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adoregojo · 2 months

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secret admirer.

hihihihihihihihi, i cannot believe i actually slept for two days in a row? wth? and also that i never did this kind of posts? im such a lazy bum mb yall, I promise I'll write a real fic soon. summary: bllk characters as your secret admirers: isagi, bachira, chigiri, reo. how they fell, what do they do, how did they confess.

isagi.y

him. just him.

you once held his shirt collar to stop him from planting flatly on the floor.

and when you walked away, you walked with his heart in your palms.

yea, just like that

but honestly, isagi himself didn't knew he was such a big sap inside

and the moment he realised you two shared a few classes was the second he almost kneeled and thanked the sky itself for this.

an absolute swoon from looking at your side profile.

he once was long gone within the abyss of daydreaming about you, he genuinely just couldn't look away.

then got called out by the teacher for being too distracted.

definitely prayed that you didn't see that.

writes your name unintentionally in his notebook.

gets so embarrassed about it later and rips the paper.

still dose it again the next day and almost ripped the whole book apart form cringing at himself.

he once was musing over you too much to the point that your name slipped out unwittingly on the dinner table.

his parents couldn't stop teasing him about it, wondering when they would see you walking down their house door.

leaves love notes in your locker almost everyday.

it's something short and simple like: "you look pretty today."

then when he goes home he'll realize how dumb that was because you literally look the prettiest everyday.

dumb, dumby.

takes time to make the first move though.

he just feels like you're way, farther away from his reach.

it's okay, he still considers himself lucky to be one of those who got admire you.

he just hoped you saw him behind all of them, even if it was a glance.

chigiri.h

omgg pretty boyyy

despite chigiri being a confident and self-reliant, the trigger words of his old injury was like a pulling a pin of a grenade to his still-raw sorrowness. something that'll always haunt him.

and what dose he dare to say when they were nothing but truthful? like a salt to his wounds, he tends to just take it and suck it up, or at least try to ignore it for his sake.

but everything flipped when you stood up for him.

from that moment on. chigiri knew that he was far a goner.

out of everyone here he's definitely the most romantic one.

reads all your favourite books and analysis it.

probably named a cat after you.

like isagi he writes love letters for you.

just a little too poetic..

it it's short then it's something like: "loving you is like breathing." or "i hope your days are filled with the same joy you give me with your existence only."

but mostly is: "my definition of love, i see the true meaning of living behind your hue of life. you shall lighten my soul with your existence alone, i was born to see you shin each day, witnessing you is a blessing from heaven itself. the day that i stop seeing you as the owner of the stars is the day my body shall vanish, yet my soul will know it way back to you. from your only and one your admirer."

what a lovesick clown.

he might be a smooth talker on the outside, but trust me the butterflies of sentimental keeps on swirling in his stomach on the sight of you.

told his mother and sister about you.

it was his biggest regrets.

because the next day his sister shouted your name in a demand for you to spend the night for the 'meeting of the future in law'.

he had to physically drag her back to the car, freaking embarrassing.

couldn't meet your eyes for a while after that.

wants to hold your hand.

like, really badly.

it's just that feeling your skin against his cold, pristine hands must've feel like the loveliest, cosiest thing.

the thoughts alone are making him go crazy.

he confessed first, just couldn't help himself.

he just hoped if you would go to the end of the world alongside with him.

bachira.m

the sunshine boy himself.

the definition of fell first AND fell harder.

it all started when the class was ordered to work as duo for a project, something he always despised.

you may say that because bachira was definitely not having the word 'smart' in his book, you'd be right actually.

but mainly since no one really wanted to group up with him.

it was embarrassing, to just sit there and wait to be picked was putting him under the lights that pointed him out as the most pitiful creature in the room.

then you pocked him on the shoulder, and asked him if he wanted to be your partner.

and when he didn't see the sarcasm reeking from you, he knew he tripped hard, and couldn't find it anywhere in his feet to back him up.

it was strange, bachira never had a company, let alone a crush.

but the signs were there, and were painfully vulnerable.

painted you in art class multiple times; you with a smile, you reading a book, you sniffing a sunflower.

maybe also you and him... holding hands or hugging...

stares at your face a way, way too long.

he tells himself it's to crave your features better and detailed.

even he doesn't believe that however.

he draws your eyes a lot.

his second favourite colour is your eyes hue.

he was never the best at writing romantic poems, and his hand writing is just........

so he insisted gets you a gift!

which is a rock.

yes you heard me, rock.

he would even paint a little face with a smile on it and leave it on your desk by the end of the day.

almost went bald from joy when you had it hanging as a small march on your bag.

and when you had a bad day, that goes unnoticed by him.

so imagine your surprise when you would find two pairs of rocks, one kissing the other who had a sad expression on it face.

that somehow that foster a blissful smile on your face. like that little action extinct any remains of the past negative you carried.

and bachira was more than happy to be the reason for your happiness.

definitely rambles about you to his mom.

and his monster.

he once ha a dream about you two smooching.

cried when he woke up because he wanted it to be real more than anything.

you two confessed first, at the same time.

and boy was he dancing on cloud nine at it.

he almost smooch you that moment and then.

reo.m

it's mister perfect everyone, cheer.

you fell first, he fell harder.

no, literally. you fell. tripped flat on the floor.

and somehow, that made the reo mikage heart move.

?????????

love at first (fall??) sight.

he definitely leaves a trail of gifts for you everywhere.

your chair, desk, locker, bag.

he switches between chocolate and flowers to letters and perfumes, necklaces, etc..

you say how he picked them?

easy, see something that reminds him of you, he buys.

and it's pretty foolish since he sees you in almost everything.

reo is convinced that you're within everything that shins beautifully.

he actually paid the teachers to let him be in the same classroom as you.

paid even more to get a seat next to you.

rip to whoever was sitting next to you.

he once heard that a guy was bothering you.

the next day the guy was the talking of school because he suddenly moved out of town due to his dad losing his job.

hm, must be karma then.

has a shrine of you.

but you didn't hear that from me.

talks about you none stop to nagi and ba-ya.

genuinely sobbed when he imagined you with someone else.

has a flight under your name.

made a makeshift doll of you so he can practice his confessions on.

had a mental breakdown of the idea of you rejecting him.

reo can the most horrible, miserable day to a human kind to live.

then he sees you smiling

BOOM

he's all happy and smiling again, also a little giddy.

you once greeted him good morning, the next day he was planing what ring would suit you the most.

had two planes to write on the sky: 'will you go out with me?' and your name next to it in a shade of a heart.

now, you definitely cannot reject that. (Please don't)

have a nice day everyone.

#blue lock x reader #bllk x reader #blue lock #isagi x reader #bachira x reader #reo x reader #chigiri hyoma x reader #chigiri x reader #yoichi isagi x reader #bachira meguru x reader #reo mikage x reader

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coffeebeanwriting · 11 months

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15 Writing Tips from Authors

1) “You take people, you put them on a journey, you give them peril, you find out who they really are.” - Joss Whedon

2) “First, find out what your hero wants, then just follow them.” - Ray Bradbury

Coffee bean’s analysis: Letting your characters lead the story can result in an authentic, character-driven story, full of real conflicts and natural emotion.

