A reminder to all my lovely fellow writers: progress is progress, even when it isn't. Writing four thousand words in a session is progress. Writing a hundred words in a session is progress. Removing an entire scene because it doesn't flow well is progress. Rethinking your plan for the plot in order to get unstuck is progress. Development looks different for every writer and every story.

so on the subject of the "Crowley is secretly Revaan/Laverne/Levin/please Twst give us his name" theory, I think my feelings are best summed up as "I don't really buy it, but it's funny". like, in all seriousness, I'm not opposed to it; I have enjoyed the writing in Twst so far and I'm willing to trust that whatever happens will, you know, make sense and not be terrible. but I'm just not really convinced by the current evidence! maybe that'll change once we learn more, we'll see!

with that said, may I propose a few alternate theories about the possible Crowley/Revaan connection:

My absolute favorite thing about your blog, even more favorite that Vachete, is the care and interest you put into each response. Be it an ask or an art piece, you always eloquently break down each individual aspect and comment on them. It always makes me smile.

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actually I love Tentoo and he is the Doctor and it was the only ending for Rose that worked and it is a huge gift to be able to have the man she loves grow old with her, they were always heading for that, y'all be quiet. I 100% understand the angst but it's okay, they're okay, good ending-

ON THE TOPIC OF BARNABY. as well as his relationship with Wally.

So. To kick this off - Riv (@funonion) and I were Speculating, and they introduced me to the johari window:

They put Barnaby in the “facade” section, and I entirely agree. To quote them;

“So he’s Wally’s guide, right? He’s the “knowledgeable” one of the two and is always the one teaching him new things. And you know, it’s one thing if you’re just teaching him how to laugh or how to tell a joke. But.

Clown has given us two doors. One says that Barnaby understands Wally in a way the rest of the neighborhood doesn’t, and is willing to do his dirty work so to speak. The other says that their friendship was not a natural occurring thing and had to be enforced repeatedly within the show. HOW THAT’S BEING ENFORCED IS ANOTHER THING ENTIRELY but it is worth it to note.

What is Barnaby willing to keep? What is he willing to bury for his little buddy? I can’t say anything definitively yet, but the fact that I even have to ask is telling. The class clown archetype is usually used as a way to cover up for something else a character might be experiencing”

And my response, (I won’t directly quote because I have little things in the phrasing & elaboration to add / tweak );

Barnaby being a Comic Relief Character immediately raised so many alarms in my head. I love comic relief characters. They’re always so fucked up in one way or another, and Barnaby is almost certainly SO inauthentic. He’s wearing a comedy mask just as opaque as Wally’s own mask. In everything we’ve seen about him so far he’s either Teaching Wally, wisecracking/joking, or… pretty much nothing else. We got that moment of concern in audio 14-14, but that doesn’t reveal anything beyond genuine care for Wally.

Comedic characters have the best disguises. Their poker faces & ability to deflect is always top tier [and practiced], and just look at comedy-focused actors and entertainers - so many of them have severe issues, either with their mental health or life. From what i’ve observed both in that aspect & with fictional characters, they play it off & work hard to entertain/deflect [one in the same] right up until the end. Sometimes it’s a coping mechanism. Usually it’s both. If they laugh loud enough and make people think they’re lighthearted fools w/ nothing underneath, no one will look any deeper and thus they’re “safe”. 

& I’m a little suspicious that Barnaby’s red/orange/yellow spots aren’t naturally those colors. While yes, he could be (in-universe) designed that way to echo Ms. Beagle, there’s a strong possibility that that’s not it. What if he paints them to feel a connection to her, or it’s a physical manifestation of Barnaby covering up his insecurities/issues - what if it’s part of him striving to convince the world that he is what he paints himself as. 

The laidback funnyguy with a loving mom and not a problem in the world. 

And I mean, Barnaby claims to be a natural blue and I believe him! But the other colors? I’m doubtful

(I was going to include the Cast As Lil Kids Designs in this since Barnaby has all blue spots, but given how early in 2021 it was posted and how there seem to be little discrepancies from the ~official~ designs, I don’t want to provide it as evidence.)

& on the topic of Wally and Barnaby’s relationship being both real and not - disclaimer, this conversation happened before my Updated Thoughts On Them post, so there may be some minor rephrasing here from what I originally said - I’m sure that the relationship started out as inauthentic. Wally was assigned Barnaby as a best friend and technically vice versa, but I don’t doubt for a second that it became real to some extent. Clown wouldn’t treat their relationship outside of “canon” WH stuff the way that he does if they weren’t actually friends. They’ve said that Wally & Barnaby would be friends in every universe (which melts my heart <3 platonic soulmates my beloved <3), so then I have to agree with Riv. what WILL Barnaby do for Wally? I touched on this in the Milk Theory, but especially if Barnaby prides himself on “knowing Wally better than anything else”, what would Barn do to preserve that?

This relates to another conversation we had - Barnaby possibly having abandonment issues. It’s such a choice to have him of all characters be explicitly stated as an orphan. That and while every other Neighbor with a mentioned family have a somewhat large one (Howdy and his gajillion relatives, Julie and her three siblings, Poppy and her crowded tree [note: Eddie has a mentioned mother, but that info is tenuous and who knows if there are other Dears]), Barnaby has also explicitly stated that Ms. Beagle is his only family. That’s it. And farm life can’t be a sociable way to grow up, not with all the chores he must have had and how rural he might have grown up. Barnaby jokes that Home is the “Big Apple”, which could just be a joke - but jokes often come from a place of truth, and Home might be the most populated area Barnaby has lived in. Who’s to say!

Either way, Barnaby was orphaned one way or another, and I don’t doubt that it weighs on him. Especially if  his birth parents really did abandon him. That added to a possible life of loneliness… I wonder if he’s latched onto Wally emotionally, which would hit all the painful places if it turns out that my “Barnaby is more attached to Wally than Wally is to Barnaby” theory has merit. Abandonment issues could also strongly back the apparent walls he’s plastered over with circus tent fabric

Back to Barnaby & Wally: the fact that, at present, Barnaby and Wally seem to have the best disguises / strongest masks. That. looking at 14-14, i suspect that Barnaby is excellent at keeping his up, but as soon as Wally’s mask cracks, so does Barnaby’s. 

