Then the SecUnit said, "They're coming. You have to go." [...] The SecUnit's voice was different from Three's. A different tissue batch, maybe. (System Collapse, chapter 10)

ummm hello can we talk about this?? mb thinks it's notable that not all barish-estranza secunits have the same voice. there are tissue batches, which i knew was a possibility because if you can clone human tissue once presumably you can clone that same tissue/dna more than once, as that is what cloning is all about lol, but...the implications this has?? how many other company units are there out there who are from the same tissue batch as mb?

air put on a cheesy christmas movie and I honestly really liked it. it’s about two sisters who get isekai’d into a christmas movie plot and the younger one’s having the time of her life while the older one hates it so bad. the thing is the older one ends up having a romance with a resident of christmas world and. the guy gives the impression it’s his first week being alive. he does not give the impression of being a real human man. and the thing is he does some stuff that the older sister specifically does call out as being stalkerish and creepy, but it’s written and acted in a way where I’m not immediately like Kill Him which honestly? impressive. the older sister goes like ‘you gave me a hand-drawn card of me sleeping, do NOT watch me sleep and draw me that is WEIRD’ and he’s like ‘oh! got it!’ later he gets isekai’d into the real world with them and when the sisters wake up he just pops up from the kitchen, presumably just lying on the floor, and is like ‘you asked me not to watch you sleep! so I didn’t!’ really really funny. I also like the older sister because she’s a bit of a grouch and is very annoyed at being the side character of her little sister’s christmas movie plot lol

i think in ii, culture has no effect on what type of object an object is

thinking about the very specific reading of isat i had during act 3 for the most part

anyway yeah ill ramble here about this. since it actually explains my headcanons for what the disappearing island wish was

disclaimer: taken as a whole this is way too allegorical for what i'd consider a holistic reading of isat, but it was part of my running theories at the time.

anyway my guess for the real-world equivalent of the island ended up being French Polynesia by the end of the game. I had initially thrown a dart at siffrin being greek wrt europe, sisyphus allusion, enjoyment of plays and seafairing-- but the moment that little guy started getting real weird about stars and specified they were from an island i switched my guess to him being polynesian. And then that reading only really strengthened from there (and i was pretty close, tbf!)

but yeah during act 3, especially the king plotline, i started thinking about the themes of cultural erasure + lack of identity that the game has and how that plays wrt vaugarde's extremely welcoming and diverse nature.

reading far too much into it but it made me wonder if they are the results of a fallen empire of some kind. somewhere that gathered people from across the globe (as empires are known to do) before dissolving into what seems to be a localised theocracy of some kind?

like. vaugarde is basically the Good End for an empire. Fully demilitarised (they barely have use for police to the point where the defenders are surprised by burglaries, and almost CERTAINLY have zero army), extremely diverse, not caring where one comes from.

(either that or they've been a socialist utopia like, forever? and thus just aquired migrants perpetually... but ka bue is characterised as harsher by odile in a lot of respects so one can assume its not that the whole planet is Niceys All The Time.)

this lines up pretty well with the um. Whole France Thing. Boy do they own a lot of islands still that they maybe shouldn't. Also lines up with bonnie's word-of-god french creole dialect. So Vaugarde as the welcoming, ideal form of former-colonialiser-nation is like. one i vibe with if we're gonna read too hard into the worldbuilding as presented.

Anyway all this to say I did for a time wonder if the Northern Island wish was 'For The Island To Be Safe'. Assuming this world to have any level of inter-country conflict-- Wish craft is powerful stuff, and a singular island might not be able to defend itself against those seeking to take it by force. Hiding the island from the world would protect it.

... though that felt like an unusually cruel read. The implication that cloistering away like that is a 'valid' strategy for a culture to be safe (albeit with the splash damage of hurting any diaspora).

Plus, wish craft is superbly powerful, with evidently its use on the island only becoming more widespread after it was discovered how to make it work Consistently.

(i work here under the assumption that Siffrin's growing cloak is imbued with wish craft, assumedly the same as the king's armour? Since there's no way that was created at that scale...)

So it almost makes more sense, to me, for the wish to be to 'Protect The World (universe) From Us' or to 'Keep The Universe Safe'.

Wish craft being so second nature to the Islanders (See: Siffrin, favour tree), that a wish that breaks the universe is almost inevitable were the knowledge to become widespread and ingrained.

This too is an oddly cruel read, that a culture's rituals can be dangerous to that degree, but ... ? Dunno. Like I said, reading it as hard allegory makes it fall apart somewhat. Symbols can mean many different things at once until you flatten them for direct analysis like this. I don't think it's quite so 1-to-1, and it's honestly slightly too 'no story only lore' for my tastes, so I did push a lot of this stuff out of my analytical mind once I started getting to the back and of act 3 and into act 4.

Anyway. Not the most coherent explanation in the world, but still some thoughts I had mid-game that i figure i should put somewhere at least, even if I don't think they are really what the game is going for.

As a bonus, the discussions on what the island wish were in this context also lead my friend @samhainian to speculation on the colour wish that i really enjoy. Which is....

The wish that removed colour from humans perception of the world being something along the lines of:

"I wish the world was simpler"

ergo, removing colour as an invocation of Nuiance VS Black and White Morality. The world is simpler, easier to understand.

I think it's a fun headcanon! I like it.

Well anyway. A work is more than the sum of its parts and dissecting something so sloppily as this often does it a disservice. So don't take my theorising as anything more than a general rundown of where my head was at mid-game before i had all the pieces. The emotional core of the story is far more where it's at for ISAT sooooo. [Shrugs and scampers away]

I’m really inspired by your world building and the creatures you use. I’m trying to kickstart my own world using Celtic, Norse and Scottish myths (it also involves werewolves because they’re cool)

But I’m stumped and a bit overwhelmed. How’d you start your project and what were huge sources of inspiration for you as you worked on The Black Horse?

hi there!!! this will probably get wordy i have a lot of thoughts on this but here's how i built up my inver setting

i had the characters first, and the werewolf establishment was basically the first thing invented about the world. I wrote a decent amount about the characters in the pre-1st draft slush pile just getting a handle on their voices, their history together, etc. the first slush draft was in painstaking chronological order telling of their lives from birth to like age 40 - it wasn't pretty to read but it meant I knew what big moments formed their worldview, their relationships with others, things like that. and then i got to pick and choose which ones would feature in the actual 1st draft, and which i would leave unsaid, in flashback form, or only in the form of vague allusions. the plot and world events changed significantly as i wrote the actual 1st draft so this ended up only being useful for backstory stuff and not book plots, but it was still good to have.

There was an important moment of a character being kidnapped into a faery realm, which is what started me off thinking about fairies in general. they weren't originally a part of this world - it was an undefined space before just for the characters to exist in, because i was (and still am) more interested in the characters than the worldbuilding. but i still like for there to be SOMETHING there in the background, and it gives a lot of opportunities to inform characterisation, so i started to make my setting. I picked the Púca as a pivotal being & major inspiration source to include because of its relatively large presence in the fringes of my childhood in stories told by my older relatives and i like the unusual aspects about it as well, how it has been both heroic and malevolent in different stories. you have to remember i grew up in this culture too, i knew a lot already, and that's what got me thinking of alternate Earth history - as in, the setting of Inver as alternate history, not wholly original fantasy set in a fantasy land.

