#no narrative more fun than guy who does NOT know there is a narrative and it's about him and it's horrible | Explore Tumblr Posts and Blogs

intheholler · 1 month

Text

the appalachian murder ballad <3 one of the most interesting elements of americana and american folk, imo!

my wife recently gave me A Look when i had one playing in the car and she was like, "why do all of these old folk songs talk about killing people lmao" and i realized i wanted to Talk About It at length.

nerd shit under the cut, and it's long. y'all been warned

so, as y'all probably know, a lot of appalachian folk music grew its roots in scottish folk (and then was heavily influenced by Black folks once it arrived here, but that's a post for another time).

they existed, as most folk music does, to deliver a narrative--to pass on a story orally, especially in communities where literacy was not widespread. their whole purpose was to get the news out there about current events, and everyone loves a good murder mystery!

as an aside, i saw someone liken the murder ballad to a ye olde true crime podcast and tbh, yeah lol.

the "original" murder ballads started back across the pond as news stories printed on broadsheets and penned in such a way that it was easy to put to melody.

they were meant to be passed on and keep the people informed about the goings-on in town. i imagine that because these songs were left up to their original orators to get them going, this would be why we have sooo many variations of old folk songs.

naturally then, almost always, they were based on real events, either sung from an outside perspective, from the killer's perspective and in some cases, from the victim's. of course, like most things from days of yore, they reek of social dogshit. the particular flavor of dogshit of the OG murder ballad was misogyny.

so, the murder ballad came over when the english and scots-irish settlers did. in fact, a lot of the current murder ballads are still telling stories from centuries ago, and, as is the way of folk, getting rewritten and given new names and melodies and evolving into the modern recordings we hear today.

305 such scottish and english ballads were noted and collected into what is famously known as the Child Ballads collected by a professor named francis james child in the 19th century. they have been reshaped and covered and recorded a million and one times, as is the folk way.

while newer ones continued to largely fit the formula of retelling real events and murder trials (such as one of my favorite ones, little sadie, about a murderer getting chased through the carolinas to have justice handed down), they also evolved into sometimes fictional, (often unfortunately misogynistic) cautionary tales.

perhaps the most famous examples of these are omie wise and pretty polly where the woman's death almost feels justified as if it's her fault (big shocker).

but i digress. in this way, the evolution of the murder ballad came to serve a similar purpose as the spooky legends of appalachia did/do now.

(why do we have those urban legends and oral traditions warning yall out of the woods? to keep babies from gettin lost n dying in them. i know it's a fun tiktok trend rn to tell tale of spooky scary woods like there's really more haints out here than there are anywhere else, but that's a rant for another time too ain't it)

so, the aforementioned little sadie (also known as "bad lee brown" in some cases) was first recorded in the 1920s. i'm also plugging my favorite female-vocaist cover of it there because it's superior when a woman does it, sorry.

it is a pretty straightforward murder ballad in its content--in the original version, the guy kills a woman, a stranger or his girlfriend sometimes depending on who is covering it.

but instead of it being a cautionary 'be careful and don't get pregnant or it's your fault' tale like omie wise and pretty polly, the guy doesn't get away with it, and he's not portrayed as sympathetic like the murderer is in so many ballads.

a few decades after, women started saying fuck you and writing their own murder ballads.

in the 40s, the femme fatale trope was in full swing with women flipping the script and killing their male lovers for slights against them instead.

men began to enter the "find out" phase in these songs and paid up for being abusive partners. women regained their agency and humanity by actually giving themselves an active voice instead of just being essentially 'fridged in the ballads of old.

her majesty dolly parton even covered plenty of old ballads herself but then went on to write the bridge, telling the pregnant-woman-in-the-murder-ballad's side of things for once. love her.

as a listener, i realized that i personally prefer these modern covers of appalachian murder ballads sung by women-led acts like dolly and gillian welch and even the super-recent crooked still especially, because there is a sense of reclamation, subverting its roots by giving it a woman's voice instead.

meaning that, like a lot else from the problematic past, the appalachian murder ballad is something to be enjoyed with critical ears. violence against women is an evergreen issue, of course, and you're going to encounter a lot of that in this branch of historical music.

but with folk songs, and especially the murder ballad, being such a foundational element of appalachian history and culture and fitting squarely into the appalachian gothic, i still find them important and so, so interesting

i do feel it's worth mentioning that there are "tamer" ones. with traditional and modern murder ballads alike, some of them are just for "fun," like a murder mystery novel is enjoyable to read; not all have a message or retell a historical trial.

(for instance, i'd even argue ultra-modern, popular americana songs like hell's comin' with me is a contemporary americana murder ballad--being sung by a male vocalist and having evolved from being at the expense of a woman to instead being directed at a harmful and corrupt church. that kind of thing)

in short: it continues to evolve, and i continue to eat that shit up.

anyway, to leave off, lemme share with yall my personal favorite murder ballad which fits squarely into murder mystery/horror novel territory imo.

it's the 10th child ballad and was originally known as "the twa sisters." it's been covered to hell n back and named and renamed.

but! if you listen to any flavor of americana, chances are high you already know it; popular names are "the dreadful wind and rain" and sometimes just "wind and rain."

in it, a jealous older sister pushes her other sister into a river (or stream, or sea, depending on who's covering it) over a dumbass man. the little sister's body floats away and a fiddle maker come upon her and took parts of her body to make a fiddle of his own. the only song the new fiddle plays is the tale about how it came to be, and it is the same song you have been listening to until then.

how's that for genuinely spooky-scary appalachia, y'all?

#appalachia #appalachian murder ballads #murder ballads #appalachian music #appalachian culture #appalachian history #appalachian #appalachian folklore #appalachian gothic #tw violence against women #cw violence against women #cw murder #tw murder #folk music #folk #txt

463 notes · View notes

sixstepsaway · 7 months

Text

so here's the thing

i've seen a bunch of people say on twitter and stuff how... ed's behavior is very abusive and his anger is dangerous and he isn't romantic lead material because of it

and i get where they're coming from

but to me the main issue isn't putting ed in the position of a romantic lead, but not crafting the narrative around his characterization so that it allows for a spicy romantic pirates-in-love narrative instead of...whatever this is.

i'm going to try and explain this. idk if i'll do well but i'll try

the way she show presents stede is as an innocent baby who isn't really equipped for pirate life. he goes into a fugue/disassociative state whenever there's any real violence, apparently, and needs protecting by other characters when things get too rough - for example when ed is telling ned lowe not to take the poker to stede.

that's fine! it's honestly adorable to see a masc character being so soft around the edges and being protected by other characters this way.

(i'm not going to touch on stede's... eh... not great characterization this season rn)

then there's izzy, who is shown as a bit violent, a bit rough around the edges. he's more likely to draw a sword or throw a punch or hit someone with a chair or take a punch like a champ. violence is just part of life for him and that's okay, it just Is, from small things like smacking stede on the ass to bigger things like being wall slammed, it's not all that big or bad for violence to happen around and with him, he tends to give as good as he gets (there's some nuance here but i'm talking the macro themes not the micro of what izzy does vs is done to him)

and finally there's ed

ed is presented as violent (stabbing knives at guys, telling fang to use the snail fork etc) and used to a life of violence, and then in season 2 he's presented as really violent, his anger coming out in dangerous and terrifying ways

and frankly, i'd be super into it if he and izzy were the main ship and that twisted dynamic from the first two episodes of s2 was explored and fleshed out into something deeper

friends to enemies to lovers who fight and fuck. angry pirates who lay hands on each other, who break the whole ship with each other in the heat of passion.

except instead, s2 gives us... abuse. it gives us izzy cringing and lowering his head and trying to protect the kids crew from ed's angry outbursts.

so when stede comes back and he's still soft around the edges and ed headbutts him and it's deliberate, it's... not a great look, and the vibes are a bit skewed

if stede fought back, if when ed struck out at him he struck back, if they fought rather than it being one-sided, if it was friends to enemies to lovers and not presented as healthy, but maybe they can work their way there, who knows, maybe even more like anne bonnie and mary read because hey, they were doing something very similar?

except they were both into it. they were both enjoying the fighting and the fucking and the burning down the house.

stede's not enjoying it.

i cannot describe how much i hate this sequence just because of the way stede flinches

anne and mary don't!! mary jumps at the unexpected bang but she doesnt flinch, she doesn't cover her face like she thinks the vase will be coming for her not the wall and anne? looks so into it

and the thing is that in real life, no, you don't want to date someone who throws shit around, or headbutts you

but in fiction when it's two fucked up people doing this shit together like anne and mary?

that can be fun.

but instead what we've been given is stede flinching and apologizing to ed and then all of ed's...what, semi-redemption???? is done away from the other collection of people he abused, and then he spends some time on a fishing boat wearing a dog collar and everything is fine because he's good now and won't be doing anything bad ever again

and it's just... poor writing. the vibes are rancid.

i spent a really big chunk of time between s1 and s2 defending ed. i kept saying how what he did to izzy by making him eat his toe wasn't abuse, it was a one-off and abuse isn't a one-off thing it's a pattern, and then s2 made it a pattern.

explicitly. explicitly a pattern.

not just one toe but three.

jim saying "you're in an unhealthy relationship with blackbeard"

and all ed offered izzy was a "sorry about your leg" which might've been fine if izzy survived and they could work on this more, but instead that's all the apology and closure izzy will ever get

ed threw a chair and a vase and made stede flinch in fear and stede was right to do that. what part of any of this implies this will never happen again? that stede won't press the wrong button at some point and be on the receiving end? none of it

and if we'd been presented with a s2 stede bonnet who could handle himself and stand up for himself and fight back, then maybe i could imagine that turning into a weird sexy fucked up anne/mary like thing and maybe that could be why they put that episode in, but instead it feels like that episode was going, "look, see, ed's violence is fine because these two are fine with it with each other"

but stede isn't

ed and izzy or ed and stede in an unhealthy battle of a relationship could be such a fun, interesting and downright sexy thing to watch unfold on tv, and could honestly end somewhere far more down the chill end of the spectrum, but that's not what we've been given here

i cannot argue that ed isn't an abuser anymore, and not just of izzy but of the whole crew. he terrified frenchie.

it's not good writing to try and lean into the idea that ed and the pirates are violent and live a life of violence, so it's okay that ed's been violent, while simultaneously presenting his violence as traumatic and abusive, and then less than three episodes later saying oh it's fine now, he's just a little meow meow who can do no wrong, see?

especially considering they had him murdering people at the end of the season. and sure, you can say the english are just cannon fodder and they dont 'count', but they did before. ed explicitly did not kill before, and that included the english, or the spanish, or anyone else. so either they count or they don't, but flipping him on a dime makes no sense.

