I’ll reply in brief through quotes though I’m not interested in doing a solid defense of my theory. Mostly it’s a lot of creative stretching using the crumbs of the narrative and I’m not feeling particularly impassioned to bring out the counter citations nor do I think it necessary.

Also: I have written and re-iterated upon this meta theory of mine multiple times so if I am not referencing the correct Original Post in question that’s probably because I never bothered to do a big manifesto and I will take the fall for that confusion.

It’s certainly very interesting but parts of it seem to not only be unsupported but outright contradicted by the games. For instance, take your surmise that Xehanort’s villainy is motivated by his knowledge of the KH world as fictional and his self-knowledge that he has to play the role of the villain to create a conflict and thus sustain the universe. His actual speech in Re:Mind after Dark Road’s world tour points to something else:

“All around the world people live seemingly peaceful lives. They believe themselves to be moral and virtuous, but it’s all an act. Darkness lurks in the pit of everyone’s heart. Their light is a total farce. Those who are weak, and who desire greater power, simply strip the strong of their power, and convince themselves they’ve earned it. That’s how people become tainted by darkness. They believe what they want them to believe, using hollow reasons as justification. They repeat this cycle, and their darkness grows. No, its better they be ruled by darkness. People carry delusions of having power, but it’s a lie. They are but sheep pretending to be wolves. Though I can admit, I can understand why.”

This edgy little diatribe isn’t about the nature of the universe or Xehanort’s own origin … it’s about his view of human (or talking animal, w/e) nature. It’s a similar theme to his final speech in KH3, and ends not with him concluding that he needs to play the role of a villain to create conflict ,,, but that to prevent the KH universe collapsing into chaos, he needs to become its absolute godlike ruler. Which is what sets up the conflict, yes, but his goal isn’t explicitly to create conflict to keep the universe going.

Re: Xehanorts motive aligning with a meta-awareness on his ‘role’ as a villain. This is a theme I was definitely playing with. Xehanort is clearly symbolic of the corrupting pursuit of knowledge and we have a god-like encounter spark stranger behavior yet. It’s a fascinating trope yes? Corrupted by the Truth. Saving the world by sacrificing the world. That was my angle. The World Tour from Re:mind had him summarizing his villainous disdain and I’ll agree that it gives him no direction towards a ‘role’. But I also take note of the fact that this enlightenment comes directly from the actions of the chessmaster MoM who could feasibly manipulate Xehanort towards a conflict-sparking war. If Xehanort isn’t directly and consciously responsible for fulfilling the metacontextual requirements for a ‘story’ then MoM is. And as I’ve stated it probably comes from a more experimental god-mode type motive.

And again, your argument that time doesn’t really exist in the Disney worlds until Sora arrives and this is related to them literally being stories that he’s diving into. I don’t know where you get this from, at all. We go into Disney worlds and experience plots unrelated to the films (KH1 Olympus, Halloween Town); we go into Disney worlds in medias res (too many to count); we go into Disney worlds before the movie’s events take place (BBS Deep Space, Neverland); we even go into Disney worlds in-between or after the movies’ events (KH3 Toy Box, San Fransokyo). Which rather gets in the way of a simplistic “Sora arrives in the Disney world, time starts flowing forward and the movie starts” look at things. You’d previously characterized this as “every world has its unique story” which IMO would be a more reasonable way to look at things rather than the stronger “the worlds literally are the stories and nothing else”.

I’ll defend this a little. The entire concept of the Worlds as Stories demands only that we recognize a higher reality. A reader/audience/ creator relationship with the happenings. When I say ‘time doesn’t exist’ I’m saying it doesn’t matter. The only thing that does matter is the time spent there by Sora (or his subsidiaries). Time is going to move between visits but not at a pace that runs independently of Sora (and co). And all of the events within those worlds are unique to the source material-- on the virtue of having Sora. But when I say the worlds are the stories, I mean it... metaphysically. The relationship between the greater kh multi-verse (and no greater) and these literal planet world island things is that of stories given form. Most all of my KH musings come from the very simple concept that formless metaphysical concepts like love, bonds, imagination, memories etc are literal, tangible things. Tangible. In this, Worlds are not so much another universe equal to other universes. They are a story, fictional and potentially subservient to a greater reality. It’s only from that understanding that I add the extra layer upon KH (and Quadratum by later extension) itself. 

The exact logic behind this reasoning is cyclic. KH is a fictional story to the literal higher reality (us) and seeing how there's a parallel within the narrative, I just applied that logic within the universe and used my understanding of the ‘literal metaphysics’ theme going on with other lore concepts.

