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ivesambrose · 5 months

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𝐘𝐨𝐮𝐫 𝟐𝟎𝟐𝟒 𝐌𝐞𝐬𝐬𝐚𝐠𝐞𝐬 🥂

1. 2. 3.

Do I dare ask how 2023 has been for y'all?

Pick the image you feel the most pull towards or have been seeing around you a lot, if you feel drawn towards multiple, so be it. 🤍

To book a personal reading with me DM or email me at [email protected]

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Thank you for the tip 🌹

𝓟𝓲𝓬𝓽𝓾𝓻𝓮 1

Your central theme is rising from the ashes. You're in the process of the most intense metamorphosis yet. A new dawn, a new day, a new life.

You'll feel empowered, passionate and obsessive about your pursuits. You'll allow the old skin to be ripped off of you and you'll no longer be scared to be you.

This year brings you connections, admires, collaborations, unions both in personal and proffesional life.

There's a certain duality in you that you haven't explored yet, but you will in the coming months.

You'll have good health for the most part compared to the previous year. Your family will be taken care of. The hope and assurance you may have lacked from them will come through. It will feel warm and refreshing. (Goes for chosen family too)

Romantically, you may be focused on your career or just living your life a lot. But someone might want to build a legacy or long term relationship with you.

If you're already coupled, the focus goes to building what you have and looking after domestic affairs and see things bloom.

Proffesionally, you will have your most successful and blessed year. Money shouldn't be a problem and even if it seems like it, your needs will always be met and you'll still have more.

Some of you might enjoy ghe fruits of your labour extensively. This goes for the ones who work solo or run their own business etc

Academically, you might feel a bit disinterested. Might move out from your home or change subjects. Take up something completely new. Might face your fears and push through but make it a point to follow your inner calling for the most part.

Themes centered around relationships and partnerships are significant this year as well opportunities coming out of the blue that call you to heed your intuition and step out of your comfort zone or limiting mindsets, that will inevitably lead to travel, progress and new experiences.

Make the best of this year, it'll feel like you're finally on the journey you've been preparing yourself for all this time.

𝓟𝓲𝓬𝓽𝓾𝓻𝓮 2

Your central theme is using your emotions as your guiding force, using it as fuel and not seeing it as weakness. Quieting your mind so you can listen to your instincts more. Healing from things you don't speak of, that you've felt have persistently held you back from your potential and finally taking the lead. You'll feel like the main character in your life finally, instead of seeing everything through the lens of a side character no one remembers.

You'll feel motivated to follow what makes your heart happy. You may be faced with choices a lot this year, a lot of this or that in several aspects of your life. Trust yourself to make the right decisions.

You'll be learning about your mind and body this year, so incase you go through ups and downs in your health you'll be able to manage it but also guide others too.

Romantically, you might as well get your happy ending. I see that you're mostly focused on the complete picture. Not bothered with what is going on in between too much. So you'll get what you're manifesting eitherway.

Proffesionally, a rebirth or evolution will take place. Something new that will grow overtime. You'll be driven about it. So success will be imminent.

Success in academics as well, feeling proud of your achievements.

Themes around revolution, personal development, healing generational trauma, humanitarism, technology as well being open to the unknown will also be prevalent this year.

Learn to make amends and embrace the breakthroughs this year has to offer you.

𝓟𝓲𝓬𝓽𝓾𝓻𝓮 3

Your central theme is related to wealth, inheritance, change of lifestyle, receiving help, building a legacy and feeling more secure. Some of you will see a success or change they did not see coming, it was hidden for the longest time.

Some of you may even be leaving poverty behind for a more financially secure life.

You'll find yourself blooming, physically especially. A glow up in your looks and quality of being is going to be imminent. Focus on health, beauty, food, routine etc as well. A lot of you will be experiencing vivid dreams, strange synchronicities etc too will be learning about esoteric subjects, occult or the subconscious mind a lot. You'll also be receiving success and recognition or you might be building your steps towards it that will eventually pay off in the long run.

You'll feel like this old self or image of you has died. You may even mourn it for some time but will feel more powerful, confident and self assured once you're past that.

Romantically, you'll be feeling desirable and might attract a lot of suitors. Your self concept will improve exponentially, so will your standards. So nothing less than what you want. Your intuition will be at all time high. Fear no one and nothing. Some of you might also be moving to a new house too or might end up owning something in your name.

Proffesionally, although you might deal with competition you won't be too worried. You know your skills, you'll have your resources, your work will speak for it self and you will stand out.

Friendship, community, discoveries and gains are also some of the themes surrounding you this year.

Let your imagination create for you. You'll soon realize there's so much power in allowing yourself to receive what you desire by simply being instead of doing too much.

#free readings #tarot community #divination community #pick a card #pac #pick a pile #pick a picture #2024 messages #2024 pick a card #psychic readings

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aroaceleovaldez · 8 months

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reminder that the only reason the "ADHD is actually demigod BATTLE STRATEGIES" and "dyslexia is DEMIGOD BRAINS HARDWIRED FOR ANCIENT GREEK" things exist in the PJO universe is because it's a very direct reference to early 2000s teaching/parenting techniques for neurodiverse and disabled children, which aimed to frame childrens' disabilities and hardships as a "superpower" or strength so that the children would feel more positively about their disabilities or situations. This technique has fallen out of favor since then for the most part since more often than not it just results in kids feeling as though their struggles are not being seen or taken seriously.

Yes, demigods are adhd/dyslexic (and sometimes autistic-coded) in the series. This is extremely important and trying to remove it or not acknowledge it makes the entire series fall apart because it is such a core concept. Yes, canon claims that their adhd/dyslexia is tied to some innate abilities, which is based on an outdated methodology. It's important to acknowledge that and understand where it comes from! But please stop trying to apply it to other pantheons in the series like "oh, the romans have dyscalculia because of roman numerals!" or "the norse demigods have dysgraphia for reasons!" - it's distasteful at best.