And then there’s the side of their dynamic that we could look at - it seems to be a very multifaceted relationship. The way that Barnaby genuinely cares yet in the 00 Halloween audio Wally was left off to the side and Barnaby was just “checking on him” while socializing (then again, this could be part of Barnaby understanding Wally & respecting his space / Wally wanting a break from that socialization). Barnaby is patient with Wally and yet he seems to sometimes treat Wally as his sidekick / let him fade into the background and yet Barnaby kept checking in on Wally during the 14 bug audios (this last one I could tie into the abandonment issues theory). 

Then there’s how Barnaby calls Wally kid & can tend to treat him like one despite both of them being in the same age group. The way that all of this could, in a way, relate to the infantilization of autistic people (no matter how well-meaning or unintentional) & internalized ableism. 

Note: Riv pointed out that Barnaby does seem to be doing the best with what he has, and that this can connect to the Johari Window’s blind spot / unknown. 

I do agree with this wholeheartedly! And I have to mention that - and making a Very educated guess here - the interactions we’ve seen take place in the very late 60s / very early 70s, so Barnaby’s behavior towards Wally is actually pretty fucking stellar given the time period. We can’t expect him to be perfect or do everything / say everything right. That would be boring I think! And one thing I deeply appreciate about the Neighbors & their dynamics is that they feel like real layered people, not cardboard cutouts being perfect caricatures of what people are “supposed” to be like.

Riv also presented this:

We likely are going to reach a point where Wally asks Barnaby something that he can’t / doesn’t want to / won’t answer. And like.. Ok. This is a slight tangent but I swear it’s related! When I first discovered WH and learned the Wally basics, I wondered two things.

Are we going to watch Wally “discover” new emotions? Because he certainly has them. Clown has said that Wally only ever feels happy, and a lot of people took that to mean that Wally can’t feel anything else. I don’t think we should take that answer at face value, because. I mean. Look at the project & creator we’re talking about. Layers, guys. Indirect direct answers. I think that Clown meant that Wally only ever feels happy in the Neighborhood because he has no reason to feel any negative emotion. Everything is as it should be. Until it isn’t - and I think that’s where he’s going to have to struggle with new emotions as he encounters them through new situations/events unfolding as the “story” starts to deteriorate. We’ve actually seen this a little bit - in Wally’s record audios (i believe the chronological second to last?), the way he says “Let Me In” so insistently. That’s definitely not a positive emotion being expressed. 

How will the topic of death be handled - because it will be handled, it’s stated in the project warnings. I was wondering this even before I read the list, because I was presented with a blank slate puppet character and so went “oh fuck, this dude doesn’t know about death, does he?” Obviously I wanted to know how that would go. I want to know how it Will go! 

How would Barnaby explain emotions that Wally doesn’t know how to convey? How would Barnaby explain death in a way that Wally would understand - given that Barnaby (& all the Neighbors sans Wally) knows what death is  - and would Barnaby be willing to explain such a thing? I have a feeling we may find out.

And in a way, I suspect that if none of them know, Wally will find out himself and have to process it without help. But then again, how can something die if it was never really alive in the first place? Unless the death warning relates to human characters… I’m currently assuming it relates to both humans and puppets. 

In conclusion: Barnaby has a carefully fabricated facade, he's doing the best with what he has but it likely won't be enough, and uh. shits fucked!

i'm saying it. i don't think joly would work in a hospital. i think his medical career would be informed by his politics + radicalisation and his + his friends regular drug use, he would be outraged at how the medical industry handles drug users, also at the medical industrial complex in general, so he would find a reputable community led harm reduction organisation to work for 🫶🏻

I hope this doesn't come across the wrong way but i recently reread the entire familiar au (its as amazing as always!) and its so impressive to see how far you have come as a writer especially compared to the new cult au its honestly pretty inspiring

Thank you! It's truly nice to hear that I've made progress. I mean, obviously - hopefully - I would have after all this time, but sometimes the improvement is hard to see when you're so close to it.

Hey, hey! RnR not requested! (Patreon)

Belobog was my fave main quest but a lot of it is so. Contradictory. It's like they had multiple groups doing different shit and none of them checked in with each other for consistency. And you see this so much in Gepard's profile.

So in the main quest, they made him unfailingly, unquestionably loyal to Cocolia. Gepard's character arc is him learning to question authority etc etc. And this isn't even a bad thing; that's a story worth telling! It makes good conflict between him and Serval! And I love that we got Gepard as a boss battle and I get to see him all the time in SU!

But then you look at his character stories and it's like. The complete opposite.

According to his profile, Gepard has already HAD this awakening, long before the Astral Express, and he'd already decided Cocolia sucks. Even outside of his stories, there's a pretty damning readable between him and Pela.

He even disobeyed direct orders right in front of her- he has been disobeying orders for a while now!

So I've decided I'm marrying the two different sides of this into a 1.5k fic-ish thingy, because I think there's some fun potential there with Gepard not trusting Cocolia, but still having to pretend to be a good obedient little soldier.

Anyway. I love to think of it as like. Gepard knows Cocolia has sunk into her apathy. He can see it in her eyes every time he looks at her. She doesn't care. Not about him, not about Pela, not about all his soldiers on the frontlines giving their lives to protect the citizens. And that's... It makes him bristle a bit, but ok. Gepard can deal with this. Even if Cocolia no longer cares, as long as she does her job then it's fine. Having compassion behind an action doesn't matter as much as the action itself. If Cocolia's heart is no longer swayed, then he'll just have to care twice as hard to pick up the slack. He considers it part of his duty as a captain of the guard anyway. It's fine. Gepard can deal with it.

And then, Cocolia starts coming down to the restricted zone. Issuing direct orders.

And Gepard realizes he is in way over his head.

