Sometimes I watch this episode and I sit on it, on this scene in particular , think about it so hard because its simplicity holds such a … Subtly tragical tone I ended up catching on my second rewatch (of thousand). And, you know, on my third rewatch it kinda started hurting.
Looking back at the whole season and the way Junpei and Izumi have been written in their arcs and their resolution, I think Junpei eventually remains the loneliest of the lonely between them and it just sucks how Izumi got to open about her solitude to him, then she got support from everyone else and truly felt included in a family, whereas Junpei just had to put up with his struggles on his own, fighting against his own shadow throwing mean truths at him.
This scene in particular is really harsh on him and in my opinion it kinda needed a sort of continuation in the form of a parallelism. Junpei and Izumi are the Frontier relationship that got most amount of those, especially in the bridge from ep 4 to this episode. They got a very linear development always making it clear how they are different sides of the same coin, how they are a mirror to each other and can grow up thanks to looking at the most uncomfortable masks of themselves through each other. So, it’s absolutely a shame the writers allowed Izumi to get away with that.
“Don’t talk like you know!”
Izumi, you just don’t know anything about him.
Still, the most bittersweet and, again, extremely tragical detail is that back then, Junpei didn’t even know he was as lonely as her, either. He just lies down on the grass, staring at her while letting her viciously vent at him. He’s concerned about her outburst, but doesn’t really realize he’s as miserable as her, if not even more miserable, because tell me if it’s not just sad to be a kid believing to have thousand of friends around him, be totally blind about the greyness your life is actually dominated by. He can’t acknowledge the reason why he followed Izumi on the train in a first place was connected to how lonely he felt she was. As lonely as him.
You can laugh about this statement of mine but, seriously, they pulled a sort of Mr Gatsby character here.
On a brighter note, though, I also like wondering if what Izumi says in the very first drama isn’t a hint about how she eventually understood that as well. “You have got lot on your mind but like keeping it all inside”. Maybe, just maybe, she also came to feeling all the stuff he concealed behind his magical tricks.
Honestly, how depressing Junpei’s backstory is. We just got to see a little of it and it still hit home.
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Hello! Are you still doing requests for the drabble game? (If not it's still okay!!)
I've been browsing the milgram tags and I keep seeing your drabbles here and there and I've been so in love with each and single one of them. You characterize them in a way that feels so canon I wish it was actually real. Your stories are such a delight to read!
I'd like to request Lies + Kazui and Yuno, or Kazui with anyone really. He's been a liar through and through and I'd like him to talk with someone about it, and Yuno's the only other prisoner who can truly understand him. Especially with Kazui's trial going on and him leaning guilty, he would be more antsy than usual. (But if there's another scenario you'd like that's totally fine as well ^^) Thanks!
Aww thank you so much, I'm so glad you enjoyed! :D And thank you for the request, these two are so interesting !! I imagine that Kazui can tell from the voices he hears that he's leaning guilty, or at least very close in the middle. Here's him and Yuno, following an instinctual lie that she just can't leave alone...
“I’m doing fine,” Kazui said, perfectly accustomed to lying about himself. He was used to putting on a smile when his insides were yanked into knots. He was used to ignoring signs under the surface for the sake of others. There was one thing he wasn’t prepared for, though, and that was Yuno Kashiki.
“Mmm, no you’re not.” She said matter-of-factly. She braided her hair in a complex pattern, hardly even looking at Kazui. Instead, her eyes stayed fixed on the tiny handheld mirror she’d propped up on the table in front of her.
It wasn’t the first time she’d caught him in one of his lies. She’d been merciful in the past, allowing the group to laugh it off and move on. Now, in private, she seemed much less forgiving. She wasn’t the only one in an unforgiving mood (which, conveniently, brought him back to the root of the problem.)
“What are you doing with your hair?” He peered over from behind. “It looks nice -- what’s the occasion?”