A better option is to acknowledge the meta inspiration for why that exists in the series, such as explaining potentially that Chiron was utilizing that same teaching methodology to try and help demigods feel more comfortable with their disabilities and they aren't literal powers. In fact, especially given Frank, there's implication that being adhd/dyslexic isn't a guaranteed demigod trait, which means it's more likely to be normally inherited from their godly parent/divine ancestor as a general trait, not a power, and further supports the whole "ADHD is battle strategy" thing being non-literal. It also implies the entire greco-roman pantheon in their universe is canonically adhd/dyslexic - and that actually fits very well with the themes of the first series. The entire central conflict of the first series fits perfectly as an allegory about neurodiverse/disabled children and their relationships with their undiagnosed neurodiverse/disabled parents and trying to find solutions together with their shared disability/disabilities that the kid inherited instead of becoming distant from each other (and this makes claiming equivalent to getting a diagnosis which is a fascinating allegory! not to mention the symbolism of demigods inheriting legacies and legends and powers from their parents and everything that comes with that being equivalent to inheriting traits, neurodiversity, and disabilities from your parents).

anyways neurodiversity and disability and the contexts in which the series utilizes representation of those experiences particularly during the 2000s symbolically within the narrative is incredibly important to the first series and the understanding of what themes it means to represent. also if i see one more "the romans have dyscalculia instead of dyslexia" post in 2023 i'm gonna walk into the ocean.

#pjo #riordanverse #percy jackson #analysis #meta #adhd #dyslexia #also this symbolism recontextualizes the relationship between demigods and their godly parents so much #particularly Percy and Poseidon and the whole ''I'm sorry you were born thing'' like DAMN that's an ENTIRE DIFFERENT IMPLICATION #honestly in general the first series' meta analogy of being a demigod as symbolism for being neurodiverse/disabled ROCKS SO HARD #that's SO COOL and im SO SAD NOBODY EVER TALKS ABOUT IT #i could write a whole essay on that alone like COME ON GUYS #can we PLEASE ACKNOWLEDGE THIS I WANNA TALK ABOUT THE COOL DISABILITY METAPHORS....#anyways i didnt proofread this cause. re: dyslexia so if it doesnt make sense dont worry about it #i can try to explain further in supplementary posts if people so wish

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open-sketchbook · 5 months

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... okay that post going around about the wind rises is fucking killing me. no, the movie doesn't go to nazi germany to admire nazi engineering. the movie goes to nazi germany, portrayed as a nightmare where the gestapo chases people through the streets, a nightmare the myopic main characters are blind to because they get distracted by the shiny planes.

there, they admire the work of hugo junkers, who their company made a deal with eight years prior. the man who will, a year later, lose his airplane business because he refused to build warplanes for the nazis, who takes the principled stand that Jiro fails to. who sees the same visions Jiro does and has the courage to say no.

the film is not fucking subtle about how germany and japan are both lurching toward a monumentally monstrous and stupid thing, a thing that Jiro just kind of ignores because he's infatuated with his art, with his planes. this is, you know, the central theme of the movie, which sees the man neglect his dying wife to draft more blueprints?!?

no, the movie does not look at the screen and go "this is a bad thing" because its not a movie for fucking four year olds, but if you think the movie ending with a character standing in a nightmare hellscape of all his broken dreams, his wife dead and country in ruins, going "yeah but we built a nice airplane" isn't a statement about that fucking guy, you've very much missed the point.

and look, the wind rises is not even, really, about history. the film is a metaphor for what it feels like to dedicate yourself to making art under capitalism. it's about how Miyazaki feels about his legacy. it's about dedicating yourself to your craft at the eve of destruction (be it World War Two or climate change driven by capitalist consumption) and knowing that the beautiful thing you are making is contributing to it. it's about the nightmare of knowing you can't control your art after you release it, disgust knowing what you make will be used to advance causes you despise.

its a complex and raw movie, a meditation on despair and pain and pride. there's conversations to be had about how responsible it is as a film, but you are not having that conversation because you are incapable of anything more that the barest surface read.

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omegalomania · 10 months

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face in my hands. listen to me. no just. just listen. like. i think on the whole fandom tends to heavily mythologize what certain songs are "about" despite this never being solidly confirmed to be the case and fob (pete in particular) generally try not to say without question What Songs Are About because they want people to take whatever meaning they can from it. but from now on we are enemies is one of the exceptions to this rule to a very limited extent and by that i mean that on two separate occasions, during the hiatus, patrick and pete shared a little bit of what the song was about on twitter, independent of one another.

if you haven't seen the film amadeus it's about a rivalry between two historical composers, wolfgang amadeus mozart and antonio salieri. salieri loathes mozart and finds him supremely childish and annoying...but also irritatingly brilliant beyond words. salieri obsesses over wanting to see mozart fail and even plans on killing him, but they do eventually form a friendship. then mozart gets sick and dies. salieri essentially breaks and loses his mind and years down the line will claim that he murdered him.

the name of the song, "from now on we are enemies," is a direct quote from the film. but it's not talking about mozart. it's a furious diatribe that salieri flings at god himself. he's so wildly and deliriously envious of mozart that he feels like this is divine punishment and so he declares god his mortal enemy for bestowing mozart with such brilliance. from now on we are enemies, you and i.

this is, i should note, one of the last songs fall out boy wrote before the hiatus. this and "alpha dog" were considered "new" for the believers never die greatest hits compendium, but alpha dog was technically debuted before folie released, on the welcome to the new administration mixtape. then fall out boy went on hiatus and there was no guarantee of return.

like i dont know what to say about this song that hasnt already been said. its fucking deranged as all get out ill tell you that much. its fucking unhinged that this song, this song with this central thesis statement, is one of the last songs you wrote together as a band before going your separate ways without any guarantee that you would reform again. and it's THIS. IT'S THIS SONG. a song that laments about whether anyone will remember you when you're gone (reminds me of flu game, reminds me of so much (for) stardust the title track, reminds me of .... so many of the themes inherent to their eighth studio album. actually.), and a song that practically lays out its inspiration for all to see. for a band that seldom if ever discloses with actual intent the Meaning behind their songs, this is a song that discusses a HIGHLY FRAUGHT ARTISTIC RELATIONSHIP and it's hard, it's real damn hard, to see anything but what is clearly all on display. composer but never composed (patrick has always considered himself a composer first and foremost). singing the symphonies of the overdosed (pete played a song that was named after the drug he tried to overdose on with his band mere nights earlier). i'm just a man on a balcony singing no one will ever remember me (again there's the fear and dread about the legacy you leave behind just before the band goes their separate ways).

can't fucking lay out the sheer psychological damage this does to my soul just thinking about this. they played MISS MISSING YOU the night before. just, you know, one of the other Songs that's so hard to disentangle from the hiatus because of the way it was written (patrick wrote the music while making soul punk, felt like it wasn't for him, and set it aside...despite there being, again, NO guarantee that the band would ever reform at this point, and then the song was only completed once fall out boy decided to come back, with joe and andy adding instrumentation and pete adding the lyrics) and whose music video features patrick and pete literally KILLING EACH OTHER. from now on we are enemies. i need to walk into the ocean. i need to lie down. im inconsolable.