Because Cocolia orders him to stay back and issue commands from the ramparts, away from all his comrades, away from where he can protect them.

Gepard had thought nothing could be as bad as watching a fellow guard die right next to him. But the first time he watches someone struck by a killing blow, so far away, it hurts. Every defensive scar across his arms itches, his fingers curl in want of a weapon, the cold cannot numb his hands enough as they desperately ache for his shield. It hurts.

Gepard tries to find any reason to stay. Because surely... He knows Cocolia has lost her love for her people, but surely... She wouldn't...

One day, Cocolia orders for their gunners to advance 20 yards. There are no survivors. She almost looks like she smiles.

Gepard doesn't sleep that night.

Pela brings him the report at the end of the first month; and then the month after that, and the month after that. A significant uptick in losses, and all of it started on that first day Cocolia started overriding his authority and issuing her own orders. The ends of Gepard's pens have all been nearly chewed off. Pela outright calls Cocolia an idiot, and Gepard corrects her. Cocolia isn't an idiot. Gepard had known her through Serval, knew her through all her college years and then some, and he knows how intelligent she is. It's not that she's stupid, and it's not that she's inexperienced, it's nothing of the sort.

Cocolia knows exactly what she's doing.

She must, there's no way she could make such a horrible mess of things so badly by accident. And Pela, quick as a whip, sharp as a tack, always too smart for her own good, catches onto the meaning behind Gepard's correction without any further prompting. The tent goes deathly quiet, nothing but the wind howling outside.

"...She's trying to kill us," Pela whispers, her voice swiftly suffocated by the silence.

Gepard swallows. He can't bring himself to correct her this time. There is nothing he could say that he would actually mean.

His gaze drops, back down to his desk and the reports on it. The names aren't listed, just the numbers, but Gepard knows them, knew them, and there must be something wrong, something he's missing, because why, why would she-? What could this possibly accomplish-?

“Gepard! Focus!” Something snaps right under his nose, and Gepard startles, eyes instantly honing in on Pela's irritated face as she leans over his desk. She holds his gaze for a moment before she huffs and begins to pace, wedges a knuckle between her teeth and bites like Gepard hasn't seen her do since cadet school.

Pela angrily strides from one end of his tent to the other, words hissed between her grit teeth. “What are we going to do?” In the dim lighting, Gepard can just barely see the damp spot of blood weeping under her gloves. “We need a plan.”

“A plan?”

“Wh- Yes, a plan! Unless you want more people to die!” Pela rounds on him then, all the wrath of a blizzard, winds roaring and snow sharp enough to cut.

“We don't even know-”

“What does it matter?! She killed-!!” Pela cuts off with a garbled noise when Gepard leaps up from his desk, hastily shoves his hand over her mouth. The prosthetic, not the flesh one, because he knows better than to assume Pela won't seize the opportunity to leave teeth marks in his skin.

“You're right. I'm sorry, I'm sorry; you're right. But you need to keep quiet.” Pela quirks an eyebrow at him and Gepard can read the question in her face. “Because we both saw what she did to Serval,” he hisses.

It's amazing the snow plains haven't thawed out yet, the amount of heat Pela can put behind a glare. The mere mention of Serval, and the smoking ruins Cocolia had made of her life and career, have her bristling up like a riled cat. The sudden hot breath she takes fans fog across his metal skin, and Gepard wisely keeps it in place until Pela finally sighs and reaches up, taps her fingertips against the back of his hand.

The second she's free, Pela bats him away and then her knuckle is right back between her teeth again, Gepard leaning back against his desk with his arms crossed to watch her resume her pacing. “If we spread the word, she'll have us discharged and make sure we can't even touch the frontlines,” Pela's voice seethes like an open sore. Gepard nods but keeps his silence. He knows better than to get in her way.

“And if you and I are both out of the picture, Belobog is fucked.” A little harsher than how he would have put it, but there's no denying that they're both important to the city's survival. Pela has the restricted zone running as efficiently as ever, and Gepard had become the youngest captain on record for a reason. “We need to keep this tight under wraps, at least for now… It can't leak to anyone higher up the chain.” Another nod. “Serval might know other discontents…” Another n-

Gepard's head snaps up. “No.”

“No what?”

“No. We're not involving Serval in this.”

Somehow, even the same tone that leaves entire squadrons shaking in their boots has never worked on her. “You're not deciding that for her, Gepard.”

Pela hadn't seen the worst of it, though, back when his sister had just been banned from the Architects. Serval's pride hadn't allowed it. Pela wasn't the one to find her passed out bottle still in hand, hadn't been the one to wash the sick out of her hair or carry her to bed. 

Serval still has trouble thinking clearly when it comes to Cocolia, still can't quite bring herself to be objective. And Gepard maybe doesn't want her to be purely objective- but he would worry a lot less if she thought twice before she acted more often.

“At least let me be the one to bring it up to her.”

“Whatever, fine,” Pela gestures affirmatively at him as she paces past, and Gepard sighs. Good, at least that's one thing he can help.

From there, it's a lot of hemming and hawing and frustration. Cocolia has them under her boot, and Gepard and Pela both know it. Even with the way she's been cracking down on freedoms lately, Cocolia is still, overall, liked by the people. It's unlikely anyone would believe them. They don't even have solid proof, because most people don't know Cocolia as well as they do and won't see the clues in the same light. 

The Fragmentum has been ramping up in recent years, too. Everyone is struggling just to survive as is, they can't afford a fight on two fronts. Gepard is a damn good captain, one of the best for that matter. But they're at a massive disadvantage, his experience is narrowed to fighting a defensive battle against monsters, that's all he's ever done. That's all anyone there has ever done. He has no way of finding first-hand knowledge for taking the offensive against a human opponent, and if he goes at this blind, there's no way he'll get everyone out unscathed. He's going to lose people. He's going to lose a lot of people.

He'd never thought before that Cocolia would have it in her to have someone killed. And with this new knowledge, he has no guarantee she won't go after Serval or Lynx if she decides to retaliate.

Gepard has to remind himself to breathe when he realizes this.