ALSO

having ed be the son of an abusive man who threw plates at his mother and made her cringe and then having ed kill his father to protect his mother and then a season later having ed become the kind of man who throws chairs and vases and makes his love interest cringe is, again, not bloody optimal

i want to say again i dont CARE about tv always presenting healthy relationships or tv always giving us aspirational goals. i want messy fucked up dynamics and terrible people making terrible choices, and still, to this day, i fucking love ed teach. i would honestly love to have seen them continue with ed's darkness and bring stede into it and see where they went with that, to have stede kill ned lowe and not just bury his feelings in ed but get off on it, enjoy the violence, and see where that led, but no

and so instead all we end up with is a protagonist who is being set up for a lifetime of abuse from an intimate partner, and a romantic lead who abuses his love interests (and yes. izzy is a love interest, he is set up like one and positioned like one and treated like one), frightens his love interests with his violence, is erratic and most of all inconsistently written. he was so sorry about scaring fang as though he hadn't been deliberately terrifying the whole crew for fuck knows how long? what?!

the whole fandom has spent so long saying, "no no, i know stede bonnet irl was a slave owner, but ofmd is using the names and not any real piracy, it's more disney piracy, you know? so that kind of stuff doesnt exist!" and then they flipped around and went "blackbeard is blackbeard and so he is evil and does all these horrible things" and i dont know how to rationalize the two sides of that because it feels so out of place

i'm getting rambly, this isnt a particularly well constructed thought process, i just feel like we were robbed both of a toxic, violent relationship that could be fun to see explored on tv and a soft and sweet love story between two middle aged men exploring their first loves in one fell swoop and there's no way for s3 to bring either of those things back because they got utterly torpedoed by making ed a horrible person

ugh

#ofmd critical #i hate that i'm using this tag now :c #edward teach #ed teach #ofmd s2 #ofmd season 2 #our flag means death #ofmd spoilers #ofmd meta #i guess #izzy hands #stede bonnet

764 notes · View notes

gay-jesus-probably · 1 year

Text

Let me just preface this by saying everyone is allowed to have their own opinions, TOTK is a really fun game, and I'm glad that other people have been able to enjoy the story as well.

...But I'm being dead serious with my complaints about the narrative being 100% imperialist propaganda. And I'm getting really tired of people replying to those posts by saying it can't be imperialist propaganda, because imperialism is bad and the game says that Hyrule is the good guys.

Like, guys. That's not the argument you think it is. Yes, I am aware that the game tells us Ganondorf is a flat, one dimensional character with no ambitions, interests or motivations beyond destroying the entire world for the hell of it, and also it's totally not racist because he's green, not brown like literally every other member of his race. Unfortunately literally all of these things are kind of the entire goddamn problem.

See, the thing is, everyone trying to make these arguments is accepting the game at face value. Hyrule is the perfect and almighty nation chosen by the demigod Zonai, and whose royal family has the right to rule due to their divine heritage. The other races exist to serve the glory of Hyrule, and they're happy to do it. Ganondorf is pure evil and must be stopped at any costs.

But that's not how anything works. The story informing me that Hyrule is the ultimate good that has done nothing wrong is the whole goddamn reason why I don't trust Hyrule at all. There's always more of a reason than that. And the game fucking suggests there was more going on! Ganondorf mentions Rauru has repeatedly 'invited' the Gerudo to become Rauru's subjects, and let's be clear here, it doesn't matter how peaceful those 'invitations' were, when the guy who owns every single magical nuclear missile in the world repeatedly demands you surrender to him, there's always going to be an implied threat of 'do it or get magically nuked'. Just that power difference alone shows us exactly why Ganon would feel threatened enough to invade. It's because Rauru was holding a gun to his head, and Ganon was expected to just trust that he'd never pull the trigger.

And yes, even if it wasn't intentional Hyrule was always threatening to wipe out the other nations, considering the entire royal family walked around openly wearing their magical nukes as cute accessories. If they couldn't be safely hidden away, there wouldn't be four other secret stones sitting untouched in a vault until the last second.

But that's never acknowledged. Of course Hyrule is the only nation with the right to the secret stones; even if other races get to touch them, they can only have them if they swear eternal blind loyalty and servitude to the glory of King Rauru and Princess Zelda. Ganon wanting to have one magical nuclear bomb out of a stockpile of eight of them is proof that he's dangerous and evil. I mean my god, what if he just walked around all day wearing a magical nuke and using its power for his own benefit, that would be terrifying. It's only okay when Hylian royalty does it.

And you can't argue that Ganon betrayed his own people, considering we don't get to know fucking anything about his relationship with his people. He's shows as the leader of the Gerudo, we're told he's a hero to his people, he has soldiers that loyally follow him into battle... and then oh nevermind, they all hate him and will spend eternity trying to atone for sharing a race with him. How did the entire race do a complete 180 in the span of at most a few months? Who cares, what's important is that now they accept they exist to serve Hyrule so they get to be the good guys now and we don't need to know why they were following Ganondorf, or why they stopped following him.

Basically my point is that yeah, I fucking know how the game insists everything went down. That's the entire reason I think it's imperialist propaganda, because the entire story feels like Hylian propaganda to conceal and justify some horrific atrocities that caused all of this. I literally do not believe that I'm getting the story through reliable narrators, especially considering that the only people allowed to actually tell me the story are all the characters that have the most reasons to be heavily biased in favour of Hyrule.

When the game shows me protagonists that have a massive amount of power and control over the entire world, then says the bad guy doesn't like that system just because he's evil, and literally nothing and nobody in the game says anything to oppose that take, I have some questions about what the fuck the story isn't telling me. And I'd really appreciate it if people would stop trying to argue with me just by telling me to stop asking those questions.

#tears of the kingdom spoilers #tears of the kingdom #ganondorf #can you tell that i'm annoyed by these people bcause i'm annoyed #...nothing personal if you are taking the story at face value btw #its just that i'm trying to dig into the story to talk about it #and it's frustrating to have people telling me i'm wrong because i'm analyzing the game #like guys... if someone doing a little bit of analysis is all it takes to dismantle the entire story #then it's not a well written story

2K notes · View notes

vanteguccir · 1 month

Text

Hey guys! I actually spent long minutes staring at these reblogs and debating whether it was worth responding and talking about or not. But as I'm not the type to take hate and keep quiet, I decided to talk about it.

First of all, Reia, you really seem like a person who doesn't read many fanfics for the way you put it in your text, so I'll explain the meaning of the word. Fanfic, short for "fan fiction", is a story written by a fan based on characters, universes, or real people (like the triplets). Fans create their own narratives, expanding or reimagining everything, creating their own version, which in real life does not exist OR, as writers, we often draw inspiration from real-life events too.

And yes, you and Evangeline are trying to be "fanfic police" and even "sturniolo police", if you scroll through the thousands of Sturniolo Triplets fanfics, you will come across A LOT where Matt, Nick or Chris go through situations of anxiety attack, panic attack, OR where the "reader" herself goes through this, sometimes even involving situations way worse than that. Furthermore, there's thousands of fanfics describing explicit sex scenes with them, the famous smuts, does that bother you too? Because in the world of someone who writes a FANFIC in here, it doesn't.

And yes, I was indeed writing about the meet and greet situation, and this was nothing new to ANYONE in the fandom WHO READS THE FANFICS HERE. I even made a post the day before ASKING who would like to read the idea, and you want to know the news? All 200 people who voted wanted it.

I understand that you feel this story is disrespectful FOR YOU, especially because it touches on a real-life situation that may be sensitive or painful for some people. I want to assure you that it was never my intention to cause harm or disrespect anyone involved in that situation.

I myself am diagnosed with chronic anxiety, and even so, I didn't feel affected by the way I wrote. In fact, I described how I feel during MY anxiety attacks.

In no way did I make fun of the situation Matt went through, in fact, my intention in writing this story was to explore Matt's complexity and show how he deals with real problems, such as anxiety. It was a way to give more depth to his situation during the tour and highlight the importance of the emotional support he receives from "Y/N". It was not my intention to mock him, but rather to explore his humanity and the challenges he faced, and I know with all the certainty in the world that I did not mock him, much less affect the people who read the story.

Please, I ask you to reevaluate the need to throw hate at a person who has nothing to do with your outside the box opinions of what WRITERS ON THE STURNIOLO'S TUMBLR should or shouldn't write about.

There are thousands of posts on Instagram and TikTok from "fans" really mocking Matt and throwing hate at him about "their bad experiences" during one of the shows, these are the people you should be giving a piece of your mind to, not me. 🩷

#chris sturniolo #matt sturniolo #nick sturniolo #sturniolo triplets #sturniolo x reader #matt sturniolo x reader #vante thoughts

228 notes · View notes

heytherecentaurs · 6 months

Text

Burrow's End is an absolute masterpiece.

In the span of ten episodes Aabria and Co. weave an exciting and emotional adventure story about a family of sentient stoats. It delivers huge laughs, interesting societal criticism, remarkably emotional and well-acted scenes and concludes with a series of epilogue scenes that feel appropriate for each character, some heartfelt and subdued and others bigger than life and all the funnier for it.

Siobhan and Izzy play the perfect pair of siblings. They fight and argue but they also love each other. Jaysohn (Siobhan) looks up to Lila (Izzy) and believes she's the smartest stoat in the world (and by the end she probably is) and Lila hypes up her little brother's athletic skills. They both fully embodied these kids and I could watch them do fun stuff for more episodes. Give me a version of Saved by the Bell with them. Stoat by the Bell.

Brennan and Rashawn, playing sisters, also knock it outta the park, showing a more mature sibling dynamic. Brennan portrays Tula as the quintessential overtired single mother of excitable kids, and Rashawn as younger sister Viola straddles a very interesting line of being intimidating to outsiders but very much more naive and looking to her older sister when she starts a family.