3) “Turn up for work. Discipline allows creative freedom. No discipline equals no freedom.” - Jeanette Winterson

4) “Show up, show up, show up, and after a while the muse shows up, too.” - Isabel Allende

Coffee bean’s analysis: In order to write or eventually share your story with the world, you have to sit down and do the work, even if your brain is empty. Once you show up, the creativity has a chance to spark.

5) “All bad writers are in love with the epic.” - Ernest Hemingway

6) "Simplicity is the ultimate sophistication." - Leonardo Da Vinci

Coffee bean’s analysis: Being able to turn a complex idea into simple words is harder than one might think— but can elevate your writing. Not everything needs to be epic or overly flowery.

7) “Perfectionism is the voice of the oppressor, the enemy of the people. It will keep you cramped and insane your whole life.” - Anne Lamott

8) “I went for years not finishing anything. Because, of course, when you finish something you can be judged.” - Erica Jong

9) “Don’t write at first for anyone but yourself.” - T.S Eliot

Coffee bean’s analysis: Perfectionism will kill any chance you have at having fun and finishing your novel. Let go of that pressure of being perfect and do not worry about being judged. Write for you.

10) “Forget the books you want to write. Think only of the book you are writing.” -Henry Miller

Coffee bean’s analysis: Don’t overwhelm your schedule with trying to write a ton of projects at once. Focus your energy into one (or two) at a time.

11) "A short story must have a single mood and every sentence must build towards it." - Edgar Allen Poe

12) “Every sentence must do one of two things— reveal character or advance the action." - Kurt Vonnegut

Coffee bean’s analysis: Even if you’re writing a novel, this advice is brilliant. Whether it’s a sentence, paragraph or whole chapter... make sure they are meant to be in your story. Keep your scenes tidy and thematic, building towards something.

13) “Don’t tell me the moon is shining; show me the glint of light on broken glass.” - Anton Chekhov

Coffee bean’s analysis: When writing a novel, give your reader details so that they can picture the scene in their head. Don’t do too much telling (though it has it’s places).

14) “It is perfectly okay to write garbage— as long as you edit brilliantly.” - C.J Cherry

15) “If it sounds like writing … rewrite it.” - Elmore Leonard

Coffee bean’s analysis: Allow yourself to write messily and worry about editing later. Once in the editing phase, if your writing sounds stiff, rewrite it so that it sounds natural.

Instagram: coffeebeanwriting

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tlbodine · 2 months

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How to Close-Read Anything to Learn From It

This year, I'm sharing a series of close reads with my Patrons. Join to participate in discussion, read my analysis, and hopefully we can all learn together from some masterful texts. This month we're talking about Eric LaRocca's novella We Can Never Leave This Place. Join here: https://www.patreon.com/tlbodine

But I also wanted to share my methodology here, because close reading is a skill you can use to improve your writing and learn from a text. You know how everyone says you need to read to become a better writer? Well. Here's one method of studying to learn from the masters. I'm not saying this is the ONLY way, but it's one I've gotten a lot of value from!

Step one: Grab a text. Ideally this should be one you enjoy, because you'll have to read through it multiple times. You can level up later by analyzing a book you hate.

Step two: Read the whole thing at least twice -- the first time to absorb the story, and the second time to start analyzing.

Step three: Begin the analysis.

You will want a notebook or something handy to start taking notes.

1 - Observe the structural elements. How long is it? How many chapters? How long is each chapter? How many scenes are there? How many plot events? Are there multiple scenes per chapter or just one? In any given scene, how much time is spent on dialogue, action, description? If you have a spare copy of the book and some colored highlighters, you might want to try highlighting different elements to see it visually.

2 - Write down everything that happens in the story. Try to write a 1-2 page synopsis of the entire book. This will help you keep things in place in your mind as you explore the story, and will also help you hone your skills of synopsis-writing for your own work. You may as well practice while you can!

3 - Write down each character, their role in the story, and their arc. What do they want? How do they change over the course of the story? How do they impact the events of the plot?

4 - What are recurring themes and motifs? How are those reflected in the language? How does the writing work on a line level? Are there poetic and rhetorical devices used? How do the writing techniques support what's going on with the story overall?

Finally, once you've written down all of these elements, what takeaways and conclusions can you draw? What works together? What seems to fall short? What would you do differently? What can you adopt for your own writing?

Practice this process. Internalize it. Learn from each thing you read. And then apply the same process to your own work when editing and polishing -- that's how you develop an objective editorial standard for your writing that will help you skill up.

#writing advice #writing tips #close reads #story analysis #reading comprehension #media criticism #long post

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projectdrow · 3 months

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How the Bad Batch can end well

So here are my 5 thoughts on season 3 and what’s to come after. I recommend @eriexplosion if you like reading interesting thoughts, analysis and ramblings, a lot of their recent posts inspired this one.

First of all, the trailer was a work of art. It gave us some really random scenes, but also some very direct information that we can speculate on like crazy, if we want to. Also, the title-episode list comes in handy, I will refer to it.

1.) Episode 1-3 one go

I’ll come back to why the show needs to end before May the 4th later, and that’s another reason for the multiple episode days.

When a streaming service like Disney drops more than one episode, they often do so because they think viewers might be lost, because the single (first) episode does not have the full “boom-bang-drama” potential.

I think we’ll see the liberation of Crosshair, maybe even Omega, in the first three episodes. The trailer makes no secret of the fact that Cross will rejoin the team. So this story will not be the main focus of the whole season and the first episode might built up solely for the climax of the escape/liberation in episode 3. At least something heavy will happen at the end of “Shadows of Tantiss”

2.) Omega as the main character

Omega’s character is a very typical tool in storytelling. Throw a character who knows nothing into an established system, so she learns everything with/for the viewer. Sure, the boys are main characters, too, but Omega is the point of view of the kids(! - I’ll come back to that later)-show we’re watching. She can’t be gone for that long, because I don’t think season 3 will be a “Omega’s adventures on Mt. Tantiss”. I think episode 6 and 7 (“Infiltration” and “Extraction”) the latest will bring her back.

3.) So what’s the story?

Actually, and some might say that’s a big take, a lot of the first episodes will be about Tech. I don’t think I need to elaborate to anyone why it makes no sense for him to be dead and never had.

When we first saw this Clone X, there were some interesting “Undercover-Tech” ideas, but after analyzing the trailer in more depth and especially what appears to be an attack on Pabu led by this Clone, well, I think that’s Tech. And not undercover, no, the full on brainwashed, highly dangerous Imp!Tech. Episode 10 is called “Identity Crisis”, which could very well be Tech’s. But they’ll get him back, don’t worry, also because the second part will be about the BB finally deciding what to do with their lives. Which leads directly to 5.), but first:

4.) (Almost) no one dies

Two reasons. First: We already had that devastating Tech-death scene. He AND Asajj will be brought back from the dead this season. Any further death this season wouldn’t convince anyone anymore, not even the kids.

Second: The kids. It’s still a children’s show. Yes, Star Wars kills of characters in them too, but @eriexplosion made a very good point in this post: That’s not what this show is about. TBB has been about the struggle of Clones finding their place, finding family, finding a meaning. All of that would be for naught, and that’s why I think everyone survives.

Also: The last episode is called: “The Cavalry has Arrived”.

