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#i'm not entirely sure what to believe.

vamptastic · 1 year

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i genuinely don't understand what capitalist countries stand to gain by fighting each other instead of collaborating economically. like why does the us warmonger against china when we would benefit more from trade? ostensibly it's for moral reasons, but regardless of the veracity of any given claim i think the united states has shown itself to prioritize economic success over human rights on a number of occasions especially during the cold war. i suppose i assume most wars are waged on the grounds of economic gain (natural resources, global political power, straight up money in the form of the military-industrial complex) but you could make an equally solid argument that just as many are waged over purely social and political issues- ethnic and religious conflict, blind nationalism, the whims of a dictator. it just confuses me at times, i guess. i have a hard time believing that the united states is bound and determined to wage war against china over human rights abuses, infringing on other countries sovereignty, and neo-colonialism in africa when we've propped up fascist dictators in many a country who've done far worse. is it literally just the association with communism? because surely whatever evil fuckers actually want war know that china is very far from communist right now. is it just nationalism? the idea that we must be on the top of the totem pole, even if our economy would stand to gain from trade? because i suppose i could believe that, but i think if that was true we wouldn't have gotten to where we are today in the first place. blegh. at the end of the day i am also ignoring the fact that many many different groups of people want war against china for reasons ranging from sinophobic jingoist nationalism to a genuine belief that the united states is a global moral watchdog determined to establish ~democracy~ worldwide. but there is a definite slant to media coverage on china right now, genuine attempts at disinformation, and given that the media in the us is so deeply tied to corporate interests it leads me to believe that there has to be some economic motive here, and it frustrates me that i can't figure out what it is.

#this post is long and convoluted and circuitous. sorry.#please do not try to like. publically own me or erupt into moral outrage over this post if you're reading it btw.#suppose i would be interested in hearing others takes on this but im just curious i genuinely don't have answers here #i don't want to argue or be accused of being immoral for not taking a hard stance on an incredibly complex issue.#anyway. i am also not trying to say that either the us or china are ' good ' or ' bad '#insomuch as any country can be good or bad. particularly a country millenia old or one that changes leadership every four years.#individual actions taken by each government are undeniably bad. yes.#but as a us citizen i find it very difficult to find reliable information about what is happening in other countries.#our media has become so wildly polarized that you can often figure out national issues by looking at both sides #but when the media is unified on portraying one falsehood both left and right? you're fucked.#often media that claims to be neutral could be more accurately described as western #i trust ap and the bbc on us politics - not global politics.#all that being said when it comes to things like the treatment of uighur muslims or the political situation in hong kong and taiwan.#i'm not entirely sure what to believe.#and i also believe that if every single immoral act the us claims china has done is real... we still wouldn't wage war based purely on that #...i do genuinely think the claims that china is colonizing africa by offering loans is horseshit though #even if it was itd be fucking rich for european countries that wrecked africa in the first place #to moralize about the means by which another global power allows them potential economic power #the problem arises from capitalism on a global scale itself i mean #there is no way to build up infrastructure and trade routes for an entire continent without #in some way eventually profiting from it #i do see the comparison to the us and latin america and i think that's kinda apt but #the way ppl talk about it you'd think they were doing what france did to haiti good god

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rachelclowny · 8 months

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i luv the paths in honkai star rail.. there's some really interesting interpretations that can come out of characters and the paths they follow.

one of the most interesting characters to me is jing yuan. i mean, the man is one of the biggest powers in the entire xianzhou alliance, a fleet of ships that directly follow and worship the aeon of the hunt, lan. his job is to fufill the wishes of the hunt, to eradicate the abundance, and yet.. he follows the path of erudition. to some extent it makes sense, he's known for his strategy and his supposed fear of conflict, using wisdom and method to achieve his goals. he's never lived by a vengeful philosophy despite dedicating himself to a career that hinges on it.

and then there's dan heng. despite being exiled from the xianzhou and seemingly done wrong by the entire luofu, he follows the path of the hunt. he's been forced to live by decisive and self-interested actions to keep himself safe from the shadows of his past, but even after all that time, he never became selfish. his true nature, his root philosophy all stem from his need to do what is right. he abandons his self-preservation to keep the people of the luofu safe because he believes that is what is right.. even after being forced to forget, only left with knowledge of a past life's sins, dan heng still represents what a high elder should be. he fights for the xianzhou, for the people he loves and his philosophy more than anything. it's in his soul.

and isn't that exactly what the hunt stands for? to abandon your selfish life to fight for something greater, to swear yourself to something bigger in order to save others?

#dan heng's entire being is what makes me believe in dan feng's integrity #for the record #i'm not sure jing yuan would sacrifice himself the way dan heng would #but that's what makes them both so interesting #the hunt #honkai star rail #jing yuan #dan heng #dan heng il #imbibitor lunae #hsr lore #hsr #mumblings

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girldewar · 6 months

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honestly feel like you can't fully understand why the nhl functions the way it does unless you have an in-depth understanding of american conservatism specifically. like. the nhl is run by a collection of people who function on conservative nostalgia, purposeful obtuseness, and a direct opposition to progressivism. they're the type of american traditionalists who think that we should go back to the good old days when people respected their elders and didn't think too hard about things like civil rights or what equity actually means. they believe in a homogenous culture of assimilation and obedience, and they rely on the people within that culture to perpetuate it via mutual surveillance. it's what the wealthy white american right has always been, especially since wwii and the cold war after it. and it's what the nhl has always been. it's a culture that is determined to keep itself locked away in the 1980s while the world around it evolves, and as it grows farther removed from the world it exists in, the more reactionary it gets. it's fucking. every 70 year old republican senator who refuses to step down until they keel over dead in congress. that's it. that's all.

#like. okay. yes obviously love travis dermott thank u king etc etc #but this whole thing is just. it means nothing. none of this means anything #the nhl never loved you. the nhl never believed in gay rights or trans rights or poc rights or any of it #the nhl floated along on the exact platform they've had for decades and let the teams decide what political stances they'd move forward on #until an opportunity presented itself for the conservatism underlying the entire stupid organization to rear its head #just because they changed the rule doesn't mean it's gone. it just means it's hidden under a dozen different layers of pr and performatism #hurray we get pride tape back. i'm sure this will stay the case forever and never change or be an issue ever again.#ok sorry for being cynicallll i should go do my readings #bees speaks

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stop-breaking-my-heart-telltale · 1 month

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if dorian didn't show up, do you think louis would have shot minnie?