#*making poasts #i need to be doing comic work but im just fucking FUMING instead. i cant get over this. im never getting over this.

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inkdemonapologist · 2 days

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My BatDR Take That Used To Be Hot But I Left It Out On The Windowsill To Cool So You Should Be Able to Eat It Now Without Burning Your Tongue

its not actually that hot, is what im saying

Anyway my BatDR hot take is that BatDR's story is not fundamentally worse than BatIM with one exception; an exception that, for BatIM, covers a multitude of sins:

BatIM has a theme.

I can't presume the intentions of the creators, but if I had to write an essay on the themes in BatIM, it wouldn't be hard to pick one out: the cost of obsession, or even just, the ruin Joey brought on the studio. In the very first chapter, Henry asks "Joey, what were you doing?" and every single thing in the rest of the game revolves around that central question: what WAS Joey doing? Each audiolog is a snippet of the studio's path to this messed up state; each character you meet is someone ruined by Joey. The major antagonists echo Joey's flaws -- obsession with Bendy as more than a cartoon, obsession with perfection, obsession with fame and greatness and legacy -- but even without that, they're also each a picture of how the lives of people caught in the path of Joey's dream were ruined by it. Bertrum, for example, doesn't match the concept of rubberhose cartoons, but as yet another person screwed over by Joey, he fits the central question of the story, so he feels like he belongs here. Ultimately, in a narrative sense, the Ink Demon isn't the story's monster -- Joey is; the Ink Demon is just the consequence of his reckless ambition.

But what's the theme or central question of BatDR?

You can... try to pick out a theme. There's some promising options, because it feels like the story WANTED a theme, stating its emotional intentions more overtly -- "there's always a choice" to leave the darkness and chose hope; family and the struggle of living in a heavy legacy's shadow; or even just good old mewtwo-brand The Circumstance's Of One's Birth Are Irrelevant, It Is What You Do With The Gift Of Life That Determines Who You Are.

I think, even WITH the clumsy execution of Joey's "arc" and Audrey's lack of real choices, any of those could work about as well as BatIM. But unlike BatIM, the majority of the game doesn't tie in. Joey's tour can be considered relevant -- a picture of the family legacy and the "darkness" that Audrey doesn't yet know she's inheriting -- but like, the audiologs and hints and environment of BatDR are mostly teasing the question of What Is Gent Up To, and the takeover of Gent is detached from Audrey's choices, her family, her legacy, and Gent never really becomes a relevant threat to those things in this game. The Cult of Amok and the Ghost Train have nothing to do with any of these ideas. It might've been neat if Audrey had ever considered, "Did my father really drive all these people insane?", a hint of actually having to wonder about the darkness in her past. Even Wilson only barely brushes against these concepts; he doesn't like Joey and he also is trying to escape his family's heavy legacy, but it doesn't really reflect on his actions and we don't find that last part out until he's about to be dead.

There's also the question Wilson poses of "real" people versus ink creations, and what counts as valid "life." It would be an interesting theme with a lot to build off of in this setting, it ties into Wilson more as Wilson seems to represent the opinion that Inky Things Aren't Really Alive, which could've tied to Audrey (as an ink-person who has yet to accept that part of herself) and maybe given Wilson a reason to think it's fine to sacrifice her, it could've even tied to Gent (who don't even seem to value human life) -- but after Wilson asks the question, it doesn't tie into the direction things go. He smooshes a little Bendy, we see hints of his disregard for Betty, and then everyone continues with their plan to destroy the Ink Demon without any further moral quandaries about inky life.

The thing is, when you compare an element like, say, audiologs, there's a lot of differences you can point to -- but I don't actually think Lacie Benton's audiolog is notably better, taken on its own, than Grace Conway's or Kitty Thompson's, and yet tons of people were intrigued enough to flesh out Lacie. None of them are big plot points or compelling characters on their own; Lacie and Grace both give us a little note on what it's like working in the Studio, and Kitty shares a little bit on how Gent's expansion is affecting people. But when Lacie talks about Bertrum trying to make a creepy animatronic, that ties back into Joey's ill-fated schemes that are the point of the whole story. The question we're asking through the whole game is "what happened here?" so the fandom is interested in who Lacie is and what her life was like and extrapolates a whole person out of a couple sentences. But that's not the question in BatDR -- what has Wilson done to the Cycle and the Demon? Why? Who is Audrey really, and why is she here? Telling us new things about the Studio's fate seems strangely irrelevant to those questions, just an attempt to create a Mystery To Speculate On like the previous game did... but what question you're asking and how it fits into your story's main theme, like, matters. I absolutely believe that one clock animator guy would've been in EVERYONE'S crew if he'd been introduced in BatIM, but the context makes a difference; fleshing him out feels less relevant here.

The explanations of how and why Wilson did everything he did are baffling and handwavey, but in and of itself that's not a worse problem than anything else in the franchise -- I STILL don't understand why the Ink Machine needs pipes in the walls or even how it works, there's no good reason for Sammy to believe the Ink Demon will "set him free," most of Alice's motives don't make sense, etc etc etc. But the thing is that in BatDR, the wibbly bit is the closest thing to a central question we have! Wilson, what were you doing? The theme doesn't really explore or connect to that question, so the explanations that are finally tossed our way feel lacking in a way that BatIM's handwaved elements don't. There's a lot about Joey's motivation in BatIM that we can't know, but the heart of it resonates -- Joey wanted something, he was willing to exploit people to get it, and he became obsessed and prioritised that dream at any cost. We'll weather a thousand logistical inconsistencies if it's got heart.

But all of that said.... to be honest, I don't think Lacie overtly fits that theme anyway. Even, like, Sammy is iffy -- we don't really know what happened to him, only that he didn't used to be made of ink and worship Bendy, and now he does. We assume Joey's nonsense had something to do with what happened to him (though the books later assert his influence was indirect at best), because when there's a pattern, we can fill in the blank. So many fan creators found a place for Lacie, Grant, and Shawn in the cycle as butcher clones or lost ones, so many people imagined that Wally must be the Boris we meet, because that would've fit the pattern, the idea that the point of what we're seeing is the downfall of the studio. It's not actually that BatIM did a great job tying everything together -- it's that BatIM gave us a compelling idea and that was all it took to make everything else SEEM like it could find a place to fit. This is what I mean when I say BatIM's theme covers a multitude of sins. There's a LOT of characters in BatIM that don't make sense. There's a lot of inconsistencies and things that just sort of happen without any real reason. Characters don't really have "arcs" so much as different states they happen to be in at different times. But because there's a central question and the story doesn't wander away from it, our pattern-loving human brains will slot in all the pieces and do all the work to make the story feel at least somewhat coherent.

