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#asking if they should have another kid.

wardencommanderrodimiss · 1 year

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I like to play the Paranormal Investigator career in the Sims, sometimes regardless of whether it makes a lot of sense for the character - why is Corrin a ghost hunter now? Does it matter?

This is because, when playing that career, you go over to random Sims' houses to free them from being haunted, and I always find it super funny to see who's being haunted this time.

Anyway. The answer tonight is that Sigurd and Deirdre's house was haunted. This does not surprise me.

During the hauntings, you get a lot of creepy objects that pop up, like weird dolls and glowing cursed hands, and you have to get rid of them. And you get rid of them by kicking them.

This is all setup for a screencap that made me laugh out loud:

Corrin about to punt some cursed hands straight into Julius' face, while Julia sleeps peacefully in the background, oblivious to it all.

#re: julius. the glowing aura on him and corrin is because of ghosties. however. julius' eyes are always like that #don't worry about it he's just glowing a lil #roddy plays the sims #anyway now that corrin is friends with sigurd & deirdre i can't wait for her to ALSO get the endless phone calls #asking if they should have another kid.

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puppetmaster13u · 6 months

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Prompt 100

“What are you, a Kent?”

It’s a saying in the world of the supernatural. A well-known one even. See, several, many generations back, no one quite knows when, the Kent family managed to run afoul of a particularly nasty creature who laid a curse upon them. The original wording, no one quite knows either, but the gist, everyone is aware of. For no firstborns will be born to them before they already have one.

It was supposed to be airtight in a way, a curse that would end the entire bloodline really. For a child to exist before they could have a child? How could that be?

Well. That curse had… backfired. It had backfired massively. Most, at least back when blood was everything, didn’t exactly ponder things like adoption to those outside of their own bloodline. The Kents however, lived in a very simple village, one that had disease spread through it often back then, leaving families childless and children parentless.

What were they to do but take them in? And so they had a son, many sons and daughters even, before their firstborn. Now of course, most would simply dismiss it afterwards. After all, that was the end of the story, isn’t it?

Well, no. See, the curse was a family-line curse, a just in case perhaps, that meant that each generation could not have any children until they had children. Perhaps it should have ended there, but well. It didn’t.

Kents are a strange breed in the world of the supernatural, known for having a… bit of an adoption problem. If any child or babe were to be left near their land, one can be assured the family line would take them in as their own.

Fae, demon, human, changeling, satyr, cyclops, half-breeds, werewolf- it didn’t matter. A Kent would gladly pick the child up and raise it as their own. And now, they could add aliens to that long, long list in the family line.

And really, perhaps with this context, is it really surprising that when one Clark Kent, said alien, opens his door to a basket on his doorstep holding a trio of godlings, he takes them in with no questions asked?

#dcxdp #dpxdc #prompts #superman #clark kent #sam manson #tucker foley #danny fenton #The kents didn't bat an eye at getting an alien kid #Pa might be human but his uncle was a literal angel & his aunt was a dullahan #ma kent got the rundown when the relationship got serious #she is completely fine with this #This is the woman who got Clark an “I believe” alien shirt #she is down to parent this alien baby #“Ma I found a three-for-one do you and Pa want to meet your new grandbabies”#“Bruce I need to know if you have baby supplies- No I didn't kidnap a baby I should be asking you that-”#“Since when did you have kids Smallville-”#“Since 3 this morning :)”#Clark with his 3 toddlers at home seeing Connor for the first time: GASP #Clark: Another baby!#Connor: I've technically been artificially aged up-#Clark already holding him: Baby!#100 prompts woo

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ladynicte · 1 year

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Nico who has been deified after his death. Nico who's sure, after all this time, he's finally managed to let go of his older sister's death, of course, it still hurts, and of course, he will never forget her, but that fiery hatred and overtaking sadness, has finally been put to rest.

Nico knows and understands that his sister chose to move on without him, and that's okay, no it's never gonna be okay but he's made his peace with that too, and now, that he's an inmortal himself he never expects to see Bianca again.

Nico lives easy. He works for his father, he sleeps for a couple decades at a time, sometimes he goes back to Camp, takes care of some kids during their quests here and there, but for the most part, he's a chain-free roaming God.

And then, one day at Camp Nico meets her, a tiny little girl, with how long he has lived, time has become almost impossible for Nico to really track down anymore, but he's sure this girl can't be more than 10.

And something about her eyes, her dark, void-like eyes, and her long black hair, and her proud stance. It really reminds him of somebody else.

The girl is all alone, no little brother or older sister of her own, no parents either, apparently, she's a child of Hekate, but that really doesn't matter.

Something about the girl's every move, about the way she approaches the darkness without fear, about the way she approaches him, like she's known him all his life, the way she uses her whole body when talking.