Pela writes down every name the two of them can come up with. Lists and lists of names and groups and anyone they can think of who might be an ally in all of this. They memorize every bit of it, make their plans of who to talk to and when. Gepard watches the sparks reflect off Pela's glasses as they burn the evidence together.

Pela finally leaves, far too late to make it home, but says she wants to stay in the restricted zone anyway to investigate. Gepard watches her make her way in the direction of Dunn's tent, watches her back until she's out of his sight and squashes down the urge to follow and keep an eye on her. His tent feels empty.

In the morning, Gepard is up before the wake up bells. He drags himself out of bed, leads his soldiers through their morning training. The same people gravitate to each other everyday. Friend groups and training partners. There's an ongoing rivalry between a few squadrons that everyone bets on. Some of them have lockets around their necks, keepsakes, mementos. Some of them wear wedding rings.

Gepard is suddenly, painfully aware of something acidic clawing at the inside of his throat, of a heavy weight low in his chest that blooms, takes up room until it threatens to spread his ribs. His mouth tastes of bile and blood.

He rearranges the schedules. Puts himself down for every open patrol into the Fragmentum, makes sure he'll be on the frontlines every single time Cocolia visits.

He only hopes that it's enough.

Okay, a good amount of time has passed, and after having seen this post by @weretiger-be-my-horse , I've been turning it over and over in my brain going absolutely feral over this concept. I need to expand upon my thoughts on this idea and all the evidence there is pointing towards it, whether that be actual tangible things, or purely strong vibes I have.

First of all, full disclaimer: I did not like the season 5 finale, and how it wrapped up the DoA arc. To say that I "disliked" it is putting it extremely lightly, in fact -- I absolutely hated it, and I am still, to a degree, in disbelief that I actually even watched those 24 minutes with my own two eyes, and that it somehow wasn't a complete fever dream. While I'm not going to go in long-winded detail into all the ways that I feel like the finale almost completely bastardized all of its featured characters and destroyed any and all buildup we've had going on in this arc for 50 some chapters now, because that's not the main point of this post, I will not make any attempt to hide the fact that the theory-crafting I'm about to pose here is partly influenced and prompted by how much I hated the finale, and how much I desperately hope that it will not end up being manga canon. Therefore, if you enjoyed the finale — and that's fine! — and don't want to read any negativity about it, then I would not recommend reading any further (I mean, you've probably already left by this point, which is fair lol), While obviously it's important that I be as objective and unbiased as possible when explaining my thoughts, some of my negative feelings about the writing will be a part of this analysis, even if this isn't going to be a full-blown rant. Just know that if you proceed.

With that out of the way, let me continue.

So. In the aforementioned post, the theory presented is that the anime may be operating on an alternate timeline, and that this will become evident once we read the upcoming October chapter, wherein things will go completely differently post-chapter 110 than they do in the final episode — probably for the worse, with the s5 finale intending to lull us into a false sense of security and make us assume that everything in the manga arc finale will wrap up as smoothly and consequence-freely(? lol) as it did in the anime one. It also suggests that the Fukuchi we see at the very end that sskk are fighting came from the manga timeline, where he won, and that he used the Book to jump to a timeline where he lost, the anime one, proven by the fact that this Fukuchi is wearing a mask with the same design on it as the mask Fukuchi is wearing on the chapter 110 DoA color spread/title page.

First of all, I want to note the fact that it's not just the mask design that's the same: the entire outfit is roughly more or less the same as well. It's not completely 1-to-1, because the anime can never fully match the intricacies of Harukawa's beautiful outfit designs, and the Fukuchi in this scene has the kimono half-off because of the... super saiyan mode he's in, but most all of the main pieces of clothing are there. Any small inaccuracies could also be attributed to the fact that Harukawa probably didn't have this finalized art ready back when this episode was being made, so the animators wouldn't have had the complete design to work off of. But in general, because it's all so similar, I think we can quite confidently say that the ending episode Fukuchi is meant to be the one from this manga art.

Also, people have pointed this out, but it's worth mentioning that the mask Asagiri wore at Anime Expo in July was referencing this Fukuchi. It's not a crucial detail, but it just proves more that Asagiri is a gigantic fucking troll, and that he clearly wanted to draw attention to this Fukuchi design. It's important. He describes the mask here as made in the motif of an ellipses inside a speech bubble... could that perhaps be referencing meta aspects, like the Book?

Next, I want to talk about the even bigger elephant in the room, which to me is the most damning and undeniable piece of evidence there is of the anime operating on a completely separate timeline from the manga:

This Fucking Hand™️

As we all know, in the anime, Fyodor injures his hand when the password input device blows up, and as we all know, this does not happen in the manga. In the last episode, Dazai claims that the final nail in the coffin of his impromptu plan to kill Fyodor relied on this hand injury: because Fyodor couldn't pilot his escape helicopter himself, he would ask one of his Meursault vampires to do it for him, unaware that Bram and thus this vampire was now on the ADA's side, and said vampire could kill him while his guard was down.

Ignoring how utterly stupid and contrived this plan is when you stop and think about it for more than two seconds, the fact of the matter is that something that initially seemed like nothing more than an odd but inconsequential anime original addition ended up snowballing into being the entire reason one of the big bads was brought down. If Fyodor hadn't hurt his hand, he wouldn't have needed another pilot, and so the traitor vampire wouldn't have had an opportunity to get near him and kill him without him expecting it even though said vampire was presumably with him as they were leaving Meursault, and was probably already a traitor by then, so there was plenty opportunity for him to still die. not to mention by Chuuya's hands at literally any time he wanted to, because Chuuya was coherent the whole time. Also there's absolutely no way Dazai could have known exactly what Ranpo would do, no matter how smart he is and how much he trusts him. idk it's fucking dumb, just roll with it. Therefore, putting aside all other variables for now, we can conclude that, on the most basic level, this signifies that no hand wound = no death.