The things that happened in BatDR aren't a whole lot less coherent than BatIM imo, they just don't tie into a bigger theme or any of the questions the story's asking, making "how do they fit into all this" feel irrelevant, making it easier to forget entire sections and harder to get invested in audiolog characters. I think a lot of the other criticisms people have for BatDR's story are very valid, but I also suspect that if BatDR had a more successful theme/central question, then a lot of its flaws would be easier to overlook -- just like BatIM.

#we all write on the walls #batdr #short-ish essay is fond but critical of both games so puts it in a readmore for the fine folks in the tag who arent here for that haha #batim #bendy and the ink machine #lmao I WROTE THIS LAST YEAR ITS JUST BEEN SITTING IN MY DRAFTS #go out into the world little post... be free......#also I do think the fact that batdr kind of dropped the central question of batim #is probably also a significant factor #if you were really invested in the main thrust of batim then batdr doesnt really follow it or finish that exploration #just tries to give it an answer and move on #so again it comes down to the theme and the central question just in a different way

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canmom · 3 months

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The themes of NieR Reincarnation

A post about the recurring elements of Drakenier and the use of branching timelines as a storytelling device. I'll be discussing spoilers for basically every DoD/NieR game.

Records

A somewhat understated recurring motif of the Drakengard/NieR series is the idea of stories or memories of humanity being stored in some massive archive.

It's an idea that first entered the series in NieR Gestalt/Replicant. Early drafts of the game focused on the idea of a world built out of stories and fairytale characters, and while most of this was cut, some remained in the Forest of Myth area.

Following NieR's obsessive love of hopping between different game genres, the story here is delivered through prose/text adventure segments. There is a sense that this area of the game exists as prose, with the characters slightly aware of narration - narration which absorbs the characters until you find a way to escape. Eventually you find out - it's rather cryptic in the actual game, but spelled out explicitly in Grimoire NieR - that it's a huge computer system storing records of the deceased humanity.

In your second visit to the area, the story focuses more on distant history, that all these stories are fragments of memory of the lost pre-apocalpytic world. You encounter a Gestalt (human soul extracted from body) that is eating the memories stored in the tree, and kill it, and for Nier and co., this is enough - but for the player, you really don't know half of what is going on.

In the story The Lost World, which was adapted for the additional Ending E added in the Replicant remake, Kainé returns to the Forest of Myth and finds the computer system expanding. She fights clones of herself before eventually speaking to a mysterious administrator and descending into a virtual world that seems like a corrupted version of her memories. But she's able to connect to her memories of NieR, Emil and Grimoire Weiss, and through that connection cause a kind of timeline collapse effect that allows her to resurrect Nier. Terms from DoD3 such as 'singularity' come back again.

youtube

In NieR Automata, the idea of the legacy of humanity becomes increasingly central. While the androids believe they are reclaiming Earth for humanity, the Machine Lifeforms' motivation is in large part driven by their efforts to pore over the records of humanity and learn how to evolve their condition, even by blind imitation. Many of the different Machine Lifeforms you encounter are shaped by their interpretations of human society. The motif of human buildings recreated in white blocks recurs at certain points.

In the final sequence of the game, you climb a tower, and inside it visit simulacra of locations from the Replicant/Gestalt. You learn that the machines have infiltrated the androids' network and downloaded basically all the information the androids have, including all their records of humanity. When the machines' 'Ark' is launched into space, it carries their memories and consciousness in data form.

The YoRHa: Dark Apocalypse raid series in FFXIV continues this idea of obsessive, blind reconstruction. The machines you fight here are now all the more explicitly connected to the apocalyptic shit in DoD; they have also been frantically creating duplicates of YoRHa android 2P, the Bunker and so on in corrupted form. Although the story here has mostly other interests, it's another recurrence of the idea of trying to recreate things that were lost.

Along with this idea of the archive comes the idea of preservation of that archive. Whether by accident or deliberate attack, the survival of the archive is not guaranteed.

This is all absolutely central to what Reincarnation is about.

Branches

The Drakenier series has played around with branching narratives pretty much from the start. It's somewhat infamous for it in fact - did you know that NieR is actually a spinoff of ending E of Drakengard, the one where you appear over Tokyo and have to do a rhythm game? Yeah, so...

Most games are fairly cagey (ha ha) about the mechanics of these branches. Indeed, although we speak of branches, the structure of these games is not really a branching one like a visual novel. The branches and 'endings' are usually unlocked sequentially.

Drakengard/Drag-on Dragoon (DoD1) is probably the closest you get to a traditional branching structure. You can unlock routes in certain missions by fulfilling certain conditions. The exact logic of these branches is not really explained - you can go back to a point before you recruit a party member and get a different branch where they're present for example. That said, it's not like a visual novel where you can be 'on' one branch or another - you can always jump to any level from any timeline.

This oddness of the branches is also lampshaded a little more in DoD3, the game that is most explicit about the nature of the branching timeline. DoD3 is, from the player perspective, a linear game. After you complete the first 'ending', you unlock new levels that appear at earlier points in the timeline, and diverging branches appear. In the later branches, the logic of the world is starting to break down. Party members who you'd recruit later in the story are in your party much earlier, in some cases suffering from amnesia, the implication being that it's an effect of the Flower's corruption.

The game is intermittently narrated by a character called Accord, an android 'Recorder' whose job is to document all the different versions of the story for an unknown party. Accord isn't supposed to intervene in the story, though she occasionally talks to protagonist Zero, and in the final D route, she decides to break the rules and save Zero. Otherwise, she's responsible for 'sealing' branches where it seems the world cannot be saved.

This is Accord:

The final cutscene of DoD3, available only after you beat the ludicrously difficult rhythm game that is the 'final song', shows a bunch of other Accords appearing and talking about what a mess this all is.

