#but we got our main trio | Explore Tumblr Posts and Blogs

astonmartinii · 7 months

Note

An Oscar piastri request because I have severe brain rot. Oscar Piastri x black American!reader. Like they met through Logan and Oscar is just downright obsessed with his girlfriend and everything she does. No pressure I just really enjoy the way you write.

southern charm | oscar piastri social media au

pairing: oscar piastri x fem american!reader

once upon a time, in the magical land of the 305, one man would take the mantle of the ultimate wingman

yourusername

liked by logansargeant, arthurleclerc and 21,983 others

tagged: oscarpiastri

yourusername: pov you're my phone when i'm watching oscar piastri tiktok edits

view all comments

user1: babe those edits are doing over time

yourusername: i don't like your tone. oscar is the sexiest man ever, end of.

user2: if your gf isn't arguing with randoms online over you, is she really your gf?

user3: she doesn't hold back when it comes to oscar, that's my GOAT

oscarpiastri: can you stop sending them to me i don't like being perceived.

yourusername: too bad because i want to perceive you

logansargeant: i'd argue she wants to perceive you too much

yourusername: only because you have no one to perceive you

logansargeant: you can't call me lonely when i got you your boyfriend

yourusername: 👋 👀 hey look it's the main contributor to the male loneliness statistics 👀 👋

oscarpiastri: y/n that's mean...

yourusername: but not wrong 😑

user4: i know they're joking but y/n does not hold back

yourusername: had to prepare him for the mean f1 bitches

landonorris: so this is the mysterious gf...

yourusername: watch your step at COTA, oscar may obey team orders but i DONT

landonorris: oscar???

oscarpiastri: i'm sorry y/n can FACTUALLY do no wrong so you're on your own here mate

yourusername: thank you baby. oscar supports women's rights and wrongs he is a hashtag ally

oscarpiastri

liked by logansargeant, yourusername and 621,983 others

tagged: yourusername

oscarpiastri: getting daily outfit updates from the love of your life >>>

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user5: oh this has to be one of the healthiest celebrity relationships ever

yourusername: omg mom i'm a celebrity

user6: hi can we please get the skincare routine?

yourusername: thank you for picking the ones where i look good baby x

oscarpiastri: you look good, GREAT IN FACT, in every photo ever - every waking moment

yourusername: you're too cute osc x

logansargeant: so you get this and i just get venmo requests?

yourusername: don't hate the player, hate the game

logansargeant: what game are we playing it's just venmo requests for coffee because "i'm a girl i deserve it"

oscarpiastri: idk that sounds logical to me

logansargeant: wait does she not do this to you?

oscarpiastri: no? also just know we split the money so thank you for all of my morning coffees for the last two years logan x

logansargeant: i regret ever introducing you two

user6: obsessed with this nightmare trio

alexalbon: can confirm they are a nightmare

oscarpiastri: don't call us a nightmare on my gf appreciation post

lilymunhe: yeah alex, where's mine?

alexalbon: any trio that breaks my motorhome from getting to competitive during just dance can be categorised as a nightmare - hope this helps x

yourusername: is it because we didn't invite you?

alexalbon: it was literally MY motorhome?

oscarpiastri: we beat our best score on rasputin so sorry not sorry

user7: idk how people can say oscar has no personality when he literally would throw hands for y/n?

yourusername

liked by alexalbon, oscarpiastri and 24,871 others

yourusername: practising my smize for the COTA paddock can't allow oscar to be the only one to slay in austin

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user10: any spare paddock passes miss?

logansargeant: so i'm not allowed to slay?

yourusername: i think you need to save up all of your slaying for the track to get that point on the board

logansargeant: Y/N ????? i'm trying :(

yourusername: sorry logie bear that was a low blow from me, i'm proud of you

oscarpiastri: talented. brilliant. incredible. amazing. showstopping. spectacular. never the same. totally unique. completely not ever been done before.

yourusername: did you just quote lady gaga?

oscarpiastri: yeah, got a problem with that?

yourusername: nope. you're my favourite little monster

landonorris: i thought this was a healthy relationship - don't call my teammate a monster 😤

yourusername: that's what lady gaga fans are called lando, i've called him much worse, bring ear plugs to cota ;)

oscarpiastri: WAIT NO MY PR TEAM SAID NO MORE SEXY TIMES ON PUBLIC PLATFORMS

yourusername: boring ...

user11: so excited for the best f1 wag to be back in the paddock

yourusername: appreciate it but i can't take the crown from real icon lily

lilymunhe: omg thanks y/n i can't wait to meet you !!

alexalbon: are you always as insane as logan says

yourusername: he's probably not wrong but i prefer the term charming

oscarpiastri: we're just very passionate about things

alexalbon: like just dance?

yourusername: no comment.

mclaren

liked by landonorris, oscarpiastri and 1,092,347 others

tagged: yourusername, oscarpiastri

mclaren: get someone who looks at you the way oscar and y/n look at each other

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user14: i came here to watch formula 1 not to feel LONELY

user15: okay who was going to tell me oscar had such a hot girlfriend?

logansargeant: trust me literally spend more than 30 seconds with him and you'll know

oscarpiastri: okay but y/n is the prettiest person in the world AND the smartest, funniest and kindest person ever so you WILL listen and appreciate her

yourusername: god i love you so much

user16: is she an aussie too?

yourusername: nope i pulled oscar with pure american southern charm

oscarpiastri: it's true she lassoed me like a cowboy and it was love at first sight

yourusername: let me clarify we were at a wild wild west party but it was defo love at first lasso

landonorris: get someone who looks at you the way i look at the MCL60 😍

user17: lando is one of us

landonorris: i feel lonelier now, around oscar and y/n, than i did right when i was broken up with

yourusername: easy to look like that when your boyfriend is a dashing, charming and humble gentleman + generational talent

oscarpiastri: hehehehe stop you're making me blush

logansargeant: you guys are so gross

yourusername: says the man that's literally an accredited wing man because YOU got us together

yourusername

liked by maxverstappen1, oscarpiastri and 37,988 others

tagged: oscarpiastri

yourusername: that moment when you see the love of your life achieve his dreams !!!!!!!!!! NO FR oscar i am so so unbelievably proud of you, you deserve this so much. i love you, thank you for letting me be a part of your life x

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user21: they're my parents now they have no say in it

user22: consider me charmed

oscarpiastri: thank you so much my love, your support is everything to me and i can't wait to grow old with you

yourusername: my heart is yours now and forever ❤️

oscarpiastri: also i'm finding some way to frame you celebrating in my garage

yourusername: i couldn't contain my excitement, sorry to the mechanic who literally got tinnitus from me screaming lol

user23: her in the garage is real f1 fan representation

logansargeant: as much shit as i give you guys, you're so cute and i'm so glad you guys have each other

yourusername: thank you logan!! i forever owe you one for introducing us

oscarpiastri: i promise when you get into a relationship i won't once complain about it

landonorris: i was a cynic, but yeah you guys are very cute - i am endeared

yourusername: oscar tends to have that effect

oscarpiastri: ummmmm i think it's more you

landonorris: okay i said you guys are cute you don't need to prove it again

oscarpiastri

liked by logansargeant, yourusername and 1,239,084 others

tagged: yourusername

oscarpiastri: the best weekend ever and wishing i could just take you everywhere with me, until las vegas my love x

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yourusername: take me with you

yourusername: who cares about life responsibilities when i'm with you

yourusername: i'd say i'm a good luck charm but you're too talented to need one

oscarpiastri: i love you so much i miss you already

landonorris: you said goodbye five minutes ago... we've not even got to departures yet

oscarpiastri: is it illegal to miss the love of your life?

landonorris: when i'm not in a relationship? YES.

user24: the way oscar was horrified at arthur's 18 hour screentime, i bet his is just as bad now

oscarpiastri: no comment

yourusername: it's 16 hours lol

arthurleclerc: where is my justice? my apology?

oscarpiastri: we fall asleep on face time. i'm not chronically online i'm just terminally in love with my girlfriend

arthurleclerc: trust me we know

logansargeant: the way i know he's about to fly because @yourusername texts me - always the second choice :(

yourusername: oof i guess i'll nap instead

logansargeant: no i can still beat ur ass on 8 ball pool

oscarpiastri: you can't out do the doer soz bud

yourusername: i miss you come back, bullying logan was so much better together in person

note: i hope this was what you were hoping for! i love oscar so i'm always happy to write for him and i love a good comment squabble! thanks for requesting x

#f1 imagine #f1 x reader #f1 instagram au #f1 x you #f1 #oscar piastri #oscar piastri instagram au #oscar piastri x you #oscar piastri imagine

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lost-and-ephemeral · 2 months

Text

Series: In Her Shadow, pt.2 (ft. main trio)

Part 1 | Part 2

Slowly but surely she replaced you in his heart.

Pairing: Xavier x reader, Zayne x reader, Rafayel x reader (seperate)

Tags: angst, hurt no comfort, reader is not MC, breakup

A/N: I recieved a lot of comments and request asking me to continue, so here we are! I've tried my best. Ty everyone, I appreciate every message, even if it would be hard to mention every single one of them in this post. Also, if you want to be tagged in future fics, let me know!

-`♡´- MASTERLIST -`♡´-

Rafayel

You began to notice that Rafayel was spending less and less time with you, choosing his bodyguard over you.

It wasn't obvious at first, yeah, but as time went on, everything became so noticeable that you couldn't ignore it anymore. Especially when he forgot about your plans with him and didn't even consider apologizing for it.

The smell of someone else's perfume in his studio, the way Rafayel would leave you at home and take her to all the important events because "you probably don't like spending time among journalists and annoying guests." It seems that he didn't even notice the moment when you were completely estranged from each other.

And all your attempts to talk to him about it ended with nothing.

"She's my bodyguard," he'd say. "No wonder I take her everywhere I go. Is there anything wrong with that?"

Yes, a lot of things were wrong.

But he was completely unwilling to notice it, and you were tired of collecting the shards of your broken heart from the floor day after day. Those warm feelings that brought a sense of lightness and happiness in your heart suddenly turned into pure torture.

You had to end it all, even if it'll hurt so much.

When you arrived at his studio this morning, you came face to face with "Ms. Bodyguard" herself. She was just about to leave, and didn't even hesitate to embrace your beloved. Right in front of you.

Maybe you would've exploded from all these negative emotions, if you had any strength left to be mad or to cry. But there was only emptiness in your heart.

You became strangers to each other.

"I'm breaking up with you," you said without any regret and pushed him away as he tried to hug you. "I don't want to be a second choice after your precious bodyguard."

"W-wait, why? What... But I didn't do anything!" he replied confused, apparently not realizing how much he's been hurting you all this time.

"Maybe that's the point. That you'd do anything for her, but not for me."

He looked at you with the same confusion in his eyes, trying to figure out if it was a joke, but you continued before leaving this place forever.

"You were everything to me, Rafayel. But for you, I was just a small episode of your life. I'm tired. You've been spending all your free time with her, like I didn't exist. It'll be better this way. Goodbye."

No matter how long he was calling your name, asking you to stop, to come back and talk with him, you didn't.

Zayne

Loving a cardiac surgeon with his busy schedule is hard.

But it's even harder when he no longer cares about your existence and spends a significant amount of time with his childhood friend.

After Zayne forgot about your reservation at the restaurant, making you feel like you were the last fool in this world, some more time has passed.

Yeah, he apologized. No, he didn't start spending less time with his "friend".

It's hard to count how many evenings you spent alone when he stayed late at work for her or was invited to a "friendly" dinner with her. But it happened often enough so finally your love turned into suffering.

At first you tried to convince yourself that you're too jealous and he's just happy to finally reunite with someone close to him from his youth. You care about your friends too, don't you?