5.) About the future

I think the Bad Batch was intended to be released earlier. As well as the trailer. But with the strikes and Filoni being promoted, their was a lot going on. With the triplet opening and the double episodes, we’ll finish on May 1st. And that would be just to perfect to announce the follow-up-project on May 4th. I see another Clone series on the horizon. The Clones work, the people love them, it’s all there, the characters, the stories, the animation. It’s a safe bet for Lucasfilm. And sure, it would work with Rex, Cody and more as main characters, but the Batch was intended to be and is a stark contrast to the “Regs”, especially if they get Cross and Tech back.

Sure, Omega could be the leading figure again, but… nah. I am writing this because I’m absolutely convinced that we won’t have seen the last of the complete BadBatch after season 3.

Star Wars is about Hope. So I hope.

#The Bad Batch #Star Wars #TBB speculation

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weightedblankettt · 9 months

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An Analysis on the Literature Girl Insane MV!

Hey! You might not know me that much, as I’m not active in the DRDTheory community, as I’ve dubbed it, but my name is Blanket! Technically, this is a work of collaboration between the majority of DRDT Twitter, but it’s mainly just an analysis of stuff I couldn’t do by myself.

Okay, and now, onto the video!

So we start off with the spoiler warning. Pretty standard stuff, of course.

Many of my theories beginning here will be based on the colors and what I, personally, associate them with. Of course, the actual MV’s contents will be looked at further down the line.

As a bonus, take note of what pops up right after that. It’s a question: Do you want to forgive... someone? We’ll answer this question later on in the theories section.

These are mainly just lyrics, but the “final verdict” part catches my eye, as I believe it isn’t in the lyrics further down the line. Perhaps it’s about the current trial? As many people believe, David did not kill Arei. His reasons for lying about doing so are unknown, but we can assume that the singer is calling the listeners idiots, because of their incorrect final verdict. Whatever David wants to do, it’s certainly not leading them to the right one.

Next, these lyrics. While I believe it’s fairly obvious that the pink is meant to represent the typical Danganronpa-esque color of their blood, the color that the word “game” is in is probably relates to David. After all, his hair clips and star eyes, both prominent features of his “facade”, are in the same color.

Here is where the most prominent part of the MV is, to me. The text that flashes across the screen during transition points. The first one, in white text, is an excerpt from Osamu Dazai’s “The Flowers of Buffoonery.” The book, while I’ll spare you the greater details, greatly describes themes of suicide. The story’s main protagonist, Yozo Oba, can be described as so: “-But the narrator, a self-conscious writer, makes frequent first-person asides, breaking the fourth wall as he comments on the quality or believability of the novel he is writing.”

Something especially telling is this line, from an analysis of Yozo’s character. “Yozo is a person characterized by shame. Although I pretend to be someone who is confident and unabashedly themselves, that is not really true. I have always been ashamed of who I really am. I created a whole persona to interact with others because I believed my true self would never be enough.”

David’s character is someone very similar to that. Someone who has created a false persona to interact with others. Yozo is someone who feels resentful of other people, simply because he is forced to make them happy. “Yozo Oba is the tortured author and unreliable narrator of the three notebooks that comprise the bulk of No Longer Human. [That is the sequel to The Flowers of Buffoonery.] His appearance is depicted in three photographs examined by an unnamed narrator in the Prologue. These three photographs correspond to his appearance in each of the three notebooks. As a child, Yozo is precocious by design—an impish child who uses his antics to hide his fear, shame, and inability to relate to humanity. These fundamental flaws carry over into young adulthood; in the second notebook, he is a handsome young man whose smiling photograph lacks humanity, betraying the depth of terror and isolation that his comical persona seeks to hide. In the third photograph and notebook, he is only 27, but his gray hair and forgettable appearance prevent him from being labeled an ordinary human being.”

The quotes in yellow are from Agatha Christie’s “Murder on the Orient Express.” The full quote reads as follows. "If you confront anyone who has lied with the truth, they usually admit it – often out of sheer surprise. It is only necessary to guess right to produce your effect." I think the relevancy of this line in terms of David can be explained with his actions so far. Fun fact: Similarly to Danganronpa, “Murder on the Orient Express” is a murder mystery.

This is just a rickroll. DRDTDev thinks that they are FUNNY!? (They are.)

The “an archaic personal pronoun rarely used in real life, but popularized in fiction by the book” is most likely referring to thou/thy/etc. I’m not sure what this correlates to, but it’s probably important. I couldn’t find the green text, but from what I can tell, the green text probably relates to David’s nihilistic point of view towards humanity. Update: Bleuflower on Tumblr has located the source to be I Am A Cat by Natsume Soseki, so go check her out for that! If I had to say anything about that, it’d probably be relating to MonoTV, however, there’s also a continuation of David’s nihilism towards humanity that was also found in the Osamu Dazai references. The book itself is described as a “mordantly comic evocation of Sōseki's deep pessimism about his own humanity and indeed about humankind in general.”

The white text here is an excerpt from Osamu Dazai’s “No Longer Human,” which follows the same protagonist as “The Flowers of Buffoonery.” I’m sure you can all gather what that means in relation to David, but the main point is that he seems detached from his view of “normalcy.” @shidoutism on Twitter had this to say, as they’ve read the book itself: “OKOK so basically this first excerpt is from 'no longer human' by osamu dazai (its his last finished work because dazai sadly took his own life after publication of the book) now from the limited knowledge i have of david the meaning and message of the book might help in whatever analysis ur doing?? no longer human is about a man who never felt like he understood humans. like the title suggests, he never felt like a person. its revealed the protag was pretty sheltered and rich in childhood but experienced trauma from the familys housekeepers, but he never reported it. thats basically the start of it all as the protag grows up, he finds fear in communicating with humans. so he ends up either isolating himself and/or destroying all of his relationships with people. he's scared of people seeing the real him, so ever since he was a child he started putting up a happy, cheerful front. but it just creeped some ppl out bc it didn't feel genuine, it was more like a clown wanting to so badly entertain others. the protag starts resorting to bad coping mechanisms such as dr/gs and alc/hol and has many relationships with women to drown his sorrows and feel closer to being 'a human'. aaand the end of the book is kinda unsettling as the protag is sent to a rehab center and then when released, isolated himself somewhere far away without people, stating "everything passes. thats the one thing i learned in this living hell [somewhere along those lines]" and the book ends numbly like it feels like nothing”

I don’t know about you, but this sounds rather similar to our “protagonist.”

This quote is from “The Setting Sun”, by, you guessed it, Osamu Dazai. It tells a similar story, albeit with a different protagonist, but I feel like this ties in more with his facade, and how his inspirational speaking comes off to other people. Considering he is in his facade at this time of the MV, it’s safe to say that that’s what this is referring to.

And now, this all falls into place. These are the names of the Osamu Dazai books referenced in the text beforehand. The (I’m), next to No Longer Human, however, could signify how David views himself. Someone so sunken into depravity that they don’t register themselves as human anymore.

The faded text here is the first sentence of Yasunari Kawabata’s “Snow Country”. I don’t know what this refers to in terms of David, but this also seems important.

David still views himself as manipulative. Even if he does love people, even if he does have a semblance of care for those in his life, he views himself as an evil, irredeemable sack of shit, incapable of any emotion other than selfishness and cruelty.