I do. I know some people think either he wouldn't have or he would've missed so that's why the writers had him shoot Dorian instead, but mmmmmm no, I don't personally think so. I like to think that if he had taken the shot, his shaky hands would've caused him to shoot her fatally.

Mostly because I'm already so normal about the fact that of the Ericson crew, Marlon and Louis are the only ones with a body count. Well, that we know of, but shown to us in the game, at least. Plus, we know it's Louis' first kill.

Like yeah, Clementine and AJ become part of the crew and they have bigger body counts, and if we're counting indirect kills caused by actions, then Tenn has a count... and I guess everyone has blood on their hands for blowing up the boat... but I'm talking about killed directly with a weapon like....... I lied, I'm not normal about that at all, Louis and Marlon are the ones who have killed someone in Louis' route. I'm also not normal about the fact that Louis kills Dorian and then even as he's clearly in shock, he tries to go with Clementine to get AJ, and then later on when they talk about it, he says it feels like bile but not quite and he's glad he has it in him to do it.... listen, listen, listen... I'm obsessed with that.

Anyway, so if Louis shot Minerva, I think he would've accidentally killed her and can you imagine? He's already enough of a mess after killing the woman who pinned him down and tried to cut his finger off [or succeeded] but he knew Minerva, they were friends before the twins were taken. Even Violet couldn't kill her even though that would've been the smarter thing to do, and we know thanks to meta knowledge that killing her would've saved lives, but Violet couldn't, and I don't think Louis would intentionally either.

Speaking of Violet, if Louis killed Minerva, I hate to think about what that would've done to Vi. I think she might've actually left at that point, like what was planned before it got changed to her being burned. I don't think she would've attacked Louis over it, though, like yeah she attacked Clementine in the cell but Louis? I don't know, but I don't think so just because it's Louis and he'd be a mess about it anyway.

Though if he did kill her, it would be a neat parallel to draw... y'know, because Louis forgave AJ for killing Marlon even though he was pissed and heartbroken, and Violet was annoyed with him the entire time... but could she ever forgive Louis for killing Minerva? Y'know? We already have a similar parallel with AJ shooting Tenn, but still.

If Clementine killed Minerva in that moment, though, then I could see Violet attacking her since in her eyes, Clem proved her right.

So yeah, I get why they added the Dorian kill to his route. It adds another compelling element to Louis as a character, but we also need Minerva alive for episode 4; Louis can't kill her, he can't miss, and he's not going to stay with her because we need Violet to stay on the boat and him to be on shore for all routes.

#asks #twdg louis #twdg minerva #twdg clementine #twdg violet #twdg marlon #twdg tenn #honestly whenever i see someone say louis is the boring option i'm just like '.......that's your opinion but also how can you say that??'#then again i'm sure other people look at me saying violentine just isn't for me and they say the same thing so y'know... i can't talk haha #also time is such a weird thing because i look at the entire cell scene in louis' route and like... i'm not even mad about violet anymore #like yeah i still don't believe she was brainwashed like i'm sorry y'all only believe that because kent said something about it #not because there's all this evidence toward it in game like vi being pissed at clementine makes sense she doesn't need to be brainwashed #for it to work like her being vulnerable and easily manipulated into submission makes perfect sense especially with minerva there #it's like everyone was pissed that she attacked clementine and people needed a way to excuse it so it's not violet's fault when like...#that's literally what makes it interesting like calm down it's okay if violet is pissed and scared and behaves accordingly #also my controversial opinion of the day that i'll hide here in the tags so maybe people won't find it sksksk but #I personally find the concept of vinerva and the doomed tragedy of it more compelling than anything violentine did #like i'll defend violentine and i do believe it's an important and good ship it's just not my personal favorite #anyway but then the whole thing with lilly and minerva is so good and louis screaming FUCK YOU at minerva?? amazing love it so good #i love when the soft character who never chooses violence is so pissed off that all that anger they have boils to the surface and it's raw #like... he's SO mad he's SO furious he's SOOO UPSET like he wasn't even like this when marlon died or anything like he hit his limit #and then shooting dorian through the mouth while an accident is just well done i love it and i love his reaction of mortification #and apologizing and YET he still tries to go with clementine he's trembling and can barely string together a sentence but he wants to go #he wants to help her he wants to save aj THAT is the gut reaction he has after everything that just went down #'louis isn't loyal or good for clem because of the vote' babe tell me you don't understand any nuance of louis' character without telling m #it's fine IT'S FINE you don't have to agree and i just have to remind myself that it's fine not everyone likes louis we're okay #this drives me crazy in the best way like y'know what? i love the cells scene in louis' route all of it even the stuff i used to rant about #even the stuff that used to piss me off now i'm just like 'no wait past cj was dumb she wasn't looking at it this way aaaaaaaa' sksksks #that was my tag ted talk about the cell scene thank you

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blazingblorbos · 12 days

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oh god. oh god. oh.. oh gosh. I didn't expect this so soon. I didn't expect this today, I've been busy with life related things so the HYV calendar is really unbeknownst to me, is this update really next week already?? where can I rant about this- whERe can I rant about this-

oh. I made a blog for that exact purpose ! OKAY—!

fuck. fuck me, dude holy-

FUCK.

the slightly worried look on Arle's face as Snezhevna is reaching out her hand, only for her face to seemingly revert back to cold and neutral once the camera actually focuses in on her. Her tone is cold but her words are reassuring,,,,,,,,

ALSO GOD FUCKING DAMN IT. HOW GENTLY SHE HOLDS HER HAND.

the d o o r. the DOOR. THE FUCKING DOOR, CHAT. the slow opening at first, and once you can make out that it's certainly Arle's silhouette she shoves it fully open - both doors, both hands. incredibly attractive—. the FEAR in that man's eyes.

The crossed hands. We can't see her face but you know what expression she's making (it's not really an expression. it's neutral but you can feel it). THE FUCKING F E A R ON THAT MAN'S FACE.

Oh- she literally just grabbed him by the throat. Just like that- ! There's the expression. Oh, you feel it, alright. If you go frame by frame, you'll notice her eyes narrow in the slightest right before ->

POV: you're getting chocked out by Arlecchino, and that's actually the least of your worries. (my god she is beautiful).