It reminds Nico of Bianca. This girl's soul is just like Bianca's.

And Nico supposes it's no longer a fatal flaw, but he still doesn't know how to let go.

Nico immediately claims her on the spot, lets her sleep on the Hades Cabin, helps her out with everything, takes care of her for years and years.

It's the first time in centuries, that Nico as a God feels connected to his mortal side.

When the little girl cuddles against him, because she's had yet another nightmare about manticores and huge robots, while Nico quietly tries to hug her, and reassure her she's going to be fine, he even starts thinking that maybe his family has grown, yet again.

And then, she's send off on a Quest, Nico loudly protests against it, because he knows how those end.

Because, he still remembers waking up screaming and trashing, in the middle of the night, inside the Hermes Cabin, surrounded by strangers and shadows, as he felt Bianca's soul perish away.

But it's no use, the Oracle of her time had already issued her prophecy, this new girl, Rachel having long since passed away, who Nico feels almost comfortable cursing in the spot, just like his father had done so many centuries ago.

The little girl leaves, and Nico now has nobody to swear to keep her protected. Nico knows it's useless to try to convince her to stay, but he still does, it doesn't work, it never has worked

But truth is, she doesn't even look scared.

She's excited, and ready, and determined, and Nico has to wonder if this is how Bianca looked like, during her last week on Earth, too.

The girl leaves and she doesn't come back.

Nico thinks, it should be easier by now. It isn't, it's never gonna be it

Hades catches Nico roaming mindlessly around Elysium, after noticing his absence from The House, for what's either days, or years.

Hades mournfully reassures Nico that Bianca is not there anymore. No, not this time, not last time, not next time either.

After that, Nico chooses to abandon Camp fully, once again, he doesn't come back for another few centuries, until Hermes asks him for help getting his children to satefy at Camp.

Nico swallows the bile, that he's sure a Godly body like his own, shouldn't be able to produce anymore, shakes Hermes's hands, and tells his cousin his children will make it through, just fine.

Nico rescues the kids, regretfully send them off to live all cramped up together at their Father's Cabin forever, but one of the boys of the bunch, just has such dark eyes, like a black hole consuming souls.

And he stands so proud, and Nico just knows once more, and all at once, because he would recognize Bianca's soul anywhere.

In life, in death, at the end of the world, in a Hekate's daughter, in an Hermes's son, it doesn't matter, the person standing in front of him, is simply Bianca in another skin.

Bianca, being a wild hero once more, and Nico has to wonder if she can see him as clearly as he can see her.

Bianca is the only one after all, who has known him all his life, Bianca knew his name before it was even his own. Nico was born knowing her.

If she can see him, or if she can't, Nico doesn't even know which one would hurt more.

Time passes, and if Nico let's the boy sleep at the Hades Cabin, because the nightmares about manticores, giant robots, and magic are too much to bear, and he can't even scream in peace inside the Hermes Cabin, well, that's only Nico's own business to know about.

Nico realizes, after a few ages of Godhood, that The Fates like repeating their own stories.

Nico knows he hates all of them, deeply and purposefully.

The Oracle comes up to the boy, Nico is sure she must be a new girl, but all the girls Apollo chooses all look the same, and she is the same, she gives the hero the prophecy that will bury him.

And, it doesn't even take Nico a glance to know, that this is where that boy's life thread is cut.

Nico wants to sneer, this would be Bianca's third death, and if a hero dies three times they get the special prize, and yet.

Nico begs the boy to not go, because they both know he's not gonna make it back.

Bianca never has. Bianca never does. This is Bianca's fate. She was already dead before the story even began.

But the boy doesn't even break eye contact with Nico, as he tells Nico that he's very kind, and that he loves him too, but no way.

He's gonna go, and so, the boy does.

The boy leaves and he doesn't come back, and Nico has to crawl at his Godly skin, and remember the sensations, of back when there was human flesh, and blood running through his veins.

And that's just the thing isn't it, that Bianca is never going to stay by his side, because she doesn't want to.

#you ever think about the fact that bianca preferred to stop completely existing before waiting for Nico and nico knows it #nico di angelo #Bianca di Angelo #pjo #god nico #luna writes #<- i mean this is halfway a fic already so yeah #this is about Bianca's reincarnations and how difficult Nico's and hers relationship really is like she loves him hes her little brother #but also she wants another family she was never gonna stay not because shes forced to but simply because that's not the choice she wanted #to make and all his life what nico wanted was for her to choose to stay and she just didn't #she never waited around she never showed up she left at once and asked for no opinions she took her life in her own hands #well that's all kinda messed up by the Riordan blog post just randomly having her in Elysium but whatever those arent canon #luna's headcanons #also nico taking care of kids is everything to me so yeah he would love and cherish the hell out of those kids even if sometimes they #behave even older than him and they all would still abandon him he supposes he should be fine with but he isnt #he will never find their souls or their corpses anywhere he already knows this

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skrunksthatwunk · 11 months

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ok so. kiwami 2. rooftop scene. the ending. it's a bit of a clusterfuck but i wanna talk about one detail, a problem they bring to your attention by Fucking. Talking About Her.

haruka is watching all of this unfold.