Jasper as Thorn, a guy everyone just lets be a cult leader because he really wanted to, is fantastic. His is a difficult role as the only non-blood relative. Jasper plays Thorn with such real humanity of a guy in over his head and letting his ambition wife call the shots, but also one who agrees with her goal, really loves her and has moments of real menace. He has some very funny scenes, his big speech is perfect, and I just enjoy him.

Erika is wonderful. They play the epitome of generational trauma as many have said but as much trauma as Ava has, she is also loving and willing to learn. The fact Erika took this adversarial role is incredible. The tense dramatic scene primarily between Ava, Tula and Viola is amazing. They act their asses off and make hard choices that I imagine are difficult even for such an experienced player.

Aabria's DMing always feels fun. She doesn't get bogged down in the rules. She knows them. She plays by them. But as a master, she knows how and when to break them too. Her seasons on Dimension 20 have all had a tenseness, a particular edge to them that can give me anxiety during dramatic scenes between two characters. It always feel like one of her NPCs may say something devastating and the tension between characters reaches really thrilling heights. This is present in other seasons, but I don't think anyone does it as well as she does. The first season of hers to have battle maps, Aabria really swung for the fences and gave us some of the wildest maps to date.

Shout out to Carlos Luna's voice acting. He did an incredible job. And shout out to the whole crew who have put together one of the best seasons of D20. They keep finding ways to build on what's come before and they should be commended for it.

Dimension 20 is most successful when the concept is very streamlined. They don't do huge 100 episode campaigns capable of handling huge winding complex narrative, but short focused D&D stories, which is why many of the Side Quests have been so fantastic. They embody this philosophy most clearly, but it's apparent in the most beloved Intrepid Heroes seasons as well—John Hughes/High Fantasy, Game of Thrones/Candyland, Retrofuturism, Film Noir but in a Brain... Burrow's End fits this perfectly. It's streamlined concept paired with great storytellers and great chemistry sets it up to be a smash hit before it begins. And goddamn does it deliver.

Thanks Stupendous Stoats!

#dimension 20 #d20 #burrow's end #aabria iyengar #brennan lee mulligan #izzy roland #isabella roland #erika ishii #siobhan thompson #jasper william cartwright #rashawn scott #rashawn nadine scott #carlos luna #dropout.tv #hey there centaurs

472 notes · View notes

elyvorg · 10 months

Text

The Real Reason That Sissel Refused to Help

(or: the subtle genius of Ghost Trick’s tutorial)

“I just want to find my own lost memory. I’m sorry, but I can’t help you.”

Here’s a post in which I talk about this particular part of Ghost Trick’s story, which I’m keeping as vague as possible outside of the spoiler cut, but those who’ve finished the game should know what I’m referring to. What’s actually going on here is rather interesting, and paints our friend Sissel in a much less negative light than the face-value assumption I tend to see most people jumping to with this.

First, though, I have written a fic illustrating this idea in narrative form rather than lengthily explaining it. If you’re interested, I recommend you go read that first before reading this, because being shown is more fun than being told!

(Also, spoilers, obviously. Go play Ghost Trick if you haven’t; it’s so good and absolutely not the kind of thing you want to be spoiled for.)

So, in the original timeline, Sissel refused to help Missile save his mistresses, stating that he just wants to find his own lost memories.

It could easily seem at a glance like Sissel’s character development over the course of the game is that he started off selfish, only caring about his own mystery, and it’s only through getting attached to everyone throughout the night that he begins to care about others and the bigger picture. As such, his refusal to help Missile in the original timeline is easy to read as being born of that, since this was early on when Sissel still only cared about himself.

But… it’s not actually that simple, because Sissel isn’t as selfish in the beginning as one might think. Sure, he’ll say things like “I have to focus on my own mystery”, or “this is all for my own benefit”. But that doesn’t actually match up with his actions. His own mystery may be, in theory, his number one priority, but a remarkably close second priority for him is to save the lives of any dead person he happens to come across. Even very early on, before he’s grown to care about any of these people!

He doesn’t hesitate to save Missile, despite having zero reason to assume that this little doggie will be any help with his mystery. The second time he finds Lynne dead, when he’s getting to talk to her and learns that she doesn’t actually know much about him and probably won’t be able to help him because she’s got her own case to pursue tonight, he still reassures her that she doesn’t owe him and he’s going to save her life anyway.

And even right at Lynne’s very first death, in the game’s opening narration, Sissel makes a point that he doesn’t want to stand back and let her get shot, and that he feels bad for her, despite her being a complete stranger!

Evidently, even right at the beginning, Sissel isn’t selfish. He just thinks he is. Because cats can be tsundere like that.

Sissel: “Why am I so determined to save this woman? After all, it’s not as if I know her. My reason is twofold. Number one, I’m not the type to leave women lying around, discarded like trash.”

(Here’s a bit from later in chapter 1 featuring Sissel being amusingly surprised by his own altruistic streak. He seems to expect to only care about himself – yet here he is, not wanting to leave a stranger lying dead if he can help it. Not so selfish after all, huh?)

So if that’s not the problem in the original timeline, then what is? Why does Sissel leave Missile to deal with saving his ladies alone when he’d have no reason not to try and help? – after all, he hasn’t been given a fake time limit in this timeline! He’s not even in a hurry with his own mystery! For that matter, Sissel was still there in the junkyard at the beginning – why didn’t he just save Lynne himself?

We can get a good indication of what the issue is from that very same opening narration I was just talking about.

Sissel: “Now, I’m not the kind of guy who can just stand back and watch a poor woman get shot. But I have just one little problem… I’m already dead myself.”

Sissel: “I feel bad for her, sure. But what can I do? I’m dead. But just as I was thinking that…”

The real problem is not that he doesn’t care about saving a stranger’s life. Rather, it’s that, because he’s dead, he doesn’t think he can. He’s not expecting to magically have ghost superpowers; why would he?

And it’s just as he was thinking that he can’t do anything (which, while part of his screen-filling monologue narration, was still his thoughts and therefore something any nearby ghost could hear)… that Ray speaks up to tell him that actually he can save her.

Sissel: “Huh?” (Me? Save her? Uh, how?)

Immediately, Sissel questions the notion once again, not with a why but with a how. It’s not that he doesn’t want to; he simply doesn’t think it’s possible.

This general idea continues throughout the entire tutorial, which is absolutely packed with lines that show Sissel being deeply sceptical about the idea that he could possibly save someone’s life or alter someone’s fate.

Once Ray’s taught him about his basic ghost tricks and he’s managed to delay Lynne’s death by a few moments… she still ends up dead anyway. And Sissel thinks that’s it. Because of course he does. Even if he can stop time and manipulate objects, he has zero reason to believe that his powers can undo a death that’s already happened.

Sissel: “In the end, it looks like her fate remains unchanged. So what good are these ‘ghost tricks’ of mine? But just as I was thinking this…”

Sissel: “It looks like my ghost tricks didn’t do much good.” (She still ended up just as dead as before.)

He even ends up feeling like his new superpowers are barely worth anything, because he can play a few little tricks on someone, but that’s not enough to save someone’s life, is it?

Ray: “Isn’t it a shame to see such a pretty young woman lying here discarded like a piece of trash?” Sissel: “But what can I do? She’s already dead.”

Ray: “And while she’s resting, you can save her life.” Sissel: “Oh, sure. You make it sound so easy.”

And again, he’s very dismissive of Ray implying or telling him that he can do something about this. After all, how could that be possible any more?

In particular, there’s this vital little bit of trickery here…

Ray: “Now what do you suppose will happen if you possess a corpse?” Sissel: “Nothing, because I already tried that, remember? And nothing happened at all.”

…in which Sissel assumes his powers just don’t work on corpses, because he’s already tried and failed to do anything with “his” corpse. If he’d been alone, without Ray to guide him through things, he most likely wouldn’t have even tried to possess Lynne’s corpse in the first place, because he would have had no reason to believe it would achieve anything!

(Meanwhile, Missile in the original timeline also had zero reason to believe he could do anything for Kamila, but he was so anguished and desperate that of course he would have tried anyway. He’d try anything to save her, because he is good and loyal and Dog. So he was able to discover his time-rewinding powers where Sissel didn’t, and thus he passed that knowledge onto Sissel in the game’s timeline.)

And as Ray tells Sissel that he can in fact rewind time to redo the last moments of Lynne’s life, he’s completely dumbfounded and bewildered by the very idea of it.

Sissel: “Are you serious?! Back through time?!”

Sissel: “But this is crazy! None of it makes any sense!”

Ray: “To the time four minutes before this woman was murdered!” Sissel: “H-Hey, wait a second! I still don’t know what you’re talking about!”

What is this lamp even talking about?! Of course turning back time isn’t possible! He had no reason to believe it was possible, even as part of his new wacky ghost powers.

(Meanwhile, when Sissel is saving Missile in the game, we get a little exchange that shows Missile being completely unfazed by the idea that Sissel’s brought them back in time. It’s no weirder than humans walking around on two legs, right? One way or another, the cat can barely wrap his head around it, while the dog sees it as perfectly plausible.)

One thing Ray says more than once during the tutorial is, “The best thing to do is try it.” Because Sissel is being so stubbornly cynical that he will not take this desk lamp’s word about how useful his powers are and has to literally be pushed into trying it himself in order to believe it, every time.

Even after seeing for himself that he can go back in time and watch Lynne’s death again, Sissel still manages to be pessimistic about this.

Ray: “And there you have it. The last four minutes of her life.” Sissel: [strained] “No…!” Ray: “It’s kind of ironic, when you think about it. A woman toyed with by fate, and a man toyed with by a ghost.” Sissel: “But she still died.”

He went back in time, and she still died. There’s still apparently nothing he can do, right? No, Sissel, just have a bit of patience! This is just the mechanic that lets you understand what happens before you dive in and start changing things; you’ll get your chance soon!

And once he’s finally successfully saved Lynne…

Ray: “You used your powers to avert that woman’s fate.” Sissel: “So I did that?”

Sissel still has a moment of being surprised at the notion that he was capable of something like this.

It’s really striking to me, watching over chapter 1 again with this thought about original-timeline Sissel in mind, just how many lines to this effect there are throughout the whole thing. The writers did not need to include this many moments of Sissel being sceptical, or even any of them at all, really, in order for the tutorial to do its job as a tutorial! But they’re here anyway, because it is in fact really important to the story that Sissel is somebody who would not have tried hard enough to figure out that his powers can undo deaths unless he had someone holding his hand through it the whole way.