And let me tell you, this hand wound bothers me. It really, really does. Because they focus on it a LOT — they go out of their way to draw attention to it MULTIPLE TIMES, from the moment it first happens to the end of the season. Fyodor even talks about it to himself, about Dazai being able to cause him tangible, visible, bodily harm, (something that, again, as far as we've seen, has never happened in the manga). Hell, even after Fyodor's death, they're still drawing attention to it, because his right arm is all of him that survives, and Dazai picks it up and gives it to Nikolai to do his hilarious sad little gay fondling of it played completely straight even though there's nothing straight going on here at all! It's like it's a big red flashing sign at all times going "you see this injured hand? This is important. Are you picking up that it's important? Are you taking note of it?" Why is that? Obviously, it serves to give us the lore crumbs about Fyodor and "that man", but that's hardly the main, much more glaring reason, as I've already mentioned.

Fyodor doesn't hurt his hand in the manga. Fyodor won't die here in the manga. I am so dead serious by this point about this, and it's not just simply the fact that this was absolutely not at all the time for him to die, or the fact that his hand is the reason for his death in the anime in and of itself, but how much EMPHASIS they place on this, and on the hand in general. What would be the point of adding something like this, if it's not meant to alert us to the fact that it has a major impact on how the story plays out? We all know Bones: they struggle to get right and include everything that's already there in the source material; they would never go out of their way to add something this noteworthy if there wasn't a very good reason for it, if it wasn't absolutely necessary. I've seen a few people bring up the fact that Fyodor gets shot in the shoulder by Sigma and that that could lead to the same outcome in the manga, but I disagree: although he has blood on his shoulder in the manga, it seems like the bullet just grazed the top of it, because his arm and hand appears completely functional afterwards (not hanging limp by his side or anything). But that doesn't even matter, because this isn't even about the semantics/logistics of how the hand wound caused Fyodor's death because again, it's a stupid outcome, or what could serve as a substitute in the manga — thematically, this is a textbook example of the butterfly effect. Countless parallel universes exist within this series, ones where even the most minute differences lead to a majorly different outcome: this just happens to be one of them. There's no reason to think it isn't, and there's no reason to not think that the anime wants us to clue into the fact that things only went as smoothly as they did on the Meursault side because of this wound; in other words, that things will go very differently in the manga thanks to the absence of said wound. They wouldn't have added it in the first place and put such clearly deliberate emphasis on it otherwise.

Things are going to happen very differently in the manga, at least when it comes to the Meursault crew (but then, if you assume that, you then naturally assume it all will be very different). This is the only conclusion one can come to with the presentation of this anime-only wound, combined with the fact that parallel universes are a very real thing in BSD.

I'm going to go on a bit of a tangent, so bear with me. I play a lot of visual novels, and although such concepts aren't really as original now as they were a while ago, some of my favorite and some of the very best VNs out there are the ones that break the fourth wall and make the visual novel branching route format directly intertwined with the story: you know, the ones where the characters go "if only I had done things differently, maybe everything would have turned out better...!" in a wink wink nudge nudge moment, and the ones where the characters are aware of the different timelines, even, or even have the ability to gain information from their selves in said alternate timelines to influence events in their current one (I'm intentionally not naming the games I'm thinking of for the sake of spoilers, but if you know, you know lmao). It gets very meta in this regard, and this is how I started viewing BSD through the lens of ever since I first learned about Beast: like a visual novel with many branching routes, and only a few routes that feel entirely "right".

When I first read Dazai's Entrance Exam, I was struck by how unnerving the ending sequence in the abandoned hospital felt. Obviously, Kunikida's internal struggle over Sasaki's actions and motives is him still desperately clinging to his ideal world that does not exist, but the specific type of phrases he uses — "who is wrong?" "[who is] the cause of all this?" "there has to be an ideal world" "there has to be something, I'm sure of it" "There must have been something we could have done!" — and the framing of the scene in general, is eerily reminiscent of a bad ending in a visual novel, to me. There's a haunting, looming, bleak sense that a different outcome could have been achieved, if different decisions had been made, or if things outside of anyone's control had been different... and we know that this is true, because in Beast alone, Kunikida never goes through the Azure Messenger incident, because Dazai doesn't have his entrance exam. Hell, you could even consider the anime's version of the Azure Messenger arc an alternate timeline in of itself, if you really wanted to, long before we even arrive at season 5.

When it comes to Beast, this timeline has almost the opposite feeling of what I described above, that I've also encountered in visual novels: the idea of a "good route" or "good ending" that still doesn't feel quite earned, or as perfect as one would expect. Beast is presented as the "ideal" timeline purely for one sole reason: Oda is alive. It is the only timeline where he's alive, and keeping Oda alive is the ultimate goal Dazai wants to achieve, the only reason this timeline exists; therefore, disregarding all else, Beast should be the best timeline, because Oda's death is the greatest devastation in the series to date. We all want him to live, so why wouldn't the timeline where he does be the best one? And yet... of course, it isn't. Dazai is alone, and steeped in darkness and loneliness without Oda, and dies by the end of the story for Oda's continued living. Atsushi has Kyouka still, but he's suffering and more traumatized, and unable to heal while stuck in the mafia, and neither can Kyouka. Akutagawa is living a much better life in the ADA... but without his sister, and without what he has from his bond with Atsushi in canon, that isn't replicated in Beast. And Oda... Oda is alive, and he has his children and his novel, but there is a feeling that he is aimless, that something in his life is missing. He has everything he ever wanted, but all that means nothing without what he truly needs: Dazai, and his time with Dazai and Ango at the bar. In this way, things going well and us getting what we want — in this case, Oda living — goes against how it's supposed to be, the natural order, which is why it feels so hollow. In the specific visual novel I'm thinking of here as a comparison (again, shoutout if you know), there's an alternate ending that involves you inputting information you gain at the end of the game very early on in the game, wherein the protagonist now has memories of the future and is able to bypass and prevent all of the events that take place normally. This means that people who die or are hurt somehow in general are saved from that fate, and nothing bad ever occurs; everything wraps up neatly and nicely... but again, there's an undeniable, unsettling feeling of emptiness, of a victory that rings hollow, because what's the point if everything is simply handed to you easily, where's the sense of accomplishment, without any struggles to achieve said victories, or any growth along the way? How can it feel earned if one doesn't have to, in Dazai's words, "scream within the storm of uncertainty, and run with flowing blood"?