[this post is like 4.5k words long + pretty critical + has spoilers for kiwami and kiwami 2, and really minor/vague ones for a couple others. they're not that bad though, trust me (and i added a warning in the one place it is major)]

ALSO CONTENT WARNING i'm gonna talk about kiryu's passive suicidality a good amount in this one, so stay away from this if you think that might affect you negatively/you'd be better off skipping it. i'll also make a tl;dr (which i will highlight in red) at the very end if you really wanna know what my point is that will exclude those elements <3. i am also going to use a lot of choice-based language in regards to kiryu's contemplation of suicide because i think it's the lens through which the games treat the topic, but i personally don't find it a productive or realistic way to look at suicide or suicidal ideation at all. someone dying by suicide absolutely does not mean they don't care about their loved ones enough to fight on or whatever. i love you, and proceed with caution on this one.

(also i'm using the kiwamis as my point of reference because i uh. don't have a ps2? those are the games that i played, and though the differences are likely slight, i wanna be clear about that. also,, ignore the watermark on these screenshots,, i didn't notice them and i'm not retaking them. we're all gonna have to settle for youtube cutscene comps for now xoxo)

first, we have to talk about the ending of the first game.

[note: i am Really Really Confident kiryu has a conversation earlier in the game about his going to jail in nishiki's stead being him running away and choosing not to resist his two options (go to jail or let nishiki go to jail) and define his own path, fighting his way against fate to make it happen. part of why i'm so confident it exists is because it made such an impression on me at the time. it's pretty important to my interpretation of things but i also can't find it for the life of me, so uh. sorry ✌️ i really tried. this post's takes/analysis will be dependent on this scene existing, so keep that in mind. if anyone knows where to find the scene/screenshots of it, lmk and i'll add a follow-up with it]

kiwami stuff

so as she's dying, yumi tells haruka this:

that she may be dying (painfully, and right as she's getting everything she wanted), but she doesn't regret it, because at least she did something rather than running away from it all. that you shouldn't run away, ever.

shortly thereafter, when the police find kiryu and haruka, this exchange happens between him and date. here's the play by play:

date tells kiryu he can get him out of trouble with this, and that if he doesn't, he'll get life in prison; kiryu declines his help:

kiryu is so devastated (understandably) by the back to back losses of the three people closest to him that he resigns himself to life in prison, and the death-in-effect that would be. he would prefer to waste away rather than struggle through a life without them. prison was monotonous and isolating, but coming back after a decade was overwhelming, and coming back to everything being so warped and twisted, and then losing the corrupted scraps he had anyway, well. he wants to go back to sleep. he doesn't want to be in a world where everything's the same except he's on his own. better to return to safety, to die slowly in a hell he knows well than weather a new one where he has control and agency, and thus one where he has the ability to fail and to lose anything at any time. he explains to date that that loss is why he can accept his death:

date shakes him and asks him if there's really nothing left for him, no reason to keep living at all:

then echoes yumi's advice to haruka:

which makes an impression on kiryu:

date gives him a reason to live in the form of haruka, saying she'll be on her own again if he goes to jail. he hijacks kiryu's tragic protector complex to keep him alive, because she needs him, and because she's someone precious to him:

after the dust has cleared,

kiryu and date also have this exchange, where date tells him to stay away from the cops (and presumably arrest and a return to prison, the aforementioned fate akin to death), and kiryu cites haruka as his reason to stay away, one he holds to with no uncertainty (showing again that he's accepted date's logic, that his reason to keep living even when it's incredibly difficult is to care for the more vulnerable haruka). given the weight of the consequences, to me, it feels like date's telling him not to be alone with his thoughts or something. it's almost frightening:

so, what's our takeaway from kiwami?

kiryu lost everything and hit rock bottom, but he chose to fight, and to live life on his own terms, even when it got difficult. that's the narrative life lesson he had to learn to avoid repeating the events of 1995. he made that choice for haruka's sake. it's seen as growth.