But it only got worse.

All your plans were constantly adjusted to his friend's wishes. She wants to take him to a cafe at the same time you were planning to go to the cinema? "Sorry, love, let's reschedule our date for another day". You've made him his favorite dinner? Too bad, his friend already brought him dinner at work and he's not hungry.

Eventually you started feeling like he stopped enjoying your time together and just continued to exist in the same apartment with you out of habit.

Talking didn't get you anywhere, because Zayne didn't notice how much he was hurting you (or he simply didn't want to notice it) with his actions and only distanced himself from you even more.

At some point you felt like he put an ice wall around himself again.

He stayed late again this evening, completely forgetting his promise to spend time with you. You packed your things with tears in your eyes, ready to say goodbye to life with Zayne once and for all.

And he showed up at the doorstep of his apartment just as you were ready to leave.

"What's going on?" his voice didn't betray a shred of emotion. "Where are you going?"

"I'm going to leave you and your lovely friend together so I don't have to be an unwanted addition to your life."

Zayne was taken aback at this statement and was about to say something, but you interrupted him.

"You were the one who brought happiness and comfort into my life. You were the one who made me feel loved and wanted. But now I realize that I wasn't good enough for you. Goodbye."

You walked away and closed the door behind you, leaving him all alone.

Xavier

Before, you without a doubt would've said that your relationship with Xavier was the ultimate dream.

But now it wasn't actually true.

Yes, your beloved still showed care and attention every spare minute he had. Just not to you. It seemed as if his colleague started to occupy his every thought.

During dinner, on a walk, after missions. He was always talking about her, how strong she is, and how lucky he is that she chose him as her partner. His eyes were shining with delight you had never seen before.

You were happy for him, but only until it crossed the line. Only until you started to feel like he was in love with her, not with you.

One day you found yourself completely miserable. Xavier texted you that he would be late because they had "decided to celebrate another successful mission". Except that you were usually the one he shared his joy with. But things have changed.

Even though you were the brightest star in his world, you were inevitably lost behind the glow of the Moon.

You were trying to be better, to be more interesting. Trying to reach an unattainable ideal. But you couldn't. After all, maybe you were never meant to be together if it turned out like this. Maybe you weren't enough for him.

You couldn't remember the last day you didn't cry. Sometimes alone, sometimes locking yourself in the bathroom after another conversation about this "super-strong collegue". But Xavier didn't seem to notice it at all.

"I thought maybe you'd be interested to know what happens during missions," he said when you brought up this painful topic.

And, yes, you were interested. But all you heard was, "She took down that Wanderer so easily, I couldn't take my eyes off her." Or, "she's so good with her weapon, it's amazing."

He distanced himself from you so much that you hardly spent any time together.

He wasn't even home the day you left.

Xavier sent you a message saying he'd be late again. As usual, with her. Even though he promised to have a movie night and you had already prepared everything you needed for it.

Maybe it's even better if you don't see the look in his eyes the moment you tell him you're breaking up with him. You packed your things and left a note on the table, next to the snacks you bought.

"Maybe in another universe I would be worthy of you so you could look at me with the same adoration. I can see that you enjoy spending time with her much more. And we should break up so you don't torment my heart anymore. Goodbye."

You glanced around his apartment one last time before leaving it forever.

♡ tags: @skyowlz @prettytemis @aishasreality @randompersonwhoexist @kreishin @reni502 @moonyzstarz @chin-chii

#love and deepspace x reader #love and deepspace #love and deepspace xavier #love and deepspace zayne #love and deepspace rafayel #rafayel x reader #zayne x reader #xavier x reader

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newtkive · 2 months

Text

shift shenanigans - social media au (pt. 2)

note: yes there’s the main work chat w carmy, the secret coworker chat w/o carmy, and the secret secret bestie chat w syd, marcus, and yourself. it would be canon.

warnings: crude humor, slightly offensive jokes

part one

liked by carmyberzatto, marcus.brooks11 and 40 others

chefboyardee: life lately

see all 9 comments

syd_adamu: that pho was life changing

↳ chefboyardee: i think it was the best i’ve ever had

marcus.brooks11: feet off the table @syd_adamu

↳ chefboyardee: leave my girl alone

↳ richietheking: I knew you guys were lez

↳ syd_adamu: we aren’t and you can’t say that

↳ chefboyardee: oh.. we aren’t? ☹️😔

↳ syd_adamu: 😑

carmyberzatto: 🍲🔥

THE GOLDEN TRIO

[ 7:45 AM ]

y/n: did you see

did you see

did

you

see

ogmgokggkowkfofsk

syd: pardon??

what did richie do oh my god

did he post another picture of him with the gun from that one day

fuckkkk carmys gonna be so mad

marcus: nope i wish

y/n: he commented on my post 😭😭😭😭

syd: who

marcus: think about it

who else would cause this reaction

y/n: carmy!!!!!!!

i woke up to him commenting 🍲🔥 😍😍😍😍

syd: woah and the heart eyes?

y/n: no that’s my addition

syd: the bar is in hell

HES YOUR BOSS

y/n: AND I WANT HIS BABIES??

marcus: y’all so hype to be pregnant THEN BOOOMMM ‼️ THE BABY’S UGLY AND BALD WITH ECZEMA 😩🤨

syd: LMFAOOOOO WHOS YALL THO????

y/n: bye im done

im leaving for work.

don’t talk to me ever again

done.

marcus: bye 👋

why do you leave so early fool

syd: so she can be teachers pet

marcus: smh always there before everyone

y/n: not true.

syd: i thought you weren’t talking to us

y/n: 😒

marcus: want me to bring y’all an iced latte again

y/n: …. 😁

WORK

[ 8:15 AM ]

y/n: AYOOOO

great job cleaning up after work yesterday 😊👍

richie: Is this a joke?

y/n: why would i joke about such a thing

carmy: Y/n what are you doing

y/n: u said to tell everyone their housekeeping is shitty

carmy: No I said I was going to tell them that, and you said no I’ll do it

This is not what I meant

y/n: well you yell too much

marcus: ouch

that’s my station 😔

carmy: Well clean it better

y/n: im using reverse psychology and positive reinforcement

carmy: Not what that means

y/n: well notice how no one’s mad at me

im making alliances day by day

richie: You’ve worked here for two years and we are already friends

y/n: so you’re saying you aren’t my ally

richie: No

We are definitley in an alliance

y/n: love u richie

richie: Don’t go that far

chefboyardee’s instagram stories

WE HAVE THE BEEF 🥩

[ 3:25 PM ]

y/n:

he so fine im bouta cermmmmm

syd: …..

marcus: :O

y/n: why are you acting shocked

like i haven’t said this daily

tina: Woah girl who?

y/n: HUH

richie: I’m not in the picture I don’t get it

syd: let’s just keep working before carmy notices

tina: I don’t care I’m on smoke break. Who are you talking about girl? Spill the tea..

marcus: she was talking about me you guys

y/n: the guy in the back

oh i mean yeah marcus

tina: The meat delivery guy? He has a wife..

y/n: we are having an affair

marcus: no it’s about me

richie: I didn’t know Marcus and Y/n were a thing..

tina: Something ain’t right. No way they are.

marcus: we aren’t it’s just our sense of humor

y/n: i was just being funny!

tina: What did Jeff just yell inside?

syd: came out of the office and said “just cuz we’re slow doesn’t mean you can play on your phones” 👍💯

tina: Whatever. No chance Y/n meant Marcus. You got the hots for Jeffrey?

y/n: what no

tina: Well I wouldn’t blame you. He’s cute

y/n: OMG RIGHTTTTTTT

its the tattoos isn’t it

richie: You have to be fucking joking

tina: I was playing..

y/n: im confused

syd: that was cruel

marcus: who cares it’s not a big deal

y/n: so you don’t think he’s cute tina?? ☹️☹️

tina: No he is cute… for you 😝

y/n: this is humiliating

richie: I’ll tell him

y/n: NO

stop

sSTOP THATS NOT FUNNY

richie im not joking i’ll put a bomb in your floorboards

richie: I’m just fucking with you kid

tina: This isn’t over.

THE GOLDEN TRIO:

[ 3:40 PM ]

syd: y/n….

marcus: you look like a ghost y/n

y/n: i cannot believe i sent that to the wrong gc

i’m done im so done

marcus: stop looking so sad it’s making me feel bad

syd: it’s okay! just be thankful it wasn’t to the work groupchat with him in it..

marcus: true it could be worse

y/n: i guess so

thank you for trying to cover for me marcus

marcus: anytime you know i got you

syd: let’s get back to work before we start looking obvious

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arysbruv · 3 months

Text

Sorry, not sorry

You were a relatively newer student. You normally kept to yourself but you always dreamt of being friends with the main trio, especially with the infamous Suguru Geto. Yet, he always seemed to hate you, even when you openly showed you felt the opposite.

pairings: suguru geto x f!reader

warnings and whatnots: Mean!Geto, Jealous!Geto. He’s so rude to you. He’s realising his feelings for you!! Slow burn fic and will probably take a while to finish… Not proofread

Chapter 1: Are we still friends? Chapter 2: Can we be friends? Chapter 3: [currently reading] Chapter 4: Green looks good on you. Chapter 5: Runaway. Chapter 6: Burn

Silence.

That was all you were met with from Suguru throughout the morning. As you got ready. As you ate breakfast. As you got in the car and subsequently stayed in the car.

Silence, silence and silence.

Not a word from him was spoken to you.

You were confused but accepted it with grace. Yet, your thoughts still linger on the fact he wasn’t talking to you. What had you done to garner such treatment from him? Sure, he hated you but you thought his disdain for you had slowly mellowed down.

“What’s up with you and Suguru?” Shoko whispers to you as you both sat in the backseats of the car. Satoru in the passenger seat whilst Suguru drives.

You shrugs you shoulder. Shoko looks at you with a confused expression, looking at Suguru.

“Oi, Suguru!” She calls out, causing Suguru to hum in response, his eyes glancing over to Shoko and you then back to road. “Why are you so quiet lately? What happened with you? I miss your annoying voice.”

“I’m fine, just tired.” He says.

You knew it was a lie, his inflections and the way his eyes darted around showed so. Yet, you kept quiet, deciding not to point it out.

Hours passed in silence as you made your way on the highway, before making a pit stop at a fast food restaurant to take a quick lunch break. As you made your way out of the car, you noticed how Satoru and Shoko exchanged glances amongst themselves. You look at them inquisitively, eyebrow raised at them. They smile at you. They’ve been doing that for the last few hours, as if they’ve been having their own secret conversations that they were shielding from you and Suguru. You look up at Suguru, he looks at you before quickly trailing behind Satoru who headed straight to the restaurant.

Suguru had also noticed it. The knowing glances, the small grins and smiles. They were scheming.

He hates when they schemed. Especially, when he wasn’t apart of it.

He chooses to ignore it as he sits down next to Satoru, directly sitting in front of you much to his regret. He glances at you as you look at the menu from your seat, eyes squinting.

He hated how your eyes looked so beautiful in the sun.

He looks away, feeling heat rush up to his cheeks. How disgusting.

“What do you want, Suguru?” Satoru says, pulling him away from his thoughts. Suguru shrugs, admitting that he could go for anything. Satoru looks at Shoko, before giving her a nod, earning a confused look from Suguru.

“Alright! Shoko and I will go order! You both wait here and keep the table and our belongings safe!” Satoru announces, smiling at the both of you before quickly standing up.

You didn’t even have time to protest before Shoko stands up and smiles at you. “Don’t start a fight!” She says, giving you a small smile.

You sit in your seat, pouting as you watch them walk away, eventually your eyes wander to Suguru who was already staring at you.

Crap.