Her voice lilted as she said, “oh, well I’m so glad you asked! I’m celebrating the day that prisoner number seven tried and failed to hide his true feelings from me after I asked him oh-so politely how he was doing!”
He returned her smile with a pained one. “I’m not hiding anything. I’m doing as well as any other prisoner. Better than most, for that matter.”
She returned to her task. “That’s a pretty low bar.”
“Heh, I guess.”
“So? What’s eating at you?”
“Just annoying young women who can’t leave an old man alone…”
He thought they could leave it at that. Yuno disagreed.
“Come on, it’s just us. Be honest.”
After a pause, he furrowed his brow. “Why?”
Yuno wasn’t the nosy type. She could have probably gone through all three trials without knowing a single thing about the others’ sins. She’d been even more solitary this trial, forgoing the usual gossip and conversation. For some reason, she seemed unmovable on this request.
She caught his gaze through the mirror. He could only see one of her eyes, but from her angle she probably saw most of his face. “Because it hurts, to lie.”
It did. It had hurt for years. Even when his act became second nature, when the words flowed easily and his body moved without pause, the truth was still somewhere deep inside trying to eat him alive. Here in Milgram, he continued to feel its ache. Now, on top of the same old lies, he was trying to play the part of the calm and collected adult. Yuno was right about the bar being low -- the prisoners were in a sorry state. He had to be strong for them. She herself wasn’t doing well; despite the airs she put up, she was struggling just as much. (She wasn’t the only one who could pick up on someone else’s well-worn mask.)
So he couldn’t be honest and falter in front of her, either. Aware that his silence would be equally telling, he asked, “are you speaking from experience?”
“I’m not letting you change the subject,” Yuno pursed her lips, “but I’ll never miss an opportunity to talk about myself.”
She shifted in her chair, now turning away from the mirror to look at Kazui. He was taken aback with how smoothly the confessions spilled from her. “Yes, I know firsthand what it’s like. I know how much it hurts to lie to someone who loves you. I know what it’s like to wait until the last moment to say something, realizing it’s too late, and you’re screwed. I’ve had to cover up my pain in front of others, pretend like it’s all fun and games when it’s clearly not. And most of all, I know what it’s like to be caught in the middle of the warden’s judgment.”
“I don’t know what you mean.” He did.
Being named guilty is the worst fate for a lot of reasons. The thought of being forgiven, though, felt worse. There was no winning. Just another thing to claw at him from the inside out.
“It hurts, Kazui. I know you feel it. I realized how much all that secrecy tore me apart inside, so I came completely clean to the warden during my interrogation. I thought maybe it could help you, too.”
His expression softened. As much as Yuno wanted to be independent of this whole situation, there was always a part of her that wanted to treat others right. Seeing her intentions were pure, he felt himself relax under her gaze.
“Telling them the truth… and being forgiven afterwards… will it help this ache, then?” He placed a hand on his chest. It was easier to direct his questions at her, but it was clear he was curious about his own fate. “Do you feel at peace now? Can you forgive yourself?”
She turned back around. Her eye watched him from the mirror once more.
“Yes,” she told him, and Kazui knew he wasn’t the only liar here.
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Have heard recently that Frostleaf is the worst character because even Durin does her work, but Frostleaf does nothing for a 4*. Couldn’t believe that because she looks nice?? Visually at least. Is it true?
Worst sounds greatly exaggerated, but given the opinions I've seen on other operators, not surprising. The main issue is that almost every other Lord has either multi targeting, arts damage, removing the ranged attack penalty, or even all at once. They're generally a high burst damage class to make shit deader than dead. Frostleaf doesn't do that.
She's focused on slowing her enemies, which you usually leave to your Decel Binders instead. But arts damage is not always better than physical damage, and her status as a melee unit and her unique range can allow her to hit enemies Decel Binders can't. Personally, I prefer her S1 over S2, giving her both steady damage and continously slowing her enemies.
What I value more than dishing out the highest numbers is whether an operator can do something unique that makes me pick them over similar choices. Frostleaf got enough of that, as the only other Lord who can slow as of now is a 6★.