This part is especially intriguing to me. David still wants to live, as anyone else does, but he can’t bring himself to find a reason to leave. His career is dead. He’s worthless, and nobody needs him around. Where would he go? There’s no room for him anywhere, even if he escaped, he’d just be shunned for good now that his entire life has been thrown away.

The excerpt from “And Then There Were None” by Agatha Christie, describes someone losing motivation to leave the island. The island is a metaphor for the building, that the students are trapped inside, and David has lost the will to leave in the first place. He doesn’t want to leave, because there’s nowhere else for him to even go. He doesn’t have a home. He doesn’t have a fanbase. There’s nothing left.

The text here reads: “If you’re Hythlodaeus, then I must be Morus.” This refers to the work “Utopia”, written by Thomas More. The book follows Raphael Hythlodaeus, a man who claims to be from Utopia, a perfect place for everyone. His surname quite literally means “Bringer of Nonsense,” or something along those lines. While this may be a stretch, I believe that “Hythlodaeus” is referring to Pre-Reveal David, and “Morus” could possibly be either Post-Reveal David or someone affected by his speeches, for example Xander.

Also, I find it interesting how the girl in this frame, most likely David’s “sister,” Diana, and David himself are both tilting their heads at similar angles. It’s possible that their relation is hinted at through this, but I’m not sure.

The excerpt right here is from Kajii Motojiro’s entry in the Kyoto Journal, entitled “Lemon”. While some of the text has been altered, the main story is about a man who finds himself suffering, and walks through his neighbourhood only to find a greengrocer selling lemons. He goes home, and finds himself happier than before. I’m not sure what this means when it comes to David, however if you’d like, you can analyze for yourself and let me know.

https://www.kyotojournal.org/fiction-poetry/lemon/

This part doesn’t have any external references, but I believe that the lyrics here reinforce David’s worldview, that no matter what you do and how hard you try, “nobody ever changes.”

The star imagery here is a direct reference to David. Stars are representative of his happy facade, and when he loses the stars, he quits the bullshit.

…And this frame. Alright, let’s start from the top. The electrocution definition is a callback to Xander, who’s referenced quite a few times in the video. The yellow text, which is from Antoine de Saint-Exupéry’s “The Little Prince”, is possibly a reference to David’s view on other people or himself- That nobody is special unless you were born special. However, the end of the text describes that if the boy were to tame the fox, the speaker, that they would need each other. I’m not sure if this is a description of manipulation, or a codependent relationship, but the David parallels are there. That, and the title of a “little prince” probably refers to David and how he’s idolized by many. The green text is, again, from “The Flowers of Buffoonery.” The full text is as follows. “A man crushed by reality puts on a show of endurance. If that's beyond your comprehension, dear reader, then you and I will never understand each other. Life's a farce, so we might as well make it a good one. But real life is a realm that I may never reach. The best that I can hope for is to loiter in the memory of these four days, so steeped with empathy. Four days that count more than

five or ten years of my life. Four days that count more than a lifetime.”

In reference to David, this is more representative of his true feelings. Not the asshole persona or the facade, but the genuine feelings he has. He already feels far too gone by his own standards, and constantly puts on a “show” for other people in the form of his speeches.

The red text is possibly a person dealing with depression speaking on one of their symptoms. There’s no way I could find a source for such a short quote. A common symptom of depression is losing interest in things you previously found enjoyable.

The white text on the side describes someone who finds pleasure in solitude as opposed to being bossed around by other people. It’s a reference to David’s backstory, as someone who was pressured into putting on a performance for others, finding comfort in being alone rather than having to play pretend whenever around other people.

The white text at the bottom is a continuation of the white text at the top.

The only theory I can think of for this is that it’s a foreshadowing to either gaps in their memory or the amount of survivors left in the killing game being four. Not sure.

Update: I don’t know how I missed this, but the “11” next to the suspicious gaps refers to this. It’s possible that the suspicious gaps are gaps in their memory now, being as he doesn’t remember having an older sister, but her existence is most likely confirmed, as we saw her.

This part here is referring to “Catch 22,” when the main character realizes that without a soul, humans are just… matter, if you will. Empty husks.

For this part, I had to call upon my not-so-trustworthy old friend, Google Translate! The translation of this from Latin is “I think, therefore I am (not.)” That’s what makes the most sense to me. We’ll refer back to this part later, for I have a different intention for it in my mind than David himself.

The dark blue text is another excerpt from “The Little Prince.” The prince in question is talking to a castaway, and the main takeaway of his words is that only your heart can tell you what you really need. If you were to simply look with your eyes, then what you truly need would be drowned out by the blinding light of superficial desires. I’m pretty sure that’s what that means. David is looking through his eyes, seeing a cruel world where nobody changes unless they were born to.

Now, let’s get into the next big part of the MV: The crossword puzzle. You might be wondering how this relates to David, but its moreso his own commentary on his classmates. Let’s go back to the latin. Pay attention to this reference of the solved crossword by raspbeyes on Tumblr. It will be very important for you to follow along.

Notice how there’s roman numerals in some of David’s lyrics? For example, this that we established earlier meant “I think therefore I am (not.)” This is referring to Rose. Her photographic memory can be linked to the description of “thinking.” The context of this may become clearer in future parts of the story.

III. That’s Charles. “If you doubt brittle things are broken.” Is, in my mind, referring to his memories. He has a recurring element of not remembering things, but he doesn’t seem to be aware of this until Chapter 2. For example, his secret- “Your older brother died, but you don’t remember him at all.”

IV. Arei. Her breakdown sequence should be all you need to associate this with her.

V. This is Ace. He’s going insane, obviously, because of the paranoia and failed murder attempt against him. That, and he’s become more disheveled as the game progressed.

XIV. Veronika, correct? Substance to the arts relates to her talent as a Horror Fanatic. Naturally, she’d be related to things like that.

XV. Whit’s refusal to accept his mother’s death, staying ignorant to the tragedies around him, is one of the “happiest” members of the cast.

XI. Mai Akasaki is not mentioned in the current story, and all of her quotes hidden amongst the cast members describe her in past tense. She was someone everyone viewed as reliable, trustworthy, and perhaps, if you exaggerated it, as God.

These two walls of text are both from the same source: Hamlet’s Solliloquy of “To Be, or Not to Be?”

This is what the thing actually means, in case you aren’t aware, which even I wasn’t until just now. It represents David’s suicidal ideology, from what we can assume with the way he’s trying to get everyone to vote wrong in the trial for Arei, quite well. Whether he wants to live, or die, is most likely a constant struggle for David to answer.

Which is why he leaves it up to… whoever can answer.

This is an absolute reference to the trial. The class trial rules are overlaid over the death portrait texture, which is “conveniently” covering David’s face. The seventeen here is also telling, considering what the description has to say about it!

This is what I believe is David’s end goal. To get everyone executed as a result of his own hopelessness. By pretending to be the killer and antagonizing the class, he believes he can easily sway the votes by “manipulating the public” as he always believes he’s done. By getting everyone to vote for him, he can end the killing game and his own “pathetic life” in one fell swoop.

After all, it’s not like he believes they have a chance of winning and escaping in the first place.