Power of Waking ejecting Sora into “real reality”: This analysis is based on the idea that Sora is “waking himself up” out of dream states until he “wakes up” out of KH reality into “real reality”. But YMX tells him (and implicitly us, via the conventions of this kind of villainous exposition) that Sora is repeating the same error he made in 3D and sending himself into the abyss at the bottom of the Realm of Darkness, not doing the opposite thing and “waking himself up” out of KH reality.

I’ll just punt Power of Waking stuff. There is a lot of stuff with the power but I take most of the speculation from the name and the results. There’s a big interweave of darkness that can support or deny my thoughts within the next sentence and I’m electing now to wait and see. Sora abuses the power of waking-- ends up in another reality. Waking--> realities--> dreams--> sleep. Run with the word association. I like to think the ambiguity with sleep and the darkness of abyss has more to say about the nature of reality as a whole ergo: “everything is a dream” concepts that are hard to swallow. What is waking up, if you find yourself deeper in sleep? Nonesense stuff like that.

MoM as Creator of the KH universe/Quadratum as the “higher reality”: Not only is he presented as a clear villain figure; given that the rest of the Foretellers are based on the Seven Deadly Sins, MoM as their leader would clearly represent the sin of pride. We also have him saying in Back Cover that he “might” disappear from the KH world, suggesting that it was beyond his control; and Luxu’s report suggests that the KH3 Keyblade War was engineered to open a means for him to return to the KH universe, presumably via Sora going to where he is in Quadratum/”unreality”.

I believe strongly in this still. MoM can be a villainous figure and at the mercy of universal laws while still being the Creator and denizen of a higher plane. I try not to dig into scenarios too much but follow me here: Creator of the world, literally self-inserts himself into a world of his own creation. He’s a verified Mad Scientist who of course likes to experiment and test his creations and he does so directly, physically, to them. There, he put them on auto-pilot and is watching Characterization carry on. I am not claiming that he is breaking the rules of his own universe and traveling in and out with ease. Nor am I saying if he is exercising any sort of Creator-granted power over their will. He’s there, he’s interacting with them, and he’s watching them. I find it to be an intentional obstaining of power. Self imposed limitations OR an understood sacrifice for this meddling (think, giving up ‘divine’ form to live amongst his ‘mortal’ creations in divine parallel. he is at the will of his universe but not out of control.)

When he says he ‘might’ disappear not only is he being vague on purpose to terrorize his high-strung apprentices but he’s made no indication that it’s something against his intention. And the actions taken by Luxu in formulating his return mean nothing to his plan or his ability or his potential Creator status. I can’t stress how Long Game I perceive MoM’s actions to be. All in the effort to observe, toy, and curate the perfect... something. And since I am talking about the literal nature of stories, I mean the ‘perfect’ story.

Also, we may note that if it was truly a “higher reality”, Quadratum wouldn’t be noted as the fictional Verum Rex video game in KH3 – there’d be no explicit sign at all of its existence, as it would be the higher reality generating the lower one. Which suggests that what may actually be the case, if the series is going meta, is that KH-verse and Quadratum view each other as fictional – in which case MoM would be somebody falsely claiming or believing to be the Creator, which makes sense in relation to the sin he represents.

Not that I’m saying KH-verse isn’t generated by a higher reality/being; but I don’t feel that the higher reality is Quadratum or that the higher being is MoM. There was a fairly interesting post on Reddit comparing KH to Plato’s world of the forms; in which case Kingdom Hearts would be the higher reality from which both regular KH-verse and Quadratum are generated. Or “unreality” really is a “lower reality” than the regular KH-verse, which TBF seems a bit less likely than “’reg. KH-verse’ and ‘unreality’ view each other as mutually fictional but are actually ontologically equal”.

I think my theory posts predate most of the Quadratum reveal so the details of the reveal haven’t been accounted for in my words but I did call it when breaking down Remind’s Yozora scenario. That said yes, I think there is a higher reality and I feel like you mentioned it outright. I see KH and Quadratum as equal fictional realities, segregated but connected through creator. Some of my earlier meta posts before re:mind saw Quadratum as the “higher reality” (or like “host reality”) until the presence of an author between them became apparent enough. We can potentially consider MoM=the author as a separate subject in this respect as it’s not entirely dependant on that reveal. Ultimately, my point in this caveat of the theory is that the relationship between KH and Quadratum strikes an intentionally meta-referential parallel to the actual creator Nomura. That’s an angle that is very audacious and I have full understanding in the denial but it’s my supporting evidence to a higher power within the re:mind secret episode alone.  As for the ‘unreality’ I literally think that is just a way for them to say ‘fictional’ without saying the word, not necessarily an indication of ‘rank’ (for lack of a better word). I use a little reverse logic on the reveal in Melody of Memory when I claim they are ‘equal fictional realities’. No one thinks to assume that they themselves are also “fake” so it;s not a stretch to believe that the reverse assumption could be true. This putting KH and Quadratum on the same level and almost guaranteeing a connection through a mutual creator. 