So then I had to think about the implications of that, and here is where I think a lot of authors adapting extant mythology fall short. A world where faeries/mythological monsters/gods based in real cultures exist and people interact with them is indistinguishable from our own. We already live in a world where people interact with faeries in their own way; I've heard many older relatives recount stories of being trapped in their fields by faeries, how you can only escape by taking off your jumper and putting it back on inside out. There was no question as to whether they believed this was a concrete, meaningful interaction with a supernatural being. We have a motorway that was diverted while it was being built because the builders didn't want to risk cutting down a hawthorn tree. There is a deep stigma against harming hawthorns. Now, tell me how things would be any different if faeries were real irl? ftr I do not believe in the supernatural whatsoever, not even a little bit, but it is impossible to deny that I live in a world deeply shaped by it - I need only look out the window at the stands of whitethorn around my house to know that. because the main expression of that supernatural element is in how the people of that culture react.

you cannot, you cannot pick and choose only the monsters from a legend and leave behind the people who made & propagated that legend. you're only taking a single thread from a rich tapestry. I'm not arguing that other cultures should be untouchable, far from it, I'm just saying that to truly appreciate it, you need context for everything you adapt. you gotta know what you're writing about

in that sense, the people are more important to building Inver than the faeries. a citizen of Inver not immediately affected by the main plotline would likely never see or interact with magic in their lifetime, but their society is still shaped by it. so is mine (though that's more on the catholic church than anything else)

So now that I'd had that realisation, I decided to dump a lot of the traditional fantasy tropes I'd been working with. Think basic fantasy setting stuff, pop culture "The Fae" tropes, even the terminology of 'Fae' at all - that is not something I've ever heard the older generation in my life call them. It's just 'fairies' to them (although I did shift the spelling to match the Yeats poem because I could not handle writing characters making accusations of being A Fairy and have it not come across as a unintentionally homophobic accusation lmao). I did some research; mostly on JSTOR, using my institutional access, because my own university is mostly science and didn't have a big library of anthropological texts. I read An Táin Bó Culainge which is honestly one of the greatest stories of all time PLEASE READ IT if you are at all interested in Irish myth. It is a fantastic story and extremely comedic as well (a canon mmmf foursome lol). In terms of academic sources specific to the Púca, I have a drive folder of pdfs I will share with anyone if they ask.

I decided I was not going to include anything from what people actually think of as pre-christian Irish mythology - no fianna [rangers notwithstanding], no Ulster cycle, no Tuatha Dé, no Irish gods. All the things I include are post-colonial aside from the notion of the Otherworld in general. This decision wasn't necessarily accurate to what might have happened in this alternate history (given that christianity still has no real foothold in Inver) but it is a colonised society after all. It's why I got slightly steamed once when someone filed my Púca art into their irish deities/irish polytheism tag (I have my own issues with iripols/gaelpols for the same reason I dislike people taking myths out cultural context and in this case contemporary cultural context), because the Púca is in fact a postcolonial being - it comes from the UK, and likely the mainland as well

One of the last things I did before starting on my 2nd draft, which is what turned into Said the Black Horse, was decide to always capitalise the word 'Púca'. Because what really clicked from doing my research and remembering what I'd heard as a child was that the Púca is a specific character. Not a species, not a class of monster. A character, one guy. And you'll find this everywhere - the obvious example is the Minotaur being one specific guy, the son of Minos, not just 'a minotaur'. One very funny consequence of speciesifying mythological characters is dnd ppl saying their character is A Firbolg (fir bolg is plural!!). Fantasy bestiary books like Dragonology or Spiderwick Chronicles have done some amount of damage to how people relate to myths and legendary creatures, and I am not immune as someone who loves speculative biology, but in Inver I decided to cut all of that out.

Next once I got that out of the way I had to think about tone, atmosphere, and intended results. I didn't achieve my holy grail of a very atmospheric, undefined, and uncertain story that provides no answers, due to limitations in my own abilities, but I tried. I have given less than 1 second of thought to how magic or faery biology in Inver works because that is not conducive to the atmosphere of a fairytale. Many of these source myths and legends are really about the fear of the unknown. They are rationalisations to explain away something unknown, some mystery of life, and you cannot explain the unexplainable and expect it to carry the same punch as the original myths that you are drawn to adapt. That's also why I try to never actually give facts about fairies, but instead I talk about what people think of them. The word 'considered' does some insanely heavy lifting in that linked post lmao. Is any of what I wrote true with regards to the Red King?? It is for the people who believe it.

I'm saying all of this because these are all points I had to think about before writing that 2nd draft, but also because I think they're worth considering for your own story as well. I'll admit I invented my werewolves from scratch, they have no mythological basis, because they pre-date the faery stuff and also I wanted them to fill a very specific role and appear a little more concrete than the other supernatural elements. It is what it is; I wanted a werewolf element that didn't match myths and legends (and honestly was partially inspired by me rolling my eyes about those posts going around moaning and whining about 'the doggification of werewolves missing the point of werewolf stories'. I thought, well, there's more than one story you can tell with a werewolf - it isn't always 'i fear the beast within', sometimes it's something else! sometimes it's daddy issues! it's okay to make something new)

ok i think that's all i have to say.. modern Inver is a bit different, that worldbuilding is largely the same but with a big dose of actual ecology because the main characters are rangers and in Inver in 2017, rangers mostly do environmental monitoring. and that's a whole different sort of worldbuilding lol

good luck with your story!!

Just want to preface this by saying i love ur analysis sm- u put my exact thoughts into words when i cant verbalise whats wrong with a particular writing decision 🥲🥲

Anyway, smth ive noticed is how... little time vivzie actually spends on writing or characterizing or fleshing out her characters.

Which has to be the weirdest thing so far bc every writer and artist ive met agree that its the best part of making an oc! Its so fun to think of backstories and tie that into their current personality and generally just figuring out random details to get to know your characters!

Like, my ocs are my best friends, i know everything abt them from their trauma and childhoods, to their favourite food and music.

But time and time again she proves that her characters are at best acquaintances... the fandom fleshes out the characters so well and with so much love and care and thought that vivzie herself cant do and its just sad.

Not even mentioning the hundreds of retcons and how characters will just change personality randomly or act out of character which results in the work feeling like a fanfic of itself. (Ironic considering some fanfics have better and more consistent characterisation)

It feels like shes making it up as she goes, instead of having an actual plan. Just shoving random ideas she likes or picks up from the much more creative fandom into the 2 shows without actually stopping and thinking abt the consequences or implications.

Theres so many decisions shes made that irk me so bad... the ideas individually have potential but they either dont fit the show or have to make huge retcons and result in the plot not making any sense.

Also, ngl but she has the worst case of tell dont show ive ever seen my god 😭😭 like... you realise you have to show things instead of just fucking singing it or having a character say it??? Or is that another thing that the fandom has to do so they can convince themselves that the show has good characters??

Atp idk how to salvage the show... i keep finding more and more plotholes and unless i literally turn my brain off and only focus on haha funny dick joke or pwetty colors, these questions keep popping into my head making it a painful unenjoyable experience.

Again, if the fandom has to justify your bad nonsensical hypocritical worldbuilding then you failed. Massively.

Anyway im very sleepy rn just wanted to rant a bit bc im a writer and artist myself and it pisses me off how someone gets their show on the air and still doesnt care abt putting in effort into their plot or characters beyond aesthetics and random ideas that dont go well together...

You’re speaking facts! And it’s honestly like..kinda funny too that people who have their own OC’s can flesh them out and deep dive into their arcs/backstories ect, yet a professional showrunner who’s had these characters for YEARS can’t even give the majority of her characters flaws or quirks, or even consistency, same goes for Helluva Boss.

