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bunnyreaper · 8 months

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the price we pay

kinktober 10 - fuck machine

dom!ghost x sub!reader x sub!soap

(18+/mdni, fuck machine, cuckolding vibes, bondage, degradation, negotiated kink, anal)

Belonging to Simon Riley brought with it a litany of mysteries, both large and small—it's a privilege and a burden you and Johnny both willingly signed up for.

Simon was always the first (and often only) one to know things in your relationships—plans, observations, feelings, they'd all sit inside his head for weeks or months, waiting for the perfect opportunity to come out. Over time, you've learned to spot the signs of a brewing plan or ruminating thought. This one you picked up on fairly quickly, having made a game of it with Simon.

Simon sits across from you, lonely on the loveseat as you lounge on the couch, lost in his phone with a focused squint. It's nothing unusual, the two of you spending time together peacefully coexisting in silence—but you sense something amiss.

"You're planning something." You whisper, eyes glued to him as he taps at something on his screen.

He pauses, gaze connecting with yours as he stares you down, resolute with a slight smirk on his face. "Yeah, and?"

"How long now?" You ask.

"3 weeks."

"I'm getting faster, Simon!" You punch the air in victory, kicking and flailing your legs in a delighted little dance that makes your lover smile. "Okay, continue, I won't ask any more questions." You giggle as you bite your lip and turn your attention back to the TV, willing yourself to not think about the surprise.

So you weren't caught completely unaware when one day an oversized, nondescript box was delivered to the door. Johnny's away on an assignment without you both, meaning whatever it is could only belong to Simon, and likely part of whatever he's been working on over the past several weeks.

Johnny went away aware something was coming, but not knowing what—because unlike Johnny, Simon could keep a secret from his lovers. You've been resorting to unfair tactics with Simon, waiting until he's in his blissed-out, post fuck state to probe him gently.

You lay draped across Simon, both of you completely bare as you cuddle up—his hot cum still oozing out of you.

Now's your chance, you think. Simon's always more relaxed post-sex, and you're not going to ask too much.

Threading your fingers up to his hair, you stroke his scalp and smile as his eyes slip shut. "Is it a gift?"

"I suppose." He whispers, eyes cracking open as he eyes you wearily, you can see the cogs turning as he debates giving you an inch, and worrying you'll take a mile.

You study him intently, wondering if you can chance another. "For me?"

"For all of us." He reaches to your chin, tilting it as he leans in for a breath-stealing kiss that silences any further inquiries. "Now that's enough."

You nod, beyond satisfied as you snuggle back into Simon's chest and try to temper your excitement.

The package arriving perfectly in time for the day Johnny gets home from his mission is very suspicious.

You'd both spent the afternoon cuddling Johnny on the couch before Simon disappeared upstairs with his box and ordered you both to stay out of the bedroom until he allowed you in. Johnny had probed you for what you knew, as he tried to come up with ideas for what it could be.

"Mebbes it's a puppy, I'd like tha'" Johnny comments idly as he plays with your hair, stroking through it as he snuggles up behind you.

You giggle, but shake your head, not convinced by that theory. "I'd hope he wouldn't keep a puppy in the box for that long, plus surely it would've made a noise by now."

"Hmm." Johnny hums. "King size weighted blanket?"

Simon's eyes had lit up when you had mentioned it in the past. "Ooh, one we can all snuggle under." You wriggle back into Johnny, imagining the comfort of being cuddled up with your boys and blessed with the extra weight. Then again, you didn't really need a weighted blanket when you had them.

You hear Simon's footsteps as he starts to come back downstairs, and you turn over to shush Johnny with a kiss. "Quiet, don't get us in trouble."

"Aye, lass."

After an afternoon of soft closeness and conversation, the three of you would usually take this time to head to the bedroom and fuck the missing parties' brain's out, to catch them up on everything they've missed—but the atmosphere is so different, knowing whatever Simon has been planning is just waiting for you upstairs.

When Simon nods in the direction of the stairs, you both obediently rush to your feet, heading upstairs as he leads the way.

"Johnny, be a good boy and go take a shower for me." Simon's voice is a stern command as he reaches the landing and stops Johnny from entering the bedroom. "I'll come and get you when I need you, yeah?"

"Yes, sir." Johnny nods, his eyes widening as they connect with yours.

Separating the two of you isn't a good sign for what's to come, and your stomach flips with fear as you're led into the bedroom wordlessly.

"Simon?" You ask, voice hesitant he starts to grab some of the items he's prepared. The whispered name doesn't get a response, so you try again. "...Sir?"

Simon stops dead in his tracks, turning to you with that expression, the one that tells you his slipping into his dom mindset—head whirring with his plans, with considerations for all of your safety and welcome, and with anticipation for what's to come. "On the bed, now. Clothes off."

You freeze for a moment, swallowing thickly before you rush to throw up every garment you're wearing—they're hastily discarded on the floor, only to be collected and folded when Simon hits you with a stern look.

Once you're bare, you lay on the bed, uncertain of what's to come and yet trusting in the other man completely.

Simon repositions you as he wants you, turning you over on your stomach before pulling up your ass into the air.

The large object at the foot of the bed covered by the sheet hasn't escaped your attention. "What's that?"

Simon follows your gaze, to the covered mound. Silently, he pulls away the covering to reveal the contraption underneath.

A fucking machine.

"Wow, fuck. What are you planning?" You gasp, already squirming in anticipation.

Simon steals your focus, turning your head back into the bed. "You'll see."

His hands run over your naked behind, trailing down your legs before he gets to work gently attaching a spreader bar to your ankles—preparing you to be able to take the dildo attached to the machine. When he's done securing your ankles, he gets to work on securing your wrists together so you're truly helpless.

You squirm as you feel the lube drip onto your exposed holes, his finger working the slick into your pucker and preparing you. Your head spins, as you begin to anticipate the machine fucking your ass, until you feel the cold metal of a plug and Simon's hand holding your rear. He works slowly, opening you up on a finger or two until he can get the plug inside. With that done, he leans over, close to your head.

"Love you." He mumbles as he presses a kiss to the top of your head. "Safeword?"

"Red." You confirm, relishing in the feeling of being so safe with your boyfriend and dominant. "Love you too, Si."

"Good girl."

He gives you a once-over, checking everything is in place, before he moves away. Next, he gets to work on moving the machine, you can just see in your peripheral as you crane your neck that he's moving things around—and then you feel the tip poke at your entrance, positioned so carefully so as to not truly enter you.

"Fuck." You shiver with anticipation, trying to wiggle back onto it only to be met with strong hands stilling your hips.

You're already so needy, you're barely able to think of how the evening might unfold or what this will all lead to. Right now, you just want relief. "Are you gonna turn it on?"

"Not yet."

You crane your neck to watch as Simon leaves the room, leaving you exposed and anticipating.

The conversation between him and Johnny in the bathroom is muffled, barely audible over the blood pumping in your ears.

When they make it to the room, Johnny is being led by Simon, due to the silk wrapped around his eyes. Simon lays him face down on the bed next to you, pulling off his towel and leaving him exposed alongside you. Johnny's already rock hard in anticipation, his cock rubbing against the mattress.

"Why's he blindfolded?" You ask, brain trying to piece together what is happening, what Simon has in store.

Upon hearing your voice, Johnny's hand twitches, wanting to reach out to touch you but knowing instinctively he isn't allowed. Were it not for the blindfold, the two of you would at least be able to share meaningful looks.

"For the surprise." Simon mumbles, as he starts to gather lengths of rope to tie Johnny up with—by the looks of it, your boyfriend was going to be bound head to toe beside you.

"Oh, so I shouldn't ruin it?" You giggle, teasing Simon with the fact you could disobey and give the game away before he's ready.

Your words are met with a scoff, and you watch Simon scowl as he pauses. "Not unless you want to trade places with him."

As Simon gets to work tying Johnny's arms and legs, you realise very quickly that the last thing you want is to trade places with Johnny—at least you're seemingly in more of a position to get pleasure tonight, whereas it seems Johnny might get denied. You also realise that when the blindfold comes off, Johnny's going to be fucking furious.

"Am getting tied up, ooh." Johnny coos, his tone playful as his lips curl into a smirk.

You watch, fascinated, as Simon works deftly, securing the black rope over every inch of Johnny's gorgeous body.

"If it helps, Johnny, I'm a little restrained too—ow!" You don't get to finish your sentence, as Simon cuts you off with a sharp spank.

"What did I say?" He growls, attention turning to you for a moment to fix you with a steely glare.

You pout, but bite your tongue from giving any further hints—you know what's good for you, after all. "Sorry, I won't give anything away, sir. Promise." Hopefully, the groveling will keep you in Simon's good books.

"Yeah, could still be anything." Johnny comments, conspiring with you to keep you out of trouble—bless him. You had a feeling the two of you won't be so allied in a few minutes.

It becomes clearer to you with each second that this setup is one of Simon's games to play you against one another, and tonight you're the lucky one, rather than the punished. Of course, it's all only temporary, and in the spirit of everyone's enjoyment—outside of the bedroom, you all try your hardest to never create imbalances between you.