And here, is where we left off in Episode 11. David completely drops his facade in order to effectively kill himself, along with everyone else. After realizing the hopelessness of his situation, he makes a drastic turn to accept it readily. Someone who self-sabotages continues to do so because they develop a warped perspective of having control.

And again referring to the description, the 12 near the “Tallying Votes” caption refers to this. It’s David’s way of justifying his selfishness, with a diluted form of justice serving as an “ultimately fair verdict to the trial.”

However, David has always wanted to be loved. It’s why he even bothers with his facade, because he’s been putting it up for so long that disregarding his persona would effectively ruin everything he’s worked so hard to maintain in the first place. The repeated imagery of applause could also be a callback to his status as a celebrity, especially with how he reacted to Xander and Arei’s reliance on him.

While this does have a small fade of text pointing out that the “degraded copy” is the cover, which is not true because the MV is amazing, but. I believe this–

Oh. That’s literally it. Well, that makes one mystery solved!

Hey, look, we’re already halfway through! nice! Eden’s optimistic personality can be referenced here. She wants to live with everyone, together, and make sure that nobody gets hurt.

This is another reference to David’s rambling on about how attempting to change is utterly futile, and that nobody changes.

The yellow text is the definition of a television show, I believe. The blue text is an excerpt from “And Then There Were None,” by Agatha Christie. The full quote is this: “Breakfast was a curious meal. Everyone was very polite…. Six people, all outwardly self-possessed and normal. And within? Thoughts that ran round in a circle like squirrels in a cage…. ‘What next? What next? Who? Which?’...” …Do you get it? It’s a parallel to the killing game. Or, rather, how David views it. Everyone is terrified and scared for their lives, but they still greet eachother with mock kindness.

The blue text on the side is an excerpt from Shakespeare’s “Macbeth.”, and it goes like this: “I am in blood / Stepped in so far, that, should I wade no more, / Returning were as tedious as go o'er.” A critical analysis of the original work reads as follows: Shakespeare is saying here that Macbeth has involved himself in so many murders that it is as easy for him to carry on than to turn back. Macbeth compares his course of action with wading across a river of blood, creating a vivid image of his bloody reign. The word 'tedious' reveals the hardening of Macbeth's heart.

And now, the moment I’m sure most of you have been waiting for. Xander. Something I took notice of was that the cracks line up directly with his left eye, while his right eye is the one that’s actually missing in the game. Nonetheless, Xander clearly did mean something to David. Whether it be through his idolization of David, or if he inspired David in some way, his death had an impact on him. Manipulative persona or not.

XVI translates to Hu from the crossword puzzle. He’s taunting her, similarly to how he did in the trial, although the ??? makes me wonder if it actually IS David…

XII, that’s Eden. I assume it’s because of her optimistic persona that she is standing in someone’s way, although we’re not sure who.

For the next part, let’s say we take this at face value. It could definitely be referencing David allegedly pushing Arei to commit suicide, although this could also be something he internalizes, with the themes of suicide and wishing to be dead explored previously.

These are all repeats of the previous works included in the MV, like The Little Prince, Ozamu Dazai’s series, Agatha Christie’s works, etc etc.

Now, this is code, I’m assuming, but I tried translating it and couldn’t find anything. It’s a common encryption language. In case you want to translate it, it’s: 3aqxw97pktc8uki458fbdpfoacllex2f07bf8mg24b4mpfx2adc6v3f5yhxjd8i7sf11312zaj5lazet47jod5jczec5mvb6bz2o59r143sf2pe916sczcn7emvbl55ehe9iqb2708tt83482c8tw3c77gn47ojca634gbcfz0016s647wwlakcn46brcle0eam9

NOTE: @glorywelpchild on Twitter says… “For this, it may have been encrypted multiple times by different engines? I'm not a programmer so I'm not really familiar lmao. Another thing, it could be a type of programming the dev knows/commonly uses.”

The VI here is Arturo, but I don’t know what this means. Perhaps the description can give us some insight?

Hmm… Well, I don’t mind. Whatever you say.

Nico’s number is VIII, and this is referring to the defense they put up when asked about their intentions against Ace’s life. They claim they never thought about it, and “even if they try to think, they don’t know.”

This is Levi’s, as per the IX.

I actually managed to find the original image in the background. It’s a study on Comet Shoemaker-Levy 9’s orbit around Jupiter for several years before crashing into the planet. While the name, Shoemaker Levy, may be a play on Levi’s name, I believe this is also referencing that he may die soon. Maybe this is a stretch, but the symbolism of a comet named “Shoemaker Levy” crashing into Jupiter being right under a symbol that represents Levi, our prime suspect in a game where being caught results in death, is too far to be a coincidence. Part of my theory for Chapter 2 is that Levi is the blackened, after all, but that is in a previous post. Nonetheless, we can move on.

This is “Enterance of the Gladiators.” While it is now associated with silly things like clowns, it was originally a military march song. Hmm, where have I heard this description before?

Ah, that’s right! In the description!

These two are relatively straightforward. The David we meet in the prologue is his facade, and it serves as an introduction. However, we are re-introduced to him with a whole personality change, and that comes delayed from all the others.

This is a direct reference to MonoTV and the throne in the trial room.

The truth bullets. Typical Danganronpa symbolism, and it’s also a neat little reference to Xander’s custom weapon.

References to some of the students. The dresser is Levi, the bowl of fruit is Rose, the gun is Xander, the teapot is Hu, and the candle is maybe J?

The clock is Eden, the portrait, maybe a reference to the game? The stupid kid’s toy might be Whit.

Teruko and Mai. Teruko’s misfortune and Mai’s idealization are both key parts of their characters.

The gavel, another reference. The kitchen knife, Min. The skull, Veronika. The mirror… Possibly Xander because we’ve seen him with broken glass earlier in the MV, but it might be David and his personas making another reference.

The mastermind, sitting atop their comfortable chair.

The noose is Arei, the gas mask is Charles, the mouse is Nico, the theater mask… Perhaps the mastermind again, or Veronika again. The safe is David’s locked away and suppressed emotions. These are all mainly theories based on observation, don’t take it as the wholehearted truth.

David being mentioned again with the hair clips. The lemon has been brought up beforehand, it’s a callback to the journal entry. The dummies represent David’s detachment from his humanity, and the television is a callback to the fact that they’re on a television show.

David views himself as a snake, a liar, a murderer. Snakes are common imagery to use when referring to the Devil as well. The blood is a callback to the killing game itself.

Either a reference to Min, or the fact that all the books are empty could be visual dramatization of David’s feelings. There’s supposed to be something in them, but the books are empty. The “various kinds” could also be how many personas he puts on, if that’s a prominent part of his backstory.

The killing game is being broadcasted, so that counts as terrorist iconography, if nothing else. Dandelions, while beautiful in their own way, don’t belong in a garden. The megaphone is David’s custom weapon, and it’s a way for him to broadcast his speeches to those around the world.

The letters are from the joke comic that the dev released. You know the one, where Xander writes a letter for David and he accidentally throws it away thinking that it’s garbage. The popular toy refers to the commercializing of the Tragedy, as Veronika explained on the first day of Chapter 2. How horror movies will put black-and-white designs in their films to up the fear factor because of the subliminal/primal fear of the design back in the days of the Tragedy. The flowers… No idea.