Viv is a really good example at letting inspired writers know what not to do when making a story and characters so at least they have that lol.

it's the moment like 4 of you have been waiting for:

i finally rotated pact creature design in my brain enough to post about it. to all the people who sent me asks wanting to hear my thoughts explaining Why Pact Creatures Are So Good this ones for you.

the core of pact's monster design boils down to one very good fact about pact's worldbuilding: in the world of pact, the universe canonically loves a good story. magic literally runs on themes and ideas. subsequently, strong themes aren't the end result of pact's monster design so much as they are the most fundamental aspect of it--meaningful themes and narratives are such a textually important part of how pact monsters work that one bogeyman outright tries to start a conversation with blake by, upon noticing the birdhouse in his soul (tm), asking if birds are important to him.

what really seals the deal on this being fascinating is that pact monsters aren't invented wholesale--a lot of the book hinges on offering its own explanations for preexisting folklore or urban legend. pact takes a variety of common threads in the way cultural myths & monsters are presented, picks out the conceptions with compelling implications, and distills them into one design so thematically coherent and clarifying that it makes you go "ohhh, why aren't All ghosts/dragons/fae like this? this is Exactly What They're Supposed To Be."

like, we all know that ghosts are dead people, and oftentimes the appearance and/or behavior they're written as having is either implicitly or explicitly based on reenactments of their past life/how they died, and sometimes they're depicted as lucid but more often than not they're depicted more like broken or warped remnants of a person, and sometimes they make things colder/give off Bad Emotional Vibes/etc. those are generally true assertions about how ghosts are often culturally presented.

pact takes that and explicitly declares that ghosts are what happens when something so bad happens that an imprint of the resultant misery is left on the fabric of the universe. some ghosts appear horrifying because their appearance is warped and exaggerated beyond what's realistically possible to match how awful whatever happened to them felt. some ghosts are more lucid because their imprint is more recent, or has been strengthened and fed by human attention instead of left to decay. some ghosts are less lucid because they were forgotten. when ghosts make the atmosphere feel awful to be in, that's because the ghost isn't just the imprint of the person, it's an imprint of the awful thing itself. incredibly interesting! it feels so very much like the absolute heart of what ghost stories are about--about the grief and horror of being impacted by the ever-present echo of something terrible, about something so viscerally wretched happening that reality itself cannot forget it, about the emotionally powerful interactions between someone still-living and the memory of someone already long gone.

(pact also gives an aside that, in very rare scenarios, neutral or arguably even positive occasions which leave a sufficiently strong enough impression can also become ghosts. genuinely fascinating expansion.)

& the thing here is that pact does this for creatures like ghosts that are already richly thematic and iconic, but it Also does it for creatures with less obvious theming. how do dragons work? what's pact's underlying explanation for their position as immortal, powerful, regal, fire-breathing* fantasy monsters?

*&, depending on the media, sometimes ice-breathing or poisonous or whatever else

well, you see, dragons are recursive loops. "dragons are recursive loops" is perhaps one of the Top All Time sentences in the entire book, and the delightful thing is that, in addition to sounding excellent, it makes sense.

that's how they generate and spit out so much of whatever their element is. they're snarls. they're ouroboroses. they're something feeding into itself, self-sustaining for thousands of years, drowning anything which threatens it in torrents of whatever the self-feeding element is--fire, sometimes, but it could be poison, or ice, or whatever else, and that's why you've probably heard of ice dragons in addition to classic fire dragons. Dragons Are Recursive Loops. recursiveness is, after all, a form of immortality.

or, like, fae? we all know that faeries are incomprehensibly old/outright immortal Tricky Little Bitches who like to manipulate people while posing in an inhumanly/horrifically beautiful fashion and going "teehee." pact takes that to a fantastically surreal level of extreme artifice, one that's almost grotesque in its dreamlike nature--they have all lived for so very long that, to them, boredom is worse than death, and so they have complicated social games spanning centuries, and speak in the most practiced of misleading wordplay, and perfectly curate their forests so that even the smallest pebble is an intentionally-chosen setpiece for their play. they graduated from handjobs a couple dozens of millennia ago--now they're more into erotic-poetic descriptions of full-body degloving. you will not notice when a faerie steals and replaces your child, because you are very young and stupid compared to them, and playing-pretend at being your child is only the briefest of trifles in their unfathomably long lifespan.

the other good bit is that pact explicitly acknowledges that faeries run on what is colloquially deemed Bullshit--the universe likes a good story, and faeries have gotten very good at telling it a moving story. if a faerie tells a good enough story about having a sword that breaks the laws of physics, then that is what their sword will do. and so the way to combat faeries is not to out-bullshit them--because no one is out-bullshitting a being with thousands of years of bullshitting practice--but to say "no, that's fucking stupid and made up" until their implausibly long sword acts like a sword of that size actually should and shatters on the spot.

& all of these writing decisions feel so naturally truthful to what these creatures are Supposed to be--they're really not wholly new takes, they're a presentation of preexisting ideas in a way that gets why those ideas appeal to people and goes full-throttle on all the most thematically rich or otherwise narratively interesting parts. It's Good Writing. I Like It. you could spend an entire essay breaking down the presentation of literally any single one of pact's creatures, it's that compelling in its reflection and organization of Ideas About Creatures.

I've been thinking about the fandom for The Arcana, and I have come to the conclusion that it's weird as hell. In my 20+ years participating in online fandom spaces, I've never seen a fandom quite like this one. I've seen drama, sure, but the core of most fandoms is a large community of people who love the same media and come together to celebrate it.

The Arcana fandom is not like that. From the very beginning we're more fractured, more factional, more fragile than most. You just have to look around at all the posts lamenting the death of the fandom every 2 weeks to see that something is really wrong here.

And I think a lot of it has to do with the nature of the canon. I am not saying this to criticize The Arcana, the devs, Dorian, or my fellow fans. I have just noticed that, as a piece of media, this game occupies a very unique space that is reflected in the way its fans interact with canon and with each other.

Welcome to the TED talk ain't none of y'all asked for.

Part of what makes this fandom unique is the evolution of fandom as a whole in the face of new types of media. As gaming becomes more mainstream and games themselves become more complex, the way we engage has necessarily changed in response.

Books/ movies/ shows are slightly more static in terms of canon than video games; canon is what it is and how you interact with what is there is largely to do with who you are. Everyone has the same base material to engage with, and that results in a certain amount of constancy. You can't interact with The Princess Bride in a way that changes the movie, only in ways that change your own perception. There isn't a whole lot of room for OCs without rewriting canon, so fans tend to consume OC-based fiction and art with the assumption that it's likely to be self-insert wish fulfillment fantasy time. That isn't always true, but there is a reason the term Mary Sue was coined.

Otome games and other choice-based video games make a very different fan environment, because the way you interact with canon is completely different. You have to build a character in order to interact with the story, and your choices directly impact your experience of canon.

But most western choice-based games are in the context of a larger RPG universe, e.g. Fallout or Dragon Age. There is a lot more to the story than the romance plot and so there's a lot more world to experience, contextualize, and build upon. There's certainly plenty of unhinged ShepxGarrus erotica, but there's also an abundance of fanworks that engage with the plot, the worldbuilding, and the canon characters with relatively little of the player's character needing to be on the page at all.

By contrast, most otome games that make it to English-speaking fandom spaces are Japanese. The romance is the point, but we also start from a place of wariness of our fellow fans. Because there's a huge difference between "harmless weeb" and "orientalist fetishizing creepo," and you know going in that both ends of the spectrum are possible, there is an amount of caution. We curate our space, looking for the creators who align with our expectations and values before we ever begin to interact.

The Arcana falls in a very unique and odd space because it is an otome, but made by Americans, with an attempt at a diverse fantasy cast. It's intended to be for American/ English-speaking audiences and is marketed as such. But making a romance game in America is challenging. Our way of approaching online media, especially smartphone-accessible media, is super fucked up, right? We are constantly trapped between the dichotomies of moral duty (Must Protect The Children) versus appealing to the customer base (Boom Anime Babes with Tig Ol Bitties). Because this is a mobile game, the developers can't make money if the game is removed from the app store, so they want it to be rated teen at the most. But the enticing bit, the thing that captures a potential fan's attention, is the flirtation and sexy implications. So from the jump they're in a weird space purely because they chose to make a mobile game instead of an indie video game released on Steam or similar.

So now you have an inherently split audience: mature adults who know they're getting into a potentially explicit romance game, and young adults/teens who have grown up in a more insulated internet culture where normal words are replaced with Orwellian doublespeak, like "unalive" and "spicy time".