You can probably already see where I'm going with this.

This finale feels weird. Really, really weird. It feels too cheap, too simple, too unsatisfying. So much so, in fact, that for almost the entire runtime, as I was bombarded with resolution upon resolution one after another, I kept thinking "There's no way this can be real. Where's the catch? When is the "gotcha!" moment gonna happen? The "it was all a dream" reveal?". And this isn't just because I hated the writing, and that it really did feel like a fever dream watching fanfic levels of bad (actually, that's an insult to fanfic writers, tbh; they could do better) — no, it genuinely feels so incredibly fake. Even upon rewatching it and already knowing what happens, my brain still naturally keeps expecting some kinda of "sike, you THOUGHT!" moment to suddenly appear. It just.... feels "too good to be true". Dazai and Chuuya come out unscathed, and it's revealed that they were never in any real danger to begin with. Fyodor, one of our biggest threats, is dealt with supposedly for good (I say "supposedly" only because of the Jesus line, but if anything imo, I think that's just a hint that this won't be the canon ending in the manga, so in a sense he's going to "come back to life"), and Nikolai seems somewhat at peace with his death. The other biggest threat, Fukuchi, is also dealt with, and he and Fukuzawa get their final moment together of closure. Yes, Sigma is left in Meursault don't even get me started on how angry this alone makes me, and Fukuzawa loses Fukuchi, but overall, everything is portrayed in a positive light, and any negatives or losses are quickly glossed over. Everything is tied up nicely, neatly, and smoothly. ...And that is exactly what makes it feel so wrong, and hard to trust in.

I'm not sure if this will make sense, but to me, the finale is so incredibly poorly written that it almost feels.... intentional. It's so bad to the point of feeling self-aware in how bad it is, how unrealistically happy and convenient an ending it is. It had to end this neatly in order to rush to wrap up this arc for the season finale and not leave the last episode on a cliffhanger — which imo is chiefly the main reason it turned out this way, and, if this whole theory is true, Asagiri just used it to his advantage — and I'm not saying this was probably an effect Bones had in mind intentionally, I'm sure they just threw shit at the wall and went with whatever stuck, maaaaybe with some suggestions/approval from Asagiri, but the result is that you have a conclusion that contradicts so much of what was set up before and goes against so many character arcs, making some characters so out of character and even regressing in their development Dazai. I'm talking about Dazai abandoning Sigma, because he would never; hashtag #NOTMYDAZAI. Also Nikolai, Nikolai for most of that is so ooc I can't even begin to describe it oh my god. Everyone is OOC to a degree though lmao, and opens so many plot holes, to the point that it's impossible not to watch all that and get the feeling that it is subtly saying to you "did you really think it could be this easy? It feels wrong, doesn't it? It doesn't feel satisfying. It feels unearned." I find it incredibly interesting and suspicious in particular that they confirmed multiple theories people had about soukoku in Meursault: that Chuuya slowed the elevator's fall so that Dazai wouldn't die from it, that Chuuya slowed down the bullet so that it only penetrated Dazai's skin and not his skull, and that the both of them used Fyodor's camera angle to their advantage because they knew he wouldn't be able to see certain things from his view. I'm not saying that Asagiri trawled BSD twitter and tumblr after those chapters dropped for the most popular theories before the final episode was made lmao, there was no time for that (imagine though lol—), but I do think it's highly likely that he already had in mind exactly what theories would be made about these parts (I mean, the evidence for the gun scene was all there), and that Dazai rattling them off in his long monologue to Fyodor at the end is essentially him speaking to the audience and going "yeah, that's what you would predict, right? Those are the clichés, after all", much like him suggesting earlier that he can maybe bring Chuuya back to himself with a few moving words and the power of friendship, and Fyodor using the split personalities trope to fool Sigma. We expect these tropes to be true. Of course we'd fall for them, as Fyodor tells Sigma, especially if the evidence is right there. But Asagiri himself has explicitly said that he likes doing the opposite of what people expect. And so just because people predicted correctly with the three things I mentioned in this timeline... doesn't mean they'll be true in the manga's. Things happened how we wanted and expected it to, and everything turned out happily. So we can relax now, right? Everything will work out just as easily in the manga, right? Or... is the reason most of this finale feels so fake and unsettling and unsatisfying because it's meant to lull us into a false sense of security before all our heroes lose in the manga? Because deep down, we don't want an ending that's this simple, because we'd rather have a conclusion where our characters have struggled more and grown more and come out the better for it, and we know it?

After rewatching the episode a lot, and watching some other videos, and doing a lot of thinking, I am pretty confident in suspecting that the only part of this finale that is actually from manga canon, aside from Aya jumping off the building of course, is Fyodor and Nikolai's exchange after Fyodor leaves Meursault — specifically, them talking about Fyodor leaving Sigma behind, and their "new game" and Nikolai being excited at the prospect of it. This little conversation actually feels in character for them, and it's easy to tell this when contrasting it with everything that happens immediately after, wherein Fyodor is fatally stabbed, and Nikolai, completely at odds with what he was just talking about, just... stands there and watches Fyodor die while Dazai monologues lmao. I'm not sure if the helicopter is still a factor, but I would bet good money on Fyolai getting out of Meursault being manga canon, and that Dazai and Chuuya getting out as well and killing Fyodor + everything with FukuFuku, is part of the anime original ending, in order to wrap up everything positively. It makes much more sense if you think about, in reality (aka in the manga), Dazai and Chuuya still being left behind in Meursault (where they can eventually try to get Sigma), because none of it was an act and things did not go according to plan, and Fukuchi having an entirely different goal that doesn't feel so stupid and contradictory to his character, and Fukuzawa possibly dying — everyone seemingly loses, with Aya still being the last hope, perhaps by awakening her ability like we all speculated.