Feelings rush you, and a sense of unease fills you. You had a feeling he was going to start berating you. Yet, that never happened. Instead he just… looked at you, without saying anything.

He was an odd man you had to admit.

“Are you mad at me?” You ask, tentatively, breaking the silence. Your eyes trained on him searching for any negative emotions.

Yes. I am furious at you for not giving me the attention I need. The love I need.

“No. I’m not mad. The hell would I be?” Suguru answers, looking at you confused.

You give him an easy smile. “Oh… Then, are you in love with me?”

His eyes widen as blood rushes to his face. His face contorting into a mixture of shock and humiliation. You couldn’t help but laugh as you watch his reaction.

“You’re such an ass! Who in their right mind would like a person the likes of you?” Suguru answers rudely, hoping to illicit a hurt response from you. Yet, a feeling in his stomach and mind immediately caused him to feel regret for airing out such words. What for? You deserved it.

You continue laughing. “I don’t know, you?” You give him a smile that causes him to stumble and stutter upon his words.

No.

He hated you.

“I would never like a girl like you. Get that through your stupid head. You wish I did like you.” He says seriously, his eyes narrowing.

Hurt flashes across your face, but you quickly mask it.

“I know, I just like teasing you!” You say, smiling at him.

He saw the hurt on your face and it caused his heart to burn. He wanted nothing more but to wipe that stupid hurt look off your face.

Admit it.

Admit that you love me so that I can love you. Admit that you want me to take care of you so I can try my best. Admit that I had broken you so I could put you back together.

All those words he wanted to say, all those thoughts. He couldn’t speak, his mouth wouldn’t let him. His body wouldn’t. His body rejected you but his heart was revolting.

Thus, he sat in uncomfortable silence with you, biding his time until Shoko and Satoru return and save the both of you from this pit of despair.

The pair of them eventually came to see the both of you in a state worse than before. You smiled at them trying to convince them you were fine but they could easily see through your deceit.

Lunch was eaten in silence.

Satoru and Shoko went to pay, asking you and Suguru to start up the car. You walk up to the car, Suguru trailing behind you. Your hands were in your pockets, gripping tightly to the inside of your pants.

“y/n.”

You look back, seeing Suguru approaching you until he was directly in front of you. You didn’t know what he wanted. To insult you? To hurt you once more like he always does?

“M’sorry.” Suguru mumbles out before walking towards the driver’s side of the car.

You stand there for a second. An apology was not what you had expected. You didn’t know what to do with it. He can apologise all he wants but if he doesn’t change what’s the point? Such empty words won’t help her in the long run.

“y/n! Why are you standing outside the car? You’re gonna get hit!” Satoru says, smiling as he pulls you away from the road, nearer to the car. You smile softly at him, thanking him. He pats your shoulder and ruffles your hair, before quickly telling you something.

Suguru watches it all in the rear view mirror. The way Satoru held you, smiled at you, the way you smiled at him. Did you move on to him?

His hand. The way Satoru’s hand lingered on you. Lingered upon your waist as he pulls you out the road. It should’ve been him. Why Satoru? His teeth grit as he watches Satoru smile and laugh with you. Is that how it would be if he was close with you?

Satoru smiles at you once more before entering the backseat, leaving you with an exasperated look. Suguru wondered what had transpired between the both of you.

The door to the passenger seat opens, you entering the car, and giving a small shy smile to him, almost as if he didn’t just wound you.

“Satoru says that he wants to hang out with Shoko at the back. He says that you’re too boring,” You state, laughing slightly.

Suguru rolls his eyes, looking at the back where Satoru gives him an unapologetic look. He turns to you, the sound of your laugh sending shivers into him. He ignores it, turning to the road and starting to drive.

Everyone had fallen asleep, everyone except Suguru. He was cruising on the road at the an average speed, the road almost empty. He glances over at your sleeping figure.

You looked so peaceful.

You hair covering parts of your face, your small movements and small mumbles that fell out of your mouth as you slept.

He swore he heard you mumble his name out.

“It’s rude to stare.” You say, eyes fluttering open and looking at Suguru.

Suguru felts knots in his stomach as your eyes concentrated on him. He clears his throat and looks in front. Ashamed that he had been called out, especially with a line he had said to you a few days back.

“Where are we?” You ask, yawning as you stretch your arms out.

Suguru’s grip tightens on the steering wheel. “We’re nearing the hotel. We can make a quick stop at the next town to eat early dinner.” Suguru says, plainly.

You keep quiet, earning a glance from Suguru. You frown as you think. You were still half asleep, your eyes blurry and your brain foggy.

“Why do you hate me Sugu?” You ask, the use of the nickname causing him to shiver.

“I…” He didn’t know how to answer such a forward question.

If you had asked him that question months ago, nay two days ago, he could’ve given you a plethora of answers with detailed explanations. Yet, when you asked it right now, he was speechless.

He couldn’t answer.

Why did he hate you?

You weren’t a bad person nor mean. Annoying sure but you’ve quickly grown out of it. Your only sin was that you had fallen for him. You had fallen for a man who couldn’t deal with love.

Did he hate you?

Yes he did, he had to hate you. That’s what made sense.

Yet, why couldn’t he explain why he hated you.

“I… I don’t hate you.” He says softly, turning to you to gauge your response. Yet, what he was met with was the soft snores of you who had already fallen back to sleep.

He clicked his tongue. How annoying.

Maybe that’s why he didn’t like you.

He looks back to the road, his grip tight on the steering wheel as he focuses on driving.

He was tired.

Yes, that was it. He was tired. That’s why he wasn’t thinking straight. He was tired.

He looked upon your sleeping face. The way the setting sun shines upon your face was unexplainably beautiful, the way it lit up your face and put it on a spotlight. The ways your eye flutter slightly as the rays of gold hit your face.

He just needed some rest.

#geto x reader #suguru geto #geto suguru #suguru x reader #jujutsu kaisen x reader #jujutsu geto #jujutsu kaisen #geto x you #suguru geto angst #geto angst

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dduane · 7 months

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I apologize if this sounds rude; that is not my intention. I’ve never read your work, and started following you on Tumblr because I like your posts. If I wanted to start reading your work, what do you feel is a good starting point? And if that’s not easy to answer, then which of your works is your favorite to recommend? Thank you.

You're not being rude at all! The last I heard, not knowing anything about my books hasn't yet been made a hanging offense. :)

Where to start is kind of a "what's your reading preference?" question.

If you like magic (though with a strongly scientific bent to it) and stories mostly set in the so-called Real World we inhabit, the Young Wizards books are a good bet. (As a general point of information, because sometimes people do get confused: the YW series began a decade and a half before that other series about wizards, and has absolutely nothing in common with it except characters in their teens.) Officially they're considered MG or YA, but adult readers seem to find a fair bit more meat on the books' bones than the classifications routinely imply. Try starting with So You Want To Be A Wizard and see how that works for you. There are now ten books in the main sequence of that series, as well as some interstitial works and one non-main sequence novel.

If you like fantasy in the adult mode, and/or enjoy LGBTQ content, the Middle Kingdoms works, starting with The Door Into Fire, are a good bet. Fire is where I got my first award nominations, and the initial trilogy scored a Gaylactic Spectrum Award in 2000. (Adding here the normal qualifier that appears on our ebook store's pages: "These books contain adult / mature themes and situations set in a sexually diverse and inclusive culture." Because there are people who're used to thinking of me exclusively as a YA writer, due to being unfamiliar with the series that came first.)

If you like science fiction, you might have a look at my Star Trek novels. Those have been positively spoken of for some years now, possibly because I insisted on treating them as SF and not as space opera. :)

I've also done a lot of licensed work here and there: a trio of Spider-Man novels, an X-Men novel, works in Tom Clancy's Net Force universe. ...And I could go on, but maybe it'd be more helpful if you wander over to the master list of fifty or so novels at my website and see what takes your fancy.

Anyway, thanks for asking! And thanks for the nice words. :)

#Diane Duane #novels

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mirokuna-hime · 9 months

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I honestly think people are jumping the gun with their disappointment over the new story quest in 1.2

The whole purpose of Xianzhou Luofu arc is to set up future events.

The writers tell us this by having Kafka admit to the MC that the whole point of this operation for the stellaron hunters is to have the Xianzhou indepted to the Astral Express crew so that they will aid them in their fight against Nanook the destruction.

Herta Space Station and Jarilo-IV were used to introduce us to the game mechanics and to establish the trio of Dan Heng, March 7th and the Trailblazer with the Space Station also serving as a prologue.

Jarilo-IV however did nothing to develop the overarching main plot of the game. Belobog was it's own self contained arc to ease the player into the game and they are now using the Xianzhou Luofu arc to plant the seeds for future chapters.

People are already calling Blade a wasted character, because his confrontation with Imbibitor Lunae didn't play out like people hoped it would, because they didn't drop his entire backstory in this quest even though it's pretty clear that Blade, Kafka and Silverwolf will be reoccuring antagonists over the course of the story.

The prologue already introduced us to Kafka and Silverwolf, heck Silverwolf even got her own event.

Introducing Blade and his connection to Dan Heng to the player is what I would argue the other focal point of this arc. Every theme this story introduced to us can be connected to Blade (immortality being a sin, what it means to be mara struck, manipulation, the weight of our past actions and how we deal with them etc.), it's so that we can understand his story and motive.

Not to mention that it opens the door for character development and development of Dan Hengs and his relationship. Right now Dan Heng doesn't make the connection that Blade is his previous incarnations "friend" (in quotation marks because hoyoverse is being sussy with them) and he's still running away from the past. Meanwhile Blade is consumed by his vengence, his desire to die and he is also getting manipulated by Kafka (admittedly she kinda has to because of the Mara but that barely changes anything other than making us see her in a bit more positive light).

All points that will need to be adressed in following installments and I have faith in the Honkai writers to do these plot points justice, but it won't be right now.

We are in 1.2 my friends, let the story take it's time.

#Honkai Star Rail #HSR #hsr blade #hsr dan heng #tell me if this needs a spoiler tag I'm not sure because a lot of the information was already in the game as of 1.0 #I feel like people are so used to the questionable choices genshins writers make that they instantly got worried for HSR #however the Honkai writing team is usually better than what Genshins does and hey even Genshin stepped up its writing during sumeru #...#till they kinda butchered it with the caribert plot...

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victimsofyaoipoll · 8 months

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Round 3

Propaganda Under Cut

Kairi

kairi is the third protagonist of the kingdom hearts series and the third member of the destiny trio, alongside fan favorites sora and riku. sora/riku shippers HATE kairi, and will go out of their way to discount her at every turn. the hate for her ranges from typical "she's a boring bitch" to fans of soriku making five-hour long video essays reassuring their fellow shippers that the big bad kairi won't show up in the next installment – to quote one video, "she's in a box. she's on the shelf. four walls, no door." kairi is the greatest bogeyman the soriku fandom has ever known, to the point where most of said video essays and fanon meta posts focus not on why sora and riku should get together, but rather on why they don't like kairi.