THEN you add in the fact that the developers tried to build a diverse fantasy world, which is a fantastic idea both from an inclusionary standpoint and a broader audience standpoint. But because they didn't employ any actual sensitivity readers (did they think they didn't need them because fantasy can't have racism? Did they justify it as not being in the budget? Would love to know what's going on there) they fell right into a lot of the classic traps. We've been over these time and again, so I won't get into them here. Suffice to say, there has been Discourse. The presence of those issues means that more experienced fans will see those things and call them out, and that criticism causes even more of a split: the zealous apologists versus the critics. And critics can fall into two further categories: those who love the canon and want to see it do better, and the bitches who just love having something to bitch about.

Unfortunately, this combination means that there are inherently factions to this fandom, with staunchly opposed approaches to the media. So even before you enter a fandom space, it's already wildly fractured simply because of the nature of base canon.

THEN add to that the fact that this game is a dating sim. And to engage with a dating sim, you have to build a character and make choices based on that character. Some people will approach this work as storytelling, and some will approach it as an escapist expression of self. Neither of these ways of engaging with canon is wrong. Enjoying a dating sim as Me But Better is fun and completely valid! Engaging with a dating sim as a storyteller collaborating with the developers is fun and completely valid! But the two approaches are opposed in purpose, and that can make it difficult for the two types of fans to engage with one another's work.

Storytellers will well and truly invest in building a character. They may even build out communities, countries, cultures, and languages to make their world all the richer. They are investing hours of blood, sweat, and tears into Their Craft, pouring themselves into an opus of quality fanwork. Unfortunately, this can sometimes lead to big feelings. Fan artists and writers may feel underappreciated if all they get out of their hard work is 2 likes and a gif of a wolf making AWOOGA eyes. They may feel that critique of their work is unwarranted, or that there's no point creating if no one will engage.

The romantics will engage with canon and fanwork from the perspective that "this is my fantasy romance time". Their OC isn't so much Original Character as Optimized Characteristics--that is, their perfect self. They are here for wish fulfillment fun times in the relative privacy and anonymity of the internet, and good for them! But that may mean that criticism of canon or their fan work feels excessively personal--it is very hard to detach the ego from the OC when that OC is a projection of your best self. They may view any critique as a personal attack as opposed to a good-faith attempt at engagement or conversation. This can lead to defensiveness, or to leaving the fandom outright if it feels too hostile.

Unfortunately all of these factions cause rifts in the community. This sometimes turns into fandom vigilantism, where people begin to see any fan who doesn't wholeheartedly agree with them as an enemy. I've seen friends experience bullying and cruelty over their OCs and their art. I've seen predators use the isolated nature of the fandom to further isolate and prey upon already vulnerable individuals. I've seen some really shitty stuff.

But I have also seen beautiful community flourish. I've made friends who feel more like family than my actual relatives. I've seen people work through struggles and overcome deliberate attempts to tear us apart, finding forgiveness and friendship along the way. I've seen myself and others grow because of the community and inspiration we found here. And I saw all of that because I found my people. And I hope, Arcana fandom, that the rest of you can find your people too.

for the character meme: dulcie or cam or pal or a character of ur choosing!!! hehe

!!!!! ty lem!! im gonna do my girl dulcie...

favorite thing about them: honestly just the way she's written- it never fails to make me emotional that she *is* explicitly written as being brave and strong, but tamsyn neatly sidesteps the "inspiration porn" ableist stereotype of writing a character as being brave/strong *because* they are sick. dulcie isn't brave or strong because of her illness. her strength and bravery are explicitly positioned, IMO, as being in response to surviving *ableism* and other people's condescension towards her and mistreatment of her, rather than surviving her illness itself, if that makes sense. her health is just a fact of her life, it's not moralized. which i really, really appreciate. it's a small shift, but it's very meaningful to me.

ALSO deeply special to me: her intentional and careful commitment to boundaries re: The Palamedes Of It All. a refreshing change of pace, as far as these books go vgjtjxdjt

least favorite thing about them: i mean. houser. :/

favorite line: three way tie between "truly, wonderful news for my haters," "i am sick of roses and horny for revenge," and "oops, there i go again, never doing what i'm told"

brOTP: gideon!!!!! i think it's a crying shame they've never met. i think they'd get along tremendously. the whole cytherea gideon thing was Horrid and Awful in so many ways, but it always Extra stings (in an adding-insult-to-injury sort of way) when i think about what it would have been like if gideon had REALLY met dulcinea, and not cyth. dulcie would've been a great friend for her, i think. they'd have been so good at making each other laugh

OTP: honestly these days it's cam? @ palamedes ily but get outta here gayboy it's yuri time now. plus i just love chewing on the concept of cam + comphet, and cam + subconscious internalized misogyny, and cam + gender, and cam + her relationships and interactions with other women. i think there's lots to explore there. camdulcie has a certain "when i was eight i didn't realize i had a crush on the new girl in my grade so i just wrote her a note that said 'get out of my school'" energy about it, To Me

nOTP: idk if i really have one for her, specifically? idk. ianthe or something, fuck it.

random headcanon: stoner. on all levels except physical she is taking fuckall huge bong rips. on the physical level though her lungs suck so i think she'd be a tincture girlie. she's got chronic pain she deserves it. am i projecting? you tell me

unpopular opinion: idk if this is an unpopular opinion exactly, but i always see people referring to thee rejected proposal as being something born primarily out of love/out of romantic intent? and i don't know if that's necessarily how i see it. it was CERTAINLY, and obviously, a factor. but at least from my interpretation of pal's monologue to cytherea at the end there, i get the sense that he had already accepted her boundaries in that regard, because he says he "understood that he was a child." and we also get camilla saying that his motivations in proposing were primarily a means-to-an-end way of getting her off the seventh and letting her die with dignity. iirc her exact words were like "so she could spend what time she had left with people who cared about her." like, don't get me wrong, i think pal is lying to himself if he says that being in love with dulcie wasn't PART of the motivation there. but i find it a lot more interesting in a worldbuilding and social commentary way to interpret the circumstances there as him offering, essentially, to be a hospice doctor at age 19, and marriage being the 'easiest' way to get her off the seventh/planet medical malpractice. there's an imperial misogyny ownership-through-marriage throughline there that's nauseating, as well as the implications re: disability and agency and autonomy, and i think that's all very interesting to explore. i think this view is supported in part by the paldulcie interaction in TUG, where she alludes to the idea that she was cognizant about the impact that bearing witness to death and loss up-close and personal like that changes a person, and that she didn't want to do that to pal and cam, especially given their age. i think it informa dulcie's character and grants her additional narrative agency to look at things from that angle, of her "no" being in reference to *both* the age gap AND her intentional choice to continue suffering on the seventh, rather than put two kids through being hospice caregivers and/or widowers at nineteen– no matter how many times and how sincerely they kept offering, no matter that she would've absolutely had a more peaceful and comfortable end-of-life HAD she accepted his proposal and gone to the sixth to die. i think it says a lot about her as a person, that choice. there's a quiet and meaningful responsibility to her as a person that i find fascinating. and her character is just sooooo firmly rooted in and informed by disability politics, on every level, and i feel like people don't engage with that aspect of her characterization enough!

song i associate with them: ooooh SO many, i have a whole playlist. but i think the biggest ones are

-the drama by kesha ("friday night, get too high, keep checking my pulse, am i dead yet?" / "in the next life i wanna come back, as a housecat as a housecat! i'd sleep and play in the sun, i'd be a fuckin' cute son of a gun!")

-avant gardener by courtney barnett (the whole song really, but especially the lines "the paramedic thinks i'm clever cause i play guitar, i think she's clever cause she stops people dyin'," and "i take a hit off an asthma puffer, i do it wrong, i was never good at smokin' bongs." i just think she'd love this song.)