and without him, haruka would've just returned to the orphanage (assuming she could make it back to sunflower at all) with no one who knew or understood what she had been through, no one to mourn with her, and no one to give her the attention, care, and protection she needs. kiryu knows what it's like to be an orphan with a limited parental figure who only checks in every so often (kazama, "aunt" yumi), and what someone will do for attention/affection from that person (via both himself and nishiki swearing up, climbing the ranks, etc. arguably haruka coming to kamurocho by herself to find "mizuki" is similar), and what it's like to lose them anyway (again, kazama, yumi). their situations parallel each others' somewhat, and that binds them further. and after losing everyone (which he blames himself for to some extent, as one can probably assume from this and 2, and something key to his arc in later games), he chooses to protect her. and this time, he won't fail. at least partially because failing would hurt him, too. he'd have nothing left again.

okay. now we get to kiwami 2.

if you forgot, the context is basically:

everybody's fighting on the roof of a building which i'm sure will not be a running theme or anything as the series goes on

there's a bomb that's about to go off and they don't know how to/can't defuse it

ryuji shot the twist villain to death, but took fatal hits to do so

sayama's like hey!! let's get out of here!!! and kiryu and ryuji are like nooo we have to settle this oughh it's punchin time and they stick her on an elevator and send her down so she doesn't have to watch

ryuji loses. sayama returns, they have a cute sibling heart to heart, and ryuji dies in her arms. sad

kiryu is in rough shape as well, and there's like 2 minutes left on the bomb's timer

here's the scene itself:

sayama tells kiryu they have to run, and kiryu says he can't. the gist is "let's run!" "you go without me" "i'm not leaving you!" "i'm in no condition to run" "i'll carry you then!!" sayama: *sees how fucked up kiryu is, realizes he's Going To Die Anyway* "ok, then i'm staying with you!" and then further bickering about that, before they give up and make out (as one does i guess)

date (he's here now) yells this at them from a helicopter:

before someone else in the helicopter tells date this:

we get this shot of haruka calling out to kiryu as the helicopter swerves away:

and kiryu and sayama have this exchange about haruka where they say they let her down, but that she'll understand:

then they hug and the bomb ticks to zero right when the credits hit. in post credits it's revealed that the twist villain defused the bomb when they weren't looking, betraying his co-villain for reasons i truthfully do not remember and am unwilling to look up. it's not about that right now.

so, how does this scene interact with the ending of the previous game?

the short answer is "badly <3" but here's the long answer:

it's about choices.

the thing about fiction is that anything you want to have happen, as a writer, can happen. it may not be effective, internally consistent, or logical, but you can write it regardless. audiences suspend their disbelief for the sake of engaging fully with your fiction, but everyone has a threshold past which they will stop being engaged in a story and either become uninvested or annoyed. writers usually have lines they're unwilling to cross as well. but in almost every story, there's at least a couple of places where they stretch reality a little to make the narrative they want happen. this is not a bad thing at all. that's how stories get told.

now, i'm gonna be real with you. i don't care about how feasible plots are like 95% of the time. it's not something i think about much, nor is it something i prioritize. i am a very character-centric media consumer, so if world building and/or plot are a bit stale or contrived, that doesn't really bother me much so long as i'm invested in the characters involved. some people can't stand plot holes or the ways musicals burst into song or whatever, and that's fine for them. but it's not something i tend to find that all that important.

this is all to say that i have a sorta affection for rgg's flavor of bullshit pulling. and it is a powerful flavor, maybe even an acquired taste, but i can and do rock with it so long as it doesn't damage the characters too much. this is why i'm not making a lengthy post howling into the void about joji kazama or the second joon-gi han or how many secret relatives there are. those things are silly and endearing and a clumsy yet heartfelt part of a series i care about very deeply. i'll joke about it, but i don't consider it much of a flaw. it's more like personality. flaws are texture, and they help a piece's identity. point is i am very, very willing and able to suspend my disbelief for these games in exchange for a good time, particularly via good characters.

(if you want another example of where i draw the line from within rgg, the answer's the YAKUZA 4 SPOILERS INCOMING rubber bullets twist, because i think 1) it's actively horrifically stupid (especially retconning a scene we SAW HAPPEN. WE SAW BLOOD ON EACH IMPACT, AND RUBBER BULLETS DON'T OFTEN BREAK SKIN THAT DEEPLY (THEIR DAMAGE IS MORE PERCUSSIVE THAN PENETRATIVE). THESE EVENTS HAPPEN IN THE SAME GAME YOU DON'T HAVE TO RETCON IT JUST REWRITE IT. OR DON'T SHOW THE HIT AT ALL SO THERE'S MORE PLAUSIBLE DENIABILITY. DON'T DO THIS JUST TO HYPE UP YOUR SHITTY VILLAIN NO ONE CARES ABOUT. and 2) (a bit more importantly) i think it actively removes saejima's primary internal conflict for that game, that being his intense guilt over the 18 murders he thinks he committed, one i was invested and interested in. but this isn't a rubber bullets post.)