Literally has a 100+ page Google doc fan theory writing her out of the narrative and putting all of her (few) canonical accomplishments onto half of the popular m/m ship (soriku). Don't even get me started on how her memory was completely written out of the canon plot of re:coded. KH is a nightmare to explain so dude trust me she is THE victim of yaoi

She is so fundamental to the plot and themes and narratives of game and yet it is near impossible to find anything about her thats not ship bashing pre-mlm with the other two characters. I dont even care if she ends up with one of the main characters i just want fans to see her as a cool character to love or like, anything other than “annoying comphet girl.” You can write your mlm but pleaae stop inventing comphet where it doesnt exist. She does not even get to spend time with sora ever?? Why does everyone see her as a threat and a thing to destroy?? Let her have friends so help me

Misa Amane

she gets treated in-canon the way fandoms treat female characters that Threaten an m/m ship. it's like, "oh why don't you go sit in the corner and be pretty, misa, while the Men have intelligent conversation and pretend they aren't ten seconds from fucking each other, doesn't that sound nice?" it's infuriating. and MAYBE it's better now but i remember her getting treated the same way in fanfiction too, like we all need to do just as badly by our female secondary characters as fucking tsugumi ohba, but with the added insult of making her be alternately oblivious of the relationship between light and L or actively trying to sabotage it—incompetently, of course, because god forbid misa be allowed dignity or moments of cleverness.

she's one of the first characters I think of when I consider old school fandom misogyny. The annoying bitch and clingy crazy gf allegations were AFTER HER ASS. She's also a lot more intelligent than people gave her credit for, but most seem inclined to take the Very Biased word of our unreliable, narcissistic narrator and his homoerotic arch nemesis and claim that just because she's bubbly and into romance that she's also a complete moron. Which is blatantly untrue. Everyone was afraid of Misa girlbossing too hard. Killing people and devoting yourself to the deranged twink of your dreams even though you know he'll never love you back??? Having a hardcore goth aesthetic and being so Hot even literal Death Gods are into you?? God forbid women do ANYTHING!

Not only is she the victim of yaoi culture, she is the victim of early 2000s misogyny by an author that wanted to introduce a girl character because he knew his male rivals were getting too homoerotic. She is a goth bimbo icon who portrays what I think is one of the few callouts for stan culture and what parasocial relationships can do to both the stan and the idol. The fact that she is a toxic fan of Kira and also hot, funny, sociable is tragic in its own way, which I think the author did try to touch on but was too misogynistic too really get through. Of course, she was reduced to villain status by the fandom and anime alike because she got in the way of the supposed romance in their psychological horror anime.

#round 3 #poll #kairi kingdom hearts #kh kairi #kairi #kingdom hearts #misa amane #misa misa #death note

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lizzieonka · 20 days

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Unpopular opinion: There is no Link Click “trio.” It’s just the ShiGuang Duo + Qiao Ling

Now, before the Qiao Ling fans come after me, I just want to make it clear that I do not hate Qiao Ling. She’s a queen, and I love her. What I do hate, however, is the writers’ neglect of her character.

Warning: This will contain major Link Click season 1 and 2 spoilers.

Cheng Xiaoshi, Lu Guang, and Qiao Ling have been marketed as the main trio right from the OPs and EDs all the way to the different official artworks and PVs. But despite this, Qiao Ling has never been portrayed like a protagonist in the story itself. Her value has always been tied to some other character, and what’s sadder is that even as a supporting character, she’s still being neglected by the writers.

Cheng Xiaoshi and Lu Guang both have something in themselves that push the story forward. Cheng Xiaoshi’s recklessness in s1 is what gives tension to the dives and what leads to the overarching plot related to Emma. His planning in s2 also keeps the plot going. On the other hand, Lu Guang acts as the voice of reason, grounding the fantasy aspect of the show. His hypocrisy revealed in s2 also reshapes how we view the entire story.

But what about Qiao Ling?

Throughout most of season 1, she’s been kept in the dark about ShiGuang’s powers, which in turn excludes her from a big part of the story. In s1, it was only during the kidnapping arc that we see a bit more about her, but the focus wasn’t on her at all but on some random extra. And at the last episode when she finally gets to be in on the whole eye power thing, Li Tianchen possesses her, overshadowing Qiao Ling entirely and redirecting our attention and interest to him. (Extra: In season 1, between Qiao Ling and Emma, would you dare say Qiao Ling is the protagonist? I bet you won’t.)

Then in s2, despite Qiao Ling’s extra screen time and more involvement in the plot, the neglect of her character is even more palpable. She got possessed by a murderer, nearly killed her friend, and even tried to stab her own brother, but even after all these, we barely get to see how she had to process everything.

It’s really no surprise many people loved this scene:

This, for me, is the one time, the ONE time Qiao Ling is portrayed as a character on equal grounds with Cheng Xiaoshi and Lu Guang. If Link Click were a sports anime, this would be the scene where she discards her role as the female manager over a bunch of male athletes and expresses her desire to become a player as well.

But unfortunately, after this episode, Qiao Ling is once again pushed to the sidelines. She’s a player now, yes, but a player who’s just being pushed along the game. She may take the initiative in some things (like talking to Li Tianxi), but even then, the things she do are all still just to help her friends. You know, like a supporting character. None of what she’s doing is for herself alone. (If any Blue Lock fans are reading this, Qiao Ling has no “ego,” so to speak.)

Qiao Ling has no goals of her own, and this is how the writers failed her.

All the other major characters have their own goals. Heck, even the antagonists are more like protagonists than Qiao Ling.

Cheng Xiaoshi wants to find his parents. And he also just wants to help the people he meets in dives

Lu Guang selfishly broke the rules of time travel just to keep one man alive and will do it again if he must

Li Tianxi betrays her brother and Qian Jin just to find a way home

Li Tianchen approaches ShiGuang and later kidnaps Cheng Xiaoshi because he also wants to go home

And Liu Xiao wants to, I don’t know, change the rules of time and space entirely?

God, writing that last bullet makes me realize that even Liu Xiao, who only showed up in the last episode of season 2, has more weight in the story than Qiao Ling. This is ridiculous.

Seriously, what is Qiao Ling even here for??? Play big sister???

Just market her as a supporting character. It’s fine. She’s still badass.

I also don’t have much hopes over how she will be in season 3 because of how season 2 ended. Qiao Ling seeing Lu Guang’s memories means her worth in s3 will inevitably be tied to this secret. It’s the s1 ending all over again. At the end of s1, her worth was tied to the mysterious Red Eyes. At the end of s2, it’s tied to Lu Guang.

If the Link Click writers are gonna keep pushing her as a protagonist, then they better start treating her like one!

It’s not enough to just give Qiao Ling a goal, by the way (although it is very important too). She must also become a player who has the power to control how the game goes. If she ends up inheriting Li Tianxi’s powers, as many theories have said, then may the drama around her not be focused on how she may leak Lu Guang’s secret at any time.

I don’t know what she could do with her powers, but I think it would be very interesting if she ends up opposing Lu Guang.

Lu Guang wants to keep Cheng Xiaoshi alive, but...

...he’s no longer alive. The Cheng Xiaoshi we see is just a glimpse of the past...

What if… as Qiao Ling sees more of Lu Guang’s memories, she sees more of the real Cheng Xiaoshi and suddenly… wants to let go… wants to move on?

The fandom have talked a lot about how ShiGuang may react once the secret is out. But what about how Qiao Ling would react to it over time as she realizes those memories weren’t just her overthinking things?

In season 1, she couldn’t bear to face that kid’s father for years, and at the end of s2, she couldn’t bear to confront Lu Guang… In s3, how long can she bear looking at her dead brother?

The chances of her “giving up” Cheng Xiaoshi and returning to the original timeline is slim, though. I’m just giving an example of how she can be more like a protagonist.

Anyways, I’ll end here… I still have so many thoughts, but I can’t figure out how to organize them. This has also been in my drafts for over two weeks and I just want to post it already!

#qiao ling #qiao ling meta #shiguang dailiren #link click #时光代理人 #link click spoilers #miyamiwu.meta #miyamiwu.src #link click meta

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wherevenusholdssomeofficespace · 1 month

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Why the Llama Incident works

The noodle incident is a trope done in A LOT of shows (PNF has a whole TV tropes page dedicated to its noodle incidents). Technically getting disowned and raised by ocelots is a noodle incident in pnf... we never do know what gets him officially disowned and how he ends up in the care of the ocelots). The noodle incident is meant to just showcase that this character has a history of some sort.

Generally speaking, explaining a noodle incident is a bad idea because the unknown has infinite potential. The intrigue is part of what makes it interesting. People can come up with ideas that are absolutely out there themselves. Usually, coming up with something that will live up to the hype is impossible because the hype of the event has built it up to impossible levels.

Emphasis on the usually.

They literally called it a llama incident. They knew what a noodle incident was, and were purposefully playing with our expectations that it would be an unrevealed event. And, as I said before, PnF has already dealt with its fair share of noodle incidents that go unexplained.

And as a noodle incident it served its purpose. Generally a noodle incident will provide context on what the status quo is without spelling out the details. In Rollercoaster the Juggling Monkey's noodle incident tells us that this is not the first time Phineas and Ferb have had a Big Idea (in fact we never do get what Phineas and Ferb's first Big Idea was). In Milo Murphy's Law the Llama incident tells us that Milo and Melissa were getting into Murphy's Law shenanigans long before Zack came into the picture. Showing us that they're so familiar with each other that situations that might require more context to another person doesn't.

Now bear with me as I go on a bit of a tangent that I promise is related.

The main cast of Milo Murphy's Law is a trio, and one of its members is defined by being the new guy. Zack is kind of an audience surrogate. Melissa is Milo's childhood friend and Milo has lived with this all his life. Generally, they don't need to explain anything to each other, nor do they need to explain anything to their class who is already at least passingly familiar with Milo. But they do to Zack.

I don't necessarily think MML NEEDED the audience surrogate character per se. Quite frankly I think audience surrogate characters are rarely necessary. You can always just start with a group of friends and fill in context via implication. I think it's just significantly harder, because you run the risk of alienating your audience by not allowing them to get settled in what is going on or having your characters talk about things like they don't already know what is going on.

But I don't think its at all an inherently bad storytelling method. I personally find outsider POVs delightful, and a good audience surrogate character is an outsider POV, at least at the start. Zack being new to the whole Murphy's Law allowed him a story about choosing to engage with the hazardous kid, winning him loyal friends and a set of skills he never would have dreamed of before. We get to see him grow, and we wouldn't have seen that if he was Milo's friend the whole time.

On the other hand he also has a bit of a wild background, as the former lead singer of a locally famous lumberjack themed boy band. Which gives Milo and Melissa the chance to join a band. Or for Milo to have a real birthday party. A change in status quo provides opportunities for growth and change, for the whole cast, which is useful in more overarching stories... like MML. It's not NECESSARY of course. Zack could have been a classmate that had always kept his distance before he accidentally got tangled up with Milo and decided he was cool. But there's nothing wrong with him being straight up new either.

And at the most basic level, Zack's complete unfamiliarity provides a nice contrast to Melissa's familiarity and Milo's day to day life. Zack is starting from 0 while Milo has been dealing with this every single day of his life.

So Zack isn't going to know what the Llama Incident is. And while noodle incidents being unexplained is fun for the audience, it isn't going to be so fun for someone who is constantly living with people who know what this Llama Incident is. Of course they could have told Zack the noodle incident off screen, it would have made for a good gag to cut into the story with Melissa and Milo finishing telling Zack the story. But instead, we are treated to an episode that has Zack really beginning to slot into his life as Milo's friend.

Back to the main point.

MML is one of the only shows with enough sheer chaotic energy that it could actually pull off making a group of seemingly unrelated references into a cohesive genuinely interesting story. The whole show is things that could feasibly be noodle incidents, which makes it easy to get a baseline for what could have happened. Milo uses stuff in strange ways all the time, getting tangled up with weird animals and ending up in strange situations. There's no REAL reason to feel like we're missing out on too much. It sounds like a normal Milo situation, just with only him and Melissa... and the fact they keep bringing it up.

And really, if you think about it, its just Planned in Advance Meapless in Seattle. Meapless in Seattle was meant to be a bunch of unrelated clips meant to be a noodle incident of sorts. We wouldn't know what exactly would go down in that fake episode. But they managed to bring everything together into a really fun episode that made sense and honestly lived up to the hype. (At least for me). I mean. They somehow made it work. That's a feat in of itself.