I did not expect him to simply be thrown down to the ground and I ... d i d not expect her to step on his FACE. [insert gay masochistic joke here. you know the one]. Did not expect her to smile (this is the ONLY scene wherein we see her smile even slightly... huh...) *And the reason I say "I did not expect her to smile", is because with the momentum we were getting I thought she was straight up going to crush his throat, or stab him (hand, weapon or otherwise). It looked like she was digging the forefoot of her shoe into the guys head and not the... .. y'know deadly fucking heel, so that.. confused me. (and the sound when she supposedly stomped his head in did NOT sound all that impactful) but ANYWAYS I digress-

I'm of course assuming more happened after the cut to black because . madam where did you get that bloodstain on you—

BLOODSTAIN ON HER FACE!?!?!? (more on this in a second)

Freminet??? Freminet feature ! (not Lyney or Lynette.. interesting). :(((( the poor boy sounds so,, desensitized. His father

holy shit quick intermission. After the mental chronological fuckfest that was "The Song Burning in the Embers" I don't think I can look at Arle and the HotH the same anymore because she's.. she's like not even 10 years older than them (?) it's insane this doesn't make any sense- ANYWAYS.

HIS FATHER comes back with what we later see to be real blood on her face. Tells him "I've acquired new funds". We know what that means... HE knows what that means!!, and the way WE - THE AUDIENCE - know that Freminet knows what it means is because the boy replies "Oh.. Okay.."

LIKE-! chat omg this is truly just routine for them,,,, Like out of the 3 siblings, Freminet always gave off the biggest child assassin vibe, but wow. To see that routine and desensitized nature of the HotH's line of work just,, splayed out in a Character Trailer is . wow. and the look in his eyes as he says it is- wow.

YEAH UHH BLOODSTAIN ON HER FACE??/ The lighting in this scene now is evidently less saturated. And it's just- oh my FUCKING GOD it does so many things:

the blood on Arle's face looks... dry. it doesn't look as fresh as you may expect which could mean many things. It could mean she spent,,, hella long in there with that guy doing what needed to be done. It could mean she took care to something else immediately after dealing with the guy (perhaps smth related to the children Snezhevna wanted to save). But regardless it means she didn't put in the effort to clean her face and hide what happened. OBVIOUSLY !!! that is so . obviously her style but to S E E IT IN MY GENSHIN IMPACT CHARACTER TRAILER it's- oh my god

it serves to highlight the really, truly, bleak nature of the scene now that we know plain and simple Arlecchino just killed a man. There's no subtext, there's no reading between the lines. The only thing that didn't happen is that we didn't see contact nor see a body. But, no sugarcoating, Arlecchino killed a man. No one is hiding it. You are not surprised. No one should be but damn.

and ofc it acts as a representation of Snezhevna dying...

because it seems like the saturation is back once the camera switches to looking at Snezhevna laying in bed.

And is it me, or does it look like Arle's allowing herself to actually display a tinge of worry in her expression this time? And also, EVER so slightly in her tone as well. You can feel it, it's gentler.

"Once I'm better I'll start my next mission.."

THIS. THIS!! IN SO MANY WAYS THIS!

OKAY. so bear with me. I haven't actually read any of the sibling's character stories yet, so there could be a LOT of info I'm missing but:

There's still a pretty thought-provoking conversation going on (in MY mind, at least) about just how intensely these children are being trailed to be soldiers for the Fatui. They're obviously in an environment that indoctrinates them into being soldiers of SOME kind, but I still don't know what kind of soldier that's supposed to be. Are they all ALWAYS extensions of the Fatui? Or are they more-so extensions of Arlecchino specifically..? Snezhevna was obviously trying to help those children she came across, and I'm assuming that happened on her latest mission, so was the mission for a charitable cause?? What was her next mission supposed to be?? Same line of work? Saving people? Or would it switch up and was she going to be sent to "take care of" (kill .) someone???

So I don't know whether to interpret that line as a hint of them being overworked and 1) feeling like they need to continue their work out of pure fear that they'll be deemed ineffective and useless... or 2) feeling like they need to continue their work out of a sense of loyalty and duty to the place that took them in and raised them. Or both..

and ofc the funeral scene. I can't say much more than what's already shown right on the screen.

and am I bugging? Or is the location of the grave....

#LONG post #first of all. I am kissing Genshin Impact's (HoYovere's entire) artstyle on the mouth.#second of all #Erin Yvette #oh my god Erin Yvette.#the 'My child...' line.. what if I literally blow up the world I'm going to explode #Arlecchino is drop dead gorgeous in this. That's a given but what kind of gay person would I be if I didn't say it anyway #it's always a given with their trailers. A l w a y s.#she's so drop dead handsome oh my god I fucking hate gender #blazingramble #holy shit new tag wtf #I try not to do these on here often but...#meh. my blog #I needed a place to write it down and I'm honestly getting self-conscious abt using my discord server #I say the kids at the HotH are desensitized 'cause like.. it's FUCKING IMPOSSIBLE that they DON'T know!!!!#they can ACT like they don't !!! sure! repression is very real and these kids are exposed to a LOT of trauma. Yes #but they are NOT FUCKING IGNORANT about it #the older ones at least; of course the younger they are the more likely they're sheltered from the Fatui's violent practices #like Lyney Lynette Freminet and other kids their age are child assassins. Now I'm PRETTY FUCKIN CONFIDENT they've killed people #like it wasn't hard to believe before but (and remember I haven't read their character stories) before it was mostly believable conjecture #I can't get over the scene where she returns to the bed #Arlecchino #genshin impact #genshin #genshin arlecchino #the knave #Genshin the knave #blazingshitpost genshin edition #blazingshitpost #Youtube

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will-o-wips · 5 months

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It is 4 am. I'm staring at the ceiling of my bedroom, coincidentally having my phone right in my line of sight, and write this with the exasperation and intense focus that I probably won't ever have again. I'm about to attempt to make any sort of sense of the latest Hayao Miyazaki movie, The Boy and the Heron (or rather, How do you live? in Japanese), that I watched for the first time in theatres a day ago.

I cannot claim to be right, or to know everything about this movie. Actually acclaimed critics and people with obviously more braincells than me have probably better takes than I do. But I must speak, lest the insanity truly take over my brain, lest I really end up combusting because of how much I want to talk about this.

Prepare yourselves for the most incoherent train of thought and line of consciousness you will ever experience.

FILLED WITH SPOILERS READ AT YOUR OWN RISK. YOU WILL NOT UNDERSTAND UNLESS YOU HAVE SEEN THE MOVIE.

