Ok but how did ace even get a girlfriend in the first place? Did she confess and he just went along with it? Did he think having a girlfriend would make him seem cooler? Was it a dare or something? Cause for someone like ace to just go ghost on her and not have an actual talk, kind of makes me feel like these two were not friends before they were partners.
So then, fast forward to nrc, ace is trying so hard to lose the feelings he has for his best friend. Because that's all they are: friends, homies, if you (duece) will. Yuu has the cream of the crop to pick from, he's kind of at a disadvantage here.
Plus, whose to say their entire dynamic won't change the second they get together? He doesn't want to get bored and start to hate one of his dearest friends by proxy, so might as well just play it safe and suffer a little than take that risk and the both of you suffer a lot 🤷♂️.
Meanwhile yuu, who still has their old phone/mp3 player, has been playing Jenny by Studiokillers on repeat. Lying in their bed, just down horrendous for this absolute ball of boyish mischief. How dare he, honestly?
Well. At least he gives them a lot of openings to flirt with him?
*disclaimer, I was home schooled so my actual knowledge about middle school dating is beyond non-existent so take what I say with a grain of salt
The information we get about Ace's girlfriend comes from his suitor suit vignette and he does not mention how they actually got together, just some of the things that they did and how boring Ace thought all of them were. And I agree! The way they broke up does not make it sound like they were friends before dating, though they could have been casual acquaintances. The way Ace likes to goof around makes me think he was probably pretty popular, and had a lot of those types of relationships. His description of the relationship makes me think he probably went out with her because he thought she was cute and that it would be fun to have a girlfriend, but didn't actually stop to think about who she was as a person or what dating actually means. And hey, he was in middle school. He was going to be a bit stupid about those sort of things. The experience seems to have made him think a lot about what he wants in a partner, and we know from Ortho he was telling the truth when he's forced to spell it out:
His voice lines flesh out what he wants a bit more; he says he thinks it's important to find someone you have fun with and that he wants to get married later in life. So Ace knows what he wants... he just gets really embarrassed when called out on it and refuses to talk honestly about his feelings (though he kind of does that in general hehe)
So flashing forward to NRC. Ace knows what he wants and Yuu is such a perfect fit it hurts. Best friends to lovers is a popular trope in fiction sure, but in real life? At a school? Yeah right, Ace still has to see them every day if they break up, and not to mention... I feel like Ace, Deuce, Grim, and Yuu sort of fell into their dynamic almost immediately after the mine adventure and didn't ever stop to think about it because of how natural the friendship felt. And Ace knows if things end badly he's losing the whole squad, so yeah. Better to just swallow this and stay where he is. He's still in school! He doesn't need to think about dating! He's got a housewarden to surpass, upperclassmen he admires, and a bunch of idiots to take care of. He can worry about dating later. Besides, these feelings will go away after graduation he's delusional sure of it!!!
Meanwhile, back at the ranch Ramshackle Yuu is literally in a living hell. Maybe they're a bit more emotionally mature than Ace and they just know this could work out but THEY CAN'T TELL IF HE LIKES THEM BACK BECAUSE HE KEEPS GETTING SHY AND MAKING JOKES FML!!!! But like he also lets them steal his gym shirt :ccc and he gets pouty when someone else makes an offer :ccc and really smug when Yuu says no ccc: so like maaaybe? Or maybe not and this meaningless flirting is all they'll ever have and they just. Try to be ok with it and they sort of hate themselves for it.
until Sebek properly joins the friend group and looses his fucking shit
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Genetic engineering, DNA modification, tested it on herself... Why would Jillian go through all this trouble? Adoption would be easier, surrogacy wouldn't be an issue for a woman with so much money, so why this devotion to medical science, to gene manipulation?
This doesn't seem very logical unless we take one step further in examining her characterisation as a sort of Virgin Mary character implied by her clothing and framing during season one: a man is never mentioned in connection to Michael's conception, either as donor or father... Possibly because Michael has no father. Jillian has made him up from scratch or, at least, using only her own genetic material.
This would surely equate to an awesome "medical marvel" and it would accomplish two additional things: first, it would account for just how sick Michael needs to be so that an extremely rare substance that doesn't even belong to this world can be his sole hope in surviving (the result of a miscalculation, an unforeseen mutated gene, some error in Jillian's design, the absence of something); and second, reproduction without the aid of man ("sinless", sexless) not only ties Jillian's character more closely to the theme of the holy mother, it also more strongly makes a Jesus figure out of Michael.
This is significant because it makes him into a designated saviour: Michael, too, "dies", crossing to "the other side" and later returning with the mission of saving humanity, which is the role he is sure he will play during all of season two. This story has been told before, the structure is the same and we all know it. He mirrors Christ in his being born of a woman untouched by man, in going beyond life and back, in being tasked by a higher power to act for others in his sacrifice. It is a destiny clearly written out for him, a classic narrative, a hero's journey neatly set up for Michael to accomplish and all he has to do is follow the script.
And yet, doing everything right, by the book, Michael ultimately fails.