This is cleverly disguised, but it’s a reference to the debate between continuing to live and killing yourself. To be or not to be, to stop or to keep going, but they’re both lit up. How are you to do both at the same time? You have to make a choice.

Main Roles are David and Xander. It makes sense, considering they both have full-body moments and we know who they are. The crossed out name is Mai Akasaki, but the cut off name is a bit harder to decipher. Thanks to some inspiration and help, I’ve come to my final conclusion regarding this.

They are related to Arei, 100%. The letters match perfectly.

Even in comparison to Arei, the “N” in her name starts only a bit earlier, but that’s because the first word is probably only two or three letters, in comparison to the four letters in Arei.

Originally, I couldn’t translate any of these. All I could make out was that the first hand was Xander and the second hand was Min or Mai. However. @MAHIRUMILGRAM on twitter managed to translate them! They are as follows:

After this point, the truth bullet breaks through David’s words, similarly to how Teruko is fighting against David, despite the truth bullet being in agreement towards David’s idea.

There’s also this, which could be David trying to deflect us from the truth, or that the lyrics genuinely don’t relate to him. I’m leaning towards the former.

The white text at the top here is from a story, entitled “The Ones Who Walk Away from Omelas.” It is about a beautiful city where everyone is happy. However, their city is not as beautiful as it seems. They tell the story of how the townspeople have locked a child in a basement, and left it to suffer. Their happiness, as they’ve been told, requires a sacrifice. “Inside the room, which is behind a locked door, there are a couple of dirty mops, a bucket, and a young child. The child is ten years old, but looks younger. The child is scared and completely miserable. It is never allowed to leave the room. Occasionally, someone opens the door and kicks the child to make it stand up. The person fills the food bowl halfway with corn meal and grease, fills the water jug, and leaves. The child can remember what the outside world looks like and begs and pleads to be let out. The child is naked and covered in sores, and it wails at night in its misery. The people of Omelas all know about the child in the basement. They all understand that everything good about Omelas, from their abundance of food to the good weather, depends upon the suffering of the child. They all understand this because when children are between the ages of eight and twelve, they are brought to see the child, and this tradeoff is explained to them. During this experience, the children of Omelas are disgusted. They want to help, but they are told they can’t. If anyone helps the child by clothing, feeding, or otherwise caring for it, then the perfect happiness of Omelas and its abundance would die. Therefore, no one may even speak kindly to the child.” I wanted to include this because it describes David so well. Someone who has been cast away because they’re deemed useless to society, someone who’s happiness would destroy the happiness of anyone else. I find the story truly fascinating, as it might describe David’s suppressed emotions and the depressive tendencies he indulges himself in.

“Their tears at the bitter injustice dry when they begin to perceive the terrible justice of reality, and to accept it. Yet it is their tears and anger, the trying of their generosity and the acceptance of their helplessness, which are perhaps the true source of the splendor of their lives. Theirs is no vapid, irresponsible happiness. They know that they, like the child, are not free.”

“How you have felt, O men of Athens, at hearing the speeches of my accusers, I cannot tell; but I know that their persuasive words almost made me forget who I was—such was the effect of them; and yet they have hardly spoken a word of truth [alēthēs]. But many as their falsehoods were, there was one of them which quite amazed me—I mean when they told you to be upon your guard, and not to let yourselves be deceived by the force of my eloquence. They ought to have been ashamed of saying this, because they were sure to be detected as soon as I opened my lips and displayed my deficiency; they certainly did appear to be most shameless in saying this, unless by the force of eloquence they mean the force of truth [alēthēs]; for then I do indeed admit that I am eloquent. But in how different a way from theirs! Well, as I was saying, they have hardly uttered a word, or not more than a word, of truth [alēthēs]; but you shall hear from me the whole truth [alēthēs]: not, however, delivered after their manner, in a set oration duly ornamented with words and phrases.”

Do you remember, in the prologue, where Xander describes the “rumors” against David’s positive front? This is a direct parallel. Here, Socrates denounces the words of his attackers, similarly to how nobody truly believes the rumors except for the critics themselves. Even Xander was fooled by his charisma.

“Was't Hamlet wrong'd Laertes? Never Hamlet: If Hamlet from himself be ta'en away, And when he's not himself does wrong Laertes, 240 Then Hamlet does it not, Hamlet denies it. Who does it, then? His madness: if't be so, Hamlet is of the faction that is wrong'd; His madness is poor Hamlet's enemy.”

Hamlet blames his own insanity for the death of Laertes’ father. Just like David tries to get everyone killed, and blames himself for murdering Arei, because of his own insanity.

This is a line from the poem “Be Not Defeated by The Rain,” by Kenji Miyazawa. It describes a man wishing to become someone strong, someone who cannot be bested. I believe this is exactly what David wants, too. To be as strong and as hopeful as he is forced to pretend to be, instead of a hopeless mess who would rather die than be seen as worthless.

David reaches the height of his insanity, before finally quieting down after being basked in green light. I don’t know if this was intentional, but I believe that it represents how he’s given up on even death after the students manage to vote correctly, hence the green coloring.

And now, number 19.

I severely doubt that David will actually die in Chapter 3. That is not “foreshadowing,” that is just giving out the answer, and DRDTDev is much more careful than that. I believe this is a final representation of David’s suicidal ideologies. He says he will forget, he says guilt will not weigh him down, but he’s lying to himself. That’s why the stars are still behind him, because he’s still lying. He says he is satisfied, he says he’s okay with death, but when has David ever been truthful with us?

And he leaves an empty throne behind. Not because he is dead, but because he has relinquished his career and his reputation for nothing.

Even though he is missing, nothing else has changed. That is how he views his life.

And that concludes the main analysis of David’s MV! It’s such a beautiful thing, really, I don’t know how to phrase any of it properly. Thank you to everyone who’s read this far, and everyone who helped me out. The decoding and puzzles? Ah, I’ll let you all do that… But, maybe I can help a little! Blanket, out~! See you all next time!

#danganronpa despair time #david chiem #dr #mv analysis #WOOH THAT TOOK ME 6 HOURS.#levi fontana #nico hakobyan #mai akasaki #ace markey #veronika grebenshchikova #eden tobisa #teruko tawaki #hu jing #arei nageishi #whit young #charles cuevas #rose lacroix

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shadowfalllen · 3 months

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KUDOS TO THAT ANON. TOP SHADOWHEART RIGHTS! (Though any Shadowheart is great really) but hell yeah I'm high fiving you and that anon!

Thank you! I'm high fiving you back! And I'm gonna throw a little analysis to top it all (no pun intended).

There‘s so many lines that indicate Bangsheart is far from inexperienced and far from submissive, quite the opposite in fact. So Bangsheart also TOPs big time, no questions about it. And if Bangsheart tops, well, DJ Shadowheart and Selûne Shadowheart aren‘t entirely new characters, they are the two paths Bangsheart can take.

DJ Shadowheart is the more obvious one based on the Nightfall Ritual romance scene where she shoves Tav to the ground and then literally and hungrily tops them. And the things she says indicates she might enjoy a little challenge, but I have no doubt she also likes to tame that challenger. It‘s also the whole energy around her, how she now commands the Sharrans and is the chosen of Shar and later becomes the Mother Superior, having even more power. So that is pretty self explanatory.