Before I start with my actual thoughts, however, I'll state my personal feelings about the movie, because I feel that matters too, and this is my post anyway so! But I personally left the cinema feeling somewhat mellow. I was not insane about it yet. It was,,, "meh". The impression of the ride was great; I was giggling along with the funny and even sometimes not purposefully funny moments, I enjoyed the animation to the point I would genuinely flap my hands in excitement at how good it was, I understood the story in great lines by noticing small details and going "oh so does this mean x?". But I did not cry. Not a single tear during or after or before the movie. I did not waver with my opinion on it as I rambled about it to my friends online and irl, much to their annoyance. I did not hesitate when I put it in my silly little Studio Ghibli movie tierlist maker that I update whenever I watch another one of these films together with my friends, categorized (in)discreetly under "all vibes no plot but there's a witch/wizard". I still don't, in fact.

So, given all of this, you'd probably say that I disliked the movie. That I would not have so much to say about it, after doing my mandatory ramble and update. Wrong. I still have more to say, somehow.

Despite that, I didn't rewatch the movie itself. I read an entirety of one (1) review of it, together with one (1) random video essay of 8 or so minutes, covering the basics of it. I reblogged one (1) post about its protagonist on tumblr and otherwise kinda read through the rest of the posts on here. I did not re-experience or re-examine this movie again. I cannot (again) accurately reference anything besides that what I vaguely remember from watching it a day or two ago. It's not playing anywhere near me anymore/not out anywhere else yet, so really, I don't even know what possessed me to write about this, or even say anything. The most fascinating thing (to probably all of us here) is; what made me change my mind about it?

It might've been the review on IndieWire. David Ehrlich and his well-written review, bringing things into much needed context as to why this movie was created. It could've been the fact that I've actively processed the movie better, now a little bit of time has passed. [Honestly it deserves a second watch/view for something more concrete, but I'm repeating myself with this, you get it.]

But I don't even really understand it myself. I felt and still feel so detached from this movie in a sense. I appreciate the artistry that went into it, and I adore the way it simply tells the story and leaves it up to interpretation. It references every single film Hayao Miyazaki has ever made before, and elements of other Ghibli films can probably be found in there too, if you looked hard enough. The vibes were similar to those of Spirited Away, and Howl's Moving Castle, given how inexplicably fantastical the world was. It just existed and breathed, and we as the audience jumped straight into it. We never got more exposition than what was needed; honestly I have a feeling that the second half of the movie was the vaguest piece of media I have ever consumed in my life. But it also had this perfect balance of the more drama-focused Ghibli films. The Boy and the Heron, in my opinion, is like the golden middle between reality and fantasy, both in terms of its narrative as well as comparison between other Ghibli movies.

This might also be the reason why I felt confused. The lines between reality and fantasy were so effortlessly blurred, that you could only process a singular picture. And when things are vague to me, I constantly need to pick them apart and analyse them, simply to satisfy my own curiosity.

The moment before I stepped into the movie theatre, my friend who watched along with me told me they heard it was a film about grief. I nodded along and said "yeah, okay, that just means it's another one of many Hayao Miyazaki and Ghibli films. Most of them are about some kind of loss, and dealing with it, either way." I sat down together with them; row 9, chairs 17 and 18, with my two bottles of water (one carbonated, one stilled) and the bag of terribly sour packaged chocolate pretzels I bought at the theatre itself. Horribly overpriced for the quality, I must say. My friend held onto the popcorn, and we sat through the ads, talking and laughing, anticipating something that was supposed to blow us away.

I cannot speak for my friend, but I think they really liked the movie regardless. They didn't cry at it either, even though we both know of each other that we always cry at such things. Somehow this movie evoked a certain stillness in us both; a stalemate between emotions and confusion. Maybe delayed processing. Maybe something else entirely. We both, or at least I, hid it until later.

It was midnight, and right before we stepped on our train home, I was excitedly going on about the references and animation, the things I did appreciate. I bragged a bit about how I recognized Kenshi Yonezu's voice in the final credit song that we didn't get to listen to entirely, because it was so late and we had to rush to get home. They laughed at me and told me to take some time to actively formulate any coherent thoughts on it. I disagreed (lovingly and jokingly of course), and we left it at that.

In the train itself, the same high dimmed into a simmer, the excitement replaced with contemplation, and I kept talking.

I told them: "I believe that this truly is his last film. This felt like a goodbye." And in return, they replied: "It's crazy how this is the last time we'll ever get to live in such a moment. The release of the final Ghibli movie in theatres.

"I'm glad we got to go."

I was too.

I got home, rambled about the intrinsic way The Boy and the Heron referenced other Ghibli movies to my online friends who had yet to see it. Followed by a heated tangent about how When Marnie Was There truly could have had better direction in regards to the narrative, as well as how Only Yesterday was the most boring out of all Ghibli movies. It was a nice night. I didn't think about the movie again.

The following morning, I contacted other friends, who told me about how Robert Pattison voiced the Heron in the English dub, which I hadn't seen or heard at all. He did a great job, judging by the trailer. This led me to another opinion, namely the video essay (I will try to find it and put it in the notes later if you are curious), which claimed something similar to this (of course, paraphrased):

"This is a farewell. The one true movie to tie such an expansive career. It is another movie where you are allowed to explore the magical together with the main character, while sticking close to the processing of it all."

The review I read said it was a swan-song, that it was the question and title of the movie in Japanese, posed at us, after The Wind Rises left it open to interpretation at the end of its run. That this was a story about the legacy that Miyazaki is leaving behind, how reality and fantasy coexist together, possibly influencing each other (not explicitly said but what I interpreted that review saying, so no this is also not completely like this).

Other tumblr posts I've seen on here say it was a film most likely dedicated to his son, Goro Miyazaki. That it was a gentle "I'm sorry, the shadow I leave behind is huge. I know that you will try and fail to fill it. It's okay; you don't have to. You can leave it behind. It's alright if this legacy dies with me."

Some other sources I've seen compare the main protagonist to Miyazaki himself, trying to grapple with the ending.

Yet somehow, all of these interpretations seem to fail to explain the entirety of this movie. The bigger picture if you will. These themes and moments and interpretations are not wrong, but to me, they're not satisfying enough.