"Jokes on us, he's gonna tie us both up and leave us in here, so he can get some peace, Johnny." You joke, trying to keep the mood fairly light.

"'m getting close to it." Simon is back to grumbling, as he finishes up his binds on Johnny's limbs. "Safeword?"

"Red." Johnny confirms, his expression turning more serious.

Simon presses a kiss to his forehead before he gets to work on undoing the blindfold."Love you."

"Love you—" Johnny's words are cut off as his eyes flicker open, and he takes a second to crane his neck around to take in the scene beside him. "—bastard."

"Don't like what you see, Johnny?" Simon chuckles, low and full of mischief, as he walks toward the bottom of the bed, standing near the machine that is so close to working its way inside you.

"Fuck you." Johnny snarls, his eyes looking angered and desperate as he meets your gaze. He is, as you expected, furious.

And you hate that his reaction makes you leak—he wants you so bad, and he's being denied, completely at Simon's mercy.

You want to get fucked so bad, whether it's by Johnny or the machine or Simon, you don't care. But tonight, you know the only thing getting stuffed in your cunt is the dildo on the fuck machine. "Please, sir, please turn it on." The words rush out of your mouth before you can stop them, need coursing through your body.

There's a low growl from both men before Simon speaks first. "Tell Johnny how much you want it." His words are accompanied by him adjusting the dildo at your entrance, getting ready to grant your wish.

Johnny's eyes soften when you look to him, but the fury within is still evident. You hope he sees the softness in your eyes too, hope he can see how helpless you are right now under Simon's spell that is making you complicit.

"Johnny, want it so bad... fuck." You wiggle once more, trying to get any kind of relief. Johnny grits his teeth through the next part. "Tell him to turn it on for me, please."

Another growl from Johnny as he thrashes against the mattress, unable to really do anything at all. "These fucking ropes, as soon as I get—"

His sentence is interrupted by your moan, loud and uninhibited as the dildo breaches you, working itself in at a tortuously slow rhythm.

Simon is messing with the controls in your peripheral. "How's that?"

"Slow." You whine, desperate for more already. The machine picks up its pace, fucking into you more steadily as it strokes against your insides. "T-thank you."

Simon makes his way back to the side of the bed, standing behind Johnny as he taunts the man with his touch, stroking his face delicately as if to subdue and tame a wild animal.

"Is it better than him?" Simon asks, leaning into your field of vision.

You look up at him, mind hazy and unsure what response he wants. Does he want you to humiliate Johnny for him? Is he going to make you say you prefer the machine just to exert his power and control?

Simon senses your hesitation, your need for guidance in this moment, and his hand comes to stroke your face, much like he is already doing with Johnny. "Just looking for the truth, pet."

Your eyes flicker back to Johnny's, noticing the way they shine with something other than anger—fear and humiliation, as he waits for your response. Poor, sweet Johnny, already being broken down into submission by Simon.

"... No." You whisper truthfully, gaze fixed on Johnny, so you can catch his relief.

Simon tuts, walking back to the controls to turn them up as if to try and change your mind. "Shame."

The machine's pace increases, ramming the dildo into your cunt faster and faster and forcing the moans out from your pretty little mouth.

Johnny turns ferocious once again. "Yer not seriously gonna leave me here while a machine fucks ma girl instead of me?!" He pleads, desperate and mad and so confused, and yet still working his hips into the mattress for relief.

"Your girl?" Simon snarls, returning to tug at the roots of Johnny's hair until his head is floating off the bed.

Johnny swallows, winces at the sensation, and attempts to correct himself. "Our girl."

Simon throws his head down with little regard, as if he's disgusted to even have touched your other boyfriend.

"My girl." His voice is all growl, threatening and territorial as he crawls onto the bed, ignoring Johnny and his need in favour of yours. "Here's how this is gonna go, Johnny. You're gonna be a good boy and stay there."

You hear the cap of the lube open, and slick sounds as Simon lubes up his cock—both you and Johnny are breathless in anticipation.

Simon's fingers then work the plug out of you, and you know exactly what is coming next. You're about to get double penetrated, while Johnny lays there and watches, powerless to stop it. He's wanted both men to take you at once for so long, only to be denied.

Now it was going to happen without him.

You feel Simon nudge his cock at your pucker, spreading around the lube there and chuckling at Johnny's livid reaction.

"You're gonna stay there, and me this machine are gonna fuck her better than you ever could."

#simon ghost riley x reader #soap mactavish x reader #ghost x reader #simon riley x reader #soap x reader #ghoap x reader #call of duty x reader #john mactavish x reader #john soap mactavish x reader #call of duty fanfiction #call of duty fanfic #kinktober #soap x ghost x reader

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iintervallum · 1 month

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Sometimes I think about how the dndads cast should be on tumblr, with them having a subreddit(you know how they can be) and dndadstwt being like 10 people, tumblr would be the perfect place for them to see more of the fandom, if they wish to that is. Since quite a lot of people on here are way less honed in on negativity than reddit and twitter.

My edit of this is getting long lol so I'm putting it under a cut

Especially reddit, the people on there honestly I think just get too attached to a specific format or way of doing things, its a common pattern in any long running show fandoms i've been in where its reddit that constantly complains about the "good ol' days" and hate any new changes made. I would sometimes drop in and just see a lot of Scary hate at times, or people getting very irritated with the rule breaking, or just complaining that they're "forcing" the humor. I saw a post like that when i just started s2 and that couldnt have been more incorrect (yeah the piss jokes got a bit much but every other part was golden!...pun not intended)

There were absolutely points where I felt my interest wanning, but I think people would get pretty vicious about it and make a lot of mean spirited accusations. Like if anything the things I really enjoyed about this season was how different it was to s1, the contrast was really nice and i liked a lot of the story choices made, i still think about the apollo four teens and the fucking goof realm episodes, they were amazing. Which is why I remember thinking it was odd that they suddenly started involving the dads from s1 more, but knowing now that Anthony was struggling with people not liking this season as much it makes perfect sense.

Idk if it were just me, but i liked the earlier parts of the season for how the teens were still kind of discovering more about themselves and through gathering each anchor, learning more that their parents are people too, with their own fuck ups revealed and the teens have to clean up after them, so having it shift to be about Willy again was a little odd if i'm being honest(I didnt hate it but a repeat villian is hard to do, and for what its worth i think Willy did get the end he deserved and i loved the finale).

Funnily, in its own way it fits the theme of being a teenager and having to live up to your parents expectations. In a meta sense this being the successor to the first season and it being awkward at points and having issues with its identity is very fitting and just like how teenhood actually is.

I've gotten off topic but my point is fandom is just fandom, and letting it influence the way creators can view their own work is an interesting side effect of the internet and the way we navigate with the media we enjoy or hate. And spaces like reddit are grown in a way to encourage more brutally critical ways of analysing media which has very little consideration for the creator. By no means am I saying that the creators of things should be coddled, heck I literally airing my own annoyances with the podcast in space where i'm uplifting the positivity of tumblr over those spaces lol. I just mean that seeing the more genuine side of the fanbase would be more of a better time for them.

EDIT: (I just phrased things better, fixed the spelling and grammer errors and added more thoughts) The more I ruminate on this the more I think that it would honestly be a good idea. Like I do get the base worry of being too close to the more intense side of the fandom, as people on here are unafraid to gush about the show in ways that can be a little much and theres parasociality and all that jazz.

But it would be really good at least to see some actual genuine positivity, so many people provide their thoughtful meta and theories that even if widely off base are just interesting to read through because of how various different people see themselves in the characters they play. And even the critiques people give are not unkind, they come from a place of wanting to understand the choices made better.

I mentioned this in the old version of this post but having a blacklisted tag that only the people who don't wish their post to be seen by the cast use, something along the lines like how the magnus archives fandom has "do not archive", would be a very useful tool to create a barrier in the fanbase. I know i'm someone who feels very nervous about creators seeing the posts I make. Something like "not safe for dads" could work well or any other joke or pun about it being hidden. I doubt it would be filled with discourse or whatever it would mainly be people hornyposting since i know fandom well enough lol.

#aster.txt #dndads #dungeons and daddies #i think people understandably may not want the creators of things here because it's very fandomy #and that sort of known idea that the creator could be seeing what you post can make people be less honest #at least i never feel comfortable with the creators seeing my posts about things i get shy over it #like idk it's embarrassing lol: they know now how much i enjoy the thing they make #I've edited the post!#Please reblog this version instead its more comphrehensive to my actual thoughts #that arent just a half assed post i put randomly in the main tag #dungeons and daddies podcast #fandom commentary

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fire-of-the-sun · 10 months

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Ilsa and Ethan: There's Still Hope

Spoiler Warning for M:I7!

I'm sure a ton has already been said about Ilsa in the new movie, whether it be lamenting her loss or developing theories as to her potential return in the next film, but here are some contributions I've been mulling over. This isn't going to be an exhaustive list of reasons why she's still alive, but I will try to address some and add my own thoughts into the mix.