-honorable mentions include stoned at the nail salon by lorde, life according to raechel by madison cunningham, rose-colored boy by paramore (@ palamedes, lmfao), picture me better by weyes blood, extraordinary machine by fiona apple, rubberband girl by kate bush, last words of a shooting star by mitski.

favorite picture of them: oh man well it obviously has to be my icon... art made for me by the lovely @franzias-cave !!!! based on the concept of "the woman is dying, please do her the decency of allowing her to look the part in fanart." my girl... she's a malign fairy, she's a hot-eyed wraith <3

ty lem this was so fun! i love my gworl :')

I’m curious why you loathe the implication that wizards are immune to muggle diseases. Is it because it reinforces the idea that they aren’t really the same species as muggles?

thank you very much for the ask, @urupotter!

and the answer is - yes, pretty much.

how the body is understood, how illness and disability are thought about, how the medical system works etc. are all questions that i am primed to obsess over in any piece of media - even when they're not actually significant parts of the story.

which is to say, i completely understand the reason why the harry potter series treats these topics in the way it does. magical medicine isn't one of the themes the story is designed to focus on - which means that its purpose is as incidental worldbuilding detail which reinforces the whimsical vibe of the earlier books and the darker vibe of the later ones, and which means that its treatment in the text makes sense within the setting and genre conventions of canon. harry being able to take a bludger - a cast-iron cannonball moving at speed - to the head and living to tell the tale is the same as john wick being able to fall from a great height, land on his back, and then get up and walk around: he's an action hero in a fantasy.

and so wizards being more physically durable than muggles - and also wizards having their own magical diseases, and being immune to muggle ones - all makes sense within the context of the books as literature. kids don't want to read about harry having a cold. they want to read about him being a wizard.

but when i'm deciding to enjoy myself by taking the question of just how fucked-up wizarding society is much more seriously than canon does... the implication that wizards are immune to muggle diseases and that they are broadly unaffected by physical trauma unless that trauma has a magical cause really bothers me. entirely - as you say - because it directly undermines the series' thesis that the purity of magical blood is irrelevant and that the wizarding world's dehumanisation of muggles and muggleborns by treating them as, essentially, separate, lower species is wrong.

the main canon example of this which i detest is dumbledore's suggestion in half-blood prince that merope gaunt could have survived childbirth if she'd simply "raised her wand to save her own life". after all, if a little bit of magic makes one immune to experiencing complications during childbirth [unlike thousands upon thousands of muggles throughout history, who would probably have very much liked to have lived to see their children grow up]... then voldemort is completely justified in thinking merope's death was a selfish, shameful, deliberate choice.

[i do understand that the idea merope chose to die is primarily included in the text so dumbledore can segue into saying that lily "had a choice too", contributing to the gradual reveal in half-blood prince and deathly hallows that she's the key to the whole mystery. but i still think that jkr could maybe have though a little bit harder about what she was suggesting with this than she evidently did...]

and so i think in fandom it's both fun and important not to accept the idea that wizards are automatically resistant to anything which might kill, injure, or disable a muggle - especially because it lets us really play with some of the big worldbuilding questions surrounding the conventions and institutions of wizarding society.

what do disability rights look like in a world which is so rabidly intolerant of difference, and which appears not to have any sort of welfare state? the nhs is a recent invention, created in a muggle britain which is culturally and institutionally separate from the wizarding one: so is treatment at st mungo's free - and, if not, what happens to those who can't pay? how is queerness understood in a society which appears to have views on sexual expression which are fairly conservative - and how does this mean the wizarding state responded to the aids crisis? what do reproductive rights look like in this kind of society? if the dementor's kiss results in - essentially - a vegetative state, what is done with the people the kiss has been performed on? what might it be like for your relative to develop dementia at 100... when you know they might live to 250? what impact do biases about blood status have on how muggleborn patients are treated?

i just think it's interesting!

Okay- Salem throwing in during the Great War especially with Grimm would belatedly justify that card game from Volume 2 because of how it was over control of Remnant besides as an in show ad. Especially with the whole bit of the Nevermore card.

Salem as supporter of revolutionaries fighting for their freedom... One that fits extremely well. Two it puts additional layers to Cinder approaching the White Fang and also just ... Cinder being taken in.

I also would find such a reveal in show to likely be extremely hilarious as the implications hit the audience and cast.

my god i wrote that entire fucking post without remembering the great war Board Game existed

you’re right though, it would be a sly piece of foreshadowing if that’s the intention, esp bc the nevermore bit is between ruby (playing atlas) and yang (playing mistral) and a dice roll which of their forces it attacks.

in terms of the worldbuilding that game has always kind of interested me for what it says about how grimm are viewed in military contexts by the general public; qrow in WOR suggests that grimm on the battlefield was an automatic ceasefire until they were driven off again, but also that “grimm came in droves” while ozma laid waste to his enemies with the sword. and then there’s this grimm card in a war game where the mechanic is “flip a coin to see whose soldiers get mauled”—implying that opportunistic “let the grimm attack your enemies” tactics are not unheard of.

and… then. there’s arrowfell. the grimm lures the antagonists use were developed by the atlesian military, and… the only practical use case for a device that summons swarms of grimm is to weaponize grimm against human targets, ideally a safe distance away from your own forces. like, they’re grimm bombs. and these were developed post-war! in a time of peace! the great powers during the tense period before the great war must have been thinking about how to point the grimm at their enemies, too.

but unless you’re salem, or have salem on your side, weaponizing the grimm will always be a double-edged sword—as yang says, that’s just a risk you have to be willing to take.

anyway yeah if i’m right, the reveal would be so punchy. and i do for sure think were due for some sort of revelation about the great war—it’s been set up and referenced over and over, and they made a deliberate choice to convey this information through a heavily biased perspective, and the great war ended in vacuo, and everything the narrative is building up to the last stand in vacuo. something about history coming due, and the truth coming out.

it’s also be a neat counterpoint to the Team Oz narrative, which is very black-and-white (mantle and mistral were the bad guys, vale and vacuo were the good guys, don’t ask too many questions about valean expansion into the likeliest origin point for those desperate crazy founders of mantle or vale’s involvement in the complete destruction of its next-door neighbor centuries ago or the part where ozma magic nuked everyone so hard that allies and enemies alike bent the knee.) whereas the truth seems to be more complicated with vale also having imperial ambitions prior to ozma assuming the throne, and then at best prioritizing the status quo.

an interesting possibility that i think about sometimes is that ozma may have been the one to withdraw vale from vacuo; less out of anti-imperialist principle than because the vacuan people were increasingly unhappy with valean rule and he recognized that the only way to avoid a war for independence in the long term would be to give vacuo independence first. and then mistral swooped in like a vulture because ozma neglected to do anything but formally recognize vacuan sovereignty, rather than make reparations and provide support needed to allow vacuo to emerge from centuries of valean occupation as a functional country—the same conflict-avoidant, shortsighted approach on display in his choice to “share the land” with mistrali colonists in eastern vale.

With the recent reveal of Gibeon owning a Shiny (White) Zygarde, many people have been trying to use this to insinuate that Horizons may take place in a separate continuity/timeline/universe from Ash's story.

However, I disagree, and I think that not only does Liko's show still take place in the same continuity as Ash's story, but that such sentiment is frankly something that goes without saying. If they truly wanted to create a new, separate continuity, why wouldn't they just use a new version of Ash to establish that? And in such a case, I believe they would be much more liberal about using legacy characters because such characters would be new versions of them, not the ones we know: the fact that they're largely avoiding acknowledging legacy characters for the most part implies they're still out there in the world Liko and Roy are travelling. It would also needlessly complicate things like potential meetings which have immense marketing value like an Ash and Liko meeting down the line. The world Anipoke has taken place in is so large and has gone through so much worldbuilding with still more potential for even more, that Ash and Liko can viably exist in the same world without crossing paths. There's no business or storytelling benefit to making Horizons a new continuity, as Liko and Roy are fundamentally different characters with a different space in the world from Ash to begin with, and it would be a total waste if they just dropped all the worldbuilding they had done over the past 26 years. Thus, it is most certainly in the same continuity as before.