Because maybe I am the only one who actually was insane about this moment, but I will never forget the delivery room scene between Mahito and Natsuko. How Himi addresses the magic stone, pleading to let the two go, saying "Natsuko and the boy who is to be her son". (Again, paraphrased, I cannot remember the exact line.) Maybe I am the only one who witnessed the whimsical fire witch and the going back in time plots and the fact that a younger Kiriko and Himi were there, already part of an ecosystem. How we already know from the other grannies in the house that Mahito's mother disappeared once for a whole year into the tower, and then came back the same as before. How the pelicans were BROUGHT there, that they did not belong there, and yet were forgetting how to fly. How they ate the Warawara, these creatures that were rising above to be born in the upper world. How the Heron's weakness was his 7th tail feather (or something along those lines), and how the fish and the frogs chanted for Mahito to join them in the tower. That the great-great-uncle was hoping for Mahito to succeed him and build a new tower, yet the king of the parakeets butted in and haphazardly did the job, resulting in it immediately toppling over, as well as the stones getting cut.

I think about the final scene where the Heron says "It's best to forget. Do you have any keepsakes?" And Mahito shows not only older Kiriko's figure, but also a piece of the stone paths they walked upon in order to get to the centre, the beating heart, the magic stone and his great-great-uncle.

How this is taking place during a war, that the timeline goes from his mothers death that Mahito cannot get over, to the welcoming of his stepmother and his new younger sibling. Them moving back to Tokyo. The way the tower completely collapsed. Completely and utterly collapsed and perished; not even a trace of it left behind. The way that older Kiriko keeps yelling it is a trap to Mahito in the beginning, but that both he and the Heron know. That it is inevitable to tread this specific path. That he must see for himself, whether his mother is truly alive. The way she both was and wasn't; first a mirage of her older self disappearing into a puddle of water, and second a firey spirit of her younger self coming to help Mahito. The way that he reads and cries at the book she left him, the way he hits himself with a rock after his big fight with his classmates; the way Mahito in general drowns consistently in the beginning of the film. He drowns in the fire that he lost his mother in. He drowns in the mud and the dust when he tries to enter the tower at first. He drowns in his dreams, in his tears, drowns right into his quest to find Natsuko (straight through the floor, by behest of his great-great-uncle), drowns in pelicans trying to eat him, nearly drowns in the actual sea until younger Kiriko fishes him out.

Now these things may seem like me just randomly naming shit that happens in the movie. Hopefully in a slightly poetic way, possibly. I could go on and on about the imagery, truly. But my point is, this movie may have been Miyazaki's last movie, his way of closure, his way of speaking to his son about his legacy, his way of describing the grief of losing his mother (idk if this is autobiographical or not. It very well may have been), yet...

Even so, it doesn't really fit the entire picture. It feels incomplete. The analyses always focus on the true meaning behind this movie, what happens behind the scenes, this one key climactic moment between Mahito and his great-great-uncle. But that's as if you would ignore the rest of the movie in general. As if the fantastical aspects weren't there to abstractly tell a story besides just being a symbol of closure for the person that directed it.

Personally, this is a tale of rebirth. Of losing yourself, and then rediscovering yourself in a way. I associate it with my own personal loss of my grandfather; the family member I felt closest to out of everyone.

The way you look back at such a traumatic stage in your life, something that irrevocably changed you for good, something that you probably don't ever want to relive again, but also mustn't forget. The way you instinctively are afraid to learn about who the person you love and grieve was, before you were in their life.

To this day, I still cannot speak to my mother about whether my grandfather had a favourite song before me forcing him to sing along with my favourites. A favourite book before he read out bedtime stories to me tirelessly. Who the boy in him was, and what wisdom and life lessons he carried on, into his grave, into the hearts of his children.

This movie depicts so much more than just grief, it's so much more than just legacy, even. It directly reflects the way I know I would have felt had I dared to actually see things for myself. If I actually dared to go through my grandfather's old things; the books he wrote and dedicated to me, the books he read when he was young. This movie depicts not how to live, but how to live on.

And the only way to live on is to move forward. To look at the foundations upon which it was built, to evaluate whether you truly want to have this be your burden to carry for the rest of your life. Mahito's abstract grief in regards to his mother, and the solace he finds in the fact that he at least knew who she was; that he at least had her in his life as both his mother and the girl that his stepmother knew, that at the very least he knows his mother would do it all over again, if she could. That despite everything, she did not regret a thing, and that she was not afraid. That somewhere, in the past, she lives on, happily marching toward this fate, because she knows that Mahito will be there to meet her again in the future.

And Natsuko, god, she worries relentlessly about whether Mahito will accept her. She worries to the point she yells at him, telling him that she hates him and his existence, because he rejects her so coldly and yet still bothers to show up in front of her during her most vulnerable moments. That he only takes and takes and takes; he steals her cigarettes in order to learn how to sharpen a knife from one of the servants. He uses those techniques to create a bow and arrow, a weapon. He gets into fights at school, he gets gravely injured on the side of his head, leaving a lasting scar.

If I were in her shoes, I would be furious at him too. Especially if he walked straight into the delivery room, trying to drag me out of bed while I was doing my damn best to keep the other child in my belly alive.

That scene, that sheer rage, and the way it ALL FUCKING SUBSIDES the MOMENT Mahito accepts her and calls her mother. The moment Mahito understands that through the literal whirlwind of plasters, things used to tend to wounds, none of those pleasantries/guards will truly allow him to reach her. The way he tries to nurse his own wounds, as well as try to nurse hers, over the loss of their shared connection (Natsuko's older sister, Mahito's biological mother), will NEVER allow him to make a connection with her. By being careful, by being polite, he will never get to be her son.

And he realizes, in that moment, that he wants to.

The magic stone tries to stop this. The magic stone dislikes disruption; dislikes things changing, dislikes breaking traditions (the taboo of entering the delivery room). The parakeets in the tower flourish because they follow the magic stone's whims more or less. They agree to follow its rules, even if it means they are prone to its abuse, because it gives them an advantage, a place to stay. The pelicans have to eat the Warawara, because there is no other food available to them.

The way younger Kiriko says "you reek of death", and how they establish this place is mostly made up of death and dead people. Dead people, or dying people, creatures that are begging to survive another day. Creatures that are begging to be reborn. That want to change, that wish to fly once more.

My mother once gave me a poem dearest to her heart. We have always been a family filled with literature and stories, but my mother was always the best at both writing them and reciting them. She used to read them out to me, back when I was in a particularly bad spot mentally, to the point I could not get out of bed for weeks on end, to try and reach me. She read with the sincerest passion in her voice, a small plea to get me back to the girl I was before.

I cannot explain or remember the poem by heart, but once I was at my true rock bottom, she told me to look it up. A Serbian poem, written by Miroslav Antić (I will add the name of it later), that was about growing up and growing into your own person. It made me weep, for it had a phrase I think I can only translate to this:

"Run and don't look back."