I agree with the discussion that one of the best clues of this all being a fake out lies in Ethan and Ilsa's reunion near the beginning of the film. Ilsa plays dead during the fight and Ethan momentarily believes it before she attacks him and reveals herself to be alive. As it stands, this looks like a foreshadowing to her eventual, real death, however, I think it instead acts as setup to her still being alive. I think it's clear that her death fakeout exists to give us clues to her eventual return as well as deflect audiences from even considering it as we're trained to accept that foreshadowed events that transpire in most stories would simply be the end of it, but this isn't a typical story, this is Mission: Impossible, and nothing is as it seems and this film establishes that that's more true now than ever.

And if you're really going to kill Ilsa off, why do a fake-out at all? Why not just have her die later without warning and really shock the audience? Why already have the fans ruminating on the possibility early on and telegraph it long before it actually happens? Consider Julia's "death" in M:I3. The film starts in media res and there's a strong sense of tension throughout the whole film knowing that that's going to happen. Julia is going to get kidnapped and possibly die no matter what, but it's okay to spoil this scene in advance because she doesn't die. Because why would you tell the audience that's going to happen right away unless there's going to be some kind of twist where she lives? What's the point in watching the movie if you know that Ethan is ultimately going to fail and it's going to have a tragic, unsatisfying ending? Julia's death fakeout is a tactic meant to trick him and the audience and make him feel like he's lost only for the twist to be that he ultimately wins and Julia remains alive. I believe a similar tactic is being used with Ilsa which has the potential to be a very well-executed plot twist rather than a disappointing one if done correctly and not completely abandoned in the next film. I actually think that without the fakeout and just a sudden and completely unexpected death I'd feel more worried but, as it stands, I think the choice (among many others) actually serves to legitimize this all being fake.

After all, the best twists are ones that you can see coming if you're really looking for it and that's okay. It's okay that we've figured it out - that means the director ultimately did their job right. Some viewers, especially more casual fans, are taking what they were shown at face value and not considering there's any more to it. They're falling for the trick and that's fine too, because a good twist is one that is set up in a way that leaves clues but also remains largely hidden especially as the audience isn't looking for it. A magic trick that deflects us from seeing what the magician is actually doing. When Ilsa shows up in the next film, some people will feel rewarded for their observations and others will finally see all the pieces click into place that they disregarded before and both be satisfied, but I digress...

Another huge scene to look to for clues lies in the team discussing the severity of the threat and really cementing just how difficult it's going to be to trick the Entity before the party. I think it's very possible that there are missing conversations here that we will not be privy to until the next film as Ethan would never let his friends be in such danger without having a real plan on how to protect them and the audience always knows what the plan is so when things go awry we're aware the complications were unprecedented. In this case, we really have no idea what they're walking into, nor do we see them effectively prep for it. Unless I'm forgetting something, why did Ilsa need to be at the party at all? Why would Ethan put Ilsa in danger like that for no real reason especially after already enduring those brief, agonizing moments earlier when he truly believed she was dead and had to consider a world without her in it and knowing that Gabriel has taken someone from him in the past? Ilsa is her own woman and can do what she wants, but we don't see him even trying to protest her inclusion and voicing fear for her safety for her to even refute.

The scene where Ilsa meets Ethan on the balcony afterward is incredibly short and could feel tacked on given that there's no real lead up to it, but it could very well be the aftermath of a heavy conversation where - feeling burdened by the weight of what must be done - Ethan leaves the room to think and Ilsa follows. She looks particularly chipper here despite the seriousness of what's going on and I believe her benign comments about Venice are purposefully meant to distract Ethan in an attempt to cheer him up. Notice how he shakes his head a little after he answers, like he knows what she's trying to do before giving into her and hugging back. She's calm because she has faith in the plan while he's nervous about it. As a side note, I think it was a touching detail to have Ethan return to this same balcony to grieve (publicly).

We also see Ethan and Ilsa looking at each on the boat before he takes her hand on their way to the party. This, of course, acts as yet another sweet gesture to showcase how strong their relationship is at this point but, again, Ethan doesn't seem that happy. This isn't a relaxing date (which they deserve), he looks tense as he takes her hand. Notice how he's fidgeting as he strokes her fingers and rubs his own fingers together in his free hand. It's like he's trying to hold onto her as much as he can knowing what's going to transpire and, once again, Ilsa looks like she's trying to comfort him by stroking his hand back, never taking her eyes off him. It's a nice continuation of the dynamic of their previous moment together.

And, if this is truly Ilsa's last outing? Why hold back on basically every aspect of it? If it's truly Ilsa's last fight, why not make it her biggest, baddest fight yet that showcases all of her skill but also begins to feel truly unwinnable? We've seen her face intimidating foes before, so if she's truly going to meet her match, you really need to sell to the audience that all her usual tricks aren't working and let us see on her face that she knows she's losing this fight, which would also help build a sense of dread. I've only seen the film once at this time, but I don't recall her looking too worried at any point at the party or during her fight with Gabriel. She's a brave and skilled woman of course, but she seemed incredibly unfazed by it all, almost like she knew how it was going to go. I want to add that there's no way of knowing for sure when entering into any fight that you're guaranteed to survive. Gabriel could have stabbed her anywhere and there'd be no way to anticipate that beforehand but, as I've seen pointed out, her hand is also on the knife when it plunges into her chest. The only way to know for sure where the blade would go to look deadly but still survive it would be to guide it there herself and that seems like something the skilled Ilsa would be able to pull off.

And if it's truly Ilsa's end, why not go out of your way to make it as sad as possible? What if Gabriel leaves her just alive enough for Ethan to find her and they have a heartbreaking final moment together where they perhaps exchange a line or two before he watches her die? Of course, to add insult to injury, the grieving process is pitifully brief, focusing more on Grace's reaction than Ilsa's own friends. Why not have a stronger reaction from Ethan, Benji and Luther that absolutely breaks the audience's heart? Just compare Ethan's reaction to Ilsa's death to the assumed death of Julia in MI3, the other love of his life. Yes, technically, that was a very different situation and Julia was his wife after all and Ilsa isn't, but they don't even compare. Heck, we even get to see Ethan mourn Lindsey, a friend, in M:I3 longer than Ilsa. I understand that the movie can't languish in sorrow for too long and Ethan is used to compartmentalizing to get the job done, but this is also one of the biggest losses he's suffered and right on the heels of proclaiming to his friends how he'd never let anything happen to them. This is also the longest movie in the series so far and it has no excuse for skimping on the aftermath of the death of one of its biggest and most beloved characters. Ilsa's death is sad but leaves you feeling more empty and disappointed than utterly devastated - at least for me.

We've also seen Ethan act before, as is a necessary skill for a spy, and I think the fairly subdued reaction to her death speaks to his ability to act realistically sad (he's had practice for this exact situation too as he's probably channeling all the awful things he felt when he believed her to be dead at the beginning of the movie) but also speaks to the fact that it's not actually real because if it was I think it'd be a far stronger reaction. Yes, Ethan could just be becoming desensitized to losing people after enduring it so many times but I don't think he'd hold back for Ilsa. His partner. His equal. Someone he loves deeply and offers his only chance at a life beyond this. That chance, that love, that happiness, are now gone forever and that's not something you just take in your stride.

And yes, maybe Rebecca needed or wanted out of this franchise to film other projects but that's only more reason to give her the best sendoff you possibly can and I don't think anyone, not even the director himself would be able to admit that this was worthy enough of her character and respectful to Rebecca. If even her final fight was, for whatever reason, purposefully undercut, then what else did the director choose to take away despite having so little to begin with and why? If, historically, it's not in his nature to pull something like this based on his previous work in the series and his own passionate comments regarding the character, why would he now? It's the overall lack of care in regard to her character all of a sudden that makes it all feel fishy.

And if this is it for Ethan and Ilsa, why not push the romance? Instead of just a hug on the balcony, why not feature their first kiss or, at least, a much longer conversation that cements where they really are before it all gets taken away? If the director attempted to include a kiss in the past but scrapped it because it wasn't the right time, he probably intended it to happen eventually. Why not sneak it in right before she dies if these are their last scenes together anyway? Maybe a kiss would only serve to telegraph her demise further by making the audience more nervous about her fate, but it also would have made it even sadder knowing they had finally reached that point right before she died. If the intention of all of this is truly just to make Ethan and the audience sad and it's going to hurt one way or another, you might as well push it as hard as you can to achieve the desired effect. Regardless, I believe that when she comes back in Part 2, they'll finally get that well-earned kiss and that's what the director is waiting for.

But why have Ethan lose another woman he loves at all? Why watch him go through an entire series where all he does is lose lovers only to have him ultimately end up alone especially after developing the perfect romantic partner with him and getting audiences on board with it over the course of multiple films? It all just feels unnecessarily cruel and, as it's nothing new for him, what is it really adding to the story or his character? Losing another lover is predictable at this point but bringing one back and actually letting him be happy? Now that would be a twist! What a triumphant moment it would be for Gabriel to see Ilsa return in the next movie (and perhaps have a rematch) and realize that he's the one who'd been duped? That the Entity is not infallible? That Ethan has been one step ahead of him this whole time?