The way old-Missile talks about it when he’s explaining himself at the end, it’s easy to get the takeaway that the most important thing he did as Ray was to take advantage of Sissel’s supposed self-interest: by not contradicting his misconception that he’s the man in red, by telling him Lynne is the key to his mystery (a half-truth at best), and by giving him a fake time limit. And it’s not that those things didn’t help, but they’re not really the most important thing at all.

The most important thing Ray did for Sissel, the thing that Missile absolutely most needed to spend those ten years waiting to do, was exactly what it appeared to be during chapter 1: to teach him how to use his powers to save lives. Because the number one thing the Sissel from the original timeline needed but didn’t get was, quite literally, a tutorial.

There’s a little bit more to it than this, though. So, okay, Sissel in the original timeline didn’t know he had the vital time-rewinding power. But then that begs the question: why didn’t Missile just tell him that while asking for his help?

For that matter, why did Sissel leave Missile shortly after being asked for help? It can’t just be because he urgently had to go and look elsewhere for answers to his own mystery, because he’s not pressed for time here. And he was apparently chilling at the junkyard just eavesdropping on the investigators’ conversations before Missile showed up. Why the sudden shift in locations now of all times, when there’s someone here who’s actually talking to him – the first person Sissel would have been able to talk to all night – and asking him for help?

The issue here, I believe, is that this isn’t just a matter of Sissel’s lack of understanding what his powers can do. It’s also a matter of emotional state – both Sissel’s, and Missile’s. Both of them would have been incredibly stressed out and upset, Sissel due to his loss of memory and seeing deaths in front of him that he doesn’t think he can do anything about, and Missile due to his mistresses’ deaths that he also can’t do anything about, even though he has a superpower that lets him try but it just isn’t quite enough.

How would Missile and Sissel’s interaction go when they’re both so upset like this? There’s actually a fun little bite-sized example of this in the actual canon timeline. During the last desperate struggle to escape the sinking submarine…

Missile: “Sissel! Y-Y-Y… You’re not telling Miss Lynne to leave poor Miss Kamila behind, ARE YOU?!” Sissel: *sigh* “Could you just be quiet for a minute, Missile?”

Missile and Sissel are bound to be both extremely anxious and stressed in this situation – trapped in the submarine, Lynne and Kamila in danger of drowning if they don’t do something. And in that state of mind, it seems that Missile is prone to eschewing logic to be even more loudly desperately protective of his mistresses… while Sissel especially does not enjoy Missile being Loudly Boisterously Dog in his ear when he’s stressed out. After all, cats and dogs have very opposite and very incompatible ways of dealing with stress!

So it follows that the conversation between Sissel and Missile in the original timeline would likely have been an incoherent emotional mess, in which neither of them properly communicated their side of things at all. Missile must have just never even thought to tell Sissel that he can rewind time and therefore saving his ladies is actually possible in theory, because that was already obvious to him! He wouldn’t be capable of understanding why Sissel would be so reluctant about this.

As for why Sissel wasn’t just reluctant to help but outright ran away and sealed the deal – I think, more than anything, it’s got to be down to the fact that he couldn’t stand having Missile being so loud and energetic at him when he was this upset. Especially not while repeatedly saying that he can save them, which would be the exact thing Sissel has been miserably convinced that he just can’t. It follows that he’d just have wanted to run and hide somewhere Missile isn’t, where he can have some peace and quiet. Cats who are upset often like to hide and isolate themselves to feel safer.

There’s one other part in the game’s tutorial that suggests the problem originally might have been partly a matter of Sissel’s emotions:

Ray: “Hello there. How are you feeling? Not very well, I imagine. A terrible tragedy, what happened tonight.” Sissel: “………” [neutral face] Ray: “Ah, ignoring me, are you? It’s a little too early for you to be so stiff and cold, I’d say.” Sissel: [smiling] “Ah, so it was you. You were that voice in my head, right?”

This is very noteworthy, because Ray is the only person in the entire game who ever takes the time to ask Sissel how he’s feeling. He wouldn’t be feeling great after waking up dead, watching a woman die in front of him and failing to save her, would he?

It seems like old-Missile, with his years of wisdom and time to reflect on everything, realised that his approach to getting Sissel’s help last time really was way too focused on his own problems, and he never even stopped to think about how Sissel must have been feeling. So here, he presents himself as a friend, someone who cares about Sissel and his journey, because that’s exactly what Sissel needs! This poor kitty must have felt so lonely and sad and helpless in the original timeline. But hearing Ray’s words, and realising that this desk lamp is someone semi-familiar, does seem to cheer him up at least a little bit here! Sissel really is a character whose core desperate need is to just not be alone, even if you’d be hard-pressed to get him to admit that at the beginning.

Interestingly, way back when I first played Ghost Trick, on the DS soon after it came out, I found myself intrigued by Sissel in the original timeline. I vaguely toyed with the idea of writing a fic exploring how he was feeling and why he refused, though I never got around to actually doing so. Then recently, the game coming out in HD rekindled my hyperfixation and made me think about it some more and actually end up writing that fic after all. And the thing is, back then, I didn’t remotely consciously understand any of this stuff I’ve just explained here. But even so, I find it neat how I still had this wordless sense that what was going on with Sissel must have been so much more than just selfishness – that he must have been so sad in that timeline and that had to be the real basis of why he didn’t help.

#ghost trick #ghost trick phantom detective #ghost trick spoilers #sissel #sissel ghost trick #ray ghost trick #ramble

507 notes · View notes

wherevenusholdssomeofficespace · 2 months

Text

Linda Flynn-Fletcher

I think Linda Flynn-Fletcher is potentially one of the most misunderstood characters in the show.

It think comes from a natural enough place. Her role in the show is of course, to act as the potential threat to their summers of fun. While they boys never see her as a threat, narratively she's the big bad. If she sees it, its game over.

Here's the thing though. She's a not a bad mom. Her children LOVE her. Similarly to how Phineas and Ferb absolutely adore Candace and would do nearly anything she asked, Phineas, Ferb and Candace all love and respect their mother and don't disobey her. Now a bit of this is clearly Linda being a more permissive parent, but any rules that Linda has Phineas and Ferb never do anything to disobey their mother. While I wouldn't be surprised if there were one or two instances where Candace disobeyed her mother willfully, the closest I can think off off hand is Candace not doing a bunch of chores that she was supposed to do. Really, the fact that all her kids love her, shows how much all her kids feel loved in their household. And I think that's super important. Candace wrote a song about how much she feels loved by her mom, even if her mom is dismissive of Candace. But she still goes with Candace to see what the boys are up to even if she doesn't believe it. She sets boundaries on how often Candace can bust the boys sure. But she hasn't forbidden Candace from doing it altogether. Nor does she punish Candace for presumably lying?

At MOST Linda will say something like: "let's get you out of the sun" after a failed bust. The worst of it I think is probably the time Linda made her promise not to try or suffer the Pharaohs curse. Which, was just some guy in a Pharaoh costume telling Candace curse you. Linda goes out of her way to read books to try and deal with her daughter. She and Candace still clearly hold a lot of affection for each other and do spend a decent amount of mother daughter time together. Linda gives books to her daughter, tries to direct her to other activities, and finds her sleep busting cute, and sometimes goes out of her way to do activities her daughter wants to do with her. All things considered Linda is REALLY patient about Candace's busting. Could she be doing more to get to the bottom of why Candace is presumably acting out? Sure. But Doofensmirtz could also be doing a better job of listening to his daughter and not insulting her (or do we not remember why Vanessa wears earbuds around the house) but we all call him a really good dad.

A LOT of shows have kids hiding a secret from a parent for one reason of another. But while the crux of the show rests on Linda not knowing what her sons are doing, its not because its a secret. The boys aren't hiding it from her. The boys genuinely believe she knows. Lawrence genuinely believes she knows. Candace is the only one in the family who really grasps the situation.

Linda's ignorance, her disbelief of the wild shenanigans that her children get into is easily mistakable for normality. For representing the oppressive day to day. The same thematic antagonist as school. A mom who wants whats best for her kids, and thinks that whats best for them is them being normal, without realizing what's really best for them. After all why else we saw what would happen if she found out in Quantum Boogaloo. But the fact of the matter is aside from that one future (which also featured an effectively evil leader in Doofensmirtz, and therefore implies more factors at play than just Doofensmirtz and Linda's characters), we don't really know how it would play out in the long term. Future Linda even just kinda moves on after discovering the truth.

Linda is exactly like her kids. She just does the same things on a less physics breaking scale. The woman has like 37 different hobbies. She takes a cooking class, donated an art sculpture, is part of a jazz group. She has a background in astrophysics. She was a pop star. She won a meatloaf contest. She takes french lessons. The fact that Linda has several hobbies is part of the reason the formula works at all. Linda is constantly trying new things which gets her out of the house, while her sons are trying their own new things. Her absence is what prompts Candace to have to go looking for her. Also, What Do It Do when the moment Linda gets put in Candace's position she acts the exact same way.

Also it's why she and Lawrence are so compatible. They have a lot of weird hobbies they spend together. She likes Lawrence's history references. They watch car racing together. They went spelunking together. They go bowling regularly enough to have equipment. She has played the bagpipes while Lawrence danced (which sidenote: do you think she taught Candace how to play the bagpipes?).

Not to mention her extended family. Think about it. Her mom was a competitive roller derby skater who once bit a skate and shook it like a dog with a chew toy and pulls elaborate pranks with her identical twin. Really she's a lot like Candace with her aggressive passion. Her dad apparently won a balloon race, but tells the story in the most straightforward way possible, sometimes very oblivious, but is overall a lot like Phineas. Her sister is an adrenaline junky. And back to Quantum Boogaloo for a minute: Her granddaughter is just like Candace, Grown up Candace is a lot like Linda. Do you not see the implications!!?!?!? LIKE???? DO YOU NOT REALIZE THAT LINDA WAS PROBABLY A LOT LIKE CANDACE AND PHINEAS WHEN SHE WAS YOUNGER?!!?! YOU THINK IT SKIPPED A GENERATION OR SOMETHING???

Do you think Linda used to complain about Tiana??? Do you think Linda thought her family was weird and was embarrassed by them??? Do you think Linda ever called herself the only mature/normal member of her family?? LIKE CANDACE DOES????