Somehow, whenever I look at all of these birds and creatures in this fantasy world, trying to fly desperately, trying to get to the skies, trying to get to even live, and think about the fact that the only way they can is by leaving this place. That the only way they can fly and survive as themselves is by leaving this tower, this stone, this foundation. By leaving and being born, by leaving and being reborn.

And, after all of this. Somehow I'm not even done yet. I haven't talked about the great-great-uncle in depth, nor the king of the parakeets, nor the heron whatsoever. I have not yet even touched upon what I might think the magic stone is, and the sheer amount of like symbolism I picked apart in my brain because of my insanity.

I'm probably not the only one who noticed these things. But so far I haven't seen anyone actively share these things, so, I will do my best to continue and genuinely wrap it up as best as I can. So that this can also bring the same amount of closure as the movie does.

The magic stone is like a shooting star that came onto the earth. It realizes dreams and worlds of whoever dares to walk into it and claim to own it; like how Mahito's great-great-uncle got obsessed and built a tower around it, caging it, taming it. And yet he still had to play to its whims, consistently making sure his own tower of blocks did not fall, that all of his work did not amount to nothing. Personally, I do believe the great-great-uncle could represent Miyazaki himself. That Miyazaki is trying to express how he built Ghibli and that now it has been going on for so long, and it has become unmanageable to continue upholding it. That it is time to retire.

A thing I find interesting and remember pretty well is the conversation between the parakeet king and the great-great-uncle. How they talked about Mahito's transgression, breaking into the delivery room (side note: he broke in and broke through to Natsuko with his mother's spirit. Mahito became Natsuko's son with the blessing of his mother; with the sheer love she had for him being carried on and through), and how the great-great-uncle says something akin to this:

"It is why I wish for him [Mahito] to succeed me."

"I cannot overlook such a transgression."

I feel this is important. It is key to how the great-great-uncle views Mahito in this. Because Mahito was not sent out on this quest to find Natsuko out of pure selfishness. Sure, his uncle would have wanted him to succeed him, but the entire reason WHY he believed in Mahito to begin with, is the fact that this boy was able to break the foundation and the traditions in the first place. Mahito inherently disobeys from the chosen path. Mahito inherently does not believe the Heron when he says that all herons lie. Mahito doesn't waver when the heron flies straight at him, he doesn't sway when the frogs or the pelicans overwhelm him. Mahito stands firm in who he is, even if he is trying to deal with new circumstances. Mahito inherently goes to places he should not be in (his curiosity for the tower). Mahito has enough power on his own to create a new tower, but only by rebuilding it from scratch.

This ready acceptance that the great-great-uncle has towards Mahito's decision NOT to inherit his legacy, is what makes me believe this is what this movie is supposed to represent. Break away from the old, off into the new. Closure. Moving on.

This is also reflected in the sentiment that Mahito truly DOES move on. He goes back to his family, his father, school, he goes back with Natsuko as his mother and a new younger sibling to Tokyo. He returns there where he came from, but he is not the same anymore. He is reborn into a new Mahito.

And god I feel like I'm repeating myself to death here; I really should have thought about the structure of this, but give me some slack okay. It's like 6:30 am already and I'm still not done, despite continuously writing and labouring at this.

So, the tower that immediately falls apart by someone who always follows the whims of a dream (the parakeet king and the stone respectively). God it is just such a momentTM. Because in the end even this shows that the parakeets, too, even though they by far had it the best in that goddamn tower, had to leave. For they could not build something on their own without learning who they were outside of the already established. Outside of just following the rules and all.

They had to leave, my GODDDDD.

As I'm getting progressively more unhinged, we shall move onto the most unhinged character in this entire fucking movie. The Heron himself. God there's too much to unpack here, really, but the truth is, the Heron was supposed to be the guide to Mahito. The Heron was supposed to be Mahito's biggest, most aggressive enemy, the direct antagonist to Mahito's protagonist. The Heron doesn't want change. The Heron tries to bribe Mahito with the fact that his mother is still alive, that he need only enter the tower, and lose himself to illusions and dreams. That fantasizing about his mother being alive won't only drown him more, that it won't just let Mahito sink into the deepest pits of his despair and anguish about such a death, that losing yourself to the belief that something is there when it is not wouldn't only be counterproductive. The Heron masks himself consistently; he says that all herons lie. He says that he only has one weakness, his own feather, that allows the arrow to automatically target him. In essence, the Heron shot himself in the foot beak. He himself slipped up in his mirage world, and came out to be who he truly was, this weird little man with a huge nose and a conniving demeanour. He adamantly cannot disobey the dream, for then his true nature comes peaking out (a small detail I absolutely love is the fact that the Heron's feathers also disappear out of Mahito's hands when Mahito is called back to reality by the grannies. The grannies protect him in the dream world too, by being his tether and support system while he gets over himself and starts trusting Natsuko). The Heron doesn't WANT to be a guide, for in order to be a guide, you must tell the truth. You'd need to know some facts about the world around you and share this information with the ones seeking guidance. This is how I believe Mahito understood the Heron before we did.

It's not that all herons lie; it's just that this particular one does not want to face the truth/reality.

Another interesting detail: the whole reason why only Mahito was able to cover up the hole in the Heron's beak was reminiscent about how only those that called you out can really patch up your old image. Only those that have poked holes in your false narrative are able to fill them back up again, and even then it is not the same, and even then it will not always be comfortable/reliable.

Either way, the Heron, after this wings partially turn into hands, his true nature, is unable to fly all that well for a while. He relies on Mahito's corkscrew thing in order to relish in his comfort zone of lies again. But throughout the movie, the Heron slowly starts to ignore the corkscrew completely; simply opting to stay in his (frankly, freakish) half gremlin man half heron costume form. The Heron changes because Mahito inspired him to change. Even though his image used to be spotless before, and he tried to deceive Mahito, after a while, he stopped doing that. The mutual trust both Mahito and the Heron had grew. The Heron became a person, although his heron-ness would never go away.

The Heron thus warns Mahito that he should want to forget. That he will forget, either way. That this struggle of his to grapple with the reality of his situation, and the fantasy that he was delving into, will become a far-off memory that Mahito should not revisit. The Heron, I believe, is genuinely trying to look out for Mahito.

"Don't dwell in what you have already overcome. Don't revisit the things you have already outgrown."