And yeah, she's pretty cool.
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What makes me going insane (well this is the tip of the iceberg) is that trans people genuinely cant see that they are just perpetuating consumerist ideals to feel "identified" with the sex they are claiming to be. This is in response to the barbie post you just reblogged. Like this guy is getting mad about people liking barbie and its so obvious that he feels like barbies ARE an integral lil girl thing but what about actual females who hated them?? When i was growing up i truly detested them and how they were pushed on myself and the other girls around me and my family would send them to me every hear even though they knew i HATED them and i would play baseball with them until they broke apart into pieces. Like what now yall?? Does that mean i also missed out on iMpoRTaNt GiRlhOoD ?? Fucking weird shit to gotcha people on twitter. Sorry for the rant !!
You're all good rant anytime!
I do agree with you though. It's not just consumerism (though that is a huge part) but perpetuating sexist stereotypes as well.
Like this guy's head is so far up his own ass that he can't see Barbie as being anything but for girls. Like he's using this discourse as a shield to the fact that he never got affirmed by getting barbies as a kid bc surprise, he's male and likely wouldn't have.
And like you said, many little girls didn't like or want barbies or princess dresses or baby dolls or the play kitchen. Or if we were given stuff like that we made do and played how we wanted.
But I think the takeaway here is he's jealous of that too. Even being able to reject barbies wasn't something he could experience. He's hiding his disdain and envy behind a shield of consumerism as the problem and an incessant need to feel superior. If people coddle him and agree that owning barbies is tied to girlhood and subsequently to that made-up image of the spoiled rich girl who bullied people, he wins.
I think I too would like to know what he thinks of that girl who would be either rich or poor or somewhere in the middle, who rejected stereotypically feminine toys or clothes. I personally think he'd be envious again of the ability to reject that, or because we know tras subscribe so heavily to the existence of gender roles, perhaps like you said, it's the thought that something was missed out on, or that femininity wasn't performed correctly.
Thank you for sending this! It was really interesting to think about.
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also to go "wow this is just like in pentiment" about absolutely anything and/or "wow this is just like iphigenia crash land falls on the neon shell that was once her heart (a rave fable)" about absolutely anything further:
the Narratives within crash land falls where like, in the end iphigenia being Given the story of both "this is going to happen anyways" and "so why don't you see it as a noble sacrifice to accept." the situation happening to Create a story that she was killed, so her father must be tragic, and sympathetic. that iphigenia does take on that Narrative of taking on the Noble Willing Sacrifice, and it kills her, but she also would have been killed anyways, as everyone also knows. that we even get a bit of pentimentesque [other characters observe & assess things] like, the fresa girls as a chorus, and one at the end like yeah She Was No Saint, i saw everything, but being cut off by The News that's like yeah looks like iphigenia was killed, that seguing into her father saying yeah she was killed, god's will was done, She's A Saint now. seguing to the emcee who introduced the play, but that superceded by achilles, and that superceded with iphigenia's extasis monologue as the end of the play. that whether iphigenia's a saint or not, she dies. that [the whole play] tells us as much, like, this isn't a What If kind of retelling where she escapes her fate, this is a retelling examining itself like, she Will die because the story's preset, so what to do with this as the story that has to take her there, what to do with this as iphigenia who has to go there
that iphigenia takes on another narrative in addition to the one offered by like, violeta as guide and oracle telling her she has to die (As A Noble Sacrifice), that again (as per iphigenia in aulis being like uh hey daughter. let's go to aulis so you can uh marry achilles (it is to be sacrificed)) achilles is this bait, but it's only in the ending that there's any Story about being with achilles, and when iphigenia goes to the mercenary soldier who she knows will kill her, she's the one telling him what to tell her about where she's going and why, i want you to tell me achilles is waiting for me....and she still dies, because This Is The Story. as also applied to the reality, iphigenia as another dead and missing girl following & preceding many; any disappeared deaths when consumed as disposable & replaceable, not given part of any narrative about it. while also iphigenia only gets a chorus of fresa girls from there being crosses put on the factory wall with their names, with one girl even remarking like hey they spelled my name right for once. but at the same time they're also like, both mere Apparitions but also like standins for people who are simply alive. real [shades]esque kind of, i suppose, but like they're not Sanctified for dying either, they'll comment on iphigenia but not with any like, divine knowledge, just as this out of place rich girl. whether iphigenia's A Saint or Not A Saint, she's still dead either way. she wants to be a fresa girl, they maybe want to be her, but everyone's doomed anyways thanks to way larger forces and the Stories that have been told and will be told again