If, according to all of the doubts awakened by the developments in Warrior Nun (is Adriel's realm not Heaven? Is he not an angel? Is Reya God? Is Jesus just as alien as Adriel? Etcetera), the Catholic church's teachings are all twisted, incomplete, when not simply ignorant of all that is true in spiritual, metaphysical matters, then this saviour narrative that constitutes the foundation of the institution itself is doomed — as well as whatever guidance it could supply.
I was discussing with @halobearerhavoc earlier about (among many other intriguing things) how myth informs the show and how it might predict Reya's fall, but also how that event would necessarily depart from how it plays out in the original myth. That is due to the fact that our protagonist here is Ava, a woman, and that this tiny little fact of sex alone forces a shift in how things are presented, in which values are prioritised, in how conflict is treated, escalated or resolved — this applies here as well.
Michael was the textbook redeemer, he was made for this, brought up by Reya with this explicit purpose and with the acquired conviction that he was the key to it all.
Ava, on the other hand, is a product of coincidence, of accident, of the unfathomable. She is already a rupture in tradition — dead and brought back, unknowingly, unwillingly the "usurper" of the halo, inserting herself in the line of bearers at random when she doesn't even seem to have any belief... Ava exists outside of tradition. To Michael's determined "Destiny", she is the one imbued with free will (it isn't out of guilt or duty that she returns to the Cat's Cradle, but through Mary's sympathy, through her own understanding and action). Ava is the unplanned factor, contrasted with Michael who was so planned that his life might have begun inside a Petri dish.
It isn't determinism that will save us, a mantle of glory woven by someone else wanting to place it upon our shoulders regardless of our own wishes; it isn't a decrepit institution or some despotic deity that will define us or what we do; it isn't the heavy, malodorous layers of ancient mould gathered over the endless tomes of Established Tradition or the carefully made calculations of arrogant scientists who think they can predict and explain and control everything.
Salvation cannot be through what Michael represents: an imposed duty, a stagnant, hackneyed story.
A story, we would do well to remember, which was already used to subjugate others, whatever its initial intentions might have been; Jillian certainly didn't predict what would be of her son and surely the primitive Christians didn't see into the future to understand what their devotion and their modes of its transmission would cause, yet it came to happen. The extermination of the Cathars, the persecution of pagans, the burning of "witches", the suppression of indigenous beliefs, activities and lives, to name but a few of the atrocities committed in the name of this one story...
So it cannot be Michael, embodying this narrative so well, that will bring about a fortunate ending to humanity's troubles.
Instead, salvation comes through Ava. She herself might be inhabited by a number of parallels with Christ, but she also carries freedom, an outsider's view which makes the inside so see-through, love, an ability to move outside of what had been previously set for her by someone else (one might even argue that these are the traits that made Christ before the story surrounding him came about)...
The walls built around her needn't contain her — and, phasing as she does, they do not.
Moreover, what would have been the real ending to Reya's plan, had it been followed exactly as it should have? The divinium bomb did hit Ava in the end, but wouldn't it have been worse had she not been interrupted in running up to Michael while he immobilised Adriel during the televised freak circus?
Ava's unpredictability, her impulse, her innate need to act with free will rather than constricted by what others dictate — Ava is the foil to fate itself, the foil to a structure, to a hierarchy that has been festering and rotting from the beginning of time, it should seem.
The hero of this story could only ever be her.
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We have two series about freaking PACMAN and they're both 40+ episodes. And you're telling me CASTLEVANIA didnt have enough plot to make less than 40 episodes ?? CASTLEVANIA ????
You're really trying to tell me that someone had the inspiration to create a whole ass cartoon about pacman with only "yellow circle flees from and eats ghosts" as a premise, but "an ancestral clan trapped in a cycle of violence, trauma and grief must defeat the Dark Lord Dracula, the most powerful being to have ever existed, every 100 years. They cant escape their fate, for they are the only men capable of killing him, due to their superhuman abilities and their main weapon, the Vampire Killer, wich both have been passed down for generations since Leon Belmont, the Dark Lord's old friend, who sworn for his clan to hunt him for eternity." Is "NOT ENOUGH PLOT" ???
AND THIS IS JUST A SHORT, GLOBAL SUMMARY. THERE'S SO MUCH MORE TO CASTLEVANIA CHARACTERS AND GAMES.
Y'all need to stop insulting the original media to defend your stuff (wich wouldnt exist without said media). Dare I say, if you need to bring the games down to lift the serie up, then there's a problem with your serie. And you also need to stop giving stupid excuses to incompetent writers.
Castlevania has a heart, it was possible to make a serie out of it without butchering it.
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Gambling Apocalypse Tenma AU
As I rewatch Kaiji I inevitably end up wanting to combine show I like with other show I like and stuffing fav characters into show. So here we are.
This was uh going to be a short summary type thing but I accidentally wrote a novella about it sorry
This AU starts off with a much more depressive Tenma. After Tobio's death, rather than immediately pour his grief into developing a robot version of his son, he recedes into himself, psychologically paralyzed, likely turning to alcohol to drown out his anguish.