But Selûne Shadowheart doesn‘t become docile and different person entirely over night either, like why would she? She clearly still has the same energy as before, but it gets buried more under the quest to search for her parents/potentially grieving for them and dealing with the huge life change, so of course in the game she at the moment appears to be more emotionally vulnerable than DJ SH, who is still riding the high of succeeding in her supposed life mission, not yet having time to reflect on it all or see the actual reality of it. I see the Selûne Shadowheart‘s top energy in the swimming lesson romance scene as well. The fact that she trusts Tav and pulls Tav on top of her doesn‘t mean she is forever bottom now or that she wouldn‘t prefer to take charge/top. You can see it and feel it in throughout the whole scene and even the things she says out loud verbally.

Just look at that smug face after she refuses turn around and then proceeds to stare as Tav takes off her clothes.

So indeed, I'm a strong adovocate for top Shadowheart and that is the way I personally enjoy reading and writing about her the most.

#inbox #welcome to my ted talk #top shadowheart supremacy #bg3 spoilers #shadowheart

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arminreindl · 3 months

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Garzapelta: The Convergent Aetosaur

Our second pseudosuchian of 2024 couldn't be any more different from the first. While the first genus named this year was Varanosuchus, a small, agile atoposaurid from the Cretaceous, our second genus is Garzapelta (Garza County Shield), a large lumbering aetosaur, basically the ankylosaur of the Triassic.

If you remember the two posts on aetosaurs I did last year, you probably remember how osteoderms are super diagnostic for these guys and how the material doesn't need to be all that exciting to represent a new genus. In the case of Garzapelta its kind of an intermediate. It's better than the handfull of osteoderms we got for Venkatasuchus and Kryphioparma but its still mostly just osteoderms and some ribs (and a single toe bone).

Now the thing that stands out about Garzapelta is the specific combination of characters displayed by the osteoderms. So if you take a step back and look at aetosaurs as a whole, you'll see two big groups that split off from one another. The stagonolepoids, which eventually gave rise to the overly spiky desmatosuchines, and the aetosaurines, which gave rise to some really wide paratypothoracines. Shown below Desmatosuchus and Paratypothorax (not to scale), taken from Martz et al. 2013 and Heckert et al. 2010

But this doesn't yet say why Garzapelta is special. Well you see. We got both the paramedian osteoderms (the central two rows) and the lateral osteoderms (those spikes on the side). Now, the lateral osteoderms are morphologically really similar to those of desmatosuchines, HOWEVER, the paramedian osteoderms more closely resemble those of paratypothoracines. This is so extreme that when writing the paper, Reyes and colleagues did separate phylogenetic analysis for both osteoderm types. And as you might have guessed, when just looking at the laterals it was recovered as a desmatosuchine, but when looking at the paramedians it was recovered as a paratypothoracine (or rather something close to said groups). And when looking at both at the same time....well still a desmatosuchine.

Ironically, despite this, the authors don't think it was a desmatosuchine. Instead, the way the lateral and paramedian osteoderms connect is way more similar to paratypothoracines and ultimately the authors argue that its way more likely that the shape of the lateral osteoderms is the thing that evolved convergently. This whole situation does however highlight a major thing. Current datasets aren't really ready to deal with convergence like this.

And thats all I got to say about this one. Not as extensive as little Varanosuchus I know, but its surprisingly much given its just a bunch of osteoderms and not much in terms of skull remains or anything like that.

#garzapelta #aetosauria #aetosaur #croc #pseudosuchia #paleontology #prehistory #triassic #palaeoblr

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ramenrescue · 1 month

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do you any headcanons/aus/thoughts on usao/ousa ? loved your analysis of ogata/asirpa

Oh boy, I might have too many thoughts about Usami and Ogata so this may have to come in parts, especially the AUs. I have started writing a modern day reincarnation fic for them because I am just very feral about these two at the moment, so if I ever finish that and feel compelled to put it out to the world I'll let you know. The thing about writing fic or manga is like -- I can write little snippets but to piece them together into one coherent story is very difficult.

Anyway, your ask came at such a prompt time because I managed to buy the Japanese volumes on Bookwalker for almost 50% off and I specifically reread the main parts with Usami, so they are quite fresh in my mind. I think I agree with other analyses I have read about Usami in that he is a direct foil to Ogata. And this can be seen in their superficial traits: Ogata has many square-shaped, angular, sharp motifs on his face, like his square-shaped eyes, square shaped iris, squared eyebrows, square jawline, square hairline, while Usami has rounded tips on his eyelashes, round moles on his cheeks, rounded lips (cupid's bow), concentric circles for his pupil/iris, and rounded brows. Usami excels at close-range combat, while Ogata excels at long-range combat. Usami grew up amongst a large family with many siblings, while Ogata grew up practically an only child.

But here's the weird part -- I actually don't think they are complete opposites -- I think they have some things in common. <- more on this later.

It is interesting how in Usami's backstory (Chapter 227), Tsurumi (in conversation with the dojo owner) refers to Usami as a "dog among sheep" and a "born soldier who is highly loyal, combative, and is able to kill without remorse or regret". Then, it cuts to Usami in present day saying he predicts the serial killer in Sapporo will return to the scene of the crime and masturbate while reminiscing of their crimes because he understands that sentiment on a personal level. Usami here appears to show understanding that he possesses an innate capacity for violence.

Ogata was always wondering about the whole nature vs nurture question -- like whether lacking remorse for the act of killing is something one is born with or a product of one's environment (ex. bad childhood, war). Usami is a shining example that humans can in fact kill without remorse, and everyone except Ogata knows Usami is an exception to the rule. Usami is well aware this is what makes him special and this is one of the reasons why Tsurumi values him so much as a subordinate.

The problem with Ogata is that because he appears to have very little personal connections outside of Usami during the war (which is... kind of cute in a pitiable way?), he misconstrues that people like Usami are the majority. Usami agrees with all of Ogata's skewed interpretations and analyses that "all (majority of) people do not feel remorse in the act of killing" and in doing that, he is straight up lying. Usami knows people like himself are in the minority -- and because his analysis of Ogata's character was so spot on -- I'll go as far to say Usami knows Ogata is "normal" -- because if Ogata were truly a "born soldier" like Usami, he would not be ruminating about the philosophy of guilt and killing and questioning himself and bouncing his ideas off of another person -- he would just simply, be. Usami receives further confirmation that Ogata is simply, "just a guy", when he overhears Ogata calling Yusaku's name in his sleep. Usami also calls Ogata a snot-nosed brat quite a number of times, and I think that is alluding to Usami knowing that Ogata is just a sheep wearing wolf's skin.