---

Now on to my main point, I think there is a much simpler explanation to the existence of Gibeon's Shiny Zygarde that can justify why it exists even with the existence of Squishy and Z2, and in that same world. And one that I think may raise very interesting implications for this story and where we may be headed. Also one that mirrors the games, particularly SV and its deal with Terapagos and the Paradoxes.

I believe that Gibeon's Zygarde, alongside the Black Rayquaza and the rest of the Six Heroes who were believed to be Lucius's companions, are honorary Paradox Pokemon who were magically willed into existence by the power of Terapagos.

It is easy to miss, especially if you don't stop to think about it, but Terapagos's power, aside from being the harbinger of the Terastal phenomenon, is the power to create paradoxical things. It can "create" things using its power, things that originate from human imagination to those who believe certain things about them, but when you stop to think about those things, it makes no logical sense for them to exist in the way they are explained.

This is especially evident in the actual Paradox Pokemon from the games. Sada and Turo willed them into existence using their "time machine" and believe them to be Pokemon from the ancient past and distant future, or the one we "see" in the Crystal Pool being from alternate timelines. But as their names imply, their existence is a paradox: their whole deal is that they're not supposed to actually exist, and yet somehow, they got willed into reality and given life and physical existence. The dubiousness of their existence is enforced by their drawings in the Scarlet/Violet books, created 200 years prior to the game's events by Heath and his expedition team, contradicting the fact that Sada/Turo only created the time machine 10 years prior to the game's story. The dubiousness of how they came to be is also reinforced by their only other mention being in the Occult magazines, which are questionably trustworthy at best. We know that their existence started in Area Zero, a place filled with Terastal energy thanks to Terapagos, thus the latter is the creator of them.

The paradoxical nature of Terapagos's power is also reflected in the Crystal Pool event at the end of Indigo Disk, a place where you can seemingly talk to the dead, and Terapagos summons a Sada or Turo who was alive, supposedly before they created the time machine. And you give them Briar's book in exchange for the Scarlet/Violet book. But the more you think about this event, the less it actually makes sense, and the only conclusion you can make is that if it were our own Sada/Turo, the entire game's timeline would implode upon itself.

Now on to the anime, Gibeon is now known to have been a companion of Lucius. Lucius and his friends have the stories of their adventures chronicled in books and legends. This incidentally also parallels how the Paradox Pokemon are chronicled in Scarlet and Violet the games. But when you stop to look at everything, aside from Terapagos, the nature of the Six Heroes' existence is incredibly dubious at best, to the point where it's questionable if those six ever actually existed, or if they did, how they came to be. The same would likely apply to Gibeon's Shiny Zygarde. The Black Rayquaza is the biggest example: aside from being a Rayquaza, it is always shown glowing and crystallized, likely surrounded by Terastal energy. It may have even been created by and willed into reality by Terapagos itself, literally formed by Terastal energy. This is sort of hinted at very early on, when Liko's pendant, which was Terapagos, and Roy's special Poke Ball, which unleashed the Black Rayquaza, resonated with one another, and the Black Rayquaza didn't emerge until it resonated with Terapagos, which may imply that it wasn't actually in there and Terapagos used its power to will it into existence, alongside the other five heroes. The other Heroes seem to have abnormal traits as well, such as a giant Arboliva and two of the heroes being legendaries, and they only "awakened" once the Black Rayquaza did. This may imply they weren't real, and the only one of Lucius's Pokemon who wasn't willed into existence was Terapagos itself, who used its power to "create" companions for Lucius and its friends.

The same may apply to Gibeon's White Zygarde as well, who may have been willed into existence by Terapagos. This Zygarde, along with Rayquaza, are the biggest anomalies not just in their different coloration, but that they were literally owned by someone, which in the anime world should not be possible as major legendaries like them are largely above being owned by Trainers. Them being Paradoxes willed into reality by Terapagos would explain this.

This is most certainly an interesting turning point, and may raise a lot of questions to the true tale of Lucius and his friends, and what Rakua truly is. One thing is certain though: Terapagos and its special powers surrounding Terastal energy and the creation of paradoxical things seem to be playing a major role here.

Tbh it's clear that S2 of HB is soft rebooting pretty much everything from S1, which is quite....sad frankly and why everything seems disjointed. Let's see here....

The Grimoire? Well that's pointless now, because of the introduction of Asmodean Crystals. If they were there the whole time, then the book is a paperweight(put a pin in this for now.)

Stolas and Stella's relationship? Well at the start, seemed a bit of a mixed bag sort of thing, there was tension obviously between them, but they still shared a bed. Octavia seemed at least by implication of dialogue, good memories of her parents when they weren't fighting. BOTH VAs for Stolas and Stella, seem to think there was more going on with their characters(kind of a red flag, so it seems they didn't even know where their own characters were going). Stolas' song to Via and the lyrics of "I used to think that I was bold, I used to think love would be fun." Sorry but that's clearly referencing him and Stella having had SOME kind of relationship before everything went sour, boldness as per definition suggests that Stolas was the one who initiated and wanting to be with Stella. His lyrics of "now my stories have been told, except for one..." Also implies that he was extremely old.

Oh but S2 shoots all that in the face, with the laziest plotline ever and absolving Stolas of any wrong doing by his Family, by making Stella an evil bitch, as well as a dumbass. This plotline is so boring, considering Stolas already stood up to her and kicked her out of the house and is getting a divorce....there's nothing left there. He can't have been bold for his and Stella's relationship, considering he was forced into it and all his stories? That's bunk, considering the guy is only like in his 30s..

Blitz big vocal grievances to Stolas at the end of S1? Pointless now, because in blink and you'll miss it texts, Stolas doesn't even understand WHY Blitz was upset despite being flat out told to his face.

Stolas and Blitz' relationship? Back to square 1 apparently within Seeing Stars and moreso Stolas has no character growth, it doesn't matter that he's going to give Blitz a Crystal....because he doesn't even seem to understand what he's done wrong.

Also side note, why is Stolas the one getting the Crystal and not Blitz? Why is Stolas having to be the one to give it to him, can't Fizz and Ozzie just you know...mail it to the address of I.M.P.? Ozzie has Blitz' phone number, just send it directly to him.

Blitz and Stolas' deal? Completely pointless due to the afore mentioned Asmodean Crystals and the fact that I.M.P. was killing in Hell before the Grimoire. You can now completely REMOVE Stolas from the show, due to these factors.

Season 1? Since Blitz mentioned to Crimson that they killed in Hell before in Exes and Ohs, why not have some of the episodes build upon that? Why not expand upon the worldbuilding of Hell this way, only for the crew to find out that maybe killing up on Earth would be far more lucrative and thus find a way to get an Asmodean Crystal? There's a catch though, the only one who can(Fizzarolli) hates Blitz for past actions against him...

So now...Blitz goes on this arc of making amends with those of his past, including Fizzarolli, Verosika and Barbie. This is where S2 picks up.

Oh look at that, I removed Stolas entirely from the show and now gave room more to explore Moxxie, Millie and Loona as characters with Blitz as they navigate through Hell in trying to keep their assassination company afloat.

I didn't mean for the long winded ask, don't have to post it up...but yeah S2 clearly seems to reboot S1 and the more hilarious sad part of it is, you can remove Stolas entirely now because of it.

Yeah… and how is it that this crystal is so hard to get that Stolas has to get them from Ozzie when they’re presumably handed out like hotcakes to every succubus in hell? Either that or Verosika being on the surface in spring broken is a world-breaking plot hole.