but there's also the moment right before the final section wherein, before she's having to say what she wants within the bounds of [she has to die], there's achilles asking "you still want me" and iphigenia answering with "i want everything" and her vision for, like, getting to be alive actually, i'm on the gulf where the sea is gray, and no one wants a piece of me....the whole inciting event here where iphigenia wants to evade her fate however she can, exiting the bounds of her life, the physical bounds and the family unit and walking away from the rank of status / class / wealth, trying for [have her body for herself] and what the body wants, the sensuous indulgences of (a rave fable), let's hear some more about the roman state like "we don't like the examination and challenge and upending of class and convention in a bacchanalia, so only do the official versions we permit;" the Threat of people's desires for themselves, when that's going to be counter to those in power who'd want these people to be resources at their disposal; the burden on the disempowered to suffer [the only way out is through] with the Additional pain & loss that has to be taken on in pursuit of their autonomy, while also of course suffering for the autonomy they lack, that restricted and controlled and mitigated versions of what you might want are deigned to be provided or permitted so that you have Something, but that everyone's actual undeniable personhood will always be spilling past those bounds, the potential power of transgressive pleasure when one's wellbeing and autonomous choices are counter to the power structures that have to constantly try to suppress and preclude this. achilles just as bait, doomed to die like iphigenia is also still doomed, sex was never going to save everyone and the [recognizing connection as these two parallel people / We're The Same] with your lover here is not going to save everyone but it still makes more things possible for them both; iphigenia does know what she wants, and gets some of it because she wants it, same with achilles in turn, while it can't save anyone from their fates still. but it can mean something even if it doesn't transcend, like even a fleeting night of insignificant dancing that doesn't change anything can mean something, and we all die, but that doesn't mean it's Nothing to be killed any more than it's Nothing to have your desires or choices one way or another to be wrung out of your life before you are
anyways, the stories. the Looking and Presenting here. achilles and iphigenia first encountering each other as images put together and presented by someone else for their own purposes. the presence of what's seen through film/camera/recording versus in person; the potential power relations and even violence in framing, presenting, and the intended looking and assessing. repeated language about eyes/looks that burn, while also that connection between iphigenia and achilles, and their finding the least room in what they do have of their lives for more of their own wants and selves and something genuine and not predetermined, is also connected to eyes and looking and being seen and light and burning. while they're also connected to the protection and possibility of night and darkness, getting to exist and be Without being lit up or seen; that with the power that's still in play, it's never like, well then you should have nothing / no reason to hide; the penultimate moment in the play with achilles being one that's in person and fades into darkness, rather than coming in from the light of a projection / video onscreen as the introduction....iphigenia needing to be guided through a crossroads to even get to achilles in person; violeta giving the Advice and Story and Tradition to pray to eleggua, as iphigenia does before getting to encounter achilles for real, who also doesn't get to break out of a role or a fate in full in any way, but their tragedies are like, pointing towards [autonomy, imagine it] in both the ways they manage to find a little bit of it for themselves, in no small part for simply recognizing each other as in the same boat here, and in the ways they still don't have it and still can't get it
and anyways it's also inevitably saying like, telling a story?? this Play is a told story!! looking? assessing? interpreting? you're doing that in the course of experiencing it! and it's really so fucking true.
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