The episode "Llama Incident" starts out implying a completely different noodle incident. We never learn how the kids end up on that branch. That's not important. That stuff happens all the time. Is the Llama Incident more interesting than the other stuff Milo gets into? Not particularly, but it DID involve him using more stuff he didn't normally use.

And the Llama Incident is told in the format of a story. Changing up the format of the episode is always a good way to make an episode feel fresh. I mean, look at The Remains of the Platypus. It's just an episode told backwards but its delightful chaotic fun. Or Delivery of Destiny. Really the only difference is the day follows the perspective of a delivery guy, but we get all our normal plot beats. But both are some of my favorite Phineas and Ferb episodes. If you remove their gimmicks they're pretty basic. Phineas and Ferb build a cheese themed amusement park, and Doofensmirtz's plan is only slightly more novel with brainwashing Perry. Phineas and Ferb building a ride and Doof juicing city hall are pretty typical of them, but Paul's semi-outsider POV (and being one of the closest characters we get to having the full picture of the story we the audience see), makes it feel fun and fresh. It makes the Llama Incident feel special. Even if it isn't my favorite unique episode format, it's still something fresh and fun.

So Milo and Melissa sort of tell the story a bit out of order, because they forget what pieces Zack would and wouldn't have context for or would or wouldn't find interesting. And, again, it's told as a story to Zack, so he asks questions. It's told while they are hanging from a branch, where they cut back to every once and a while to remind us that hey, the group is in the middle of a whole other Murphy's Law incident. We're getting two for one today.

But through the episode we get a bit of a Zack character arc. We've already established that Melissa and Milo are used to this, even if you weren't aware the way they were casually rating it at the beginning of the episode should tell you all you need to know. But Zack isn't completely used to this yet, so he's just nervous. He spends the episode using the story as a distraction, but being genuinely invested. In the end, the story acts as an inspiration to Zack, and he's able to help the group get out of the situation. AND for his trouble, he gets his own mysterious incident to reference. After half a season, he's truly part of the group now. He will continue to grow of course, trying to become braver and cleverer, and he's already made strides since the first episode. But even if Zack isn't really any less part of the group before or after its still a significant moment in Zack's character arc.

And then the Llama Incident comes back the next episode. The date was memorable to Milo, even throughout all of the other chaos in his life. And sometimes that's just how life is. And he uses his knowledge of the event, the way it stuck in his mind, to save him, Dakota and Cavendish from Pistachion's in Missing Milo. What we thought was going to just be a noodle incident, a running gag that functioned to establish just how used to this stuff Milo and Melissa were, turned out to be a plot point. To be fair we didn't NEED to know what the Llama incident was for Milo to choose to go there. We didn't need to know about the Llama Incident to know it was typical Murphy's Law shenanigans. It could have just been more out of context llama stuff. But now we the audience are in on the joke, so when Cavendish and Dakota express confusion, we can revel in the fact we know something they don't. Especially about two characters who themselves were slow revealing information about themselves to us... sure by that point we know their deal but at one point they were as mysterious and out of context to us as the Llama incident. And now we know what the Llama Incident is, and what their deal is.

The Woodpecker incident also is vaguely referred to later with the woodpecker whistle. We may not know the full story there, but it is still satisfying to see Milo's adventures giving him the skills and tools to deal with bigger, actually hostile, threats.

And at the end of the day, even if the Noodle Incidentness of the Llama Incident is ruined, it was immediately replaced with the Woodpecker incident. Which admittedly is never mentioned, but it doesn't need to be. The point of the Llama Incident was to draw attention to a specific incident to make a gag out of it. But they have incidents all the time. And we're privy to most of them. We sometimes get references to other incidents that we never fully get the context for. But we don't need context. We know how it'll go anyway because we have a whole show of effective noodle incidents.

#mml #milo murphy's law #zack underwood #I talk a lot about him specifically so he gets special mention

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shannankle · 2 months

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DFF, Found Footage, Technology, and the Real

Okay so I've been slowly looking into horror and technology since watching Shadow, and now DFF has me going down a related research spiral. So let's call this a sibling post to my Shadow technology series (which I am slowly working on I promise).

I just thumbed through a great book on found footage horror and a few other pieces on technology and wanted to use these as a lens to think about DFF and how it's navigating a number of themes including the distinction between reality and fiction.

DFF draws on the concept of found footage films like The Blair Witch Project. Even if DFF's main framing and style isn't found footage, the film the characters are working on is. And we get our most direct reference to a horror film when Jin references The Blair Witch Project--an iconic found footage film. So I want to start by thinking about the Blair Witch Project.

Part 1: The Blair Witch Project and DFF

Part 2: Paranormal Activity, DFF, and the Myth of the Real

Part 3: Films within Films, Surveillance Technology, and Other Connections (Man Bites Dog, Cabin in the Woods, Shutter)

Part 1: The Blair Witch Project and DFF

While found footage horror doesn't purely originate with the Blair Witch Project it certainly rocketed the concept into the popular zeitgeist. I watched the film for the first time this week, and while it didn't scare me*, I could easily see how influential it would've been at the time. The media landscape looked very different in the late 90s, and the film's marketing deliberately played up the idea that this was real footage in a way that simply couldn't be done today with our current media landscape and familiarity with the found footage genre. We're now much more familiar with fakelore as a concept in general.

*The scariest part of watching was the censored subtitles! Stop that please! They seriously were replacing things like "Oh, fuck" with "Oh, boy." I also got a car add about going out to enjoy national parks, and how they can be accessible to Deaf people, which was an interesting moment of double irony.

In her book Found Footage Horror Films: Fear and the Appearance of Reality, which I will be citing quite a bit in this post, Alexandra Heller-Nicholas notes that the Blair Witch Project came out at a time when amateur films were still relegated to home videos but entering public viewing through shows like America's Funniest Home Videos. The style was thus associated much more closely with trying to capture reality than tell a fictional story. The marketing played into this heavily--for example: using the actors' names for the characters, circulating missing persons flyers in areas where the film was being shown, and creating a website that gave background on the Blair Witch myth and information on the "missing" trio of amateur filmmakers. I chatted a bit with @slayerkitty who saw it in theaters. She explained how part of what made the film scary at the time was how real so many people thought it was and the tension of being in the audience.

TBWP and DFF Similarities

Let's start by going over some of the ways DFF might be directly pulling from the film or making homages before jumping into what I think are probably the more significant thematic connections with found footage.

Myths and an Ambiguous Antagonist:

The Blair Witch Project is set against the backdrop of a local myth about a witch in the woods. Three young adults (Heather, Josh, and Mike) go to make an amateur documentary about the witch, get lost in the woods, and are then hunted by an unseen presence. We get information about the myth through interviews with locals and a book Heather reads aloud briefly called The Blair Witch Cult. We learn about the slaughter of 5 men (which is described almost like a ritual), disappearances and deaths, and a man who was compelled by the witch to slaughter children. Similarly in DFF we have our Janta cult, which slaughters people in the name of a supernatural or spiritual force. Now I'd say this could be a nod to TBWP but it also draws on plenty of other ghosts stories and urban legends about the woods. I'm sure there are also particularly Thai valences as well beyond just being Buddhist on the surface.

Like the trio in The Blair Witch Project, the group in DFF goes into the woods to film--though they aren't traipsing through the woods, and the horror they're filming is a story of their own creation. In the present, however, the horror becomes much more than fiction, just like in TBWP. In the film, we see and hear signs that something or someone is following the trio but it's ultimately unclear if it's supernatural, locals scaring them, or them slowly cracking and turning on one another. In DFF's opening episodes it's likewise unclear if what's happening is being caused by a person, hallucinogens, or something supernatural.

Maps and Marketing:

TBWP also shows the characters turning on one another, arguing, and cracking in a way that fundamentally sabotages their survival. At one point, Mike reveals that he threw their map, their only lifeline, into the river. This is paralleled in Fluke turning away their transport and means of leaving. The map is an important focus in the film. We see Heather orienting the group and insisting she knows where they're at, while Mike insists they're lost. This culminates in them losing the map as things start getting worse. DFF slips in what I read as a potentially more direct reference to the film in episode 8. An odd new detail in the group's film where they rely on the hope of a map to get out before they're attacked by the masked killer again.

Another potential similarity to draw on has more to do with the outside marketing of TBWP. Interestingly it was marketed to appear like an indie film despite having pretty extensive funding. This makes me think of the group's film in DFF. This is meant to be a student film but they received a huge boost via Por's dad giving them extra money for a camera.

Smoking and Being Alive:

One other parallel I find interesting is the emphasis on smoking. To be fair TBWP is probably not the first or last horror film to have people smoke (the pot head is a character trope of it's own), and I was likely primed to notice because we already had "Tan smokes and has asthma" on our list of clues for DFF. Now clearly the writers of DFF are smart and are using Tan/New smoking in plot relevant ways. These details feel purposeful to the story they're crafting. But let's briefly look at how smoking shows up in TBWP.

The characters all smoke and drink alcohol. As they get lost and the days tick away they run out of food and smokes. Josh has moments that could be attributed to withdrawal where he laments that they're out of cigarettes. However, after he disappears, Mike finds some remaining cigarettes at the bottom of one of their bags. Mike comments "We're still alive cause we're smoking." For him, it signals even if briefly that they are still alive, that they're surviving.

But in DFF, smoke seems to be attached to death and dissociation. We know that New is a smoker, something he perhaps picked up in England. It starts then as a sign that he has a life, one outside of being Tan. Yet it's that very life, being abroad, that led him to be so far from Non when he disappeared. For New, his life is now tinged with guilt and loss. As @syrena-del-mar noted here, there are moments where he forgets he is supposed to be New. But the smoking becomes his one reminder that "New" is still alive.

Yet this reminder turns more and more painful. Under the exterior of Tan, he is haunted by New, the brother who didn't make it in time. And this spirals further when his mother and father die. Each time he's a step closer but still too distant to stop their deaths. At this point, he starts getting high to a dangerous degree--dissociating, hallucinating, torturing himself with visions of Non. When Phi steps in we have a parallel moment to Phi stopping Non from taking pills. Smoking turns from a sign of life to one of death as New tries to commit suicide, telling Phi "I don't want to live anymore." And New takes this further when he drugs the rest of the boys. Perhaps he didn't intend it to go so far, but he certainly is happy with the result. His drugs, his smoke have caused fear and death, rather than hope and life.

Except for the map I feel like most of these parallels can as easily be chocked up to direct inspiration as they can be attributed to both pulling on a similar well of genre conventions. What I find more interesting is the thematic conversation TBWP brings to the table for DFF.

TBWP and Thematic Resonances with DFF

Filtered Reality:

In her work on horror, Brigid Cherry remarks that The Blair Witch Project is "about the way in which technology gets in the way of seeing" (qtd in Heller-Nicholas 23). Heller-Nicholas further notes how the camera is constantly in contention with the audience's desire to look at what we want to see. In the film itself, one of the characters even remarks that looking at the world through the camera is "like a filtered reality" because you "can pretend everything isn't exactly like it is."

This looking but not seeing resonates to me with Jin. He looks at Non through the camera, seeing him as innocent, in need of protecting. But there's so much he doesn't see about Non, including the reality of poverty. Jin's perfect view of Non breaks at the moment he sees Non with Keng. But as Jin's filtered vision of Non cracks, he adds a new filter. He frames Non as a slut, someone guilty in his mind, at least in the he heat of the moment. So he records him. In doing so, he papers over the nuances of the situation, that it is SA and that there is so much of Non's life that is outside of Jin's lens.