Anyway, Linda is just like her family. Sure, she is RELATIVELY more normal, but that's relative, and probably simply because the universe bends itself around to keep her from knowing. Linda literally cannot find out about the real nature of her universe. Linda is just a grown up version of her children, seeking to make the most of each day, but within the bounds the universe has set upon her, both as an adult woman and mother, but also in the laws of physics expected of her. But she still makes the most of her life. You don't have to build a roller coaster to make the most of each day and all that.

I think if Linda is representing anything its that even parents can have rich fulfilling lives. Where they make the most out of each day. Having fun with your life doesn't stop with adulthood. Even if you have more responsibilities doesn't mean you can't have fun? Sure childhood is something you can't get back but growing up isn't inherently bad either?

#pnf #phineas and ferb #linda flynn fletcher #The woman is a former pop star #and has a secret background in astrophysics #you would think that would be enough but nooo #i generally don't care to comment on the suspected neurodivergent status of cartoon characters #because neurodivergency exists in the context of society #and cartoon characters exist in a completely different context #and when characters are inspired by real people (like Linda being inspired by Dan's sister) it can get messy #but if Phineas and Candace and Doofensmirtz are ADHD so is Linda #she just has adult woman flavor ADHD #aka the reason that woman and girls go underdiagnosed or are often diagnosed with anxiety instead #I think we often don't recognize how frequently she forgets things #I'm thinking back to that one time she forgot the “stuff” at the grocery store #she stayed up all night making last minute pies #working up to the deadline on an art sculpture #at one point runs out of contacts (presumably because she forgot to get more)#gets overwhelmed when planning the block party #and that's just what I can think of off hand #anyway I will not stand for Linda slander

152 notes · View notes

sundrop-writes · 3 months

Note

Hi! I hope this is okay to send because I’ve sent this type of request to others (and I know that’s normally bad) BUT it’s because I enjoy the different opinions of all the amazing writers!!! It’s not a fic request but just a request for your top headcanons for Spencer Reid.

The things that you’re like “this is canon and I’ll fight you over it” - smut, nsfw, tame, domestic, anything - just your opinions/rants!

(If it’s not okay to ask though please accept my apology!!! I’m still learning the social etiquette of tumblr requests! ) - 🌑

I definitely think this is okay to send to different writers, because you will usually get very different results - usually writers don't like it when you send a request that can only get similar results (asking for a narrative fic with a detailed, similar plot). But I love giving my random headcanons about characters.

Random Spencer Reid Headcanons

And okay, the first one I have in mind for Spencer is so weird.

One of the headliners that I always have in mind for Spencer - he wears tighty whities.

Like - the only kind of underwear that he wears are the classic hanes briefs (usually white, maybe heather grey, never black or any other 'fun' colour) - he doesn't wear boxer briefs, he doesn't wear boxers. Whenever I see a fic saying 'and then Spencer took off his boxer briefs', I'm like: "no, you don't know him like I do".

Spencer is a fucking nerd. Spencer is the type of fucking nerd who would insist on wearing the nerdiest underwear - tighty whities. And people probably write about him wearing boxer briefs because those are the sexy men's underwear and briefs are not like 'hot' to picture men in - but that is exactly why I HC him as wearing them and exactly why I mention that he wears them in every single one of my fics.

Spencer would wear the dorkiest underwear in expectation that he's not going into a sexual situation. He wears his underwear thinking that he's not going to fuck - he's not going to have to 'impress' anyone. Also, over time, of writing several fics about him and thinking about Spencer for 100s of hours a week - I have come to develop this kind of kink for picturing his giant nine inch cock trapped inside the crotch of a pair of briefs, hard and struggling to fit in there. It would be hot in its own way. (Which, Spencer always is.)

Speaking of his cock - you may notice that with a lot of my fics, I take the time to describe in depth what a male character's dick looks like. This is because I take the time to picture and think about what a characters dick looks like and how it is different from other characters (because no, not every characters dick is nine inches, thick and veiny. no) - I call it the Dickscription. And I think it's a very important part of characterization.

Spencer is eight to nine inches (when fully hard) - but he is skinny. His cock is a bean pole, just like he is. You would look at his dick and call it a snake. His cock is very smooth - the skin on it is baby soft and smooth, rather than veiny, and Spencer does not shave his pubes. Spencer is a full bush kind of guy - because he is terrified of putting a razor anywhere near his dick. He would only shave if you helped him and if he trusted you a lot. And he had a very thick, dark bush of hair near the top, around the base of his cock, but it gets more sparse around his balls, which even get soft and fuzzy in some places. (I have thought about this way. too. much.)

He is uncut, and when he gets really needy and teased or if you don't let him cum, then his cock turns a really bright shade of pink or even red, and the colour goes across his whole cock so his cock becomes like this beautiful bright pink rocket - and he leaks. Spencer is a very leaky guy, to the point where he gets everything so wet before he can even cum.

(These headcanons are getting out of control, lets get back to something more wholesome, shall we?)

Spencer is the kind of person to take himself on dates. On the rare occasion that he gets a day off, Spencer indulges in going out alone. It's not necessarily that he likes the solitude, but he's used to it because he spent his entire childhood pretty much alone, and there are a lot of activities that he likes that he thinks no one else he knows will enjoy. So he tries to enjoy treating himself to a day out alone.

He will bring a few good books to a cafe and drink a few expensive lattes (and probably eat a few pastries) and simply enjoy the peace and quiet of reading by himself for a while. He'll go to a book store and browse for hours before finally picking something. He'll go to a naturally history museum and walk around by himself, not tied to the whims of what someone else wants to see.

Hmmm

Maybe some relationship headcanons?

(Because we all love Spencer, lets face it.)

This is something I bring up in Careful (as you guys will see) - but I genuinely believe that Spencer Reid would treat his partner like royalty. He is someone who has spent years reading about romance - especially with his mother reading him so much classic literature, he regards the classics as the bar for romance (and he just hopes that his life doesn't become one of the tragedies where one or both partners die in the end). So he's not the 'Netflix and Chill' type - and he definitely doesn't bring you to the movies to sit in silence on a date.

He is the type of person to hire a violinist to play your favourite song by the table on a date, he will open doors for you, help you with your coat, pull out chairs for you, recite poetry to you (probably in other languages just because it sounds beautiful).

He will always think of the most unique dates to take you on. He'll take you to museums, to an observatory, to the orchestra - he'll take you to a large, elegant library that has rare books and recite lines from those classic books to you while you're there. He would take you to plays or a midnight picnic by a lake. Dates with him would never be boring or typical - it would be like living in a romantic movie.

A lot of people HC that Spencer would not be into PDA because he's too shy, but I don't think that's the case. Early seasons Spencer maybe, but I think that even he would get to a point where he's just so enamoured with you that he needs to touch you in public. But his PDA wouldn't be steamy or smutty, it would be romantic and soft and passionate.

He would keep a hand on your lower back while walking around, a sign that he's right there with you, a gentle signal to anyone around that you're with him. He would lean in close to speak right in your ear - showing that his words are only for you, that nobody else in the vicinity deserves to hear what he has to say, only you do.

He would graze his fingertips right across your arm, causing goosebumps on your skin. He would stare into your eyes with such intense, burning passion. And he would kiss you in public - lingering only long enough to leave you wanting more. And on occasion, he would lean in to kiss your neck or bring your hand up to kiss the back of it - gentle things to show his appreciation of you without giving away too much for prying eyes to see.

Dating Spencer would be like dating a prince from a hallmark movie, I swear to god.

(That's all I have for now, because if I keep thinking about this too much, I may explode because Spencer is not real and I can't actually date him.)

#sundrop writes #requests #requested #spencer reid #spencer reid headcanons #spencer reid imagine #spencer reid smut #criminal minds #criminal minds fic

318 notes · View notes

aingeal98 · 5 months

Text

Something I enjoy a lot about Cass is that with a lot of heroes that don't kill it can easily veer into self righteousness. It happens with Bruce a fair amount and while it can make for a compelling character beat if done well, if done poorly it just kind of makes the reader annoyed lmao. Like why am I supposed to root for this guy when he's saying "If you shoot the man who killed your parents your soul will be forever ruined!" and acting like there's no difference between types of kill?

And the thing about Cass is that while her no kill rule is based on the experience of watching someone die and the horror she felt, and while she does project it into pretty much everyone she meets... It never comes across as unlikeably self righteous to me. Like for Cass every kill is a tragedy and while her no death rule is a moral statement it's also given more importance as an rule that gives us psychological insight into what governs and drives her. Even when she's wrong, even when the villain is so sympathetic and justified that there's no reason to root for her, the narrative always feels very self aware about it. Like when she let that father get arrested despite him just wanting his daughter back. The writer (Puckett of course) wasn't interested in convincing the reader that Cass's judgement was the morally correct choice. He was interested in what it said about her that it was the choice she chose.

And similarly when she approaches people to try and stop them from killing she always lacks the morally righteous air a lot of others carry. She's desperate and earnest and determined to get them to change but it's not because she thinks she's in any way better than them and has the right to pass judgement because of it. It's someone who genuinely believes that she's irredeemable manically trying to save everyone else because if these killers can do the right thing and turn over a new leaf then maybe... Just maybe... there's hope for her?

It's so compelling to me. The desperation and clear projection that happens when she goes out determined to enforce and/or promote her code to as many people possible. Every time she says someone can change she's speaking from experience. Because she views herself as irredeemable and beneath everyone but she's still out here trying to be good so maybe if others make the same choice it's proof that she's not doomed. That none of them are. She doesn't want the hitman to redeem himself by becoming a hero and helping his former victims. She just wants him to walk away, to start a peaceful and quiet new life. And when he fails to do that and they meet again she still won't give up on him. When she stands in front of the victims family she won't declare she knows better. She'll hopefully and uncertainty ask "But maybe... He can change?"

Like there's so much heart behind everything she does and every action she takes. Every time the topic of killing people comes up she's so earnest and clearly projecting her own issues and seeing herself in every murderer and it's so fun. It's so fascinating. I miss Batgirl 2000.