I don't think I'm alone when I say that the best possible ending for the series and Ethan's story is to get to live his life with Ilsa given he wasn't able to with Julia, trusting the IMF in the hands of new operatives like Grace to carry on in their stead (notice how they focused on that other new recruit during Ethan's introduction as well like they're preparing him to pass the torch). He finally gets to go with Ilsa like she asked him in Rogue Nation and in Fallout and they both finally get out of the game and live happily in the peace that they helped ensure and so deeply deserve. Ethan has sacrificed his own happiness to save the world so many times, why can't he and Ilsa finally get to find some happiness with each other? This series has had it's bittersweet moments but it's never been a tragedy. The conflict is meant to feel insurmountable (it is called Mission: Impossible after all) but the heroes still win and get to be happy and I expect that to continue to be the case in the very end.

Now, I understand and agree with confronting real consequences as we face our final antagonist of the series, but I would honestly predict an actual death from Luther or Benji in the final film - staples of the series and longtime friends of Ethan - that would hurt the audience too but not steal a future from him and perhaps Ilsa's "death" is also meant to deflect from the real death that's coming which would still, naturally, makes things very bittersweet. That being said, if this series wanted to continue to lean into happy outcomes over sad ones, then simply having Ethan get to live peacefully in the knowledge that he was able to keep all of his friends safe would be enough for him and for me.

As of now, I'm actually feeling hopeful about the potential for Ilsa to return. I think there are currently more viable reasons for why she could still be alive than dead and I think it would vastly improve the story they're telling rather than take away from it or feel forced because, as it stands, the execution of her death does feel less than the caliber of what this series is capable of and a surprise return would certainly remedy that. It wouldn't feel like a gimmick given the nature of the series, nor do I think it would undermine the death scene we got since it didn't have any impact on the plot and barely any on the characters anyway. Ilsa returning would improve things, not take away and if this all works to bring her back, it will take what was a lackluster plot point and unceremonious exit of a major character to a brilliant showcase of subterfuge both for the characters and the audience and the latter sounds more like the Mission: Impossible I know.

The first time Ethan faked the death of a woman he loved to protect her; he lost her. Now he's had to do it again and this time, he'll get her back. There's still hope.

#mission impossible #mission: impossible #ethan hunt #ilsa faust #ethan x ilsa #ilsa x ethan #mi7 #mi7 spoilers #mission impossible dead reckoning #mission: impossible dead reckoning #ilsaethan #mission impossible dead reckoning part one #mission: impossible - dead reckoning part 1 #dead reckoning part 1 spoilers #julia meade #luther stickell #benji dunn

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ot3 · 4 months

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The Flower That Bloomed Nowhere: Poignant, Mind-Bending Sci-Fi Yuri at its Finest

I went and wrote a review for the Flower that Bloomed Nowhere covering the 5 categories Royal Road requires for it's advanced reviews: Overall, Story, Style, Character, and Grammar. I figured I would crosspost it here as a sort of companion piece to my Flower rec post. If you haven't read Flower, give this a once-over and see if it might interest you. If you have, please consider leaving your own review over on Royal Road to help give the story the glowing reputation it deserves.

This review contains no spoilers.

Overall:

Flower accomplishes what I believe is necessary for all great sci fi to accomplish; it provides a world that feels real and prescient enough for its political and philosophical questions to be meaningful and compelling, without just being a futuristic re-skin of contemporary conflicts. Additionally, it manages for its character-driven storytelling and its complex worldbuilding to compliment and reinforce each other. The character writing feels deeply informed and enriched by the story's political context, and the political context is woven in to the story in this matter rather than running parallel to the murder mystery. It's all inseparable. Additionally, Flower wears its influences on its sleeve without sacrificing any of its unique identity. It skillfully pulls from its sources without being derivative of them, and truly synthesizes the ideas its working with into something new and bold. It is an unflinching work, that categorically refuses settling on any easy answers to its own questions.

Story:

Flower is a mystery story, and it is exacting and thorough about providing a breadcrumb trail for the more theory-minded red string Pepe Silvia types among its reader base. If you, like me, aren't much of a mystery buff and have no interest in solving the mystery yourself, there's still more than enough compelling stuff happening in the story outside of that context that you can enjoy letting Flower take you on its ride. To me, Flower is about getting to watch the complexities of Su and Ran's relationship unfold alongside the political and philosophical complexities of the world they live in. It weaves a compelling yarn about mortality, and what the consequences are of a desire to live without the corresponding means. Its ruminations on death run the gauntlet from brutally cavalier depictions of suicide to existential machinations that attempt to claw all of mankind away from the inevitability of an end.

Flower is slow. This may be a turnoff for some people, but the time it takes is clearly deliberate and does not feel wasted. The parts where I was least engrossed were the parts that were more bogged down in the murder details, but considering this is a murder mystery that sells itself as such, it would be insane of me to criticize it for including genre conventions I'm just not personally fond of. Fork spotted in kitchen, etc. Despite being slow, it is not poorly paced. New revelations about the characters, setting, and underlying mystery are drip-fed to the readership consistently enough that reading feels rewarding. You're not left with the impression that the narrative is detrimentally withholding information in order to artificially encourage continued readership.

Style:

We spend the vast majority of Flower on the receiving end of first-person narration from our protagonist Su. First person can be difficult to pull off, but Lurina nails it here. There's an intimacy and vulnerability to Su's narration as we see all of her worst traits on full display, with the truth of her actions and their motivation trickling in as we begin to peel back the layers of her character. But there's still room for deception, if not dishonesty, in Su's narrative. Very in line with the way Flower questions our ability to ever know another person. It reminds me a lot of how the same subject is explored in Omniscient Reader's Viewpoint which has similarly effective use of first person albeit in a strikingly different context.

This all to say that the style is perfectly fitted to what the narrative is trying to accomplish. Su's narration is suitably pessimistic, deeply prone to navel-gazing, and often judgemental. The biggest stylistic issue I tend to see with first person is when the more descriptive parts stop feeling like a character's own observation and analyses, really jarring you out of their headspace, but every bit of exposition we get throughout the course of the story is so painfully Su. It's a delight to read.

Character:

Oh man is the character stuff here fantastic. Su is Harry DuBois for girls who realized they were lesbians in middle school. No, but seriously Flower is definitely up there alongside Disco Elysium in terms of portrayal of mental illness that have personally resonated with me. On top of Su herself being a peak insane woman in fiction, Ran, Su's best friend by circumstance and right hand man in their personal quest is a fascinating character in her own right. Slowly peeling back the layers of their relationship and beginning to understand what the dynamic between the two actually is has been my favorite part of reading Flower and it's definitely some of my favorite character writing of all time. Flower's supporting cast is an absolute blast as well. Lurina does a great job of writing characters who I almost definitely would not want to hang out with but nonetheless love reading about. The characters don't fall into stale archetypes and instead have enough little details and quirks that make them feel plenty human.

Grammar:

The finicky technical bits of writing rank really low on what I care about in a story unless there's a particularly egregious amount of errors. Flower has some typos and grammatical issues, but with a work of this size that updates regularly and doesn't have the privilege of professional editing services, I think it'd be pretty unrealistic and unfair to expect it to be typo free. None of it has ever impeded my ability to understand or enjoy what's happening in the text, which is really the only standard I hold self-published/ongoing works to in this regard.

TL;DR:

Flower is good and you should read it if you like insane women or when characters take a break in the middle of someone trying to murder them so they can have an impromptu political debate.

#the flower that bloomed nowhere #flower

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arcadekitten · 3 days

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[MY WISHMAKER Spoilers!]

I just played MY WISHMAKER last night and I loved it, so I wanted to give you my thoughts!

Arcade, you are SO SNEAKY AND CLEVER!!! I saw those promo images and was like "oh dear, he has a gunshot wound, what happened?" only to boot up the game and find out HIS WHOLE ARM WAS MISSING! You really can't tell when he's facing right, so I applaud you for hiding it so well.

I LOVE how sassy The Wishmaker is! I was expecting it/them(? I'll just go with them for now) to be kind of highfalutin and regal 'cause they're a deity and all but I really love how you went in this completely other direction! I think it does make sense since The Wishmaker obviously has to, like, grant people's wishes (in some way at least), so having a more casual manner of speech would probably make them less intimidated.

Also! I loved how you implemented the QTEs! I feel like it spices up the gameplay and is a nice little nod to your fans who played My Neighbor Enide. Even though I messed up all of them, though I SWEAR the Vas one was not my fault! I was mashing that Z button for dear life, but my laptop decided to type it into Edge for some reason!? I didn't even have it open!

Oh, and I see you were able to figure out the mouse movement? You said you'd have to move around using the arrow keys, which I was fine with, but I was pleasantly surprised when I booted up the game and I could move with the mouse too! It really completed the experience.