After Non's disappearance Jin doesn't stop using his camera lens to view the world. In episode 9, he watches the others play soccer and then Phi through his camera. He is pretending nothing happened just like the rest of the group, but for him to do that he has to filter his reality. And just like with Non, Jin isn't able to see the full story around Phi from this small frame of a perspective.

I also think it's worth noting how the show, especially in the flashbacks tends to use strong framing (I note some of this in episode 5 but it persists strongly at least up until episode 9). While they aren't using a found footage style, there's still a sense at times that the camera is limiting our view as it closes in around the characters. It's as if the camera frame becomes hyper-visible, similar but not exactly like in found footage. I'm not entirely sure how to read this just yet, but it feels appropriate for both a mystery and for a story so deeply invested in perceptions. There's a strong focus on what is made visible and what is rendered invisible by the characters, by the story structure, and by the frame of the camera itself.

Gender, Space, Control:

In her discussion of TBWP, Heller-Nicholas discusses the gendered dynamics of the film and how scholars have read the film as invested in the horror of female control. This is captured in two ways. First in the way the woods as a space become imbued with the horror of the Blair Witch (pulling on a tradition of witches being women), and thus the feminine. Second, in the way that Heather, who is the director of their film, leads the group to folly. Scholar Linda C. Badley, has argued that "Heather represents a serious breach in having taken possession of the conventionally male--and often murderous--gaze" (qtd. in Heller-Nicholas 108). Heather thus enters the domain of the typically masculine and the results are disastrous.

I find it interesting to compare DFF with TBWP in this respect because they've taken a genre that often is infused with binary gender dynamics and given us all men, and predominantly queer men. This is obviously a dynamic of BL, but it's interesting to consider how this plays with the themes of gender that often proliferate in horror. This is a much broader topic, and @brifrischu and I are currently reading through Carol Clover's seminal work Men, Women, and Chainsaws so I wager we'll have more to add to the discussion at some point.

But let's look at a few things. First, if the Blair Witch imbues the woods as a space of feminine horror, DFF paints the woods as masculine. After our cold open, we are introduced to the group as they ride into the forest via Por's narration about the legend of Janta. The subtitles at the very least, refer to Janta using masculine pronouns. I don't want to assume that Thai gender coding and dynamics are identical to western ones but we might consider the way that the group of boys, packed into the back of a truck paint this as a masculine, homosocial space.

This is reinforced by the mention of Por's father. Por says "My dad warned me that, so I had to listen to him." This masculine authority is doubly highlighted by the campaign posters that literally mark his control of the space. To go any further the group must pass through these signs as a threshold to the space. Here we have not just masculinity being signaled but wealth, power, and control--something that contrasts distinctly with Non, for example, who has none of this. And of course, as we move through the story much of the horror comes from the actions of the core group of boys rather than the masked person we started with.

I find it interesting too that as Por tells the tale, it's White who comments "You almost had me scared." They then have a discussion about Tee liking to teaser "the younger ones." This focus on White as the most vulnerable is interesting given that he reads as perhaps the least traditionally masculine of the group*.

*Another reason why I'm excited to read Clover's work, is because she came up with the final girl formula in her discussion of gender in horror. I'd love to think about how we apply that in a queer context, especially given how so many of us have collectively felt White will be final girl. What might DFF be doing re: gender within the context of queerness, and what might it be asking of us as an audience?

The second aspect of this is the directorial gaze. In TBWP we have a woman taking on the control of a film project. This is important not just because Heather takes on a typically male profession but also because of the way films are imbued with what Laura Mulvey has termed "the male gaze." The view from which we see the world and the terms on which stories are told are traditionally male, while women are objects to be looked at--something Heather bucks and is punished for.

In DFF we have a similar struggle over authorship and directorial control. Instead of a strict division between feminine and masculine gazes, we get a struggle that is imbued with distinctions of class first and foremost. Por stands in as the more traditionally masculine director. We see the violence he does in trying to maintain control of the project. Of course he mostly does this through exerting his wealth. In contrast, Non doesn't fit the more aggressive masculine role, he comes from poverty, has mental illness, and is generally at the bottom of the social pyramid. His authorship comes into tension with Por's desires for directorial and social control.

There's a strong thematic exploration here of not just who gets to tell the story, but who's story gets to be told. In the end, the camera is Por's, his wealth and framing win out, and Non's authorship is buried. Much like the male gaze relegates women to objects rather than directors or authors, the only film that Non gets credit for is the sex tape in which he becomes objectified by the camera.

Of course we then have the fact that, in the present, Non's revenge script is being played out. There's a new director here, and clearly it's not entirely Phi (who tries his hand at directing in episode 1). Regardless of who is orchestrating these moves, we have an inversion of power happening. While we can't say for sure until the show has wrapped up, I suspect that DFF will lean into this inversion, rather than, like in TBWP, punishing this transgression of the norm.

That's all for now on TBWP, but certainly not all on DFF. I'm going to turn now to another important found footage film, Paranormal Activity, to unpack a bit more about DFF and it's themes.

Part 2: Paranormal Activity, DFF, and the Myth of the Real

In her work Heller-Nicholas notes how, after Paranormal Activity hit the screen, our view of found footage as a genre shifted. It was no longer seen as necessarily authentic per-se but a stylistic form. Heller-Nicholas puts it like this:

As these more popular found footage horror films made their way to the forefront of the genre, what became important was not that the audience necessarily believed that they were real, but rather that they offered a framework to knowingly indulge in a horror fantasy of the real. The solidification of a recognizable found footage horror style meant that horror audiences understood and identified them as such, defining a subgenre where an authentic style (rather than claims of authenticity itself) prevailed (Heller-Nichols, 128)

I won't go into smaller parallels between the film and DFF (partially because I haven't seen it, so if you have please add anything you notice), but I want to cover a few thematic resonances.

Heller-Nichols sketches out a few ways that critics have interpreted the film. First, as an allegory for materialism in the context of the US housing market crash of the time. Second, as a reflection on surveillance and the way changes in technology changed our relationship to cinema.

The first theme, materialism and consumption play out in the film through both the financial disparities of the characters and the more metaphorical spiritual/demonic possession that takes place. Both DFF (at least episodes 1-4) and Paranormal Activity take place in a luxurious house and themes of greed and materialism are present. In DFF, Por takes this role, flaunting his wealth and using it to get what he wants. Of all the characters, he is the one most willing to steal credit from Non. In Paranormal Activity the wealthy boyfriend even brags about buying a nice camera on only half-a-day's pay. Similarly Por brags about getting the nice camera for their film with his father's money.

One thing that set Paranormal Activity apart from earlier found footage films like The Blair Witch Project, was it's use of security camera footage. It relied on a new type of gaze that made the private public in the context of shifting surveillance technologies. While DFF largely centers itself around a film camera, it also includes other forms of technology in the background, including surveillance cameras. The CCTV cameras in Por's house come to mind as a significant way this technology comes into play. On the one hand, it helps Por identify that there is an intruder, and it helps the group find him when he is hurt. On the other hand, it encroaches on the private, capturing White and Tee having sex. This private vs public line is of course horrifically crossed when Jin records Non and Keng and when this video is circulated--surveillance right in our hands via cell phone.

Heller-Nicholas notes that post-Blair Witch, and by the time Paranormal Activity was released, audiences were much more genre savvy. She notes that the genre's "pleasures are not reliant on our gullibility, but rather our willingness to succumb to the myth of the real that these films offer..." (26). Relevant to DFF, I want to stress the "willingness to succumb to the myth of the real." I discussed earlier how Jin doesn't see Non; instead, he is happy to succumb to a myth of what could be the real Non.

But it's not just Jin who does this. Almost everyone around Non believes they see him correctly--as "Greasy", as a bad son, as a cheater, etc. This takes on even more public dimensions as the police enter the picture, as the sex tape circulates, and as the police report that he has run away with Keng. What people see and believe about Non, the narratives they tell about him, help reinforce people's existing understandings of the world--their prejudices, their assumptions, their myths of how the real world works.

And of course, film is at the center of this. The police believe that Non wasn't with the group when he disappeared because any footage he was in was hidden from them. Non is erased from the film (both in the footage and in terms of credit). The entire film premier is one big moment where everyone in the group is playing into this myth. It is taken as fact that Por's name being in the credits means this is his work--that nothing or no one of note was hidden behind the frame.

In her work Heller-Nicholas points to discovered manuscript fiction (such as Dracula) as a precursor to found footage horror. This connection highlights the way these works rely on the fiction that someone has organized the documents apart from the original author. The fictional framing of found footage as pretending to have an original author or filmmaker other than the actual director, hides the fact that The Hidden Character has in many ways literally stolen credit from Non. The genre expectations obfuscate the real story.

And then there's the sex recording (the only film Non gets credit for). We see a number of reactions to the recording from people in Non's life as well as those outside of it. The social media posts in particular stress the way Non's vulnerability is quickly slotted into pre-held narratives of sex and sexuality that refuse to see the reality of SA.

Non's SA is taken as truthful evidence of his consent via social media, while the film the group made is found footage but not seen as real. I think this marks an interesting change in the aesthetics and narratives we find "real." Horror and found footage are legible, a chance to engage in "a fantasy of the real". Meanwhile, the real story behind the film is erased, just like Non. Sadly, the most legible narrative of a young queer boy is that the phone footage is slutty or even hot. No one questions the authenticity of the recording, it is viewed as real. Ironically, compared to the horror film the group shoots, the sex tape is the real found footage film. Yet the "reality" it shows is filtered through interpretation. Non's reality gets buried.

Meanwhile, as an audience, we have the opposite reaction. We are slowly given insight into the discrepancy between Non's reality and the myths people hold. We keep asking why other characters can't or won't see the truth, why they won't help Non until it's too late.

DFF may not be found footage itself, but it is certainly interested in exploring and extending the thematic conversations about authenticity, reality, and narrative.

Part 3: Films within Films, Surveillance Technology, and Other Connections

Despite the fact that DFF references and dialogues with the found footage horror genre, it formally has more in common with films that center around technology and films within films. So I wanted to cover three more films that I think dialogue in interesting ways.

Man Bites Dog:

I'll start with Man Bites Dog since I have the least to say about it. It is a 1992 French mockumentary and black comedy, that Heller-Nicholas notes is a pretty significant and well-acknowledged precursor to the found footage horror genre. I'm not sure I want to get to deep into themes with this one. But I thought the parallels were interesting. A film crew decides to make a documentary where they follow a serial killer named Ben around only to be pulled into the crimes and become culpable themselves. That is, until Ben is killed and the film crew are taken out one by one by an unknown killer. We have a film crew that slowly gets involved and more culpable in wrong doings, just like in DFF we have the group working on a film while slowly becoming more and more culpable in harming Non. Meanwhile in the present both "film crews" are suddenly being hunted and picked off by an unknown party.

Cabin in the Woods:

Cabin in the Woods is a 2011 film that satirizes horror. A group of college students go to a cabin in the woods and are slowly picked off. The twist is that this is all orchestrated by an organization that is simultaneously surveilling and orchestrating their deaths to appease ancient deities. Many of the shots are done through drone's and other similar visuals to highlight the way the group is being surveilled. In a chapter from a collection on horror and gender, Hannah Bonner looks at Cabin in the Woods and a few other films that include surveillance and social media. She discusses the way technology in these films revolve around slut shaming young women. As she puts it, "It is the 'fact of being constantly seen', whether by high key government surveillance systems or by judgemental peers, that throws these characters into disarray or death" (89).

For Cabin in the Woods one thing Bonner examines is the way the film frames the group's "slut" character Jules. Jules and one of the guys go outside to get intimate. And the film moves between this scene and the men surveilling them who watch eagerly. Bonner reads this as a commentary on the violent gaze with which horror frames women. She makes a distinction, noting that "The voyeur is no longer just the audience, squirming in their seats from Michael Meyers's point of view as he tracks down his naked sister and her boyfriend in Halloween...now the audience as voyeur watches the voyeurs watch the surveyed" (90).