#dc #cassandra cain #dc rambles #There's also the way the narrative sets up characters that challenge her #And then actually let them challenge her with no clear winner #Or even let's cass fail despite her conviction #She loses but it doesn't matter she's not going to change her mind. She'll feel like shit and then keep going

203 notes · View notes

n3ptoonz · 4 months

Note

Hello! I saw your most recent headcanon list thing with the Earthrealm guys being caught Slonking it Silly Style™ and uh. I was just wondering if you'd be willing to do something similar with the Outworld guys as well? Obviously you don't have to if you don't want to, but I think it would be neat! Thank you so much in advance! I love your work :)

deep, dramatic sigh. (kidding anon tysm i gush over comments like this ily smoochhhh) also the terminology made me laugh out loud ty for that

Shang Tsung

kinda sorta didn't gaf. who's to say he didn't want you to hear him. the world may never know

you were to report to him about some findings for his experiments and there he was, leaning over the table and straight up cranking it over a bucket (he's odd like that) honestly when you acknowledge your own presence he's like... can i help you?? you see i'm busy???

but at the same time he's like hold up i have a fine specimen here to help me out here...he's leaving here with SOMETHING (studio laughter)

Rain

i don't think he'd care either if you walked in on him. in fact, he might welcome it. he's used to having his own space, but he doesn't mind sharing it with people he's ok with being around. yes that includes you (is it only you? not even he knows yet)

day 8163 of using Rain's arrogance to push my narrative that he's not only in love with himself but how he looks in the mirror. you definitely walked in on him wanking it in the mirror and he'd freeze but recover so quick

ain't no way you're leaving here after you just caught him though. how else will his problems get solved? you went and made him hard all over again!

Reptile

syzoth has two, let's get that out the way. AND he uses both hands for them LMAOO

president of syzoth is a lil subby bitch society. so when you catch him tugging on both and reduced to a pathetic mess from his own hands??? he's frozen and quite literally has no clue what to do. he's sweaty, there's tears in his eyes, and his fangs are much more pronounced than usual

once you give him the green light that you're into whatever tf he was just doing watch him crawl over to you on all fours and hug your legs, practically begging you to touch him

Havik

expect this smug fuck to claim he wanted this to happen. dude was hunched over and going at it behind his own desk, grunting like a cave man who discovered self pleasure for the first time

1000% expect him to demand you help him, but instead it's after he froze for like 5 seconds and then tried to play it off

he would also be internally shocked when agree to finish the job, but on the outside it's like "that's what i thought...now get over here" whole time he's jumping up and down and twirling in his brain

Reiko

it's already rare that he has time to himself and definitely RARELY has time to be with you for an extended period of time, so you catching him when you wanted to surprise him with your presence it triggered his fight or fight LMAO

legit laughed at the thought of him jumping up from his chair hands ready to be thrown...but his dick is swinging PLSSSSSS

he's like well shit now he deserves your help after you almost got two pieced by your own boyfriend...but who's complaining?!

General Shao

this man weirdly reminds me of bowser sometimes. with that being said i think he'd do a BUAHA as a shocked sound when you catch him thwoping the schlong

as much as i can't fucking stand him he does look a lil better in this game i will admit. i'm not gonna sit up here and lie, he def has a HUGE wanker innit. so you didn't miss shit when you walked into his chambers

he would also demand your help. but if you have a lil push back just for fun, he'd eventually say please and be all soft and shit. why? cause it's you god damn it!

Baraka

let's be fr. truly i do not think mk1 baraka would masterbate simply bc he's like depressed all the time😭but for the sake of shits and gigs, ill humor y'all

let's say he hasn't seen you in a while and misses you dearly. he knew you were on a quest for a while, and he was very pent up... so what better way to release stress other than sparring! oh. not enough? time for another type spar 😈

if this were old baraka i'd say he has two 👁️ but since this version of tarkat is a disease let's say it made the skin around his wee like ribbed or something ya SO when you caught him he was in a straight up panic and apologizing profusely but once you calm him down and tell him you're glad he missed you so much, he's like oh shit...well help me out then...only if you want to!

a/n: i did it y'all FUCK. my bad for taking so long to release this i'm a perfectionist to a fault💀

179 notes · View notes

drdemonprince · 2 months

Note

don’t know if this is relevant to your ask box, but I thought you might find it interesting.

I’m a 20 yr old trans man who’s just started an ongoing thing with a new Dom, who is over twice my age. I’m currently finishing up my second year at uni, and he’s, you guessed it, also the, uh…. academic sort.

He’s a busy guy so obviously we can only meet up every once and a while, but we text almost every day. From the beginning he was always curious about my school endeavours, but recently it’s become more of a thing.

He won’t let us meet until certain assignments are done. He’s flexible and understanding, like any good dom, but holy shit this man had me at a cafe for ten hours on 40mg of vyvanse writing my final essay like my life depended on it. I didn’t even know who I was, motivated by the pure need to please and, quite frankly, desperate desire to be absolutely taken and used. This man has “cured” my ADHD (not really, but damn well is he fucking helping it).

I think the point I’m getting at here it that I can’t believe it took the motivation of my D/s relationship to get me to get shit done. Like, I’m done DAYS before the deadline for things I usually would have left last minute. I’ve been honest with my struggles with motivation and difficulties taking care of myself, and he is genuinely invested in my well-being so I know it all comes from a place of care and respect.

At the moment I’m working on my final short film for a class, and he told me to make a list of all the foley sounds I thought would help drive the narrative (he knows I love making lists, it’s also the autism), and as probably one of the best rewards for my good behaviour, he shared with me a collection of audio files (he dabbles in audio mixing) that were relevant to the list I shared. Can you believe this??!!

All these studentxprof fics are getting it wrong. Sometimes nothing comes between a teacher’s genuinely investment in student learning (if they enjoy what they do, like he does) and that is absolutely true in this case. Absolutely unbelievable this is my life right now. Would love to hear your thoughts on this!

This sounds so fucking sweet and HOT anon! I'm so glad you're having an exciting time with an older dom who cares about you and helps you meet your goals! And the phrasing of this guy making you write for hours on vyvanse is especially titilating...making it sound like an intox scene omg drool

ADHDers are generally very socially motivated, which is not rare for human beings at all. It makes sense that having the external structure that an outside observe can provide and the sense that your actions actually matter to other people and that people care about you would help facilitate you focusing on shit and getting organized! Not to mention how much fuckin easier it is to perform any kind of household task or bit of drudgery once it becomes sexual service. Shit gives boring regular life a charge of excitement, and the abdication of power gives you the discipline to actually follow through, because you're not the only one on the hook for everything and that's less scary!

I have nothing much more to say other than this rules and I hope you keep having a fun time!

97 notes · View notes

whetstonefires · 1 year

Text

Very fun thing actually about Jin Guangyao is he spent so much time and energy passing himself off as normal. The Normalest Guy, Look How Normal I Am. The Very Best And Most Skilled At Normal Things, Like Being Normal And Having Normal Opinions.

Which is great because on the one hand it reflects how he was kind of aware he absolutely was not. (And that by default this isolated him and this was Very Unsafe.) But on the other you see, with all the times he falls into the typical mind fallacy under stress and projects weird shit onto people, he also on some level believed everyone was doing this.

That being a Normal Person who had Normal Reactions to things, like being appalled by brutal violence, was an elaborate social lie everyone had to maintain to keep up the facade of civil society, and actually everyone was basically the same as him deep down. He was just better at it, and also the smartest.

Which is a very long way to say his character arc is heavily tied up with his evolving relationship with and skills at masking. I'm not gonna armchair diagnose him because that's beside the point, the point is that he is trying so fucking hard to be normal, but without a particularly well-developed definition of what's abnormal about him to begin with, resulting in some misfires.

And then you contrast him to some other characters and it gets more fun. One of his direct foils is Nie Mingjue, who literally does not know how to mask at all, not the slightest bit, but is fortunate enough to have been born the exact kind of weirdo his position in life demands, with special interests in 'saber training' and 'destroying evil.'

(He explicitly, per narration from wwx being inside his head, has no other interests and doesn't really understand the idea of having more than one activity you care about, do not tell me Nie Mingjue is walking around with a normal brain.)

So he is (jgy has a point about this, although he actually makes it about the luxury of having moral compunctions) free to totally embrace the conviction that everyone should basically be their authentic selves at all times, and just not do evil things about it.

On the other hand, and this really illuminates their relationship for me, Lan Xichen is absolutely trying to be normal. Like, he does try to excel, he wants to be best and he knows he's good, but as a person he is also trying to be as normal as circumstances allow.

He understands 'being normal about things' as a goal not in jgy's terms as an elaborate social fiction but as aspirational shaping of the self; if everyone is normal about everything then there won't be needless conflict. Living as normally as possible will optimize your mental health and your respect for others, and it's just a good baseline from which to be good.

Which is fine as far as it goes, but means harmless eccentricity (including gay) is to be tolerated and swept under the rug rather than really supported, and prejudices him to instinctively side with Jin Guangyao and anyone else who is pushing for Let's Be Normal About This, even when the people being weird are in the right.

(This is also to a non-zero degree a trauma response behavior; what Lan Xichen experienced as the largest existential threat to him growing up was something along the lines of being perceived as a selfish disruptor of norms, like his father.)

And then contrast that to Jiang Cheng and Lan Wangji, who are both very concerned at least initially with how things and people and they themselves are supposed to be, and feel some responsibility for ensuring this supposed-to is reflected in reality.

But neither of them makes any particular attempt to be normal about it.

And then ofc Wei Wuxian, another jgy narrative foil, never attempts to pass himself off as normal. He will sell 'I'm better than everyone ever' and 'I'm scum of the earth' in the same breath before he will try for normal.

Except that he genuinely seems to think his most virtuous traits, his throw-himself-between-victim-and-weapon impulses, are basically normal. If not everyone (who isn't a total shithead) does it, it's because not everyone has his insane confidence they can pull it off.

Which in a good mood he would say is fair, because he is in fact awesome and really good at winning. (In a worse state of mind he would definitely hate on all the selfish cowards.)

Nie Huaisang is probably the most genuinely normal human being in the main cast, probably even more normal than Jiang Yanli, and he's very happy to play that up and present himself as actually even more normal and average than he is, in order to keep expectations down.

Up until his whole life gets fucked and this little pretense turns into the most elaborate and successful mask in the entire book.

#hoc est meum #characterization #meta #masking #mdzs #everyone makes my posts about jgy anyway so i'm just starting with him out the gate #he's such a fun characterization study ngl #jin zixuan is more normal than nhs but i can't honestly call him a main character

551 notes · View notes

mdhwrites · 2 months

Note

Honestly I personally believe Sasha Waybright character arc was better written and engaging than Hunter and Amity’s arcs combined mostly because there was more agency in her arc and while the other two characters who go from enemies to allies to friends just didn’t engage me as much as Sasha’s.