Now, you also talk about the Whispers in FF7R, but in that they’re in-universe contextualised as “guardians of destiny”, essentially manifestations of the Will of the Planet. Which just goes to show what I talked about earlier – the meta-level of a story can’t exist without a surface-level narrative. We know that the Whispers out-of-universe represent fan anger at changes to the plotline; but they’re presented as something in-universe, which can be defeated by in-universe forces (another reason I doubt it as it seems to leave no room for our heroes’ victory in the confrontation with MoM that’s being teased as the next saga).

I bring up the Whispers to note a synonymous use of the words ‘destiny’ and ‘fate’ to ‘story and ‘narrative’ Not explicitly of course, that would break the 4th wall, but its a subtext that's easier seen in a ‘remake’ because of direct references and deviations being drawn. I think the same synonymous use can be applied when brought up in KH because of their common creative entity.

Finally: How do you see this “metapocalypse” of yours playing out as an actual KH game? We know the conventions well enough by now – a trip through Disney worlds fighting monsters and villains in flashy shonen-style combat, being stalked and looked over ominously from afar by a council of villains with mysterious schemes. Then an invasion of the villains’ lair by the heroes with a final serving of flashy, SFX-heavy boss battles, a number of dramatic plot twists and arc resolutions, and an ending with the villains’ schemes having been at least forestalled. Then we get the ending credits; with an epilogue, a superboss and a secret ending all hinting at more to come.

Well I’m glad you asked! Honestly, I’m basically writing a fanfiction about it. I’m writing the story in part to engage some of these theories/speculations into a serviceable game narrative. So I’ll be vague:

Thematically: This breaking the 4th wall has the power to thematically drive home concepts of free will, defining your personhood and defying expectations. Furthermore, you have questions like... what makes something real? What makes it matter and what’s important? With growing up and the sanctity of youth being a constant struggle as the series and the characters age, the reverence in imagination and growing connections to things that aren’t stereotypically ‘real’ is a strong concept. If I were to break down the big message simply: As long as it’s real in your heart it doesn’t matter.

Overall, the reveal doesn’t really have to impact the basic formula. You can have Disney World Hopping and Villainous characters scheming and manipulating a greater force. I personally think the world-hopping parallel can become more direct with the context of it being movies/stories adding a different understanding of the process of visiting those worlds and meeting those characters. The episodes can be more about fate and predestination and can speak directly to the importance of the connections to those worlds. And the dramatic stakes are the literal threads of reality and godhood! 

If I am to be more detailed and imaginative (without substantial evidence)  I might say... MoM’s experiments in manipulating his own created world(s) are aiming to shape Sora (or 2nd favorite son Yozora) into some kind of perfect conduit for the marraige of reality and fiction and the success or failure of that process might weaponize his ability to connect with other hearts... real and not, all to the greater ascention of one chessmaster. 

(That’s not even mentioning how I have a personal reason to dislike it as it reminds me of an old theory that the KH plot was actually SRK imagining it all up in their childhood games or to put a darker twist on that idea, Sora dreaming it all up in a coma or while dying. I hated reading those ideas when I was younger and still do.)

I’m gonna sympathize hard with this. I hate ‘it was all just a dream’ theories. They are cheap and they trivialize the journey. That is not what this theory is saying. There is a higher reality in this concept and that is used as a proxy for our relationship with the series. The imagery of dreams is only a small facet of the reality/unreality theme so there is no ‘waking up’ or ‘end of story, goodbye’ attitude. The commentary is broader and it can potentially speak on the power of dreams and reality. The ‘realness’ of fake things. I’m sort of calling out KH for what it is: an imaginative story that expands upon what it means to truly experience stories.  Anyway, I rambled more than I thought. I haven’t written anything about KH in months so this was a little caffine shot for me. I’m not gonna be too stuck in the details and nor do I care exactly. I’m a story teller first and I just so happened to have predicted some things not so much because of the hints being dropped but because I understand some of the thematic intent behind the lore and certain narrative beats. The rest is just me having fun and finding the best reading. Sometimes I’m right.