There's a youtuber I watch who covers BSD in-depth, despite being an anime-only (she reads the respective manga content after each season, though). Going into this finale, she knew about the fact that the anime had overtaken the manga, though she didn't know where the cutoff point was; despite that, however, she made predictions about what was from the manga so far and what was anime original, and it was almost entirely spot-on, based mostly on what she basically described as "anime original dialogue." She talked about how you can always tell when dialogue is veering into the realm of anime-original, because the sentences are very short, choppy, and slightly out of character, but generic enough to not be TOO out of character, and so that anyone can easily write said lines, even if they're not extremely familiar with the character like the original author would be. And when I heard this explanation, everything clicked — because so much of this finale has dialogue like that. The Fyolai scenes just feel peppered with it, around the lines I mentioned earlier, the Dazai dialogue does too, and ESPECIALLY shit at the end like Fukuchi and Fukuzawa exchanging the cliche death lines to end all death lines: "Are you there? I'm a little tired." "Rest up." That just isn't Bungou Stray Dogs. That isn't Asagiri. BSD is cheesy at times, yes, but it isn't like this; it's smarter. The dialogue is smarter, the explanations/plot twists are smarter, Asagiri is smarter, and the aforementioned youtuber I watched agreed. She's a pretty casual fan of the series, so if even she could pick up on these things, I think it speaks volumes.

I mentioned this briefly earlier, but this theory makes sense if you consider that this situation probably came about because of Bones wanting two seasons back-to-back when they did, and this arc being as long as it is. Season 3 aired in 2019, and I imagine Bones would have wanted season 4 in 2020, and might have then been willing to wait a bit longer for season 5 in order for more of this arc's manga chapters to come out — but then covid happened. Because of that, season 4 was delayed to 2023, creating the longest gap we've had between seasons, and I wouldn't at all be surprised if the delay made them want season 5 right together with it, after getting so far "behind", so to speak. S4 was announced in November of 2021, and roughly around that time, Asagiri was finishing up writing the plot of the DoA arc. If Bones came to him sometime in late 2021 and said they wanted two seasons now (so basically, one giant two cour season), Asagiri would know that not only of course would this arc not be finished publishing in the manga for a very long time yet, but that roughly 20ish episodes would not be enough to cover it all to the end, with this arc being longer than any arc the anime has adapted to date. Because of all this, and the arc manga chapters being nowhere near fully drawn to completion, he'd have to make a decision about what to do, and what to give Bones. Without ending season 5 on a massive cliffhanger that wouldn't be resolved for years until an eventual season 6, the only other option would be to rush towards an anime-original ending for the DoA arc.... and for Asagiri to take advantage of that, and integrate it into BSD's lore. Thereby creating a truly unique cross-media experience that utilizes the different mediums to create multiple timelines, that could make both the anime and manga interact with each other and become part of a bigger picture (not that you'd need to see both to get the full experience, mind you, just that it'd provide a little bonus if you did).... and would without a doubt be Asagiri's biggest surprise yet.

...I feel like at this point I'm starting to ramble, and my evidence become more and more incoherent and less substantial lmao, so I should probably end this post. 💀 Thank you if you've read this far, and hopefully it made some semblance of sense, despite not being structured very well; I know I promised at the start to try to be as objective as possible and curb my negative feelings, but I'm not sure how well I succeeded in that regard. If it weren't for the Fukuchi thing and the Fyodor hand thing, I probably wouldn't take how wrong and strange and bad the finale feels to me as serious evidence about it being an alternate timeline, especially since I seem to be one of the only people who actually hates all of it.... but combined with everything else, I am just so convinced of this theory being true. It started off as pure copium, but as more time has gone on, I fully, 100% believe in my bones (ha) that there is no way that finale is the same Bungou Stray Dogs I know and love, for so many reasons. It just isn't. It can't be. I know BSD better than this, I know Asagiri better than this, and I know that it's absolutely in the realm of possibility for him to cook up this whole scheme to completely blindside us with in the upcoming chapters, because that's exactly the kind of shit Mr. "Please Be Surprised!" himself would pull. If I end up being completely wrong, I guess I'm wrong, and you can laugh at me all you want then.... but I just know that ages ago people were teasing the idea of the anime operating on a different timeline from the manga, and I truly do think that only now are we finally seeing that idea come to fruition, as a setup for Asagiri going full-bore insanity with the Book in the upcoming arc(s). if I and the OP of that theory end up right, this will be the wildest time in the BSD fandom's history.

Like. I cannot even emphasize how hard they are trolling us at this point. Something is going on. Something is being cooked over there, the likes of which we've never seen before... and I don't think any of us are ready for it.

Oh yeah, and one last thing of note: both Fyodor and Nikolai here have their right arms hidden from view. Is that alluding to anything? I'm not sure. I also think that since chapter 110 was so short, next chapter will likely be 110.5 instead of 111, and if that's the case, this title spread could still technically be associated with the next chapter... wherein we might see this Fukuchi, who ends up wreaking havoc, right before he jumps to the timeline in the anime, as we see him at the end of the s5 finale.

I guess we'll find out on Tuesday.

WOE! object show doodles be upon ye!

idk some doodles and some ss redraws of object shows i enjoy

Odypen definitely and equivalently adore each other BUT I weirdly can't see them as the type to actually say "I Love you".

They still definitely vocalize their love for each other but it's more so in "My Joy", and "Extraordinary Woman", "Strange Woman/Man", etc. And very cheesy lines (both say some cheesy shit in the Odyssey, and he definitely does in the Iliad as well. "Joy like a drowning sailor seeing land" bit???)