characters in this series walk off a lot of life threatening injuries. they survive miraculously, they escape in the nick of time, and they pull through in the end. kiryu still somehow hasn't killed anyone. almost every game in his saga ends with an "is kiryu gonna make it out this time?!?" shortly followed by a "yeah lol. lmao" postcredits reveal. kiryu fucking punches a marble statue into dust in the first game. having a story that asks you to suspend your disbelief so much and so often means that when a decision is made, it's not the writers saying, "well, this would have to happen so we are obligated/forced to write it happening" so much as "we wanted this to happen for some reason(s)," because you already know that they're not guided solely by logic. again, this is true of all writers, it's just amplified in stories like these because they've already given you so many hard mode suspension of disbelief moments (they've broken you in like leather, yeah? or like how obvious internet scams allow for self selection by being so obvious that only the most vulnerable people would fall for them. they curate an audience willing to play along with their bullshit flavor so they can tell a story that's more likely to satisfy that audience. in a good way, in a fun way! mass appeal is overrated). there is not much limit to what this series is willing to try and sell you.

so when ryuji takes lethal damage taking out the big bad, that's a choice. when he doesn't die immediately, that's a choice. when ryuji and kiryu send sayama away in the soon-to-be-forgotten elevator so they can settle this like men or whatever despite the literal actual bomb about to go off, that's a choice. when sayama comes back, that's a choice. when ryuji does die, that's a choice. when kiryu determines that he can't escape in time, that's a choice. when sayama is unwilling to leave him, that's a choice. when she says she'll carry him out and there's an elevator right fucking there and then she's like never mind i guess i won't anymore we're dying together right now kiryu like they're not gonna even try?? wouldn't distancing themselves from the blast give themselves a better shot, something that's super possible given the 2 minutes they have with that elevator??? sayama you met him like a week and a half ago why are you ready to die with him that's not a plot hole i just think that's kinda strange whatever anyway, that's a choice. when kiryu stops arguing with her so they can kiss (next to her brother's corpse), that's a choice. when date shows up, that's a choice. when the helicopter can't save them because the bomb was going to go off too soon, that's a choice. when they put haruka in that helicopter and take her away, let her only impact be reminding kiryu and sayama that they can't help her, that's a choice. when they spend their last moments talking as if they're already dead, then simply waiting, that's a choice.

they're all choices that the writers made for the characters, and we are asked to believe them for the sake of achieving the writers' vision, as with any story. the only problem is that the writers' vision here fucking blows.

i'm not saying it would be realistic for kiryu and sayama (and even ryuji) to make it out alive, but it wouldn't be out of character for the series in the slightest. kiryu is suddenly unable to power through here, and that's a choice. so, what is their vision?

put simply, i think they wanted a romantic last stand for kiryu and sayama, a tragic scene of doomed, devoted lovers. and i think they wanted an edge-of-your-seat fake out death. they wanted spectacle.

here's how some specific choices they made undermine all that shit we talked about earlier from the first game.

once again, kiryu is called by date to live, to pick himself up and keep going, no matter how impossible the odds are. he's even reminded by haruka's presence, his one anchor in keeping himself going. the growth he had in the parallel scene in the previous game is challenged, and he fails.

it's not enough this time. and that's a choice.

it's also one i can't think of a good reason for, and that's the real kicker.

characters can have developmental backslide just like people do, and if they're given good reason for it, it can be just as, if not far more compelling that purely linear growth (i am a chimera ant arc enjoyer, and that's all i'll say. sorry if you haven't seen hunter x hunter. uhh. i am also a zuko avatar enjoyer if that helps). but i can't think of anything that happened in that game that would cause this from a character perspective. if anything, kiryu should be less likely to do this intentionally. he's spent around a year raising haruka, and a year has passed since he lost his loved ones. at the very least, the pain should be more dull, though it is established through an early nightmare sequence that his ass is (justifiably) not over it yet. given that their deaths were the initial motivation for his willingness to rot forever, theoretically, he should be more motivated to stay alive than before now that he's got more investment and stability in his life outside of them, particularly when it comes to haruka, his reason for surviving. and if the ongoing nature of the trauma was the motivator for this, then they should've had it affect him more past that nightmare scene (it really serves more as a recap of the last game than anything else) so it didn't come out of nowhere. so the reminder of the lesson that saved his life and then guided it for at least a year afterwards, one that the whole resolution of the previous game relied on heavily falls flat for... some reason.