I don't really have much to say about the story, not because it's bad, but because it's so shrouded in mystery that my cogs are still turning as to what it could mean. I did really like the puzzles, though! And I did notice those key items you hid away...

I have plenty of theories I've been ruminating on even before MW, but I don't wanna put them here because 1) since this is an ask it might make you feel obligated to comment on them somehow which you are not and I don't want you to do, and 2) I think I would start rambling and make this ask a mile long LOL.

That's about everything I could think of off the top of my head! Overall, I really enjoyed it, and I hope you the best in all the other chapters and games you plan to make. I'm sure I'll enjoy them just as much, if not even more. Take care!

Haha yes! ♡ I know some people have been asking why Reginald has two arms in the promo images and it's like...it's meant to be a surprise, silly!

Also for our little Wishmaker character, yes! I adore them very much and I'm very excited for people to see more of them and learn their real name!! Another one of my favorites to be sure ♡ Not sure how I'll tag them in posts yet until their name reveal... clock, maybe? Just to avoid confusion? This character can be referred to with any pronouns, but for clarification that in games and in my posts they will only be referred to with "they" and the occasional "it"

I'm happy the QTEs are received well! (Granted they were a bit harder at first haha!) I'm happy to include them in future chapters as I feel future chapters will definitely be more linear and dialogue heavy and so I hope they can spice up the gameplay and keep things interesting and maybe just a tad more immersive! ♡

As for mouse movement controls it's kinda like a "Well yes, but actually no". You CAN move using the mouse if you really want to but you also have to be aware that you could accidentally hit an object's hitbox and activate its event. And you can't back out of an event once it has been activated like in typical point-and-clicks. (There's only so far I can push the engine with my experience level!) It's for this reason (and the surprise of QTE's!) that WASD/Arrow Key movement is recommended!

Thank you so much! ♡ I am so very happy to hear you enjoyed the experience and I love to hear what people have been brewing up regarding the story and the mysteries still unfolding (even though I can't say anything about it yet!) and I can't wait until I can have more to show you all! I'm really excited for it and I hope everyone will be too! ♡♡♡

#MY WISHMAKER #MY WISHMAKER Prologue #MY WISHMAKER spoilers #reply

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jacksmusesdrv3 · 4 months

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Your twin theory stuff has been going on for quite some time, have you considered making a run down on it because it’s a bit hard to find all your points and information on it because of how long you’ve spent on it and I’m very curious but struggling to put it all together

(Alright, take two since I got stuck for a loooong while)

This is a basic explanation of the Ouma-Monokuma twin theory! I will do my best to condense the concepts down in a way that flows simply and is easily understandable, but it will be hard to cover everything while keeping to the most relevant information. So if this doesn't do the job, I might finish the much longer meta on ao3 at a later date, in which I will cover… everything I possibly can, no holds barred and without the blog links. Which will take considerably longer and need very careful execution. (Yeah, this is the short version…)

General disclaimer: this is a view informed by at least six years of trial and error, ruminating in canon for patterns and their meaning. Through all this, I recognise that it is still a theory, and it doesn't make others’ ideas less meaningful. All the same, I need you to understand that this theory and its analysis is fundamental to my view of Danganronpa as a whole, not just my feelings about Ouma. And in my opinion, the presence of bad writing in DRV3 does not negate that view, either. So if you believe that it does, I hope we can agree to differ on our reader responses instead, after all is said and done. Thank you.

Alright, with that out of the way, dropping this under a cut as it's lengthy. Though rather than a lot of detail on what this means for Ouma's character right now, I'm going to dig through the surface with the basis of reframing, roles, academy history, psychology, narrative style for the mastermind, and the broader consequences, with feelings from my perspective to wrap up. I hope that will help give a perspective of the theory world, so that any evidence I give should fit easier in the future.

⚠️ Reader discretion is advised- this content details abuse further on and will be marked like this! ⚠️

[‘Then this story's not over.’]

The way I see this situation is basically like a 3D sculpture with two different pictures- ‘the fiction’ and ‘the conspiracy’. That is to say- in the ‘fiction’, there are things that are effectively motifs or throwaway remarks (such as, Ouma's comment about having a brother in his FTE), but in the ‘conspiracy’, they become clues to a hidden interconnected situation. A puzzle in the meta, essentially.

To begin, I’ll outline components of this framing, as these are necessary to understand how this turnabout works.

Catbox world: the question hanging in the air, 'is HPA fiction, or is it real'? What would the consequences of the latter be for the game and outside world of DRV3? In order to begin answering this, I think this way:

Domino effect: 'when you learn a new fact, you learn something else along with it'. Ex: if HPA is real, a very large and clandestine organisation may also be real, since one was connected to HPA's library. With that possibility opened, there are… a lot more potential threads coming from it.

Unreliable narrator: is there something Shuichi is missing? In Ouma's lab, along with the complete history file there are monitors and a hatch, and in his dorm room there’s a whiteboard with pictures and notes scrawled on, the latter two Shuichi doesn't even notice. There are things he cannot verify too - such as Rantaro's odd memory of the forgotten Prologue - which is left up to us, the players.

Contextual reframe: with the new information, we can infer for example that record keepers of the past are made obsolete, and since the HPA history was in Ouma's lab, this could make him a viable record keeper. If TDR's agenda is with historical record, its identity may be the secret society involved in conspiracies. This can greatly affect some of Ouma's comments in hindsight- one relevant to this is his FTE remark about ‘tricking the entire world’.

With doubt already on the most basic aspect of the 'fiction' narrative (that is, ‘HPA is fiction’) we can apply this principle to the Flashback Lights and by extension, the idea that the cast must also be fiction, too.

Ex: Shuichi and Kiibo were made to see the Flashback Light panel in a way that was rigged up to be seen- it should not have been visible to multiple persons, so it's likely to have been tampered. We know Shuichi to be helpless with computers, so he would not be able to verify if anything else is amiss (ex. Kubs Pad and other options being withheld). What's more, with ‘fiction things’ - such as the Shukuchi method for Ryoma - being relevant in both the ‘weird backstory’ and in the main narrative, there's a possibility that some of the Lights are real memories or at least closely based on their real experiences.

[‘A liar like me knows their own kind.’]

When you reframe the context in an excessive manner like this, it can also affect known roles, even events and relationships. I reason it beginning like this:

Tsumugi becomes a patsy for Monokuma. Just like the fake Makoto in DR2 led the narrative to trap Hajime, Tsumugi misled others similarly, with incomplete knowledge of her own cospox. That is, her cospox being real in the sense of the effects on her person, doesn't necessarily mean that HPA is fiction, because it's about her perception

Kiibo becomes a patsy for Monokuma, someone whose true (military) nature was obfuscated to himself on a metaphysical level, via code-hijacking. This means that high-powered functions he has are strange to him, and he’s easily manipulated into believing lies about his function (such as ‘strength of a senior citizen’, and the ‘audience surveys’ that he cannot verify)

Ouma becomes Monokuma’s double, like Mukuro taking the identity of Junko, as the monitors and hatch are a direct parallel to Junko. This means that Ouma has a deeper relationship and notably intrinsic connection to Monokuma as well as less freedom from him, likely has extensive knowledge of everyone, and has his own memories. And from that, an incentive to guide people he considers his friends, to minimise himself and his own struggles while working against Monokuma subtly, even to manufacture his disappearance in ch5 to take the fight to Monokuma alone

Shuichi becomes the ‘shadow mastermind’, like Izuru- the ‘traitor protagonist’ who sealed and sabotaged the group’s will to live, while losing his memory of that. This is reflected by Chapter 1's case, wherein he had created the perfect setup for Kaede to enact her own plan to kill, and had conflict over his actions that he had tried to shut away. It also provides context for Ouma being especially wary of Shuichi, noting on the whiteboard to ‘be cautious’ of him, especially if he has a relationship with Monokuma as well.

These are the big four as far as the mastermind agenda is concerned, but another interesting role-reframe is the Monokubs. Remember that Shirokuma and Kurokuma were fragments of the mastermind, and Shirokuma’s role in UDG is to deceive the player? What if the Monokubs had such a situation, split up into comedic personality fragments? Were the melodramas telling some sort of story as well- the story of Monokuma?

If so, there may be some clues from them. But first…

[‘Designed like a school’]

As to the academy’s lost mystery, it’s possible it was originally an experiment. Rantaro’s hunch was that there was ‘someone behind Monokuma’, and in Salmon mode he points out that Monokuma could have ‘taken over the facility’. A bunch of files in Shuichi’s lab suggest that the culprits of the scenarios were noted for their ‘tricks��, likely pertaining to their Ultimate talent.

A concerning matter is that the details of the Gopher Project’s plans were crossed out, with us unable to see why youngsters of Ultimate status were required. Doubly concerning is that Ouma himself appears to have amazing, even supernatural ability, demonstrated in ch5 with his scripting- a talent such as that is in line with Junko’s abilities.