Idk if I'm allowed to encourage this but everything you said about Kung fu Panda 4 is correct, it not only killed my grandma but massacred my bloodline. The only saving grace of that movie was the cute Dad stuff, and that the theater I watched it in had comfy reclining sofa chairs as seats.

Although you can make the point that Li and Ping 'distract from the film', being the B plot, they are genuinely the only good part of the movie. Again, you could argue that their absense would mean more time to develop the A plot, but their precense is the only funny and charming part of the film and the A plot had plenty of time.

The movie has the same runtime as its predecessors, but chose to spend near all of its time padding out the A plot with spoken exposition and filler chase sequences when it could have been fleshing out The Chameleon as a villain and developing Zhen and Po's dynamic.

Now taking this opportunity to talk about some of the secondary points I didn't get to cover in the primary post (hating is my passion)

Original Post

KFP4 spoilers again

Juniper City Sequence

A lot of the comedy is generic subversion — A statement followed by a verbal or visual contradiction which is standard, worn out and the laziest most predictable form of comedy.

There was also a scene that actually made me pause the movie and cackle; not from the humour, but from the sheer absurdity; — in which Po refers to himself as “—The Kung Fu Panda!”

Has never previously referred to himself as this

Has never been referred to as that by others

This is a genius scene which takes inspiration from the most memorable sequence in Kung Fu Panda 2, in which Lord Shen utters the chilling line, "You see, I need my Kung Fu Panda Too." (So powerful. Brought tears to my eyes.)

Smarmy. Arrogant. Unearned. Even if this was the Kung Fu Panda I knew and loved, what a pompous way to put it.

The Staff of Wisdom

It's pretty great. I tuned out all the lore, mostly because the first scene with this object is Po exclaiming "The staff of wisdom!" followed by nothing but exposition.

It's the implication that he's nothing without it, and that it embodies the Dragon Warrior. He's reduced to a staff which essentially has no function until the end. It sticks out in every scene because this meathead carries it everywhere, like its his house keys.

This one is a nitpick, but I think it looks stupid. It was fine in the third film because it functions as a little trophy for him, having defeated General Kai and finding peace with his identity — but it's too small for him, reads like a fucking lollipop and he looks ridiculous holding it because he doesn't use it in most of his scenes so it's just dead weight for the entire runtime.

The Final Act

This part is a little less structured — I had stopped taking proper notes and started typing 'WHY??' and 'FUCK YOU'.

The Kung Fu Masters. My favourite part of the film, as a Lord Shen enthusiast, was when they brought him in for two seconds and then had him sit in a cage with no spoken dialogue for the remainder of the sequence. Why are they here? Why is kung fu stored in the spirit? (pee is stored in the balls?)

Just tried to talk about the bowing scene again but I just know I'm going to give myself an aneurysm. Postponed.

The defeat of The Chameleon. Among the most memorable villain defeats, we bring you: head trauma.

The Amalgamation. Oh man. Sorcery was already a stretch in the worldbuilding of Kung Fu Panda. Now you're telling me The Chameleon can shift into a huge amalgamation of all the kung fu masters? This has nothing to do with kung fu anymore — artificially inflated as a threat by being... bigger.

Spoilers, She doesn't even do anything with this. Kind of just runs around snapping at their heels.

The Chameleon really doesn't utilise her abilities at all. She turns into Lord Shen to... to kick Po. Not to manipulate him psychologically or anything, but to... kick him. Alright.

They opted to make the fight sequence cool (by having the Chameleon shift between forms for no real purpose) but the fight scene is a nothing burger, in which no real damage is done to either party until Po busts out the pwn stick.

Closing Statements

I don't hate Kung Fu Panda 4 (blatant lie). I wanted the film to succeed, genuinely. But the state of it now...

Mess. Bury it.

We are two days before the Pokemon DLC and although i will not buy it i also do enjoy the Pokemon worldbuilding/lore so my big hot theory on Terapagos is that it and the Tera Phenomenon specifically manifests dreams and turns them into reality.

We already have all the implications from the Paradox Pokemon being born from the professors dreams of an ancient/future world, but also I want to look at a bunch of the promo materials/events surrounding it: Gen 5 has been weirdly hinted at a bunch of times throughout Scarlet/Violets lifespan so far, with things like Ingo in Legends Arceus (as well as a bunch of the ancestors + the portrait of ancient Alder), the focus on the Tao Trio in the DLC trailer showing off past Legendaries & the DLC itself having us actually go to Unova, the introduction of the Treasures Of Ruin as the rivals to the Forces Of Nature genies, and the hinting of a new Pokemon mainline game coming in early 2024 (dear god Nintendo just let Gamefreak rest) supposedly being a Legends Unova game, there's been a whole bunch of Gen 5 hints scattered throughout.

The main story behind the Tao Trio is that there was once an Original Dragon who shared its power with two brothers, but when the two brothers clashed between their truth and ideals, the dragon could not decide and split itself in two, becoming Zekrom and Reshiram and leaving behind Kyurem as the empty husk that was once their body.

I think Terapagos is another fraction of this equation, specifically the dream of the Original Dragon itself to have truth and ideals (the two brothers) reconcile and coexist once more, because while truth and ideals are fundamentally incompatible, dreams can make the impossible happen. It can make a paradox exist. This would also work thematically: Zekrom and Reshiram, of course, represent the Yin and Yang, the literal black and white of their namesakes. Kyurem, however, isn't representative of the balance between the two, but actually gray, the concept of Wuji, which represents both infinity and nothingness, the absence of yin and yang and equally the limitless infinite potential born from it, the way that Kyurem is constantly freezing itself because its genetics are incredibly volatile and constantly evolving, especially when it absorbs one of its fragments. I think Terapagos is representative of Taiji, the idea of balance between Yin and Yang.

Yin and Yang originate from Wuji (infinite nothingness) and become Taiji (supreme ultimateness). So, Kyurem is the "nothing" left behind by the Original Dragon, which, when combined with Zekrom and Kyurem (Yin and Yang), would then achieve their supreme/original form, representative of Terapagos (ultimateness).

These Chinese inspirations would line up actually, since the Forces Of Nature and the Treasures Of Ruin are also references to Chinese mythology, specifically The Four Symbols and The Four Perils.

Terapagos and Kyurem also share a very weird similarity: they're both vessels for a greater power with the implication that they themselves are not truly alive (Terapagos' baby form enhanced by Terastalization + the Area 0 note and Kyurem being a literal frozen corpse, an empty shell of great potential for Zekrom/Reshiram's power).

There's also another dimension to this (literally): the fucked up crystal monsters from space and how they relate to the Pokemon world

The Original Dragon which split into Zekrom, Reshiram and Kyurem was also originally from a meteorite which came from space, so I believe that Terapagos, being part of it, was also from space (esp given its depiction in the Scarlet/Violet book as being among space and the stars).

Now you may be wondering "hey dude why is Zygarde up there, it isn't from space, what gives?" well I have an answer for that and why it's related.

Zygarde is the Pokemon planet's own natural born giant crystal guardian monster.

The same way that Necromza was once the god of Ultra Megalopolis and shared its light before being drained, Zygarde is a similar entity born on the Pokemon planet made to protect it. They're all, after all, composed of interlocking crystal parts and are essentially incomplete beings reshaping themselves when in their baser forms, with Terapagos also being composed of interlocking hexagonal parts in a similar manner as Zygarde.

Alright, so we've established a whole bunch of world building lore, but what's the big deal about it? Well, let's talk about Eternatus, The Darkest Day, and Infinity Energy next.

The Darkest Day is an event where Eternatus came to Galar from a meteorite in order to steal all of its energy. However, Zacian and Zamazenta appeared to protect Galar and were able to defeat it, sealing it away before Rose awakened it to try and bring about another Darkest Day to resolve Galar's future energy crisis. However, a key point to this is that the reason WHY Eternatus was stealing energy is because it was trying to keep itself alive after having LOST all of its energy, with its Eternamax form being closer to what Eternatus' actual form should be compared to the skeleton dragon we see.