And this is where the movie more or less ends. Mahito still keeps that stone, and his mother's book, and he goes back to Tokyo; the only crucial difference is that he has overcome his own grief.

Now, I've said this like a billion times now, but this is the rebirth. This is what I think this movie stands for. What it means, at its core. This is what it means to live; to move on and to cut ties with that what has no place in your life anymore. Miyazaki, I think, is trying to give us closure, a final farewell to Ghibli altogether.

Now I don't know about any speculation that he might come back again, and personally, I don't think it really matters. If he does come back, good for him. I just don't know enough to say anything for sure, so I'll just say I cannot say.

Either way, I think, even though Miyazaki conveyed the need for a new start/a rebirth, he didn't really end on the complete abolishment of all that used to be. You are allowed to keep mementos of it; even though the Heron advises not to. Mahito is allowed to reflect upon this experience, to see it as another stone in his foundation/formation, to say that, yes, the spirit of this change will always stay with me, although it has passed.

Just like how Mahito's mom was someone who returned to the past without regrets. She never came back. She was a spirit that pushed Mahito forward, and he will always remember her, but it's better that she stay a memory than become a fantasy.

This is why I'm so impressed by this movie in general. I'm so thankful that I was able to witness this with a friend of mine. I'm glad that I was able to see this, even though my insanity knows no bounds, and the fact that I didn't even think about any of this until I really sat down to look through the options of interpretations.

I'm so glad I got to go. Now it's time to run towards the future, and never look back.

#the boy and the heron #genuinely what was I on actually #I can't believe I am writing this/have written this #Disclaimer: I am really just saying shit please do not take this as the end all be all or whatever; I just need to say it just in case.#oh btw this is DEFINITELY not meant to critique or dismiss any of the people that have other opinions than I do #I just needed to put my own interpretation out there #together with my few flourishes of storytelling here and there even though I'm not even sure if it makes any sense whatsoever #the boy and the heron spoilers #spoilers #I think like. there is so much more to be said about this. there is so much more that can be touched upon #without the repetitive stuff of unstructured “just wing it” (ha ha get it. because there's so many birds and flying metaphors in this.)#essays and shit like this #like I haven't even touched upon Mahito's father and the entire airplane thing that could just be a reference but also-#it could be a metaphor in how his father is trying to overcompensate and how he just wants Mahito to fly again so he creates and works so-#hard that he eventually just ends up being absent in Mahito's life.#which is sickening. (positive/bittersweet)#anyway I am still just saying shit. enjoy the??? idk essay upon essay upon essay of late night insanity.

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grishaverse-chaos · 4 months

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Also you said it yourself- Darkling made them hate grisha so much more. All it takes is one powerful Grisha to fuck it up for Grisha across the entire globe. So one average grisha can do something to a one single family and then that entire town hates grisha etc. If one rotten apple is all it takes for people to hunt this minority then the minority is never safe because rotten apples will always be there.

the darkling started a civil war, destroyed an entire town, murdered most of the country's nobility, allied with fjerda (ravka's longest-standing enemy) and Created The Fucking Fold. and most importantly he started a goddamn civil war in ravka of all places.

sorry if that comes across as too snarky, but his actions had incredibly far-reaching consequences and were very highly publicised. he also held considerable institutional power as the general of the second army - and even after he goes rogue and starts working against the crown, he has a significant number of other grisha supporting him, so this isn't a case of a singular bad apple. it's the most powerful grisha in the country starting a civil war with his army of grisha. obviously the public's reaction to this is disproportionate but like.... it's very much not one bad apple spoiling things for all other grisha

the public's reaction to him is not representative of how they would react to smaller-scale incidences.

and yes prejudice against grisha exists, I've never denied that. all I'm saying is that I believe it can be combatted and life can improve for grisha

#spot the difference game: starting a civil war vs killing one person #honestly I'm not entirely sure what point you're trying to make here but I will always believe that society can improve #grishaverse #mayhem.txt #answered

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danthropologie · 10 months

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idk about you but I'm really not liking all this l**do talk about going to red bull and how helmut is after his agent and his dad and how he's SO FUNNY MUCH TROLL and started to follow them... I don't like it

i agree with you but here's the thing-

1) lando would literally never in a million years. mclaren is literally built around him and him alone, in what world would his fragile ego allow him to leave that dream scenario just to play second fiddle to max. and that's not even getting into the zak/quadrant or his dad's team investment of it all!! plus with the silverstone result, you just knooooowww he's fully back in on the bullshit zak brown has been selling about properly challenging in 2025 (if he was ever truly on it to begin with, which i doubt 😭)....and at that point, again, why leave just to be second to somebody else

2) helmut marko is squarely to blame for this entire fucking NVD situation. both the hiring AND firing were his doing, it was his idea to go outside of the red bull system based on one (1) single result, and at that point you have to wonder if he has enough leverage in the team right now to be pushing for yet another outside hire, especially when you've got christian (and camp verstappen!) seemingly backing daniel, who's quite literally waiting in the wings

#full delusions ahead but all this stuff about charles lando alex....i'm choosing to believe it's just smokescreen #did they actually make inquiries? yeah i'm sure they did. but did they know that their inquiries were with the most drank-the-kool-aid #would-never-in-a-milion-years-say-yes drivers on the entire fucking grid? i mean.....#i just think hypothetically if you've got daniel ricciardo in your sim and he's getting better and better each time he's in there #to the point where he's EXTREMELY competitive and he's giving you exactly what you wish you were seeing from your current second driver #sure maybe there's still question marks and sure maybe you put some feelers out just for due diligence on your options #but at the end of the day.....you've got the solution looking for a problem right there at home......#and so after you've put him in the car and he gave you exactly what you wanted to see and you responded in kind by giving him a seat #but it kinda got away from you and the narrative of it all was really fucking ugly #idk!!! it might be advantageous to start seeding your next move NOW #and letting everyone know that it's fucking OVER for your second driver you're interested in literally anyone else #so that when *that* happens it's less of a shock #hypothetically speaking #silly season23 #red bull redux #for the tags #answered #anonymous #i'm going full delusion for the next 7 days idc #i've been nursing this one all day i had to get it out

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waywardstation · 1 year

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I saw your post about the recent submas polls and I’m far too shy to reply to the post so sneaking into your asks unsolicited seems the next best option haha

In relation to the whole which twin is which legendary I like to think you can make an argument for both. The whole black/white color scheme can be taken either way given that bw/b2w2 have the opposite colored legendary per named game. You can argue Ingo being truthful because he’s very polite and ernest as much as you can Emmet being truthful because he speaks blunt and matter-of-factly, etc.