I’m especially dissatisfied with Hunter and how his story while interesting wasn’t as cool as it could’ve been

So I've talked a lot about this in the past but the angle I'll take this time is simple: Sasha is more compelling as a villain to ally arc because the show let her be a villain.

That might sound simple but it's clearly something TOH itself struggled with. One could argue that ALL of the redemptions in TOH follow a pattern of one bad action followed by them being tenuously on the same side and then on the same side. Amity is out of character for her first episode and then Luz is actually at fault for Covention, even if Amity takes it too far. Then Amity is weirdly antagonistic during Hooty's Moving Hassle and then NEVER AGAIN. Three episodes into knowing her and she is now the person we are supposed to sympathize and want around and her biggest crime feels entirely out of character for the rest of her portrayal.

Hunter is similar. His first appearance is not Hunter. It's the Golden Guard who is WAY more fun a character than Hunter ever was and kind of a bastard. Then the mask is removed in his second real appearance (not counting the stinger in Escaping Expulsion) and he is someone to start sympathizing and working with. He is the sad but mad boy by his third major appearance and his second appearance makes him somewhat sympathetic, just like Covention did for Amity... Or For the Future does for The Collector despite lines like "I can't wait to play amongst the bones!" in Hollow Mind that feel, drumroll please, OUT OF CHARACTER TO THE REST OF HIS WRITING!

Lilith is the only to subvert this... Kind of. No, they actually go out of order but still the same essentially with her. Her first appearance makes her sympathetic and not properly a threat because she's still willing to play ball with Eda for a one on one competition, then she spends the second half of S1 just palling around in shenanigans she should not be allowing but is because... Fuck you. Then we get her one truly evil action in kidnapping Luz, coupled also with having been the one to curse Eda but that's also used to show she's a good person now so the kidnapping is the bigger deal here. Then... She's just a good guy afterwards.

This all makes for the most shallow, bullshit uses of this trope I think you can do while being allowed to claim you did it. After all, a key point to all of these redemptions aren't "Then they sided with the good guys," it's just "Then they're a good person." They don't bring who they were as a villain with them. The strengths that led to their villainy are just gone and they're hard to say what they were in the first place, what they add to the narrative in their redemption and joining of the main party because who were they before they joined. What are they actually fighting against as a person instead of just deciding not to be evil anymore or wanting the cookies that the light side offers?

It'd be like if after Sasha was redeemed, she was as bad as Anne at being able to lead and use people. If the show went "To better erase all the crimes she's done, not only will we say Sasha only is a bad person because her father is Ultra Satan but also she now is entirely incompetent in what she was good at before." Amity loses her intelligence. Her plans are always the most straightforward after she starts getting a crush on Luz and she canonically started having her grades slip. Hunter is the most pathetic character in the main cast with I think zero wins in his belt besides his first appearance despite being the only one with combat training. Lilith is just... Sad in how much they reduce all she was for over forty years of her life to go "Now she's a silly nerd girl. Fuck ambition."

And, of course, their bad sides being blamed on mother, uncle, mother kind of for Lilith actually, just that the exposition for that comes after her redemption, and the Archivists and Belos for the Collector. They aren't bad people, they just were forced to spend time with the wrong people. Now that they're nerds and led by nerd Jesus, everything is okay.

There is a VEEERY real problem in TOH of Us vs. Them mentality that comes from these arcs that's really gross. Swap Luz to a white, male jock and suddenly the show becomes WAY MORE UNCOMFORTABLE!

Sasha dodges all of this because no one tries to excuse Sasha. Sasha never tries to pretend she's anyone other than who she is except for when she's explicitly putting on an act. This means everything compelling and good about her as a villain can cleanly transition to when she is a hero, even if it's hard to believe that which the show even calls out.

There is no Sasha's Angels in TOH. That might be a weird one to reference to you because it doesn't include much Sasha but it nails on the head what makes this trope so exciting. To Anne, Sasha letting others do the work while she gets to theoretically kick back looks like the same old Sasha that she now is suspicious of. Someone who is self serving and so Anne lashes out. However, it's not the case. Sasha's ability to manipulate always came from being able to read a person's weaknesses and strengths. She's a MUCH better manipulator than Belos in this way because she doesn't leverage on you or for you to already be siding with her. She can read you like a book and tear apart your pages until she plays with your spine. And as a hero, that's going to mean she's a great delegator. She's the sort who would go "Nah, we don't need to save them from what you see as certain doom. I know he can deal with it." And she's right. Not because of blind faith but because of the same skills that made her villainous.

Something that wouldn't hit nearly as hard, or feel reasonable on Anne's part, if we didn't get so many examples of this being who Sasha is. Of the fact that Sasha uses other people for her own means. And even now, you can claim the same... Except it's not for her means. It's for their needs.

It actually is part of what makes her becoming a therapist so pitch perfect. A good therapist can call you out when you're trying to hide behind something to not get to the core of your problems. They can catch what is at the root of your issues even as you don't see it yourself. They also can see your value and use your strengths to help combat those problems after helping you identify them. It's actually pretty close to how she tried to get out of Toad Tower in her first appearance. Bring in someone, earn their trust, use their passions against their weaknesses and make them better. The only difference is that now she cares about making them better.

Amity, Hunter and Lilith could never have such a satisfying future because again: What are their strengths? Hell, post redemption, that statement stands true. You can call Amity good at magic I guess but Hunter and Lilith are pathetic people who kind of luck out in being useful at times and that's really it. These aren't people who have anything going for them. They're as good as goons with one of them being an elite in a one off episode as far as villain forces go and that's not very compelling for a redemption of this sort. Not unless you're really going to get into that and A: Lilith was one of the strongest mages on the Isles and studied her ass off so you'd think she'd mocked less for sucking at her job and being a fucking moron and B: they didn't even try for half a second with Hunter who I don't really know if they intended to make look as pathetic as he did skill wise.

So their futures are just random factoids introduced during the story. Does Amity being an inventor say anything about her redemption? No. In fact, it really sucks because Odalia would have LOVED her daughter to follow in her father's footsteps because that's the most profitable option for their company. Good job show. Hunter just takes up the job that connects him with the only thing we know is explicitly Caleb related, no conjecture needed, which sucks for a character who was supposed to be his own person. Then Lilith is... A historian. Because she likes that I guess. Does that have anything to do with her time as the coven head? No. Her ambitions? GOD NO. It's just a random choice that puts her in line with the inoffensively nerdy cast.

And before ANYONE says anything about the shortening, I want to say I've done a blog comparing the fact that Amity, in S2A (so before the shortening) has as many appearances as Sasha does in Sasha's entire redemption arc. You didn't need more time to do this better, the show needed to actually commit to its concepts. Actually needed to be willing to do its tropes rather than slapping it on for marketability and to make lazy analysts happy.

Because enemies to allies is not one of those tropes you can half ass. Not unless you want none of its power and boy, these are some weak character arcs. At least we've got Sasha.

======+++++======

I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead. If you want to hang out with me, I stream from time to time and love to chat with chat.

A Twitter you can follow too

And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.

#amphibia #sasha waybright #the owl house criticism #toh critical #amity #Hunter #Lilith

98 notes · View notes

mxi-88 · 16 days

Text

Amy Kiriwo redemption is real and here's why (an analysis/speculation)

Ok. I don't normally make posts like these but since I've posted Iruma-kun art on this blog a few times some of you may be aware that I really really REALLY like Amy Kiriwo. I really adore Mairuma in general but Amy specifically makes me go fucking coconuts as a fan of that type of character (obsessive, desire-driven, yandere, whatever)—and also because Amy has a certain unique charm about him, whether that be the gap between his twisted personality and his ditzy demeanor or the unique setting, so on and so forth. But I also tend to like villainous characters in general, because they're so unhinged and fun and interesting to think about!

Usually I hate when characters like these get redeemed because the whole appeal of them is how unpredictable and outrageous they are in their villainy, and more often than not, a redemption gets rid of (or at least severely dampens) these characteristics!

HOWEVER. I just caught up with the manga for the first time more or less since Deviculum last year and I just cannot help but feel absolutely insane about how much a "redemption" (heavy quotes here) for Amy is being built towards, and yet I rarely see much discussion about this in fan buzz. This is both in terms of general narrative structure as well as a certain scene in the recent Battler Party arc.

Disclaimer: I have terminal brainrot and some of this might be confirmation bias. But maybe it will still give you some food for thought. It's cool if you hate Amy and don't agree with my interpretation just be nice ok guys?

Part1: Iruma's Belief

I think a good jumping off point for this argument would be addressing a point of contention I've seen floating around in this fandom sometimes: Why does Iruma still believe in Amy?

I actually understand why some people might be confused about this. After all, Amy has done nothing but hurt Iruma and the people he cares about, and he has every right to feel upset, angry, and betrayed after he found out the senpai who he'd related to and looked up to so much was nothing but a facade.

Putting his reasons aside for a second, this scene in Deviculum isn't actually the first time Iruma has acted like this toward Amy. It's easy to miss or forget about, but even after everything that happened at the Battler Party, Iruma never shows any hostility, even retroactively, toward Amy.

He kept what happened with Amy a secret from even Asmodeus and Clara—but he doesn't fret over it like he does hiding the fact that he's human. Iruma just doesn't think it was pressing enough that Asmodeus and Clara needed to know about it. Of course, keep in mind that Iruma doesn't interact with Amy at all from the Battler Party all the way until Deviculum, so he doesn't know the extent of the danger he's actually in.

I think Iruma believes in that weak but ambitious demon he met during the Rookie Hunt. Even if Amy revealed himself to have that perverted obsession with despair, even if he tried to kill his classmates and cause chaos, I think to Iruma it doesn't change the fact that Amy is still weak, just like him.

I think a lot of people forget just how much impact Amy had on Iruma when he was first adjusting to the demon world: he didn't have much of a real ambition until he saw that there were demons like Amy who (seemingly) wanted to make the world a more equal place for those without magic—those like Iruma. (A side note, but I imagine this made the part of Amy's speech during Deviculum saying there would be no place for him particularly hard for Iruma to hear from him specifically).