Speaking of that, it must be said that Junko's true ability was left a mystery by the game's end. It was also a subject of much curiosity by HPA, so if Ouma is a supernaturally talented person, that could speak volumes as to his own position. His status as an 'invisible Ultimate’ alone raises questions as to why it has to be hidden, or rather, why he has to obscure it. It could be that he is oppressed by the talent system itself, and if that's the case, perhaps he is its guinea pig along with V3's Monokuma. But it's not just about Ouma's ability- if Monokuma too had a similarly strong supernatural talent and/or circumstance, that could explain not only his posing as a ‘god’, but Angie’s mysteriously intimate knowledge of others' personal ideals through such a ‘god’. That is, if she was possessed by someone with knowledge of the cast's ideals, and who was exploiting them in the Love Hotel.

Moreover, if Ouma and Monokuma were supernaturally gifted, there's a good possibility that if the vault clues were a layered clue symbolic of them- the ‘light’ and ‘dark’ Monokumas depicted on the ‘twins’ clue for the vault - then they were not only siblings, but twins- identical twins. This allows for another ‘report card misidentification’ a la Junko-Mukuro, while the Flashback Light panel refers to the ‘Gamemaster’ rather than ‘ringleader’ (meaning an identical double could interact with it), and from a lore perspective, twins were known in Danganronpa Kirigiri to be the subject of (highly unethical) research, and identical twins would be the most sought after for genetics reasons.

Such research could eventually wind up creating Ouma and his brother - seemingly the highest of any known talents - through a form of eugenics, not unlike Byakuya’s backstory. From there, there's no telling what could have happened…

[‘Eh…?’]

Now I can get to the psychology behind the bear. If a person behind Monokuma had such a past with this academy, traits can be speculated:

⚠️ Content: incest, child abuse, sexual abuse, psych torture/institutionalisation. ⚠️

Vengeful: in ch2, Monokuma suggests he may hate the cast for something, and tells them to ‘work for the answer’. Interestingly, Monotaro (leader persona) makes note of ‘red lies’ in the Salmon mode, and red lies are for revenge.

Extremely traumatised and mentally ill: if it is Ouma’s brother, and he’s wearing a straitjacket, this could imply institutional abuse. Monokuma’s behaviours in ch3 (a mental shutdown) and ch4 (depression) could denote severe mental damage, and having the academy cleared of bugs gives credence to him having an affliction with bugs like Ouma ( foaming at the mouth and passing out).

Depraved: in ch4, Ouma noted he would ‘strangle the one he loves’ to ‘keep his eyes on him’, and appears to play a similar threatening, possessive role in the Love Hotel. Implied in the Monokubs’ melodrama, Monokuma may have coerced his own sibling into having relations- though he may have forgotten his sibling entirely due to trauma.

People pleaser: Ouma says that he ‘lies to entertain people’ in his Salmon mode ending, which could reflect his persona (Monokuma)’s desires. It may be that his desire to ‘not be boring’ feeds into this persona, too, as it's something so serious to him that it was shown as basically a dying wish.

In this sense, the mastermind can be similar to Monaca- as she took control over the city (while Monokuma stated to have taken over the country), became mentally ill as a result of the abuse inflicted on her, lied (about an injury) in order to make her abusers nicer to her, and became depraved in a way childish and sadistic (in how she toys with Kotoko and Nagisa, for instance). There's also the narrative effect of obscuring her trauma with unreliable narrator, and even Monaca’s own warped sense of humour that obscures it in tandem.

[Twin with supernatural talent (Junko Enoshima), a result of experimentation (Izuru Kamukura), childishness complex (Monaca Towa) and all combined (Kokichi Ouma)]

For narrative styles, DRV3's Monokuma is a culmination of approaches to make the game’s mystery truly warped to its core. Taking the masterminds’ actions from the past games:

Junko selectively picked photographs to sow discord about the group’s reality

AI Junko (a plant by Izuru) tried to lead Hajime into making a choice without proper context

Monaca led Komaru through a growth journey to use her for impact at the end

These can be attributed to:

the Flashback Lights- some real, others ‘rotten apples’, but overall context is dubious

the ‘It is fiction’ declaration- may be a leading question, again with dubious context

Shuichi’s ‘confidence growth’- that makes him more credible to those watching outside

(As for ‘context being dubious’, it should be noted that the Twilight mystery has a similar vibe in terms of how it is chopped up and misrepresented on the first viewing. This is particularly interesting when you factor in the mixed Kubs Pads giving other characters information.)

Speaking of ‘using’, Monokuma talks about how someone could be used by expressions of gratitude. In parallel to this, Shuichi is talking about how he was happy to be ‘useful to others as a detective’, and regards their gratitude personally. But it’s concerning that Shuichi and his history is a topic for ‘Monokuma Theatre’, when you factor in what Monaca did in UDG.

The basic concept is: with Monokuma’s agenda towards the end being to throw out foreshadowing and mystery - to deny its purpose - he wants you to make the decision of ignoring the heart, discarding the mystery and the path to the answer. In this sort of vague and unnerving way, a ‘hidden mastermind’ is like a progression of Monaca’s style. Symbolically, Shuichi’s journey seems to be one where he is on the fringe of going astray the entire time, and in this reading, he ultimately does with the loss of the game's mystery.

What follows is the player's re-examination of the canon context and in this case, a ‘salvage effort’ of what was lost. And ultimately, in the quagmire of broken context, Ouma's mixed relationship with Shuichi is fuel for thought, because his cryptic behaviour - like the game he plays in his FTE - keeps you guessing on what he's been trying to say.

[Members… of what?]

So, factoring in earlier recontextualisation - of the large organisation likely spanning the world - is the idea brought up during Ouma's FTE, that I question like this: could Shuichi have joined a nefarious organisation after all, and following in Salmon mode: is there any indicator Ouma has concerns about Shuichi’s intentions in general (that is, regardless of whether or not his past self would have been capable of less-than-moral decisions)?

What about others in the cast- a Prime Minister who had run away from her post, a military robot, a super inventor, an assassin? An artist with odd brainwashing powers, a musician with the ability to connect to others’ hearts through music? Because given that the DR2 group had affected the world with their talents after being manipulated, it's possible that the V3 group’s talents had a similar part to play, too. For instance, Kaito’s FTE detailed the possibility of communicating with aliens, and trading technology with them- and as it happens, there is notably a very weird technology in the academy, capable of ridiculous feats. This kind of unknown in the narrative speaks of a whole world that we barely know, even now.

If this kind of world is what Ouma is burdened by, something beyond the protagonist's understanding, that too is a story waiting to be told. And his strange interactions with Shuichi could be at the heart of this story…

[‘Just hit the reset button on your feelings’]

As for the relationship with Shuichi, that is particularly difficult to give in evidence- partly given the culprit in his backstory, and how if Monokuma was that culprit - someone with a strong agenda against Shuichi - that might link to both twins. But due to the death of one of the siblings in that backstory, it warrants a supernatural idea such as resurrection, that has yet to be proven viable in-universe. If we remember Angie having a weird supernatural air about her though, and that she was implied to be in a cult, you could still infer that cults were involved in the supernatural. It’s entirely possible that a high-profile cult had come to the point of using resurrections, although that’s very much deeplore, as is the supernatural in general.

So while I can’t say too much about technical lore, like with the organisation, I can talk about the vibes I have with the theory, to focus on a sense of grounding in character instead:

“Ouma and Monokuma are both sidelined by the narrative. A not-insignificant part of that was caused by Shuichi in his past, even if he was led into the cause unwittingly, and the actions of Shuichi’s present self in missing memories. As a result, Ouma is in a nerfed position during the game despite his supernatural talent. Unable to say anything without surveillance, he is under a great deal of stress and pent up, ambivalent feelings - not least towards Shuichi and Monokuma - that he tries mostly to deflect. After all, it would not do to give too much away, and ruin his own plans.”

I have a detailed ‘song lyric analysis’ of sorts to tie to this, as a way of exploring feelings. Part of the reason I’d go this far, is Ouma as the designated ‘narrative scapegoat’ has always just fit well for me, given that the cast is shown to struggle with their treatment of him. Even leaving analysis aside, I feel it would be very satisfying (cathartic, even!) to explore an angle where he was suppressed, and that his position was legitimately the consequence of others actions right from the start, making the whole ‘pretending to be a villain’ situation even more painfully ironic.

Plus it would be a welcome change from the notion of ‘misguided morally-grey antagonist who needs to change’, in my opinion, as Ouma’s unchanging self is something I hold particularly strongly. So instead of the arc of drastic change, the thing to explore would be how he functions and struggles with others (in mundane as well as grand ways), and also gets them to change, to understand him. It would also be interesting to expand on the theme of talent abuse, to have a Monokuma who was a product of the corrupt talent system- rather like Izuru was, but this time fully present in the narrative, and in tandem with someone else connected to him.