Accord's other role in the game is to sell weapons. Another series tradition running back to DoD1 is the 'Weapon Stories'. In each game, you can collect weapons, which can be upgraded through a series of four stages. Each stage unlocks another part of a story. These stories tend to be quite brief - each entry is at most a short paragraph. They also, particularly in the DoD games, tend to be comically grimdark.

DoD 3 came out after NieR Replicant/Gestalt, but in every game since then, there have been cryptic mentions of Accord. In Automata she's mentioned in a note as a weapons seller; in the updated version of Replicant she is mentioned as visiting Nier's village while the party is away on her adventures, and you see a documention that mentions the 'Accord Corporation' supplying magic weapons.

OK, so, put a pin in that, we'll come back to her later.

The side material commits further to the branching idea. The original Drakengard is established to follow from the DoD3 Story Side novel, while Branch A gives rise to the Shi ni Itaru Aka manga and the DoD 1.3 novel. The YoRHa stage plays spawned alternative versions, namely YoRHa version 1.3a and Shōjo YoRha version 1.1a, with the gender of the casts flipped. YoRHa 1.3a also has Accord in it. The anime NieR Automata ver. 1.1a also presents an increasingly diverging version of the events of the game - notably, Adam turns into a multi-armed monster.

DoD2, something of the black sheep of the franchise, was originally written to follow DoD1 ending A; later it was retconned to belong to its own branch. Just 'cause.

With me so far? ...no? Yeah, that's fair. You can read about all the details I've gathered so far here, but in short, there are lots of timeline branches, and multiple versions of several stories with small or large divergences.

Reincarnation

NieR Re[in]carnation is a gacha game that's been running for the last three years, and is going to be shut down at the end of April. At the time it came out, it was acknowledge for having unusually nice graphics for a mobile game, but rather desultory, grindy, repetitive gameplay. Which remained true throughout the game's life, so I can't exactly recommend playing Reincarnation, especially at this point.

But! I would definitely say it's worth your time to dig up the story on Youtube/Accord's Library if you're into NieR stuff. I won't be going into all the ins and outs of the story and how it all fits together in this post, but I am gonna talk about how it's structured.

NieR Reincarnation places you in a vast stone city called the Cage, calling to mind the environments in Ico. At the outset, you play as a young girl travelling with a weird ghost-like creature called Mama, tasked with restoring the memories stored in objects called 'dark scarecrows' which are being subverted and corrupted by black birds which form into various monsters.

Within each chapter of NieR Reincarnation, you get a short story in four parts, presented in a kind of cutout style, which are the four segments of a weapon story. You collect the weapon and the character.

The Cage is shaped by the content of the weapon stories somehow bleeding into the simulated setting. A character's memories can be used to restore the stories to their proper course. It is possible to interfere in small ways with the worlds of the stories.

The corruption of the stories tends to involve subverting characterisation to make them crueller, more prone to random violence etc. - or points when a character could be threatened in a narratively unsatisfying way. For example, a peace-loving runaway prince could be turned into a warlike king.

Over the course of the first arc, you discover that the girl you are playing is actually a monster who has taken the form of a human girl and, regretting it, wants to give her her embodiment back. The second half of the arc has you playing the girl trying to reunite with her monster friend; at the end, you get her own backstory as a victim of brutal prejudice. After all is said and done, both characters transform into weapons, which Mama picks up and hides away.

The second arc, The Sun and the Moon, deals with a brother and sister from present-day Tokyo. Both of them have been transported into the Cage by more of the weird ghost thingies, to participate in a strange ritual that is allegedly going to restore the Cage. The rules are highly mystical - a significant sacrifice is needed.

In the most recent arc, The People and The World, the characters all emerge from their stories as the Cage becomes increasingly corrupted. We finally get the long awaited point where these characters can interact with each other, and advance the stories from a series of tragic vignettes to something more. At the same time, we get a lot more allusions to other games in the series - from the Lunar Tear room where Emil memorialised Kainé and later 9S memorialises 2B, to a brief appearance Devola and Popola.

There's even a nod to Yoko Taro's other terminated gacha game, SINoALICE, which is going to be made into a movie oddly enough. There's a wry nod to the game being shut down.

And in the most recent chapters we find out that the Cage is actually a server on the moon containing records of humanity - 10H from A Much Too Silent Sea is one of the main characters. 'Mama' is actually the Pod tasked with overseeing the archive, and wiping 10H's memories whenever she learns too much - though it seems at some point 10H learned the truth and affirmed that she'd protect the archive anyway and they stopped wiping her memory.

Over the course of the chapter, 10H helps the gang make their escape from the moon through the androids network, to Earth. But when they get to Earth, they find themselves in a strange white city more resembling the Cage.

We'll finally get some answers, maybe, later this month. Anyway...

So, these records come from multiple diverging timelines, and they take the form of weapon stories. You have a unity of the ideas of character - weapon - memory - world. A record is simultaneously a tragic series of events, a person who can manifest inside the Cage itself, a simulated world which other people can visit, and a weapon.

In addition to the main storyline chapters and 'character stories', each character is associated with two additional 'EX' storylines, termed Dark Memories and Recollections of Dusk. Each one is a much more substantial narrative than most in the game.

Some of these EX stories clearly take place in different timelines to the first ones we encounter. Akeha's story, for example, takes place after her death in the original version. For the brother and sister from the Sun and the Moon arc, originally from present-day Tokyo, their Dark Memories take place in the backstory to NieR Gestalt/Replicant - the period where humanity is dying out to White Chlorination Syndrome and fighting monsters called the Legion. In this one, before the siblings could be torn apart by family drama and resentment, the apocalypse happens. Both of them end up coming into their own as heroic fighters. In the finale arc, the characters learn a bit about these alter egos, and it's made very explicit that this is a different timeline.

The monster Levania's Dark Memory is especially weird. It's the story of a salaryman who plays a monster called Levania in an MMORPG. His MMO character inspires him to live more bravely in the real world, and his life seems to be improving, but he is murdered by a jealous coworker. He wishes for reincarnation as he dies - classic isekai stuff. But the connection to the Levania you encounter in the main story is far from clear. Are all versions of Levania derived essentially from this man's tulpa?

The nature of the 'enemies' attacking the Cage is still not yet clear. They take the form of black birds. The birds are given a small amount of dialogue and characterisation, and they seem to not be malicious, just confused. The girl from the first arc in particular tends to interact with them sympathetically. However, they seem to be connected with the mysterious 'God' who was trying to destroy the world in DoD1, and the Angels and Flower of DoD3.