i think this is a good time to mention that, generally speaking, you don't write arbitrary choices into characters. sure, people in real life are often sporadic, but when analyzing fictional characters, every choice is filed into a portfolio of characterization that can and should be analyzed. going for pure realism can obfuscate their development, motivations, themes, etc. their choices and reactions may be unorthodox, but they must be internally consistent. this is very related to how i view plot contrivance as well. characters drive the plot, not the other way around. stories are about the ways characters affect their worlds/lives and vice versa, and they're the human face to the themes and ideas the writers are trying to explore and express. maybe my stance on this seems hypocritical. i don't know if it is. but to me, plot issues are usually a matter of engagement and investment, while character issues are a matter of substance.

i hope this doesn't feel patronizing explaining all of this, but i want you guys to know where i'm coming from in my analysis. starting at my base philosophy on writing is the easiest way to do that, i feel. defining the terms of the debate, and all that. anyway

and i mean, look. they survive because "it was defused the whole time we just didn't see it happen", so it's not like narrative tension or realism or whatever was THAT big of a priority overall. if it was gonna be a cop-out anyway, they should'nt have ruined kiryu's development too, yeah?. and sayama fucks off to america after this game anyway, so it's not like the doomed lovers thing had much payoff or meaning after this one (though you could argue that's more an issue with yakuza 3 than yk2, which has some merit to it). which means that they chose to sacrifice kiryu's prior development and internal logic for the sake of cheap tension for their finale that was both kinda illogical in and of itself (the elevator!! the elevator!!!) and a romantic climax that neither required nor really benefitted from this staging. (like. you coulda had them make out and then get saved by date, or kiss on the elevator in a "it's moving, but will we make it in time??" way or whatever. look i'm not saying those are great options either but they're SOMETHING okay. it would remove/reduce the amount of time wasted on characters sitting around with their thumbs up their asses for no reason in this finale).

instead the message of this finale is that, actually, sometimes it is impossible to change your circumstances and fight for your own way out of an awful situation. and what should you do about this unfortunate truth? uh. die! i guess. it's the exact opposite of the encouraging, optimistic message of the last game. zetsubou chou pride my ass.

note: i feel i should mention that when suicidality is brought up within the series (particularly in substories), it is always something someone has to overcome themselves through wanting it badly enough. they simply need the inspiration and the motivation to keep going. it's arguably treated as a moral obligation. frankly, the series is broadly very meritocratic (<- bad) when it comes to this topic (and others, but that's a Whole Other Thing. see akiyama's weird loan shark tests as well). sheer will and resolve is enough to conquer any problem, be it physical or mental/emotional, and it's irresponsible to act/feel otherwise. this is the logic the games operating under, and kiryu is often the mouthpiece for this bootstrap-pulling "tough love" sentiment. so when kiryu "chooses" to die, yet faces no emotional fallout from date, haruka, or anyone else, it feels very out of place. it's not just an odd choice; it's specifically, once again, an odd choice to make in context of the game/series/character it appears in.

kiryu's just like eh, haruka'll watch her only family die right as she gets some sense of tentative stability and lets her guard down after a devastating month the year prior (and a relatively dismal upbringing before that) that we trauma bonded over. sure, she likely came to view me as the one who would stay no matter what, who was too strong to be taken out, who she could always rely on, and so i know that dying would hurt her immensely, but she's smart enough to know it'd happen eventually. her eventual recovery means it's okay for me to do this (somehow, in a way it wasn't in the first game). it's an excuse within the narrative's logic, and one it is uncritical of simply because it's kiryu. he gets a pass.

and i think with the previously mentioned passive suicidality and general series-long mental health issues kiryu displays (i mean. yakuza 5's literally his depression arc), this could be retroactively seen as an interesting choice, like a piece in that particular narrative. i don't even dislike that viewing, especially in terms of fan approach. but (assuming this went down the same in yakuza 2), they likely didn't have that in mind. all they had then was the first game and the movie. and they took the first game's Entire Message and contradicted it for nothing but a scene they wanted to have happen because it'd be suspenseful and/or emotional (without actually doing the work to earn it). and they're not fans trying to analyze his character, they're the ones making choices for him. and they chose to massacre my boy. and if the subject of kiryu's mental health was a priority of theirs, why didn't they explore that? haruka and date's feelings on him not resisting and their words not being enough (whether that blame is justified by the narrative or not (it shouldn't be btw)), the uncomfortable drifting that resigning yourself to death and living afterwards anyway often brings, literally any conversation about it besides the minimal shit we get post credits of date being like "did you know about the bomb not having a fuse?" which like. bad answer either way (which is why they weren't straightforward about it, the cowards). you can't just be like "oh uh. idk he just gave up this time. yeah he was gonna die on purpose for some reason. good thing the bomb was fake lol" and then pack up and go home!! that's stupid!! any merit the idea of kiryu dying by suicide in this scene and in this way could have had from a character-based perspective loses its weight because 1. it didn't happen (for kinda stupid reasons), which makes it fall flat and 2. no one is really affected by the fact that it almost did, including him. they sacrificed his ass and replaced it with nothing, even when there could have been interesting outcomes to it.