Overall, I feel that a situation where the protagonist thinks he’s won, while a mysterious someone has been struggling in the sidelines to affect change, is a real goldmine for a mystery situation. Especially from replaying the game, and picking up odd signs that something may not have been what it seemed. There may not be much to go from there (as things stand right now, at least) but the palpable frustration means that through this perspective, I can - at times very viscerally - imagine Ouma’s frustration and powerlessness. That alone colours the game and the interactions in a whole new light for me.

I hope this helped clarify at least some of what the heck is going on- and why I would even see Ouma this way at all, if it’s so convoluted. I have struggled to put it into words all this time, but with the pieces flying in my face from every direction, it’s hard to not try putting them together. I usually don’t game on Hard Mode like this, but something about Ouma compels me- whatever Kodaka’s intentions, I believe him when he says Danganronpa V3 is without end.

Thank you for reading!

#drv3 #kokichi ouma #monokuma V3 #V3's Theory of Vengeance #king horse twins #long long long!!#SERIOUSLY FUCKING LONG #LONGER THAN THE 'HORSE TWINS' ONE #I'm really trying to run down on everything necessary #but I'm losing track myself honestly #so uh. I hope this helps!?!#dr psychology #other dr #talent oppression

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makapatag · 4 months

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ruminating on the leftism that guides much of my thinking. i'm avoiding the very common pitfall of simply applying theory (written by people benefiting from colonialism a few hundred years ago) to living conditions here in the neocolony of america and looking for ways to actually apply historical dialectic into here--it takes a lot of self awareness because as with all things the majority left position in the philippines is based off of joma sison's MLM-ness and the struggle for a national democracy, which has now kind of devolved into a ultranationalist jerk off between colonial intelligentsia and constant protesting and rallying. whenever they are challenged by the state, the main response is that "everything they've been doing is completely legal" and that nothing they've done is wrong. of course, paradoxically, as Mark Fisher writes in capitalist realism, much of this ends up just reifying capitalist reals and borders, and neatly squares away activism into yet another portion of capitalist life. activism (now also commonly romanticized by so many of those in the middle class to the petty bourgeois) is now subsumed into capitalism.

of course, from my point of view, doing something is better than doing nothing. i've participated in the movements of the national democratic mass organizations of the PH (anakbayan, etc.) (and still do, though my capacity has become limited and i'm focusing on supporting the communities closest to me for the time being) but they're increasingly becoming a sort of ideological stepping stone and for the most part i believe they have been completely subsumed into capitalist ideology.

i think the philippines is largely mostly just capitalist now, even with some modes of tenancy in the countryside seeming feudal, it operates entirely within a capitalist mode of view and application.

i don't subscribe to the sort of unilinear evolution of societies espoused by some soviet theorists (the classless -> slave -> feudal -> capitalist -> communist thing)--a lot of classical leftist and marxist theories can be pretty easily seen as sort of eurocentric. that's no bash, that's just the work of limited perspective. future marxists like fanon expand the marxist perspective greatly, though they seem to be largely ignored by the white bourgeois in my experience

i think ph leftism should be a lot more aware of local ideas on society, and use that to sort of influence and shape their leftism. a lot of leftists sort of scoff at "precolonial studies" as sort of cute at best and absolutely ethnocentric backwardism at worst (many ph leftists know jack shit about precolonial ph and/or seasia in general due to the education system of the philippines and the america-centric culture of the metropoles)

if we apply historical materialist dialectic all the way back to pre-hispanic times we get a treasure trove of societies to contrast and synthesize upon. a shared culture and binding connections with the rest of asia. the ideal state is of course international consciousnesses and solidarity--one that doesn't fall into the trap of capitalist reification through nationalism and the enforcement of the cacophony of signifiers that only serves to reinforce capitalist structures (jingles, voting, art that just regurgitates old socialist aesthetic, revolutionary art that doesn't really say anything because these artists lack proper class consciousness and/or perspective [many ph left artists come from the metropoles after all and/or have been subsumed into nationalist agenda through education systems and the need to belong in communities, art ph being one particularly egregious example that reinforces nationalist signifiers while becoming ignorant of the signified).

all in all the philippine left is completely defeated, as a movement. many leftists adopt anarchist tendencies, joyful militancies, try to live outside of the confines of communism through communes or living in the mountains. if we are to have any chance of challenging capitalism the ph left must interrogate its own biases, interrogate nationalism, review its literature, and then look inward, look to fellow tribes and societies, avoid the interventionist failures of soviet societies, and actually fight for a world that won't just degrade into more wage-labor slavery

"that's idealistic!" if you're shooting for the moon you land on the stars. the direction of the movement is more important than the speed. i fully believe ideological recourse is needed in the ph left--some might even say if there is a ph left still. i wouldn't mind abolishing the idea altogether--the left is still a eurocentric categorization after all. perhaps its time for a new revolution that interrogates current structures, even within so-called progressive organizations, with violent indignation, and finds a way to upend capitalism through a firm grasp in pre-capitalist structures and international ties

#waksthoughts #might get redtagged kapag sa fb ko pinost so #or baka awayin ako ng mga kaibigan kong tibak wahaha #also i hate the socialist aesthetic #that all red thing they keep doing #but that's just me as a seasaner probably

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fortyfive-forty · 2 months

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i've been ruminating a lot on it because i think i'm bad at putting my thoughts into words but i need y'all to understand that while there are absolutely a lot of Not Good Things about the finals being held in saudi arabia for three years...the way people seem to treat is as morally black and white is shortsighted and unhelpful.

realistically the players traveling there will be protected. it may be uncomfortable, it's certainly not ideal, but they will travel there for a few weeks, play their tennis, then leave. there are a lot of women, a lot of queer people who actually live in saudi arabia who cannot just leave, who are actually subjected to laws and social climates...and to me it just seems very disrespectful to that actual lived experience, for everybody to sort of turn their noses up and get on their high horses. of course, if the players wish to opt out, that is their choice, but that is their choice to make. that's their judgement. not ours.

and then, what about a tournament like miami? florida is literally experiencing one of the worst active regressions that i've seen in the us (granted i'm young). things like critical race theory and lgbtq+ ed are being removed from curriculums, rights for trans youth, trans healthcare, etc. are going backwards. abortion rights? gun violence? and yes i know that the laws and climate in saudi arabia are different gravy, i understand that, but my point is, no one would ever DREAM of arguing against hosting a tournament in miami despite all of these issues. and we can extend this to a lot of other tournaments! i mean, all the outrage about fifa hosting a world cup in qatar, but we don't have any of these sentiments about doha? i've seen other people bring up that the finals were hosted in singapore when gay marriage was still illegal there. we've already talked about italy's fascist prime minister. and i could go on and on and on about the war crimes of countries like the us or the uk - is the us not participating actively in genocide right now? where is the standard? if you argue against hosting the finals in saudi arabia for the reason of human rights, to me it seems you have to uphold that standard for the location you do land on. and i can guarantee, you will not find a single country in the world with clean hands.

i want to be clear i am not arguing that hosting the finals in saudi arabia is a good thing, especially for three years, especially because it's definitely going there because of money, and not for any of the "good" reasons i think some people want us to believe about "improving the region" (which is very weirdly white savior-esque anyway). i don't really have an official "conclusion" to this discussion.

what i am arguing is that i think a lot of the protests against saudi arabiahosting the finals are more an example of implicit anti-arab bias and islamophobia, rather than genuine discussion. key word implicit: i don't think most people are purposefully trying to be anti-arab/islamophobic. or at least, i'd like to believe nobody is. but i also think, particularly in the west, there is already so much of this xenophobic sentiment ingrained. and this is why i think it's really really REALLY important to check ourselves when we talk about it instead of just jumping straight to the human rights conversation without a second thought.

i'll say it plainly: i don't think the finals should be held in saudi arabia. but for me, it has more to do with sportswashing, with the dangers of the way money is thrown around in sports, and because i think it's more evidence that the wta doesn't care about player welfare but rather about making a profit (what else is new). human rights are absolutely a concern of mine, but how is it fair to hold saudi arabia to a standard that we don't seem to care about for literally anybody else?

literally look at the us's ugly ugly history, past and present, and tell me why we deserve to host a tennis tournament.

#long post #idk. this is not even all my thoughts #this is long and confusing and convoluted and i'm sorry #but i need y'all to understand it's not as easy as just saying 'oh we can't host it there'#'oh the players should boycott'#it's more complicated than that #and again i'm not really arguing one way or another #i do have my own opinion but i'm not positing that as The Right Choice #i'm definitely open to a lot more discussion on it #because i know i don't have the full perspective either #but i'm tired of seeing takes talking about how 'evil' it is to host the finals there #the way that it's happened and my suspected reasons for it (money)? yeah that's fucked up!#but just the fact that it will be hosted there...hold your horses. slow your roll #saudi arabia is like. a real country with people who actually live there and experience their own regime #god forbid they get to watch some tennis #and again. i just don't think you can ever really talk about these kinds of things and not bring up #the way countries like the us ALWAYS go unchecked #also like. gay marriage wasn't legal federally in the us until 2015. so. were do we go from here

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realjonahofficial · 3 months

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Ruminations on boss monster SOUL power transfer and aging

So, uh. That one bit of Gerson dialogue. What did he mean by this???