The birds are able to gathe together to manifest much larger monsters, the largest being giant elk and fish called Cursed Gods. During the finale arc, one of these becomes something that resembles the Mother Angel from DoD1 - and yes, there is a rhythm game - though mercifully a pretty easy one.

In the same arc, the character Yurie, an AI city overlord with grandiose ambitions and a loathing of imperfection attempts to download the entire history of humanity from the Cage and become a more perfect being. She succeeds, only to find the answers disappointing...

This is perhaps the closest thing we ever get to an explicit statement of what all these stories and histories add up to, but despite all this, the throughline is very strongly that these stories are essential to preserve. NieR characters exist in small groups, and it is their intense connections to these others, their treasured memories of travelling together, that motivate them to fight to preserve that thing, even if the results are destructive.

Similar themes emerge for example in Noelle's Recollection of Dusk story, which sees her travelling to preserve a place valued by her sister in crystal. And they also connect to the theme of sacrifice - the recurring ending device where the player must delete their save data in order to help someone (something echoed in Hina and Yuzuki at the altar of the sun and moon, or Levania and Fio). It's perhaps fair to say that nothing is more valued in the world of Nier than memories of a treasured person.

What about Accord? She has in fact made a brief cameo in Reincarnation already...

It seems incredibly likely that Accord originates from the Cage, and the accumulation of weapon stories is accomplished by androids like her. Definitely in the fandom there's a lot of excitement for the idea that Accord - something of a fan favourite - will show up at Reincarnation's ending.

So mystery solved, the Cage exists in the world of NieR Automata on the moon server? Not so fast - there are various discrepancies which seem to suggest that the world of the Cage exists in a separate branch than the one we see in Automata. For example, the androids are aware that the humans are dead and what remains on the moon is a huge archive of their memories; the humans seem to have survived much longer; 2B and 9S seem to have died in different circumstances. There are other oddities which fans have compiled.

And yet, despite being a divergent timeline with a much older point of divergence, some things seem to be fixed. There is still a YoRHa, still a 10H deceived about being on the moon, still a 2B and 9S.

One popular fan theory is that Reincarnation belongs to the NieR Automata anime (ver1.1a), since Adam turns into a monster there similar to the ones in Reincarnation. The black birds are reasoned to be the Machine Lifeforms, since we know they come from Earth. I'm not 100% sure of this, but maybe?

Anyway, that's basically the gist of it.

A story told through permutations

In many fictional series with a shared universe, there is an effort to maintain a consistent shared universe, so all the different events can fit into a timeline with understandable cause and effect and characters living out their lives. Even when this proves impossibly unwieldy, as in comic books or Star Wars, the attempt is made.

NieR does not really take this approach. The creators leave many details of the world, such as place names, incredibly vague - the focus is always on telling an emotional story with characters. There is, as we've seen, an almost gleeful willingness to declare another new timeline.

There is also a certain aspect of repetition, or more kindly reiteration - the same core character dynamic revisited and retold in various forms. (2B9S gets the worst of it). A character is something like a principle or ideal, and each story shines another light on that 'core'. In the earlier storylines of Reincarnation, it became quite frustrating because it seemed like e.g. the character event stories were just rehashing the same idea rather than advance the story.

However, the more accustomed I get to this style of storyline, the more I think this kinda works. It is of course quite similar to the ideas proposed towards the end of Homestuck, or to time loop stories - the idea of varying the contingent circumstances to try to better illustrate the core characterisations and dynamics.

Yoko Taro has talked about how he constructs stories from a very simple idea, typically a moment of high emotional impact at the climax, and then works backwards to figure out what sort of story could lead into that. In Reincarnation, each character gets fairly limited time to establish themselves, so they tend to be defined in terms of a pretty narrow high concept.

For example, Akeha is an assassin in a vague historical Japanese setting; her introductory story sees her decide for the first time to disobey her lord after she finds another person who has been treated as instrumentally as her. Most Akeha stories focus on her assassinations, her relationship to her retainer, and what she sacrifices to perform the duty. Only her Dark Memory lets us see an Akeha who has escaped that life - it's a simple story about preparing food, but that's given meaning by all the other Akeha stories.

Hina and Yuzuki are defined by the same traits in their flashy scifi Dark Memory stories as in the more mundane ones - Yuzuki the quiet outcast, Hina the self-sacrificing star. Fio is defined by kindness in the context of abjection, seeing the good in monsters. Levania stories are about the desire for escape and transformation. Argo is always a shitty dad who only feels alive while climbing mountains.

The staticness of these characters seems on some level to be the point - in that we are told in Hina and Yuzuki's story that the mechanism of the Cage is to sort characters into 'Light' and 'Dark' natures, and push them to inevitable conflict, even if they try to break free. In the final arc, the characters seem to finally approach some resolution as they leave their contexts behind. Given the themes of Automata in rejecting an inevitable tragic fate, similar movement may be at work. There's an ambiguity - the need to hold on to even tragic histories, vs the wish to not be confined to them. (Perhaps it's significant that it's called the Cage...)

With so many balls in the air and so many mysteries still unanswered, it's hard to figure out how Reincarnation can deliver a satisfying resolution in just one remaining chapter, but the final arc has been really cooking so who knows! But I'm also coming to appreciate it as a kind of broader lens to notice all these recurring elements and tie them together.

Stories about alternate timelines and branching narratives are very common nowadays, particularly as a tool for revisiting a nostalgic franchise. Something something effect of the fan wiki era. So I can't exactly say NieR is doing something completely unique, but I do think there is something to its fragmented, collage-like approach to putting together story elements. There's something quite honest about it - an ability to say 'these details aren't important'.

Yoko Taro always talks about himself as an entertainer rather than an artist. And probably it is true that a lot of this eemerged from an iterative design process rather than being the plan from the beginning (the first draft of NieR envisioned it as something closer to what SINoALICE ended up being, about a world of fairytale characters; NieR Automata began life as backstory for an idol project). There's definitely a strong sense that it's being improvised. And yet despite that, it does feel like it is cohering into some sort of picture, that there is an artistic throughline to all this.

Or perhaps that's just the effect of getting way too invested in something. I won't deny that NieR brings out the fan in me.

Anyway Accord had better show up next month. Guys. You've been teasing us for so long...