so the narrative effectively chose to kill him by making the situation impossible, and this impossibility is ultimately arbitrary, given the series' usual approach to miraculous, illogical escapes. that, or the choice to stay was up to kiryu and sayama, one that 1. doesn't make sense and is actively regressive in context of kiryu's arc in the only other game in the series (as well as his whole saga in retrospect) and 2. one that contradicts how the series sees/treats resignation to death/death by suicide in all other contexts without being addressed, challenged, or condemned in ways it would in all other contexts. because they don't want you to think about it like that. they want you to think he (and the narrative) had no choice, that it made sense to do that. but it didn't. it doesn't.

and look, honestly? if i was bleeding out and had like 2 minutes to live, there's a non zero chance i'd say fuck it and kiss a girl too. i get it. but i am (and this is crucial) not a fucking yakuza character. and i'm certainly not kiryu kazuma.

tl;dr (basically just rephrasing the second to last main paragraph)

there are not sufficient character reasons for kiryu and sayama not trying to escape. additionally, because the narrative regularly facilitates even less likely escapes, it's not so constrained to logic and reality that it couldn't pull this one off. the choice to let their situation be impossible this one time was a cheap and arbitrary way of forcing a scene they thought would be cool and dramatic, and in doing so they chose to cannibalize a key emotional note of the previous finale (namely kiryu's mission to dedicate his life to protecting haruka) for hollow last minute stakes-upping in this one. it is then completely disregarded anyway. god damn.

#got so into this post that i used tumblr on my laptop for the first time to surpass mobile's image limit #i also added transcriptions in the alt text (which i should do more often)#actually thinking about it in the movie kiryu teaches haruka that lesson about stumbling on.. and she's the one to ask to follow him... hm.#just interesting given that the movie came out before 2. i don't think it makes much of a difference to the post it's just neat to me #one of my favorite parts of writing this was skimming through a bunch of yk1/yk2 cutscenes and noticing how often kiryu pats haruka's head #it happens a lot more than i remembered and it's very sweet to me. get bonked little one <3 #another good thing was realizing you can edit tags when you're not on mobile.... fucking life changing. i have lost hours to mobile tag #editing and i'm not even kidding about that #speaking of editing this one took like 6 hours.. my brother used “yakuza autism” (verb) for me earlier and it's so true. source: this post #i did have a short break to get food bc i hadn't eaten all day but that's mostly because i woke up at 3pm. anyway #also if you like kiwami 2's ending you're not even remotely alone. i looked at the comment sections of the scene comps and ppl love it #and more power to you!! i like it when people enjoy things. and tbh i DO have feelings that i'm supposed to about that ending #i just also have feelings you're not supposed to. like. anger. i guess.#rgg #ryu ga gotoku #skrunk meta #aww yeah it's a new tag babeyy #yakuza kiwami 2 #kiwami 2 #yakuza #like a dragon #yk2 #kiryu kazuma #sawamura haruka #sayama kaoru #maybe my thoughts'll change after replaying the games...? it's been like a year and a half since i beat yk2 so i am a bit fuzzy on it #yakuza kiwami spoilers #yakuza kiwami 2 spoilers

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fictionadventurer · 6 months

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"Good children's television lets the child characters learn lessons for themselves. Adults can provide inspiration or help, but the children should take initiative for their own discoveries and come to conclusions based on their experiences.

Bad children's television has the adults tell the children all the lessons and information they should learn. The children are only there as stand-ins for an audience that the writer wants to preach this information to and passively absorb the lessons rather than taking an active role in their own story."

I find it quite ironic when a genre becomes exactly what they were trying to act as an alternative for.

Because the point of children's entertainment is that it educates in a more entertaining and engaging way than school, you know by letting the kids enjoy fun adventures. Kids don't like being lectured or talked down to, either in school or in their television. It's why they love kid heroes.

You can so very much tell when a children's show is written by someone who remembers what it's like to be a child and respects children as human beings, and when it's written by someone who thinks it's their duty to Educate The Youth so they become Knowledgeable Adults. A children's show has to understand that the audience is already smart before they can begin to teach them anything.