I could see "I adore you" but even then, that's probably during very specific moments but the actual "I love you"??? I just typed it just now for fic shit and... It weirdly just didn't feel right and I don't know why. 😅

Idk maybe it's kind of because I see them as over the top in ways, they love wordplay and riddles and I think they'd almost think "...That's not good enough >:( " about it??? I don't know???😂

just a quick ask to tell u it makes me super happy seeing the detail u go into when pointing out stuff u like about other people's art of ur ocs :3 it's so rare to see but it's so so motivating!! <3

Thank you! I don't take any interest for my art for granted, and if someone goes through the trouble of drawing my characters for me, I feel like trying to write a proper response is the least I can do. For a visually oriented person, receiving gift/fan art is a huge deal, it means someone considered my goobers worth their time and effort, they've probably been thinking about them more than a little and found them inspiring in a way or another, and I find that terribly flattering. It's extremely fun and interesting to see other people's takes on them. And I've drawn stuff for people as well, I know how nice and rewarding it feels to receive a response that is longer than a word or two. Positive comments like that can linger in people's minds for a long time, at least for me they do.

astarion stans who refuse to try befriending or even romancing anyone else are the most annoying mfs. "I only romance astarion I just can't relate to the other stories" really? you can't relate to gales deep self loathing? his deep love and loyalty for those he cares about? you can't relate to wylls kind heart and desire to always do good, even if it means he's miserable? can't relate to shadowheart blindly following a god, only to learn the truth and reinvent herself? you can't relate to lae'zel or karlach who were lied to and used as weapons their whole lives, but continue to push on even when they're scared? you can't relate to the overarching theme of authority vs autonomy???

it's not difficult, it's just people refusing to appreciate and explore the game to its fullest bc their manipulative sexy vampire is all they need(something astarion actually loathes being seen as btw). but ok, you can be boring and do whatever you want, but don't lie and say the other stories are bad, because they're not. it's simply a lack of media literacy and critical thinking. because to you, if a character doesn't tell you point blank that they're aware of their situation, it's bad writing. missing the entire point that victims don't always realize the situation they're in. keep in mind astarion and karlach are the only ones who got away from their abusers, which is why they tell you clearly and confidently about what happened to them, fully aware that it was abuse. whereas the others give only their tunnel visioned perspective and speak highly of their deity(not caring about themselves, wish to appease them for something in return).

don't get me wrong (seriously, if I see one person misunderstand me I'm going to lose it) astarion is a good character, but people who only like him need to stop acting like he's the only complex and well written one. stop crying when people with brains call you out for being weird about his ascended ending. the game isn't about him. at least try and show some respect to those who worked hard on the game. make an oc and try new things, i promise the fictional vampire won't care if you don't romance him one run. have a drink with shadowheart, dance with wyll, go to a restaurant w karlach, maybe then you'll calm down.

excuse me i need to Muse on something for a moment

so in Wally's secret 'vinyl' audios, specifically the last few (if we're listening to em in chronological order), obviously he starts to sound more strained/distressed. his breathing is more labored, like it's taking all of his energy to make contact.

but the audio that really caught my attention was the "But i still can't see" one. cause he just said he has more eyes than he did before. he knows We draw them a lot, and it's thanks to that that he can see. but he still can't see?

so my question is: where is Wally physically? cause although he can (assumedly) see the WHRP goings on, he can see through the eyes We draw, that could all be on a, uh... more Intangible level of sight. like the spiral pit is forming an eye, and then there's the eye on the ceiling in the secret Staff Only section - could Wally be in the pit, that space between his reality and Ours, "watching" through the eyes? but unable to actually see with due to the pit being pitch black nothingness? is he somewhere else? is he stuck? he can see, but he can't... see.

(or is he trying to explain an abstract concept - he's not actually viewing anything, but he can sense it. like how he knows We're there, even if he can't see or hear Us. but he just doesn't have the words to describe it other than using physical senses - see, hear, look.)

and him saying "...that I can see. But it is still... I can't..." but it's still what, Wally? dark? something else that he doesn't have the words to describe, so he just says that he can't see?

i know that in the Livestream Trivia Document (compiled by @/the neighborhoodwatch) there was something said about Wally being in a box. my first thought reading that was "oh, so he's in storage? the physical puppet, i mean?" which would make sense - show's over, there's no more use for him. pack 'em up and put him away. but that paired with the "can't see" audio makes both seem a lil... connected.

Wally can't see > he's likely somewhere dark > the inside of closed boxes are dark > Wally's in a box. (or maybe the Neighborhood is the box? it's a stretch, i know, but the map is a box. television sets are often set up in "boxes". maybe it's less of a physical storage box and more of a 'boxed in' sort of thing...)

one question i've had since the Start of my interest in this incredible project is: how is Wally communicating? how has he connected to the site? how does he connect to our reality? the pit almost definitely has something to do with it - most likely acting as a bridge, or the deteriorating of the barrier between our two 'worlds' - but if Wally is in a box and Not the pit or even just in the puppet's reality... how is he reaching us beyond just seeing through the eyes he's given?

or is he in their reality, and he can contact through the pit or something, but he can't actually see the other side? Our side? he knows it's there - that We're there - but none of it is visible to him. maybe his apparent disassociation in the 14 bug audios is a demonstration of him contacting Us. we can see through him, but it's a one way street.

and speaking of the pit - i just had a thought. his whole thing with Us letting him in, opening... the pit on the neighborhood map is getting bigger and clearer. but the presumed Other Side, the one on the Staff Only ceiling, is small. it's the size of a ceiling panel. it seems to me that Wally is chipping away at his side of the pit or 'portal', trying to reach Our reality, but he needs Us to do the same thing on the other side. the QA can hear him calling, but there's no phone on their (Our) side of the pit. how do We call back???

there's a fundamental barrier & lack of understanding between Wally and the QA/Us. he's trying. he wants to be let in, but what does that mean, really? let him in where? open what? he's desperate. he wants us to understand. he's trying so so hard Without the right tools to clearly communicate what he wants. he can't see Us, We can see him, both know the other is there, but there's no way to connect. and the attempts are hurting all parties involved, however unintentionally

[ID: the train hitting a school bus meme. In the first panel, an empty school bus edges over train tracks and is labelled 'writing planned angst' with a train approaching. In the second panel, the train crashes into the bus and knocks it off the tracks. The train is labelled 'different angst suddenly writing itself'. End ID.]