#nier #nier replicant #nier automata #nier reincarnation #drakengard #drakengard 3 #computer games #Youtube

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witheredoffherwitch · 5 months

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Fandom Hypocrisy: Overlooking the Complex Narrative of Aegon ii Targaryen's Arc

I am writing this post as an extension to the previous reblogged post, which discussed the absurd theories circulating in the fandom about Aegon potentially violating his own mother 🙄🤦‍♀️ The obsession of this fandom with their personal headcanons can be quite absurd at times. It's even more ridiculous when their hatred for Aegon as a character overshadows the thematic significance of his story. It astounds me how this fandom can excuse and even romanticise the despicable actions of certain rapists and pedophiles, all because they happen to be their favourite character... BUT when it comes to Aegon's complex and nuanced character, suddenly everyone becomes a purist about morality and duty.

After all, so much of Aegon's journey is about facing unpredictable challenges and persevering against overwhelming odds. This should not be overlooked or overshadowed by personal biases towards his character. Here, I will delve into my own take on the central theme that drives Aegon's journey:

His main character arc revolves around rejecting his responsibilities until he is forced to face them! He defies tradition at every turn: neglecting his pure Valyrian bloodline, disheveled appearance compared to other royals, lack of drive for his claim and nonchalance towards establishing his house's legacy - yet still possessing all the quintessential traits of a true Targaryen heir: dragon rider and legitimate children through his sister-wife, and strongest claim to the throne via Andal tradition.

Aegon's upbringing was marked by years of abuse and neglect. He was born as a 'duty to the realm', and even his own kin saw him as nothing more than a disposable pawn in the race for the throne. It is crucial to examine how the political game unfolded in order to understand Aegon's position. He was forced into the role of a leader with very little support and resources - only 4 dragons compared to his opponent's 14, and one-third of the major houses backing him. Despite the odds stacked against him, he emerged as the underdog who ultimately prevailed.

Towards the end of the dance, he was a broken man, but still emerged as the ultimate victor. The discarded and overlooked son became the heir to his father's legacy. The Targaryen prince, who had never shown much interest in his legacy or his claim to the throne, ended up being the true winner of the Dance - a war that ultimately sealed the fate of his House in the long run. Though his legacy may have been diminished with Jaehaera's untimely death, the green faction still triumphed in both ideological and future succession battles, ensuring the eventual downfall of House Targaryen by depleting their most powerful weapons - their dragons!

This narrative is much more intricate, but in a fandom where people are quick to react with anger without fully grasping the depth of his character's development, it can become diluted. It deserves a more thorough examination, but unfortunately, there are individuals who attack anyone who posts anything positive about Aegon by labeling them as 'rape apologists'.

#aegon ii targaryen #alicent hightower #helaena targaryen #jaehaera targaryen #pro team green #hotd discourse #house of the dragon #fandom bs

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disneytva · 6 months

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Moon Girl And Devil Dinosaur Serves Season 2 Premiere Date And Teaser Trailer.

Ever since ending on one intense cliffhanger this past May, fans of Moon Girl and Devil Dinosaur have been wondering when they'll get the chance to see more of Lunella Lafayette and Devil Lafayette.

Super Nova beacuse Moon Girl and Devil Dinosaur will premiere on Disney Channel and Disney XD on February 2, 2024 at 8:00PM EST, before hitting Disney+ the next day.

Season 2 guest stars will include David Tennant ("DuckTales" franchise), Cynthia Erivo ("RoboGobo", Universal Pictures Wicked), Andy Garcia (Elena Of Avalor), Edward James Olmos (Blade Runner 2049), Robin Thede (20th Television Animation "Central Park"), Jonathan Banks (Pixar Animation Studios "The Incredibles 2"), SungWon Cho (Iron Circus Animation "Lackadaisy"), Giancarlo Esposito (LucasFilm "Star Wars: The Mandalorian"), Arsenio Hall (Warner Bros "Black Dynamite"), Ann Harada ("In To The Woods"), Jackée Harry ("Sister, Sister"), Manny Jacinto ("Hailey's On It"), Carol Kane ("Dog Day Afternoon"), Xolo Maridueña (DC Studios "Blue Beetle", "Primos"), Alex Newell ("Zoey's Extraordinary Playlist"), Parker Posey ("Mr. & Mrs. Smith"), Ephraim Sykes ("Hamilton"), and Peter Weller (DC Legacy "Batman: The Dark Knight Returns")

Aadditionaly a special Moon Girl And Devil Dinosaur - Theme Song Takeover starring Devil Lafayette will drop on January, 2024.

youtube

#Moon Girl And Devil Dinosaur #Moon Girl & Devil Dinosaur #MGADD #Marvel #Laurence Fishburne #Helen Sugland #Steve Loter #Jeffrey M. Howard #Kate Kondell #Jack Kirby #Brandon Montclare #Natacha Bustos #Amy Reeder #Disney Channel #Youtube

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gffa · 2 years

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I don’t know if I will ever get over how incredible the Obi-Wan Kenobi show was at threading the needle of using mostly established characters, adding new characters that played into the themes that were already established, while also making it feel like it opened up a whole new world of stories to be told. Would a story about Obi-Wan and Luke have been as meaningful, if well told? It’s very possible that it could have been! But using this opportunity to focus on Leia instead, to take two characters who never really interacted beyond a few lines said about each other, and developing an entire dynamic there, while also tying it directly to the heart of the Obi-Wan & Anakin dynamic, balancing that these two saw each other as themselves just as much as they had a connection because of the other people in their lives, I really can’t get over it. And I can’t get over the inclusion of Reva as a Jedi youngling, she’s not just a fleshed out Inquisitor there to fill up the space, she’s vital to the story being told, she is a face and a voice of the younglings that Anakin slaughtered, she is a character with a journey that is her own path to walk and she will make her own choices, but she is also a reflection of the central Star Wars character (as all characters connected to the heart of the story should be to a degree, in my opinion) in that her choice to not become like Vader illustrates Anakin’s choices all the more. Just as the Obi-Wan & Leia dynamic is a story unto itself, so is Reva’s story, but they are also part of the bigger theme of Anakin Skywalker’s legacy, they are both at the same time, just as Obi-Wan Kenobi is himself, his character is an extension of Anakin’s character on a narrative level, and later an extension of Luke’s character, that is his function in the bigger narrative, but that doesn’t mean his own story within that structure can’t be important and meaningful. The show has Anakin Skywalker’s presence looming over everything in this series, he’s not even actually in that many scenes, but I feel his ghost in almost every single frame of the story, and I’m just never getting over how good that was. I cannot comprehend how well done the character work in this show is, how the characters are serving the themes that George Lucas established, but they’re also telling a story that I was invested in. I wanted so desperately to see that hug when Obi-Wan and Leia reunited. I wanted so desperately to see Obi-Wan and Anakin meet one more time, to tear each other apart one more time. I wanted so desperately to know how Reva’s story would end, how this would affect Leia going forward, how it was a love letter to the prequels movies, how it was connective tissue, the story of how they got from Point A to Point B, but also was a journey worth taking on its own, because I got to see Reva’s face crumple when she asked if she’d become him, I got to see Obi-Wan fix Leia’s droid and teach her a little about the Force, I got to see Owen come to a gentler understanding of Obi-Wan and ask if he wanted to meet Luke, I got to see Anakin absolve Obi-Wan of guilt while still trying desperately to hold onto him. I just cannot get over how it walked the fine line of established characters and something new, that I want approximately a hundred fics about Obi-Wan and Anakin’s conversations in this show, I want another hundred fics of Obi-Wan and Leia, I want a hundred fics about the life Reva could have had in a better world or where she goes from here or how she survived up to this point. I CANNOT GET OVER HOW DEFT THIS SERIES WAS AT GIVING ME THE BEST OF BOTH WORLDS.