DFF makes a similar move by staging multiple instances of filming (a film within a film, or in this case a film within a show). We get a moment in episode 1 where Tee steps forward to block the group watching the CCTV footage of him and White. But this denial is in contrast to other moments. The show draws us most into being voyeurs watching voyeurs, when Jin films Non. I think it's important to note that both the moment that Bonner discusses in her chapter and this moment in DFF are sexual. In CITW, Jules is literally labeled by her surveillers as "the slut", a role she must fulfill and be killed for to appease the gods. Her lack of agency is made quite apparent. In DFF, Non is also slotted into the role of the slut by those around him, including Jin when he films the moment out of anger. While the show is not as on the nose about the whole thing, it's still clearly establishing a discrepancy between how Non is viewed by those around him due to the tape and the lack of full agency he possesses.

Moreover, by making us viewers voyeurs of this voyeurism, DFF creates a critique rather than simply a simulation of voyeurism. I am considering how this might not just be a commentary on sex shaming, but sexuality within a space where BL has historically crossed the line at times in terms of depicting SA. Or even the way that BL actors in Thailand are often expected to blur the line between the private and the public through fan service. It's interesting because clearly the show also doesn't shy away from letting us be voyeurs to sex. The show perhaps draws a distinction between representing queer sex and SA. But it's fascinating how this is mediated through voyeurism and the camera's gaze.

Shutter:

I couldn't wrap this post up without talking a bit about Shutter. Shutter is a 2004 Thai horror film (and probably Thailand's most well known horror film globally). It was part of the horror boom of the late 90s and early aughts in Thailand and Asia. If you throw Thai horror and cameras my way, I will think of Shutter. I watched it as part of some research I've been slowly doing on late 90s/early 2000s Asian horror and technology (writing meta for Shadow the series). It's a story about haunting that takes inspiration from the idea of spirit photography.

The film follows a couple, Jane and Tun, both photographers, who start seeing shadows and faces in their photos. Jane discovers that the ghost is a girl named Natre who Tun used to date in secret. They proceed by trying to figure out how Natre died (suicide) and how to get her to move on. Meanwhile Tun's friends suddenly start killing themselves. Ultimately Jane learns that Tun's friends raped Natre, and Tun not only didn't stop them but even photographed the assault at his friends' request (so Natre wouldn't snitch). Jane confronts Tun who expresses his regret, that he "never forgave [himself]." In the climax of the film Tun uses a polaroid camera to try and find Natre's ghost in real time before being driven out the window. Natre let's him live, in a near catatonic state, unlike his other friends because his betrayal hurt the most.

We once again come back to themes of voyeurism, SA, peer pressure, and culpability. The film has strong focus on the effects and betrayal of being a bystander, much like DFF does. Again this parallel is made quite strongly with Jin. Non may not have had feelings for him, but he is the kindest of the group, making his betrayal hit strongly. Jin filming Non and Keng has it's own nuances within DFF, but it certainly parallels Tun photographing Natre's assault. Similar to Non, Natre disappears in the aftermath, while Tun and his friends go on with their lives.

On a smaller note, both Tun and Jin use polaroids in what is potentially a reference to the film.

As the truth is revealed, Tun goes from a protagonist to a villain, and Natre goes from the horror of the story to the victim. DFF seems equally interested in the idea of how truths get hidden and justice withheld. It also gives us an inversion of the source of horror. By the time we end episode 5, the group we've gotten to know over four episodes are clearly villains in our minds, their cruelty becomes the horror rather than the masked killer who we come to empathize with (or at least root for to some degree). Now how this fully plays out in the end might shift things. But currently (up through episode 9) this is a horror story locating horror in power and cruelty rather than simply reinforcing a more conservative world view of the non-normative monster.

Concluding Thoughts

Dead Friend Forever is mixing genres in a smart and deft way. It's clear that the writers and director are well versed in horror and are ready to play with genre conventions to deliver their ideas and themes. Some of the connections I'm making here might be happy coincidence where the works speak to each other mediated by my own perspectives and interpretation. But I also believe that the show is building on themes and traditions in horror and found footage horror specifically in smart ways. From the framing of shots, to the way they deftly speak to themes of (in)visibility, power, reality vs fiction, agency, and sexuality (among others).

Through all this, DFF has been incredibly genre savvy. While found footage plays on the idea of reality, DFF shakes that up by throwing a who-done-it mystery our way. Like in The Blair Witch Project, for much of the show, we don't know what's real or what's in the characters' heads. DFF, however, picks up where TBWP stops. At the end of TBWP, the characters are likely killed off camera, the source of the horror still left up in the air. DFF gives us this ambiguity, but then pivots and makes the show a mystery to solve rather than locating the horror in ambiguity. This is because the horror lies elsewhere. Like in Shutter, the monster becomes the victim, our sympathies are played with, and we're left with a show that is as interested in social and political critique as it is in having fun playing with horror tropes.

Sources:

Heller-Nicholas, Alexandra. Found Footage Horror Films: Fear and the Appearance of Reality. McFarland & Company, 2014.

Badley, Linda. Film, Horror, and the Body Fantastic: Praeger, 1995.

Bonner, Hannah. “#Selfveillance: Horror’s Slut Shaming through Social Media, Sur- and Selfveillance.” Gender and Contemporary Horror in Film, edited by Samantha Holland et al., Emerald Publishing, 2019, pp. 85–99.

Cherry, Brigid. Horror. Routledge, 2009.

Shutter (film, 2004)

Cabin in the Woods (film, 2011)

Man Bites Dog (film, 1992)

The Blair Witch Project (film, 1999)

Paranormal Activity (film, 2007)

#i think next i want to write a piece on Tan/New and the way the show is drawing on the mad scientist sub-genre #dead friend forever #dff the series #dff meta #my posts #my meta #dead friend forever meta

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runawaycarouselhorse · 2 months

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Our pure-hearted, all-loving hero... he can be a little brat (especially back in OS/early in his journey, when he was much more of a hot-blooded boy hero), but his heart's worth its weight in solid gold and he grows into such a kind, patient character with strong ideals, which is why Hero of Ideals suits him best (even the movie manga opted to adapt that version of the movie, rather than the one where Ash is Hero of Truth, and expanded on it!)

[I hope you have "long post" and "image heavy" muted if you need to, because this post's a doozy and given tumblr, if my blog's ever deleted, posts with read mores will be rendered inaccessible forever, so I don't like to make them!]

A lot of people complained about how young Ash looked in BW! (and complained even more about Sun & Moon's very divisive art style... and we wound up seeing great growth for his love of a whole region, and achieved a goal integral to achieving his dreams), but from the first episode of BW!, my first impression was of how mature and calm Ash is with Iris and Trip in regards to their initially abrasive and varingly aloof personalities.

Iris was friendlier and more excitable, more childlike, but Ash took her barbs in stride and patiently waited for her to open up about her dreams (she keeps it secret in the first episode, using that cute, childish word "naisho" instead of saying it's a secret "himitsu"--the same childish word she uses when asked about what Kairyuu/Dragonite told her in their reunion episode) and background (we don't know she ran away from the academy or what her hometown was like until season 2!)

The way Ash handled Tory (who was a traumatized, younger child--and Ash wanted to fight him at first, before understanding him!), Lucario (also traumatized, insulted Ash and Pikachu's bond--Ash fought him and fell off a hill, wrestling with him, before he saw Lucario's memory of being "abandoned" and broke down in tears, apologizing for what he said when he didn't know anything...), Chimchar (a traumatized Pokemon, Ash was patient, kind, and loving to him, even when he lashed out while out of control due to Blaze, which he previously could only use to save his life...), etc., is very different from how he handled Iris (who was bullied subtly by being completely ostracized, no one would sit or eat or play with her at the academy, she was so depressed, she stopped eating--this is canon and not lingered on, but she plainly says it and that her dorm mother making her food that would remind her of home, just berries skewered on a stick, "saved her") and even Trip.

(By the way, Ash apologizing to Lucario, in tears of regret over what he said to Lucario when he didn't understand him is when I first started to truly love and respect Ash's character and growth! Before that, I really was only a big fan of the TRio.)

By contrast to those rockier beginnings with other kids, Ash was patient and encouraging with Trip, even while Trip purposefully kept him and everyone else (even his Pokemon who loved him, as Alder said...) at bay and rejected all his attempts at friendship, before he got the answers he needed from Alder and slowly stopped shutting others out. He had every right to lash out at Trip for making fun of him, but kept trying to befriend him and showed interest in his journey and growth.

(Trip was also his youngest main rival at that point, even if he is a very book-smart child prodigy type who was an excellent battler from the start, he still fell apart in front of unexpected, unorthodox techniques like Bell/Bianca and Satoshi/Ash's out-of-the-box strategies.)

Naturally, there's also his very patient and encouraging bond with Lillie, who also had her trauma-induced fear of Pokemon (much like Tory!) and dissociative amnesia, the early loss of her father in infancy, and the distance between her and her mother (too wrapped-up in work and her obsession with Ultra Beasts to notice her own child's trauma and falling behind her peers...) to overcome, but the focus of this post is BW! I already write a lot about Lillie, she's another favourite of mine. <3

It's worth noting, too, that Pikachu was Ash's first "problem Pokemon"... even if it's usually the Fire types who are traumatized, Pikachu has abandonment issues like Chimchar and Tepig did. Pikachu famously hates being inside a pokeball and Ash always repesects this boundary and becomes very, very upset in XY when he believed Pikachu was forced into a pokeball... the pokeball factory episode was, otherwise, a very light-hearted episode, but Pikachu's boundaries and possible trauma is taken seriously.

This scene mirrors a similar breakdown Alain has when he finds out all he's done, under the impression he was protecting his loved ones, was aiding Lysandre's genocidal plans... both smash their fists into hard surfaces, blaming themselves for failing to protect loved ones.

In a very early Kanto episode, Sparks Fly for Magnemite, we learn Pikachu has abandonment issues so bad, he doesn't want to be separated from Ash for even an overnight stay in the Pokemon Center. It seems Pikachu (fortunately) quickly become much more secure in his bond with Ash and no longer fears being separated for medical treatment, but this is very, very sad and telling!

Although we never delve very deeply into that for most of the series... (an early magazine scan has Ookido-hakase/Professor Oak theorize Pikachu's previous trainer abandoned it), we were finally given some answers late in series!

In the AU movie, Pikachu says* his reason for not going into the pokeball: "It's because I always want to be with you." ;O;

... unless this is a dream or hallucination, given Ash is on the verge of unconsciousness when it happens--but if we really want to believe it happened, maybe his latent Aura post-cognition abailities kicked in and he understood Pikachu's feelings, like when Victini slept in his lap, crying, and Ash saw Victini's dream of his past.

As for the main series canon, in the first episode of Pocket Monsters 2019 (Pokemon Journeys), we learn Ash's Pikachu was a lone, possibly orphaned, Pichu, who was briefly raised by a Kangaskhan, carried in her pouch with her child, until he grew too heavy and quietly left at night (without saying goodbye) to live by his own strength, evolving into Pikachu as he did so.

If Lusamine not taking Lillie's (because they're irrational or not logical) feelings seriously gave her a complex where she always needed to claim her stances are "logical" even when they're based in emotion... I wonder what it tells us that "child prodigy" Trip defaulting to blaming his loss to Alder on him doing something wrong or being inherently lacking ("What did I do wrong? What do I lack?"), because he doesn't ever consider a simple difference in experience is all it is... that Alder's many years of wisdom and Pokemon training give him an advantage over rookie trainer Trip, who's shown to be averse to being called a "child" (Iris ropes him into battling Ash twice by calling him a kid), because he always has to prove he's an adult. He thinks there's something inherently "lacking" in him or "wrong" about his method if he doesn't achieve.