And the Wishing Stones and Power Spots, which are what allow Pokemon to Dynamax, are incredibly similar to both the Mega Evolution stones and the Z-Crystals, which in themselves are fragments of The Ultimate Weapon and Ultra Necrozma respectively: Fragments of incredible power which are the building blocks to a space-originating Pokemon's original form. When Ultra Necrozma had its original light stolen by the ancestors of the Ultra Recon Squad, it shattered, opening Ultra Wormholes which spread the Z-Crystals (fragments of its original body) across Alola and allowing people to tap into Z-Power. Similarly, the Mega Stones were made after The Ultimate Weapon was fired and spread the life energy (Xernas/Yveltal/Zygardes powers) across Kalos, which mutated the landscape and developed Mega Stones. And in ORAS, The Devon Corporation specifically calls out this phenomenon from Kalos as the origin of Infinity Energy, the literal life energy of Pokemon.

Another key aspect to this is that this extreme level of energy, as well as Eternatus' own Pokedex entry, make note that this can even warp space-time as a consequence, which is likely why Ultra Wormholes are so common in Alola despite being a miracle occurrence: The fragments of Necrozma's body are constantly exuding this energy, which makes space-time unstable. It's also likely the reason as to why the Hoopa portals and Mirage Islands appear in ORAS, with Devon's use of Infinity Energy being the cause for these distortions to appear.

Alright, so what does any and all of this have to do with Terapagos?

Well, I think Terapagos is one of these crystal energy repository Pokemon, specifically the infinite energy source for the Original Dragon that all of these space crystal Pokemon also utilize. As well, the splitting of the Original Dragon caused the Terastal Phenomenon to occur, spreading across Paldea in the distant past as Terapagos laid dormant in the deepest recesses of Area 0. We know that Paldea is directly connected to Kalos, and us going to Unova likely means that it's close by as well, especially when Zekrom/Reshiram on their own are described to have enough power to cover the entire globe.

The Terastal Phenomenon wasn't really able to make the professor's time machine work, because while the high amounts of energy can warp spacetime, the professor misunderstood how to use it: Rather, because the professor dreamed of a world of ancient/future Pokemon, the Terastal Phenomenon made the Paradox Pokemon by channeling the energy into the professor's machine. As well, the Terastal Phenomenon works by manifesting dreams with the use of Tera Crystals, which envelop the Pokemon/Person who uses it, so a Pokemon, which is composed of Infinity Energy and controls the typing/energy of its moves, can alter their type in this way with an appropriate amount of Tera Shards of a different type.

In our hypothetical Legends Unova game, I bet that we'll see the Original Dragon, which wields so much energy that when it splits, it'll create the Tera Phenomenon. Given that the Treasures Of Ruin are not originally from Paldea (they may have been brought there by Volo, but all we know is that it was a travelling merchant), and that Paldea itself was under the control of the Paldean Empire (which is why it has that name in the modern day), it's even possible that the kingdom that Team Plasma tried to establish may have been inspired by/are the remnants of this original Paldean Kingdom, with N being the new modern day king chosen by Ghetsis, who was actually part of this ancient lineage. It's very likely that Terapagos is not originally from Paldea.

Paldea, connected to Kalos and Unova, could have even been the battleground of the two brothers when the Original Dragon split, creating the Great Crater and leaving Terapagos there, the remnants of the dream of the Original Dragon for the two brothers to reconcile.

I think a very interesting little promotion for the lead up to Part 2 of the DLC is that players, via Mystery Gift, were randomly given a Darkrai, a Pokemon meant to embody nightmares. I think that this is a little teaser hint to Terapagos, and the Terastal Phenomenon as a whole, being able to control and manifest dreams.

And that dreams coming true aren't always a good thing. They may even spell disaster if the infinite energy they possess goes out of control and envelopes the world. If Zekrom can envelop the world in an ultimate truth and Reshiram can envelop it with an ultimate ideal, both of them scorching it to ashes, then perhaps Terapagos can envelop it in an eternal dream, an eternally frozen crystal, similar to how Kyurem can cover an entire region and potentially the planet in an eternal blizzard.

So basically. This is what's going down in the grand scheme of things

Ok Ok so I've been thinking this for. quite a while like even before Stolen Heir was released. it's kind of controversial because I might be making mountain out of a molehill but -

I think Jurdan fans border on being disrespectful to Holly Black at times... the problem isn't what one chooses to focus on even though that annoys me too, like it's not like people can control the fact that they focus more/love a character more than the other. But I'm starting to see this especially on Instagram and Goodreads, and I think I have good reason to believe HB is more active on insta and Goodreads is like, the book reviewing site, if there's any place she may look for comments or critique it's that.

and my problem lies with the language used . HB can announce she's working on something and can give hints about it and I've seen soo many people just outright tell her "I don't care about [x] and [y] just give me JURDAN!!" or anything along that vein , there's also "I'm only reading this for Jurdan lol I kind of couldn't care less about []".

It genuinely annoys me a lot !! And I wish I could say to each their own but ykw? At some point it starts to feel like if these two characters aren't involved people don't even try to make an effort to connect with the other characters, the new protagonist, etc. To be honest your page was a breath of fresh air because I don't even see a lot of folks focus on ANYTHING in TFOTA other than this ship.

There's also the irony that so many people pride themselves on loving Jude, their morally grey female rage character, but refuse to discuss Taryn with nuance. Or Vivi, sometimes. It's weird how so many people love Madoc (justified, I like him too) then refuse to think that hey, maybe Taryn's way of coping with faerie is different than Jude and that affects her actions! something something fandom misogyny

The above unrelated paragraph is just to say that a Nicasia focused book is something many people just absolutely will not be able to handle lmao and I so dearly wish Jude and Cardan's 'screentime' is few and far in between just so that it's less palatable. But oh well.

(And after Prisoner's Throne it worries me because with the implication that the Nicasia focused book might have Jude and Cardan POVs I feel like she's catering more to these people now.

If that's how things turn out that would genuinely make me really sad because I didn't pick up her books after reading TCP, I started with Spiderwick Chronicles, then Modern Faerie Tales, and I love the way she creates atmosphere, her worldbuilding, her depiction of the weird and creepy and magical. I especially think that's her strongest suit, more than characterization, so something like this that hinges more on specific characters genuinely turns me off.)

AGREED SO MUCH WITH ALL OF ITTT I too noticed the really dumb people in her comments crapping on everything that isn't a new Jurdan book... Like, the woman was writing books and enjoyed fame 15 years before Jurdan happened. She obviously has a lot to say about her world. Why the hell would you want her to stop developing it and only focus on 2 characters??? I was a big Spiderwick fan as a kid, and when I read TFOTA I had no idea it was by the same writer but I could TELL the vibes were all there. I too think that is her specialty and I'd rather get 10 stories on different characters than 5 on Jurdan.

I want the Undersea book to be about Nicasia and part of it is because I agree, I think most of the fandom would HATE it and it would fry their brains, and I want to see it. It is dumb and petty of me, but it would be sweet vindication for all the clowns screaming into my ear that Taryn is problematic actually in case I didn't notice. Ultimately I know it is a fruitless endeavor. TFOTA has the misfortune of being too good and complicated for its main audience of tiktok book fans, but also too bad and simplified to spread into more general, unspecified fantasy circles where its themes could catch the attention of people who would know how to appreciate them. That means there is only a small portion of fans who both like the books AND have the critical thinking skills to appreciate all the things they do right outside of romance/basic female wish fulfilment.

In the end, judging by TPT, we are gonna have to take the L and accept we bet on the wrong horse and minority does not make the money. But at least we will be there together to make a mountain out of a molehill!