#obi wan kenobi #obi wan kenobi spoilers #anakin skywalker #leia organa #reva sevander #meta

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life-imitates-art-far-more · 4 months

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Winslow Homer (1836-1910) "Dressing for the Carnival" (1877) Oil on canvas Realism Located in the Metropolitan Museum of Art, New York City, New York, United States In this Reconstruction-era painting, Homer evokes the dislocation and endurance of African American culture that was a legacy of slavery. The central figure represents a character from a Christmas celebration known as Jonkonnu, once observed by enslaved people in North Carolina and, possibly, eastern Virginia. Rooted in the culture of the British West Indies, the festival blended African and European traditions. After the Civil War, aspects of Jonkonnu were incorporated into Independence Day events; the painting’s original title was Sketch—4th of July in Virginia. The theme of independence was particularly relevant in 1877, when emancipated Black Americans in the South saw an end to their brief experience of full civil rights with the final withdrawal of federal troops.

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pynkhues · 1 year

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literally sooo fascinated by logan and caroline's marriage tbh. give us all your thoughts!! (if you want ahah)

Oh, man, I could talk about them all day, haha. I kinda feel like people can sometimes rob both Caroline and Logan of any nuance, because yeah, sure, they’re often the central antagonists of the series, and their abuse and neglect of their children permeates the series, but the show’s always also been careful to show that the cycle of violence never started with Logan, and Harriet Walter’s talked in interviews too about the cycle of neglect not starting with Caroline either. They’re victims and perpetrators in the same way that Kendall, Roman and Shiv are victims and perpetrators, and the fact that neither of them were able to break that cycle is the exact sort of tragedy that's at the broken heart of this series.

It makes it really fascinating to me in that sense that Caroline and Logan found each other at all, and I think really slots into what we know about his three marriages – namely, that he marries women who are in some ways as damaged by life’s cruelties as he is. We understand that explicitly with Marcia, who pretty much says out loud that their connection has been born out of the fact that they’re both survivors, but I think it’s implied in his relationships with both Caroline and Connor’s mother too. At least Marcia and Connor’s mother became somethink like partners for a while too – Marcia was a co-conspirator with Logan for the bulk of season 1, and the RECNY Ball episode I think also showed that Connor’s mother, for at least a while, was the sort of socialite who could lubricate and work politicians alongside Logan.

We don’t really know what role Caroline played in that sense, but she’s obviously intelligent and savvy enough to have worked to secure the kids real power in the divorce, something we see her give back to Logan in 3.09. We also know that her title gave Logan the class elevation that he wanted (even if its one he also seems to bitterly resent), and that his money gave her security, and in a lot of ways, that’s a strategic match that sees them both step forwards in power together.

I was actually listening to an old episode of Vanity Fair’s Succession podcast recently where they interviewed Dame Harriet Walter, and she talks quite a lot about Caroline’s backstory.

She says that Caroline was born into a neglectful aristocratic family, an only daughter who due to the social structures of British aristocracy, wouldn’t have inherited her father’s estate as a result of her gender. Instead, his estate would’ve gone to a distant male cousin, which ties into what Connor says in 1.09 to Willa about the house being the ancestral home Caroline didn't inherit.

She was disregarded by her family but encouraged to marry rich, and she sees Caroline as having gone through a bit of a wild child phase, that she partied, used drugs, tried to escape herself. That she was probably featured frequently in the social columns ‘in disgrace’, and then married young to a rich British man who bored her. She sees Caroline as having escaped to New York on a trip, and met Logan who dazzled her. Who was the opposite of the men she’d grown up with, the men who’d cut her out of her own inheritance, and that he was exciting and creating something and married too, and that they likely left their spouses for each other. That he married for a title, but he also married her because he found her fun and funny and different from the other women of her class and station.

I actually love that backstory a lot, and in particular I think it feeds into the themes of cycles on this show, both with Shiv, but also in Caroline being cut out by her own family, and then cut out by the one she tried to make for herself, and the damage that likely caused her. It also I think really beautifully depicts this idea of legacy and succession which is so crucial to the show – that Logan can spend a childhood brutalised by a man who’d give him just enough to build an empire on and that Caroline can spend a childhood in luxurious neglect with parents who will leave her with nothing.

What that meant for their relationship - - I think they did love each other, as much as they could love anyone, and I think that vulnerability between them was something that probably allowed them as true an intimacy as they’d ever have for a while. I also think that that vulnerability and that intimacy gave them power over one another that they’d use often and likely cruelly, and that the final years of their marriage were probably torturous for both of them.

After all, at the end of the day, Logan had the wealth Caroline could marry but never inherit, and Caroline had the title Logan could marry but never inherit, and what is that if not a reminder of the poisoned soil they sprung from?

#i am literally obsessed with them #in the 1980s spinoff in my head they are despicable to one another and i adore them #interestingly too harriet walter says that they were married for 15 years #which is an interesting indication in terms of the kids' age gap too #with the insane timeline that exists in my head haha #i do think it's probably four years between shiv and kendall #and roman and shiv are either twins or he's a year older than her / three years younger than kendall #which works with shiv being 11 when caroline left + the 15 year marriage #anyway haha #caroline collingwood #logan roy #caroline x logan #hbo succession #succession meta #welcome to my ama #always thinking about Them atm

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