All of that is canon, but if you further analyze his character, Trip has a superiority complex, which is very often a defense mechanism to mask feelings of inferiority. He canonically places a lot of worth in the image he projects and constantly puts down others. Add that to being a child prodigy and his preoccupation with proving he's an adult (but doesn't bat an eyelid at someone calling him "unjust" for his violent methods in the Venipede episode, like he's already accepted being a terrible person, because he thinks striving for peace like idealistic Ash is "naive"--Trip has a very cynical view of adults, yet thinks of himself as such...)

Trip only cares to be seen as strong and mature, not good (he's not even surprised to be called bad, he's already accepted it, he doesn't care), and if he fails, he blames his lack of knowledge or his inherent nature as lacking.

Because his self-worth is in being a genius and being better than the rest, so he seeks outside validation, namely Alder's, who Trip behaves so jealously about, Alder canonically compares him to a fickle-hearted woman (well, he messes up the phrase 'Onna-gokoro to haru no sora.' "A woman's heart is as fickle as the sky of spring" because he was hitting on Junsa-san/Officer Jenny earlier, so he says "fickle as Junsa-san"... Freudian slip. ^^;;;;)

Trip, when asked what he was battling for, what he wanted to prove... he said it was to prove his strength to Alder.

That's all he wanted! To prove his strength and be acknowledged by his hero. Alder even asks him if he likes him. Adeku frankly asks it in the Japanese version, but the dub dances around with "do you have any admiration for a man such as myself"--which Trip doesn't answer verbally, although he really doesn't have to, because the scene makes it clear and is a lens that clarifies all his past behaviour.

That's all Trip wants: love and acknowledgement. Which he believed he could only get by becoming stronger, smarter, and more mature as fast as possible, likely taking Alder's to be some stronger and grow up quickly too literally, as head animator Iwane said, Shootie was just "a little too grown-up."

It takes a long, long time for Trip to unlearn prioritizing battles over anything else and to embrace childhood (which hey, is one of the main themes of BW!), because it's a precious time which we can never return to... so, Alder's current idealogy is to enjoy life, make friends, love Pokemon, and not dwell on the past. Ash's approach to being a Pokemon Champion and Master is the same.

Alder's introductory episode made it very clear he and Ash are very, very similar characters... and we see this again in Journeys, in the kind of advice Champion Ash gives younger kids. Ash and Alder have a similar wisdom they'd like to impart, I know, it's funny calling Ash wise, but he has high emotional intelligence and is incredibly wise in that respect for his age... it took Alder many, many long years to arrive at the same conclusion Ash reached.

Ash's Japanese name, Satoshi, means "Wisdom." (Another cute detail: Ash's little brother, Lei, whose Hawaiian name means a "Garland of Flowers-- in Japanese, would be pronounced as Rei, which also means "Wisdom." Lei likely has a name chosen to have meaning in both Hawaiian and Japanese. ^^)

Bonus shout-out to Ash, Iris, and Cilan all protecting Keldeo until he finds the courage to face his fears, correct his mistakes, and save his friends...

Ash is a very good friend, AG, DP, and BW! are all part of his development into the kinder character he became today. Some people might miss how rude he was to his friends in OS, but he can still playfully dish it out, he's just calmer and more sure of himself, so less likely to sweat the small stuff and recognizes when someone, whether Pokemon or trainer, just needs time and patience.

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youroomwasquare · 5 months

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Marcy Wu, and Why Her Unfinished Character Arc Worked.

I'm gonna ramble a bit about our favorite newtopian ranger, marcy wu!!

so. I, like many others in the fandom, was a bit disappointed with how the show handled marcy's growth and character arc. it felt rushed.. incomplete, and overall messy. I felt that marcy's growth wasn't given the same attention and care that anne & sasha's growth was. coupled with the overall tragedy of marcy's character and role in the story, I was feeling extremely discontented with marcy's character.. until I realized that the show writers may have unintentionally made that the point of marcy's arc.

because LISTEN. out of all of them, marcy was the one who came away with the least positive things from amphibia. she didn't connect with her amphibian charges (she even admits it herself in the finale, and says that she wished she got to know them better), she was more focused on the technical and worldly aspects of amphibia, and while she did come into her own, she wasn't able to address and tackle her underlying core issues in the way that anne and sasha were. --

the two main themes of amphibia are learning to embrace change and letting go. and all the story arcs of the calamity trio showcase this in different ways (that's a discussion for another time, however). of these two themes, marcy's arc leans more towards the letting go aspect. but here's the thing. that was her main problem. marcy's greatest fear is being alone, and her greatest flaw is her inability to let go. marcy couldn't FATHOM a world without anne and sasha. they were her biggest support system, and by moving, marcy was essentially stranded. she had a hard time connecting with people, and she didn't have the social skills that anne and sasha did. so to her, moving was the absolute WORST thing that could have happened. she was unable to live in a world without anne and sasha, and so she didn't. she chose to take matters into her own hands, and as long as she was able to get anne and sasha on board, everything would be fine, right? wrong. we obviously saw how catastrophic that was, both for marcy and everyone around her. it was beat into marcy's head repeatedly how reckless and stupid and downright fatal her mistake could have been, how fatal it was. marcy's biggest lesson in amphibia was that there are some things you will have to let go of. no matter how desperately you latch onto them, there will always be claw marks left behind.

my point however, is that this was marcy's only major flaw. marcy was a flawed character, deeply flawed in some ways, but from what I observed, she was never flawed in the way anne and sasha were. outside of her major flaw.. marcy was a pretty well rounded person. and of course, there is growth to be left desired, but most of marcy's (visible) flaws were communication, and the ability to make yourself be truly seen in a friendship.. and they aren't really even flaws. more just things she needs to work on.

unlike anne, she didn't have self-esteem issues. she was pretty confident in her abilities and her interests, as shown by the first temple. surrounded by the right people (which at the time, were unfortunately not anne and sasha), she would've flourished. and in amphibia, she did. because for once, she was allowed to be the person she truly wanted to be. and unlike sasha, she didn't have horrendous control issues. anne and sasha's flaws are what I like to call character flaws, flaws that are innate and come from you; ie, they aren't as a result of other people's actions. anne and sasha were allowed to address and properly correct their character flaws because amphibia (and the places they landed in) was the perfect environment for them to see their flaws and to see the consequences that came with them. sasha learned that trying to control everyone and everything around you will only drive them away, and end up destroying both them and you in the process. her strength came from lifting people up, allowing them to rise WITH her instead of pushing them down like she used to. anne learned that self love is important, and in order to become the best version of yourself, you need to surround yourself with love, and in turn, it will come back to you. anne's heart comes from the people around her. their love allowed her to give love tenfold-- both to herself and the people around her. their major flaws only got resolved because of amphibia.

but marcy? her main flaw, which is letting go? that could not be resolved in amphibia, no. because amphibia only amplified this flaw. because choosing to go to amphibia, making the conscious decision to run away, is the entire reason why this flaw is most prominent. marcy flourished in amphibia, yes, but she was never able to address her major flaw. because of a multitude of different reasons, of course, but also because to marcy, amphibia was another out. another way to run from her problems instead of facing them head on and dealing with the fallout. anne dealt with the fallout. she stood up to sasha, for ONCE in her life, and watched her plummet down a cliff in return. (this is a weak point, but for the sake of parallels, I can't take it out.) sasha dealt with the fallout. she betrayed anne, once, twice, and was forced to go back to wartwood, anne's town, with the knowledge that she and anne are no longer friends, no longer anything. marcy's way of dealing with the fallout.. was not the core. to many, the core may be a physical personification of all of marcy's flaws coming back to bite her in the behind, but I disagree. the core was a cruel, merciless, and downright horrible way for marcy to learn her lesson, yes, but the core was not the fallout. the fallout, that showed marcy the consequences of her major flaw, was in true colors. was in the throne room. was in watching anne and sasha's faces twist into horror and disgust, respectively. the fallout was in living with the fact that everything she did was for nothing, and that she still had to live in a world without anne and sasha, that in her mind, they now hated her. that was when marcy hit rock bottom. and when you hit rock bottom, you have nowhere to go but up, right?

marcy did atone. in the core, in the face of everything she could have ever wanted being handed to her on a silver platter, she said no. she swatted aldrich’s hand, and said that for once in my life, I'm not going to run away. I'm going to face this head on. and why did she do that, pray tell? because of anne and sasha. because everything that marcy wu did depended on anne and sasha. because in her mind, even if they hated her, she'd rather face their potential wrath instead of accepting a reality without them. the real them. it's natural, of course. her major flaw was not of just letting go. it was letting go of anne and sasha.

and so, the reason why marcy wu's major flaw could never be resolved in amphibia, is because amphibia is a personification of marcy wu's major flaw. sure, she had good moments, and things about it she will always cherish and remember (and less good things that she’ll always remember), but marcy wu could not start getting better, could not start healing, until after she left amphibia. going through that portal meant many things, for all of them, but for marcy, I think it represented her final act of truly letting go. of letting go of her escapism, and her tendency to run away. of letting go of the old version of her, who came to amphibia with the intent of being with anne and sasha forever. going through that portal also symbolizes the end of that version of their friendship, the version that marcy kept chasing after. and I think that’s one of the many reasons why the only way to close off marcy’s journey, at least from our point, is by having her move. the move, and how marcy dealt with it, was what started this entire, crazy journey. and by choosing to have marcy move at the end of the series, even after everything that happened, is a brilliant move from the show’s writers. because it shows that marcy truly did learn from her time in amphibia. she HAS accepted and is taking the steps to overcome her major flaw, and I think more than anything, that is proof of the growth that marcy is capable of. marcy acknowledges that anne and sasha changed, yes, but through her actions and words, she also acknowledges that she changed as well. going through the portal, going back to earth, facing everything is a symbol of marcy's growth. because the marcy we were introduced to would have never done that.

going to amphibia changed all three of them. and even though we only get to see anne and sasha’s growth, marcy’s growth is SO poignant as well. I think it was for the best to leave marcy’s arc unfinished, because it shows that she still has a lot to learn and a LOT of healing to undergo. marcy’s final arc in the show has drawn to a close. but her character has not. and the amount of opportunities, possibilities, lessons, friendships, love, and more, are limitless. I also think it's poignant that we're left with a sort of open ended interpretation as to what happened to marcy after she moved. as for her friendship with the girls, I have many thoughts on that, but that’s also a discussion for another time. I think I’ll close it off by saying that moving was good for marcy in a different way as well: it allowed the calamity trio to truly come into their own. their reconciliation with marcy in all in was proof that they want to give their friendship another try, and that they are better off in each other’s lives. but showing that they drifted apart, came back together, and redefined their friendship on their own terms is beautiful. I think even without amphibia, they eventually would have to come apart. not forever of course, but long enough to carve out their own paths and figure out what they want to do with their lives. I know the fandom loves the idea of them being codependent messes together (it’s also a guilty pleasure for me lol) but I LOVE the fact that in canon, they allowed their childhood friendship to morph into something new, something better. in the wise words of anne boonchuy, change can be difficult, but it’s how we grow. but of the things you let go, you’d be surprised what makes its way back to you.

not to get all sappy, but out of all of them, I think I’m the proudest of marcy. and I relate to her a lot! so writing this was extra personal :,)

#amphibia #amphibia analysis #marcy wu #I wrote this to distract from the pain that is the rest of the finale #one day I’ll talk about the found family ever.. if I can get through it without absolutely SOBBING #baby's first tumblr analysis btw so please be nice 🙏

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