#answered asks #adventures in writing #i am still so angry over that painful curious george episode #where george suddenly doesn't know what a shadow is #(even though there's an ENTIRE EPISODE about groundhog day)#and four-year-old allie comes out and explains it's his shadow #and then says #i kid you not #'my teacher says that a shadow comes when our bodies block the light'#(perhaps not an exact quote but 'my teacher says' was definitely used and it still pains my every nerve)#and then george wonders something about shadows #and where the earlier seasons were BUILT around george having questions #and then trying out different ways to find answers and solutions #in THIS episode allie says they should just ask the man with the yellow hat #and the man with the yellow hat TELLS them about shadows #in a similar vein there's another late episode where george wonders about migrating birds #(somehow everyone figures out he has these detailed questions even though all he does is grunt and point)#and the man with the yellow hat ponders it while they're shopping #and then I KID YOU NOT professor wiseman shows up and is like 'i can tell you the answer'#it pains me so much i am so enraged for the sake of the children who deserve better #unfortunately my niece has no taste and has not noticed she is being fed inferior mental fare #she just likes watching the japanese monkeys slide down the snow dragon #(which is one of the better parts of one of the later episodes)#(that at least feels of a piece with some of the ghostwritten picture books)#(even though that ENTIRE EPISODE is otherwise 'people tell george things while vapid light pop music plays)

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writingislife20 · 3 months

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I want a book about post-apocalyptic world, it starts out with these four survivors, who are all in their early to mid twenties, with the oldest being 25. They are trying to find other survivors/find out what started the apocalypse. I want them to be traveling, getting close to where they think the apocalypse started and surrounded by a group of creatures (I’m thinking zombies, but if you can be more original, let me know.)

Just when they are starting to despair, a car horn sounds. A minivan careens into the circle, killing several of the horde of creatures. Adore is thrown open, and a preteen girl, picture her head out and screams at the top of her lungs “ GET IN!!!”

They start scrambling into the minivan, while the monster shuffle at them. When the last person gets in, the girl throws the door closed and yells, ” Step on it, Rosie, and don’t hit another building!”

They turned to see a nine-year-old girl in the driver seat, with a 13-year-old boy looking like he was about to hurl. They drive so fast that one of the passengers definitely gets close to sickness. The nine-year-old keeps giggling, and whoever’s point of view it is is death scared of this little girl.

They get driven to this camp area that has obviously been turned into a hideout, with a gate enclosing it. There, they are greeted with a gaggle of kids, ranging from 7 to 16, with two elderly women, and a girl who stands out as being the oldest and probably the leader. She seems to be a lot older, and is very confident, giving directions to everyone. She takes the four of them to a side room, and shuts the door. All four of them are pairing for some sort of shovel talk. None of them are expecting to see this girl. Sigh, Nina against the wall and ask “Are any of you homophobic? because I am not willing to deal with that during this whole thing.”

Turns out, this place used to be a conversion camp that flew under the radar, and this girl had been breaking her little sister out of it when this whole thing started. Most of the kids have been fine, as they’ve been on lockdown due to her entering, almost all the faculty was dead or had abandoned the kids when everything started. The only adults who were left were the lunch ladies and the grandmother of one of the kids, who had been there visiting her grandson.

This 19-year-old had been put in charge of a gaggle of kids, and three older women who did not know how to take care of that many children. She asked the team for help dealing with the kids, crying that she needed an adult.

The group of four look at each other. Only one of them has experienced with children, and that is with a few kids from daycare, who are arguably younger than these ones. All of them are grad students, who barely survived the apocalypse due to sheer dumb luck, antisocial behavior, and their ability to dodge people attempting to bite them (grad students get crazy and cranky when you tried to wake them up or take them away from their work). All four of them are human disasters, then they look at this kid, who didn’t even get the chance to go to college, who is begging for help, and looks like she’ll cry if they refused to help.

They all collectively decide that They will be the responsible one. all of their other friends are human disasters, so they have to clean up their behavior and take care of this girl and the many children she has under her care. they know they’re going to help.

The problem is, they are all human disasters, who barely know how to cook. They are trying to be responsible, but they only have one brain cell, and it passes between them with no warning.

The rest of the story should be a mixture of comedy(these 20 year old trying to take care of a bunch of kids) and apocalyptic drama (these old ladies, trying to figure out why the apocalypse started, with a few appearances from Timmy, the grandson, who is seven years old and was sent there without the grandmother’s knowledge.)

Just, let the responsible grandparents figure out how the apocalypse started and why, while the grad students try to be responsible for 20 to 30 kids.

#writing prompt #misunderstandings #crack #post apocalyptic #it needs to start out grungy #And then have a big switch when the kids come in #There should definitely be a point where a boy who has a crush on another boy asks one of the grad students #How to ask out their crush #And the grad student has to pause #because they have never gone on a date before it #Or asked anyone out #But this kid needs advice #So they have to channel their inner romance guru #It goes terribly wrong #The kids still get together though #The reason the 19-year-old wasn’t driving #Was because she failed her drivers test three times #19-year-old has more brain cells than the grad students #But she is so tired #She gets to rest #Stop showing college students as being able to take care of themselves #I don’t know one college student who can take care of themselves #IDK what to put

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