Taken from Hushbugger's Undertale Dialogue Dump page on Github.

There are a few different headcanons/theories about how exactly this piece of lore should be interpreted – and, specifically, what its implications are regarding the children's growth rates in different scenarios. So, let's discuss it.

Personally, I'm REALLY not a big fan of the one that implies a boss monster whose parents die would be stuck as a child forever??? For instance, how would this theory of power transfer work with boss monster families that have 3+ children? Because like. Some couples having at least 3 children would be the only way for the population to to ever grow in size (unless we also headcanon that new boss monsters just spontaneously appear sometimes or something, which has absolutely no basis in canon lore). And by that logic, generations of this happening would eventually yield boss monsters who stop aging stupidly young. Not to mention, what about boss monster kids like Asriel, with no biological siblings? Would them getting both of their parents' SOUL power mean they go through super-puberty that turns them into double-mature adults??? So, yeah, not only would this all have pretty horrific implications regarding boss monster dating, but it'd also just be... really cursed worldbuilding that falls apart when you give it in any amount of serious thought. That's why I think it's a lot more likely that SOUL power transfer is simply that: a transfer of power.

I think Gerson's word choice is key here: "causing the child to grow" – rather than "mature", "age", or " develop" – "as the parents age" – as in, "into old age", becoming physically weaker due to giving up SOUL power.

I believe it's FAR more likely that, if a boss monster was orphaned, their growth would be stunted and their power would never reach its full potential – something more akin to malnutrition, rather than them literally being frozen in time; this would also happen, but to a lesser extent, to a boss monster who has to share their parents' SOUL power with more than one other sibling – and, inversely, a boss monster who's an only child would inherit both of their parents' power, growing far stronger than either of them separately by the time they become an adult.

This would also explain Asgore's absurdly high stats compared to Toriel's – like. ok. he has 8 times her total HP??? If we are to assume Asgore started out with similar stats to Toriel, plugging the numbers into the LV-based HP calculation formula the game uses for Frisk – 3/4 base HP + (1/4 base HP * LV) – gives us this equation: 330 + 110*LV = 3500. Solving for Asgore's hypothetical LV, then, gives us LV of roughly 29. Which might not sound that bad... until you realize the EXP required for getting to LV 19 is more than than all of the EXP it takes to get to LV 18 combined. Even assuming the EXP you get from killing just one human is equivalent to killing every monster in the Underground, while also assuming that the amount of EXP you need to level up no longer increases after you've reached LV 20 for some reason... it still wouldn't be enough to explain Asgore's dummy thicc HP bar after killing only 6 humans, if we are to assume his base HP is at all similar to that of Toriel. (Accounting for the possibility that monster history books lied, or at the very least didn't tell the full truth when stating that "not a single human SOUL was taken" during the war just leaves us with another problem: Toriel's also a veteran, and in fact seems a lot more comfortable with the idea of actively going to war as opposed to Asgore's approach of stalling for as long as possible, so if monsters actually were getting insane amounts of EXP by killing humans during the war, how come her stats are still so low? Killing even just a few humans would beef her up quite a bit; again, it's only once the numbers get higher that you see the sharp increase in EXP required to level up.)

I think Asgore was born into royalty, and Toriel married into it. Again: if a pair of boss monsters had only one child, that child would have the combined power of their 2 parents – now, let's suppose a family decided to do that for many generations.... with each new kid in such a family, the base power of the resulting offspring would grow more and more and more, wouldn't it? Perhaps one such family also has the means and prestige that allows them to easily find suitably strong partners for their kids, further increasing the rate at which the family's power would grow. (Also, the idea of Toriel originally being a commoner is further reinforced by the fact that the surname "Dreemurr" is confirmed to come from Asgore's side and, at least as far as we know, Toriel just... doesn't have her her own surname, as she switches to just going by "Toriel" after the two break up. Given that we only have about 3 examples of surnames within the Entirety Of The Underground, it appears that family names just aren't really a thing used within monster society, unless said family is really notable in some way).

...I may or may not be overthinking boss monster biology.

#can you guys tell i've been thinking a lot about pre-war monster society #utdr #undertale #analysis #theory #toriel #asgore dreemurr #asriel dreemurr #gerson boom #boss monsters #monster biology #worldbuilding #headcanon #long post #jonah.txt #id in alt text

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yikes-strikes-again · 9 months

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highlights from my adventures in Area X, totally blind the whole time until i finished Acceptance. Spoilers for all of it.

me being neurotic about spoilers (this is a common theme)

obsessed with how this is my first instance of theorizing. the last two sentences are eerily accurate and i can't believe i said "alien planet" that's hilarious

this is good analysis too bad i was missing a key piece of information that makes my inadequate conclusion actually make sense

middle of Annihilation, first attempt at analyzing Where lies...this is actually pretty close to what I think about the tower text Now except missing the parts that would have never occurred to me without reading further (that the Crawler is Saul and that Area X is not on earth).

aw this is so cute. They don't even know about the first expedition footage with the sky leviathan POV (i have a pet theory that SR used that clip specifically to brainwash the husband. this is supported by his anecdote of falsely attributing memory to lived experience when its origin was television, as a young child)

i was so right

this is so funny. you are like a little baby

this is still Based

The Antics

this theory is so fucking funny considering how much grace hates lowry

this was like the least brutal of my Control roasts. they ramped up considerably in Acceptance

then i stopped reading the trilogy for eight months and had to start over Authority. but i still thought about it. this is me thinking about it.

This was me like a third of the way into Authority. What the fuck. It's not that creepy when you consider the information dispensed by that point but it's still kind of creepy how accurate my actual predictions were when my ideas were still wrong

then i went to sleep and

so true, me. So righteously true. magic IS real and it's coming to fuck up your town

Future me here: Yea it was a red herring

More Control roasts:

CALL ME IMPORTANT THAT'S MY NAME

Fragment of my "Area X clones are agents of germination" theory. I felt so smart at the end of Authority. So in Control if you will. And then

it was fucking life changing. the homosexuals that they were

first drama in the gc...

This is when the amount of Divine Knowledge brought to me by Accemptance started to get to my consciousness. Once i start saying phrases like "the virgin control and the chad ghost bird" and "the Caroline to his GlaDOS" and "everyone is a clone of a clone of a clone of a clone" that's when you know i've lost the thread

more disjointed quotes because i ran out of images:

"the BASED control vs. the CRINGE everyone else is no longer the dynamic because he's not narrating. i feel like i just broke up with him" "so does ghost bird probably"

"The time dilation really came out of left field. Kind of like a "well shit. thats a hell of a mystery no one thought was a mystery and didnt even really need solving. but damn if it didnt just get solved so nice work"" <- me forgetting how hard i tried to solve the mystery of the cellar journals compost

"When they see that reflection of themselves, they despise it, they need to destroy it This series is about environmentalism as much as it could be The need to make Area X an enemy with a pathological desire to destroy says more about the humans than it does Area X. When they see themselves, they hate so much what they see. But I don't think Area X necessarily hates humans at all. Only the biologist/Ghost Bird can even seem to contemplate that. Maybe Whitby could, briefly, in his endless circular ramblings, but that did not quell his fear and hatred for himself" <- rumination on automatic senseless clone violence

at one point i got whiplash from the Grumpy emotion i got from biologist's borderline ecofascism to the Intense Bittersweet of Saul's fatherly attachment to Gloria in light of everything and then the Pain of trying so hard not to laugh at the thought of someone saying "Don't talk to me like I'm an idiot, I'm aware this looks strange" in response to being caught washing a mouse

"phone creature even BETTER than mouse washing" I characterized the phone creature as "little Lowry - his son that he doesn't want" because that amuses me forever

i love how i'm like "i could pass on more of lowry, i'm so sick of that guy" and then proceed to write four Thousand words of meta about him. i like the Theory of lowry. he's a horrible broken man who throws drinks at milves

and i love imagining that everyone who comes back from Area X is a clone no matter what not because that makes any sense but because i get to imagine two versions of every character. i'm like "i love the idea of Lowry being a clone all this time and somehow being protected from the fact by a quirk of his creation. And that he's imperfect compared to Original Lowry in odd ways but SR just chalked up his change to the intense trauma of the event, and if it ever seriously occurred to them they decided it didn't really matter. And if he knew. I don't know what he'd do And real Lowry is a megalodon in the ocean terrorizing plankton instead of lower-tier bureaucrats"

another thought: "I still love the thing that stitches across the sky. I think it's an avian cosmic leviathan, as the biologist is an amphibious cosmic leviathan. You could call it a dragon."

i ended up with a pretty secure Grand Unifying Theory that isn't interesting because you probably all have the same one. It's about the process

my final words of wisdom:

that's the books.

#southern reach #area x #annihilation #authority #acceptance #meta #liveblog #long post #yikes original tag

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