If I did have to pick a legendary per twin I would actually personally agree with you in Ingo being Reshiram and Emmet being Zekrom but that’s mainly just as Reshiram is the older of the two and is a fire type (like Ingo and Chandlure) and Zekrom is the younger of the two and is an electric type (like Emmet and Elektross)

Personally though I don’t actually think they do have any real connection to the legendaries (wouldn’t complain if they did though!) and I just think that Unovan culture places emphasis on twins as Unova seems to be at least a bit superstitious. It wouldn’t surprise me if it’s seen as good luck or whatever to dress similarly or in black and white in honour of the legendaries, or for twins to just naturally be a lot closer to each other or even highly regarded in society and so on with other potentially superstitious things.

You could also potentially argue this for other multiples as part of Unovan culture as the Striaton triplets also have their own themeing and stuff going on but idk

Anyway this is a very long ask and probably nothing your interested in but hey I’d love to hear your thoughts on your own takes of Unovan culture if you have any :)

In regards to this ask

No worried anon!! I am interested in it; I always appreciate when people share in-depth thoughts like this! ^^

good thoughts!!

I like to think that Emmet is closer to Zekrom, and Ingo is closer to Reshiram for the same reasons you do, and I share those here.

Of course, again as you said, this whole thing can be taken many ways. The twins can be directly connected to the dragons. They can be descendants of the original twins that worked with them. They could have no connection at all. Unovan culture could be making connections that aren't necessarily there

I suppose personally I lie somewhere half and half; half culture superstition, half connection - not by bloodline, but by the dragons' influence on twins.

considering legendary Pokémon do have influence over the world and its development, I could see Zekrom and Reshiram having some sort of influence over twins that are born, and one might lean more towards another.

In the original legend, Reshiram sided with the older twin, and Zekrom sided with the younger. If the twin dragons have any influence on twins that are born, I believe Reshiram might have a tendency to somewhat influence the older twin in the set, and Zekrom more likely influences the younger. Of course this isn't the case every time, it's simply more frequent, and there would be degrees of influence. Some could be obvious, some could be so subtle it feels like it's not there are all. But it's never to the point of twins gaining powers or direct connections to the dragons themselves.

But the modern culture might overestimate the dragons' influence a little, leading to things like thinking twins wearing their respective colors brings good luck, or sets of twins themselves are good luck. Who knows how much of it is true or made up anymore?

Ingo and Emmet might have some influence from the dragons; maybe it influenced their type affinities (But I also like to think this is because Emmet simply prefers modern trains - electric, while Ingo likes older steam engines - fire). Maybe it influences their thinking tendencies (truth vs. ideals).

WHEW that was long, but thanks for the ask anon!! It's super interesting!

#wayward's asks #I mean as a twin myself I'm not sure how much I'd appreciate people chalking up my existence and mannerisms to a legendary pokemon #because that would be so annoying especially if I have traits that DO NOT line up with the legendary dragon people believe I'm assigned to #and those get ignored in favor of the ones that do line up #I don't think I'd want a legendary to dictate entirely what people think I am like #But then again #I am not in the pokemon universe #and really have no idea if it actually WOULD have a percentage of influence or not #I'm looking at this like it's pretty much coincidental #But the influence that would be there would be subtle #and not enough for people to commonly tell twins they have to act more like their dragon counterpart #because not every twin is going to be exactly the same

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gamingofkenna · 9 months

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Oxenfree 2 spoilers, re the 'final choice'

I played the whole game in a solid 7 hour chunk yesterday and I'm still trying to decide how I feel about it, and I'll have to do another playthrough when I can, because there's so much of the way the characters are that seems based on your choices so I wanna see what happens when I make other choices

but I'm seeing that a lot of people let Olivia go through the portal at the end, and that everyone who didn't is saying those who did are monsters for letting this grief-stricken teenager kill herself

and. i don't think there is a 'right' choice at the end there in most circumstances. but i did let Olivia take the radio, because as awful as it felt I just kept thinking that I couldn't do that to Rex

especially since we just had a ghost moment of Rex telling Riley she has to keep fighting, even though she's going to keep failing? to follow that up with 'or you can just kill yourself now to save these kids'? like it is a horrible thing to do to Olivia but it's a horrible thing to do to Rex too?

honestly, based on my playthrough, the 'right' thing seems to be Jacob going through the portal. few players forced him to because apparently the only way for him to do it is if you force him - I didn't even let him come on the island with me. I saw the prompt that I could stop him and immediately knew that if I didn't he would die. Riley kept seeing visions of her future but Jacob never did. Jacob kept talking to me about how he feels he never did anything important in life, how he likes just chilling in his hometown, how he doesn't have any grand ambition but also wants to do something important and meaningful

when that prompt popped up I thought 'if I go to that island I'm getting sucked into this loop too and I'm not coming back; Jacob doesn't deserve that' and I made him stay. I'm curious now if there's a specific dialogue tree that leads to Jacob deciding, at the end, that him going through that portal and saving everyone by doing what he's always been doing is his way of being a hero. but that wasn't the option i'd been given. instead I had two suicidal people, who both had their whole lives in front of them

#oxenfree #oxenfree lost signals #ultimately i think where I'm at now is... the ending kind of felt. forced? in a way that didn't feel entirely believable?#like oh we can just save everyone now except for whoever goes through the portal to sacrifice themself?#how does that make sense honestly? isn't that basically what alex was trying to do in game 1?#like they were just trying to find some way for there to be an impossible decision for the player at the end #even though the how and why of that impossible decision didn't strictly line up #but i only found like half of the letters and im sure theres a ton more lore stuff to uncover #the weird cult stuff also didn't make any sense to me during play??#i was LAUGHING when we went into the community center and jake was like 'wait this is just... boring astrology stuff??'#like YEAH BUD! thats what ive been saying this whole game!!#every time you or anyone else has been like ooh creepy cult stuff this whole time ive been 'like WHAT'#theres NOTHING to this 'cult' they're KIDS playing with an aesthetic! thats literally it my guy!!#like im still not sure if we were supposed to ever be creeped out by the kids at any point during the game #or if the POINT was 'oh they sound weird but they're just stupid kids'#it does seem very much that thats the theme of the game tho lol #'this sounds big and important and scary but its just idiot kids who dont know what theyre doing puffing their chests'

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