The thing is though—Iruma isn't being entirely naive here. It's true that no matter what Amy does, evil or otherwise, he cannot change the fact that he was born with weak magic.

It's constantly pointed out that Amy relies on magic that's not his own.

It's pointed out so consistently every time he makes an appearance that for a while I thought there was gonna be some weird twist where it wasn't actually Amy? I'm still not confident in how to pin this obvious foreshadowing but for now I firmly believe it's meant to remind the reader that Amy is dependent on his borrowed magic, most likely from Baal—physically, and maybe even emotionally? (It seems possible from the way Asmodeus's narration in this panel is framed that there could be something more insidious at play like experimentation or something, but that's just speculation)

Amy is dependent on most likely Baal's magic just like Iruma is with Sullivan's magic. They may be gaining more and more power to the naked eye, but the moment the "tool" to express that power is stripped of them, they're helpless again. There's a reason Nishi highlighted the direct parallel of both of their magic devices being ring-shaped.

Iruma believes (or wants to believe) that the facade Amy showed him had a glimmer of truth to it because of how strongly it affected him. Of course, it's also because Iruma is an inherently kind and also selfish person. In my opinion, he wants to have the Amy who he looked up to so much, even if he barely ever actually existed. This is why what he declares to Amy at Deviculum is framed as a desire. This is a strong theme of the series and it's something I'll touch on again in another section.

I feel like I should mention after all of that talk that I don't think Amy is actually secretly tortured about his weakness/abandonment or some sadboy schtick like that. We'll get into this more in the next section, but any self-pity or anger he once harbored was something that was flushed out of him quite thoroughly. Right now, he is very much narrow-mindedly concerned with his obsession with eating Iruma, his goals are aligned with Baal and the 6 Fingers, and his lack of magic is solved by his collar, so it's natural he doesn't really care.

I feel like any discussion of Amy's motivations or themes gets shut down a lot with accusations of "making a villain character sympathetic for no reason" when really I only care about villains being interesting. Like I said at the start, the last thing I wanna do is take Amy's unhingedness or autonomy away, because it makes for a really enjoyable villain. I just genuinely believe that Amy is being framed this way deliberately, and I think it opens some fascinating avenues for his character development other than just "Iruma realizes Amy is actually evil after all because unconditional belief is for naive WEENIES and they defeat him".

Anyway, that leads me to the next section, which I admit, is a bit heavier on the interpretative side, hence my disclaimer.

Part 2: Baal

Listen, I know it's a shounen manga and all, but keep in mind Amy is still a 17-18 year old teen. He doesn't have much life experience. He had a hell of a shit childhood even if he did have a weird sadism thing going on. All of these things don't excuse his evil deeds—obviously. But I do think taking these factors into account is absolutely necessary if we're going to try and understand why he is the way he is.

I'm not gonna recount it beat by beat, but as a kid Amy was not only shunned by his family and peers for his lack of magic, but also by his only friend for something that

"Grooming" is a term with very heavy connotations that I'd like to avoid, but at the very least the way Baal takes Amy "under his wing" is very reminiscent of cult conditioning. Members of cults are often recruited in strained or distorted emotional states in which they have a greater desire for acceptance. This tactic is successful in maintaining loyalty in cults because the members are convinced that no one else will accept them besides the cult figurehead or leader—the result is usually a hostility for the world outside of the cult, paranoia about leaving the cult, or both.

Amy, a young child at this point, says outright that he's being ostracized for his behavior, but Baal validates it, and thereby earns his loyalty. Amy is a child at this point; even if Baal claims he's more "twisted" inherently, I think it's unreasonable to characterize them as equals in this relationship, especially when Amy depends on his magic. I think the Amy we know could be very different if he joined Baal when he was older and less impressionable.

You could say Baal didn't validate Amy with the active intent of emotionally manipulating him, it was just a declaration of his honest beliefs—and I honestly half agree with you. Functionally, however, I do still believe that a conditioning process is what happened. In this same scene Amy seemed to still be at least a little bit troubled about how gifting his horn to his friend troubled her and reflected on his abnormalcy, but by the time he reveals all to Iruma, he shows no reservations at all. He doesn't really reflect on the hierarchy which caused him so much suffering outside of how it contributes to more chaos, more despair.

This interpretation (which I've held for quite a while) brings me to a certain scene in the recent Battler Party arc that was eerily reminiscent of this dynamic. It was what spurred me to type all of this out at 5am on a Monday night.

Humor me for a minute, because I realize the comparisons between Palome/Galna and Amy/Baal are not 1:1, but I feel like there are enough similarities that it's worth talking about.

The idea of a demon with twisted perversions which were encouraged by a sibling figure with an ulterior motive is already a pretty compelling parallel to me, but the fact that it was specifically the story behind the Magitool's Battler Party exhibition makes me think that, just maybe, the parallel might have actually been an intentional allusion.

In particular, the line about Palome "facing her desires earnestly" caught my attention. Quite honestly it seems like Amy's fixation on Iruma has become his #1 priority—and although he certainly has returned to origins (strongly associated with base desires) in my opinion his obsession with Iruma, as twisted as it is, is probably the strongest desire he's felt that exists somewhat removed from Baal's direct encouragement. It's personal. It doesn't serve a greater purpose in Baal's plan. Remember the cult analogy I loosely used for comparison earlier? Cult mentality punishes individuality. Food for thought.

There's this great comic by gigausagi on Twitter (it's 🤏shippy so only click if you're cool with that) that explores the idea of Amy's obsession with Iruma conflicting with the will of Baal/the 6 Fingers—I think this is one perfectly natural way his character could develop. I'll get into more detailed hopes/hunches about this later, though.

If the Palome/Galna parallel is an intentional parallel, I think it's really interesting how much it emphasizes the lack of empathy Galna has for her sister because of how it would in turn highlight that feature in Baal, something that I previously had to desperately piece together from subtext. On the other hand, for all the familial fondness Amy seems to have for Baal, at least on some level however shallow, it's already pretty obvious Baal does not care much about Amy outside of how useful he is to his cause.

It might seem silly of me to clarify this considering he's, y'know... the villain, and their thing isn't exactly friendship and rainbows especially considering their beliefs. None of the 6 Fingers display any real fondness for each other—Amy is just the exception here, albeit small.

And Baal does actually have belief in Amy—he believes in Amy's "messed up head". He believes that Amy will prove useful; he believes in Amy's potential for evil. It's a transactional belief, benefitting the cause that they both align themselves with—and which, notably, ends with him in power. Iruma's belief in Amy is largely the opposite. He believes that Amy is capable of good, and his belief in him is founded in the bond they formed.

I also wanna make it clear again that this isn't me scapegoating Baal for everything Amy does because that's lazy and boring and they make it pretty damn clear Amy is all-in on their plans together. However... I don't think it's unreasonable to think this contrast could be a set-up for something in the future.

How could this manifest? Who knows. Right now Baal is more of a passive villain, so it's hard to predict the kind of drastic actions he could take before he does them. Maybe Amy will outlive his usefulness, or maybe there'll be some internal conflict within the group that will strain their allyship. Or maybe Amy's personal desires will conflict with the goals of the 6 Fingers like I mentioned earlier.

Ultimately I'm more concerned with the thematic implications of a conflict like this, which brings us to...

Part 3: Desire

(Spoilers for 2nd Year Battler Party Arc)

I find it veeery interesting the way the protagonists keep aligning themselves with demons like Beem.

They are extremely desire and thrill-driven, I would argue more than any other non-returned to origins demon we've met so far—their parents even suspected they could be returning to origins as a child.

Mairuma has such an overwhelming theme of desire. Mairuma wants you to chase your most private, most shameful, most visceral and selfish desires. Sylvia even went through her evil cycle she was so desperate to fulfill her desire to paint Galna. Mairuma again and again seeks to tell us that there is nothing wrong with being selfish and reaching for what we want.

So far I've talked about two desires that are relevant to the future of Amy's character.

And yeah... it's pretty much spelled out for us here. So, if Amy is still latched onto the idea of eating Iruma, and Iruma is still latched onto the idea of his relatable senpai, how would that conflict be resolved? Well... We've basically been talking about it this entire time. Indulge me for a bit and let me spin the scenario that plagues my mind for you.

I briefly alluded to the possibility of Amy being subjected to some kind of experimentation, presumably to enhance his magical ability. It doesn't have to be this exactly, but nevertheless Amy ends up doing something drastic in order to fulfill his desire of eating Iruma—and in the process either gets used by Baal and the 6 Fingers and thrown away, or intervenes, inadvertently throwing off their plan enough to have him meet a similar fate. It's important here that his magic is taken away somehow—maybe the ring in his collar gets crushed or something. I think it could also be interesting if during this conflict Iruma also lost his ring, or even took it off willingly, to level their footing.

The point is that Amy follows his desire to the point of veering off the path of outright villainy, and onto that personal desire I spoke of earlier.

However, one thing I'm absolutely sure of is that Iruma's desire will be granted. I don't have as much of a concrete picture of this, but I would be extremely shocked if Suzuki "I want to pick everything up" Iruma ever goes back on his desire—especially when it was that first confrontation with Amy that he realized that was his desire in the first place. This, combined with the ominous ass dialogue "It's too late for me, Iruma-kun..." from the panel at the start make me absolutely certain that some sort of Amy redemption is coming—I only wanted to lay out some of my thoughts about it.

I don't think any redemption he gets will cause him to be watered down—Nishi writes way too many unnecessarily insane scenes with Amy for her to just stop cold turkey in my opinion. And even if it ends up incorporating none of the talking points I delved into in this post, I'm still sure that she could do an outstanding job with the task.

And lest we forget how Amy saved him from falling to his death. I think this desire to keep Iruma from dying meaninglessly (or being harvested for his magic or whatever crazy shit 6 Fingers are doing) is also quite a likely point of conflict that could come into play.

What do you all think? Have I gone coconuts? Is anyone else overthinking this the way I am? Is it not that deep? To tell you the truth I probably could have written even more but it's now 8am and I need a power nap. Might edit it up some more when I wake up. Let me know...

#on the art blog like damn sorry i got a lot to say someones gotta hear it #*not art #mairimashita iruma kun #mairimashita! iruma kun #mairuma #m!ik #welcome to demon school iruma kun #ami kirio #amy kiriwo #suzuki iruma #baal

66 notes · View notes