His mental state is taken as an opportunity within the Ministry of Science to have him ejected from his position; Tenma was never the most well-liked director, and there were those with ambition to usurp him that would jump at the chance. Not that he especially cares in his state.
He's eventually dragged out of his stagnation by Ochanomizu - who, inadvertently, becomes the very catalyst pushing Tenma to develop a robot replacement to his child. This was not what he meant by encouraging Tenma to fill the void left by his son.
...But, well, he is no longer the director of the Ministry of Science. His access to limitless government funds and resources for "scientific research" has been cut off, and this is a project he cannot finance on his own. He can't ask Ochanomizu for help, but...interestingly...a representative of a certain shady organization known as the Teiai Corporation reaches out to him, offering to finance and support his project. A sane and well-minded Tenma might think better of it, but grieving and desperate, Tenma accepts their offer and is able to create a robot in the image of his beloved Tobio. For a while, there's joy in his life.
But the bill, as ever, comes due: Tenma must pay up, and the very resources that had been at his disposal will certainly ensure that he will, or else. Of course, he doesn't have the money; instead, he is given a choice. He can relinquish the robot Tobio in order to wipe out his debt - the child is a sophisticated and powerful robot, after all - or he can participate in a certain illicit event hosted by the Teiai Corporation.
It's nothing major...just a four-hour gambling cruise with a collection of desperate, damned souls that were also swept into debt with Teiai. The conditions are simple: Those who choose to participate are given a chance to clear their debts wholesale should they win. And should they lose...?
Well...no one really knows what happens to the losers seized by Teiai. It's said that they labour away their debts under Teiai's watchful eye and are freed once their work has covered their debts, though it's rumoured that most perish before they reclaim freedom.
There's only one answer Tenma can give, of course; he's not willing to lose Tobio again.
Thus is Tenma's debut into the Gambling Apocalypse, where he must become cutthroat in order to survive; if he wants to see his son again, he must make choices that will doom the hapless to miserable servitude, with a nonzero chance it ends in their death.
He survives the cruise, but of course, it was hardly enough to clear his debt; the cruise was never going to be the end of it. Teiai doesn't let go of its victims that easily. He will be called on again: this is a weight that hangs over him, all while he returns to his son Tobio. The same hands that have pushed innocents into hell must now be the hands that can embrace his child.
He wants to protect Tobio from the truth and enjoy what peaceful moments he's allowed with his son, but it's difficult. It's difficult to be the parent of a child who cannot understand the danger that looms ahead; this "happy" home is not to last. Tenma angers quickly and easily. He turns that anger onto Tobio.
As Teiai's games become more and more vicious and unrelenting, as his conscience holds onto the last vestiges of thread that remain, Tenma even threatens, once, to give the boy in: it would all end, then; the debt would be clear and no longer would he have to endure Tobio's childish annoyances, his ungratefulness.
The next time that Tenma is beckoned, Tobio takes matters into his own hands. He does understand, now; and he would have, if only Tenma had bothered to explain sooner. If it's a debt that needs clearing, he will work. He will help his father clear his debts however he can. Of course, it's difficult to find work as a child; but a circus troupe finds amusement in the idea of a child robot, and takes him in. He is whisked into a certainly unpleasant working situation, but he remembers his father, and what he must be enduring. Tobio, also, will endure.
When Tenma returns, Tobio is gone.
All that held Tenma back from becoming something monstrous has disappeared. All that kept him going has disappeared. When he is called upon by Teiai, there is no knowing what sort of person might come out the other end; whether a monster clawing his way to freedom regardless of what actions he must take, or a desolate husk surrendering defeat.
There is still a light, however dim: Found by Professor Ochanomizu and rescued from the circus, Tobio - now Atom - is able to shed light on the situation which Tenma took great pains to keep hidden from his old friend. With time running out, Ochanomizu and Atom must do what they can to save Tenma - from Teiai, and from himself.
-----
UHHH and that's a wrap!!!! I couldn't quite decide which way Tenma would go after hitting Rock Bottom in this AU, and tbh it would really depend on the kind of mental state he's in at the time. On the one hand I like the narrative of Ochanomizu and Tobio racing to prevent Tenma from crossing a line (actual outright murder probably) - or having to pull him back into humanity (and yknow, his ensuing penance)
But on the other hand having him get sent to Teiai Evil Hell Prison would be interesting because a) there's a lot of narrative potential having Tenma faced with what Teiai is doing with the people that lose the games and b) need him to decimate the foreman at chinchirorin Kaiji style
Tenma's whole character is definitely a much different guy in this AU, he starts off pretty sympathetic, the guy you wanna root for, he just ends up having an inverse character arc where he gets worse instead of better. His conflict with "Tobio" is also kind of reversed, less about being unsatisfied with Tobio as a son and more not being able to handle the fact that he probably has intense PTSD now and isnt capable of coping with it in a way conducive to being a parent (or like, coping at all)
Anyway that's gambling apocalypse tenma!!!
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