It's interesting that Ogata entrusted the inner workings of his mind to Usami. I thought about this and I came to the conclusion that maybe he saw his own mother in Usami -- which I know, it's kind of insane, but I'm going somewhere with this! In Chapter 304, when Ogata is reminiscing about his mother, it appears she has a prominent cupid's bow -- a physical characteristic possessed by Usami. His mother likely called Ogata by his first name, and Usami is shown to be THE only person in present day who calls Ogata by his first name. Ogata's mom was head over heels over a man in a position of power with a wife who never returned the same level of love, while Usami is head over heels over a "promiscuous" man in a position of power who will likely never return the same level of affection that he's outputting. Another interesting side note: Usami chides Ogata for being the illegitimate son of an escort* and back in the Edo period, women in the business would chop off their pinkie as a sign of loyalty to their patron. Although Ogata likely did not have a good vantage point (nor did he care) to observe Usami's final moments, I think it's still worth mentioning that Usami getting his pinkie chomped off by Tsurumi resembles an escort chopping off her finger as a sign of ultimate devotion to her customer, lol. Anyway, I think because Ogata drew parallels between Yusaku and Asirpa, it is not so far fetched that he saw his mother in Usami -- and ultimately his projection made him trust Usami more than one ever should. There is one more important evidence that Ogata saw his mother in Usami -- in that he killed both of them with similar intent. He killed his mom not out of hatred, but because he wanted to put her out of her misery -- and he thought that if his father came to her funeral, she would be happy. Before he shoots Usami, he says something like "if you're so worried about being Tsurumi's cheapest pawn, why don't you see what his face looks like at your funeral," and in a way, he is putting Usami out of his miserable state of feeling inadequate. Ogata killed his mother with conviction that the positive outcome would happen, while he kills Usami with more of a neutral outlook -- and interestingly, Ogata, by killing Usami, gave Usami the thing he wanted most in life -- a reaffirmation from Tsurumi that he was his one and only (which, whether Tsurumi was telling the truth or not is dubious from a reader's POV, but alas, we are happy for Usami).

So here we return to my earlier point -- that they are crafted to be very different from each other, but they do possess similarities. One obvious one is that they both yearn for affection from Tsurumi -- which highlights another difference in that, yes they both yearn for love, but the love they seek are different. Usami yearns for love from one person and one person only, while Ogata is more agnostic and yearns for love from pretty much anyone who is willing to give him attention. But here's the thing -- I think Ogata's yearning for affection is a product of his environment -- and I think Usami's yearning to be someone's one and only, is also a product of his environment! I think that because he grew up in a large family, the love from his parents was dispersed amongst all of their children***, fostering an environment ripe for someone like Tsurumi to sweep him off his feet and pour "love" into this near-empty vessel. Usami felt intoxicated by the notion of being someone's one and only, that his jealousy-filled-rage led him to murder. I'd argue that without the addition of Tsurumi, there would be no Usami. Tsurumi compared Usami not to a wolf or a bear -- but a domesticated dog -- which is not, by itself, likely to commit acts of violence**. A soldier becomes a soldier only when commanded -- STEERED in the right direction, much like a dog will become violent when raised to do so. Therefore, a version of Usami who never met a sweet-talker like Tsurumi in his formative years, would likely not grow up to be an ultra-loyal killing-machine. To sum, I believe Usami's capacity for violence is an innate quality that can only be harnessed by the right environment.

Thank you for the question! One thing I still haven't quite wrapped my mind around is how after Ogata shoots Usami, he says "thank you, Usami, your death has completed me as a sniper." Okay??? What does he mean by that! I don't know! So if you or anyone reading this has any thoughts I'd love to know!

*=note that 商売女can include prostitutes and geisha, and the lines between geisha and prostitution was a lot blurrier back then so I'm just calling them an "escort" although Ogata's mom is officially known to be a former geisha

**=note that this is a sweeping generalization and I am aware different dog breeds do display varying levels of unpredictable, aggressive behavior

***=I just want to point out that Usami's parents are portrayed as being in love with each other, so they may have had that many kids as a result of lack of contraception. There's a scene in Vagabond with a couple who are having sex despite their many children crying out of hunger, and it kind of reminds me of that...

#asks #usami tokishige #ogata hyakunosuke #im just rambling dont mind meeee i'm just a passerby

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jacksmusesdrv3 · 2 months

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

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

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

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

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

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

[‘Then this story's not over.’]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[‘Designed like a school’]

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

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

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

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

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

[‘Eh…?’]

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

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

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

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

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

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

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

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

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

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

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

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

These can be attributed to:

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

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

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

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

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

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

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

[Members… of what?]

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

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

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

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

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

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

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

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

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

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

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

Thank you for reading!

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

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wavytam · 6 months

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SaNami in Thriller Bark and Whole Cake: How one arc was used to foreshadow the other

In this post I will talk about how Sanji's and Nami's storylines in Thriller Bark were used to foreshadow a lof of elements that played out in Whole Cake Island...

... and might as well foreshadow their dynamic in future arcs.

I decided to write this post after I rewatched Thriller Bark.

As the episodes went by, having in mind that I had already caught up on Wano in the anime, I noticed some odd… similarities left in Thriller Bark that made me realize how much it foreshadowed future arcs (like Marine Ford and Fishman Island), but especially Whole Cake Island (and Egghead, but this is an analysis for the next post) especially the moments relating to Sanji and Nami.

I also remembered something that was speculation at the time and if anyone has a source for this information, please share, since it's been a while I've read about it and I don't remember where I got it from: apparently, during the time Marine Ford was being animated (and the manga was in Fishman Island) one of Oda's employees lost some type of sketchbook containing concepts and plans about Whole Cake Arc.

If this is true, it means that Oda had a lot of things figured out way ahead of the current storyline of One Piece - which is not exactly a surprise. But after rewatching Thriller Bark, I dare to speculate that Oda already had a lot of things planned for Whole Cake even before Fishman Island and even Marineford, and he actually used Thriller Bark itself to foreshadow it.

Obviously, every arc of One Piece usually leaves hints to future arcs (especially when it comes to Wano and Elbaf - Oda foreshadows both in almost every arc), but I'd like to take a moment to talk about the ones (on top of my head) that Thriller Bark left hints of.

Wano: Zoro's encounter with Ryuma's Zombie and Moria mentions Kaido.

Marineford: By the very end of the Thriller Bark arc, Boa Hancock's name is mentioned, and we also have a scene of Lola warning Luffy about Ace's vivre card.

These are just some of the elements I remember and won't get into much detail, otherwise this post would need two parts lol.

Anyway, with what I said in mind, there's one arc that Thriller Bark strangely foreshadows more than any other and, not only that, but also introduces elements that will later be essential in said arc: which is Whole Cake Island. There are so many moments thrown here and there, especially during Sanji and Nami's moments, that it got me curious to know for how long Oda:

Had planned to write Whole Cake

Had the entirety of Sanji's storyline figured out

Had planned some specific interactions between certain characters

As you can already guess by the title of this analysis, my assumption is that Sanji and Nami's roles and interactions in Whole Cake Island were something that Oda had planned ever since Thriller Bark… and maybe even before.

In this next part, I will show you the reasons why and also why I think that some of their moments in Thriller Bark still weren't mirrored in Whole Cake but might be in Egghead or maybe Elbaf.

Nami and Sanji’s roles in Thriller Bark

First, let's remember what happens to Nami and Sanji separately and how both their storylines intersect throughout Thriller Bark.

Nami starts off by getting lost from the Straw Hats along with Usopp and Chopper (the infamous Weak Trio) inside Thriller Bark. Through their perspective we see how weird and macabre the setting is and how there is something wrong with its inhabitants - specifically Doctor Hogback.

Meanwhile, Luffy, Sanji and the rest of the Straw Hats follow the trio's tracks and have an entirely different perception of the place. Through their perspective, everything that scared Usopp, Nami and Chopper is… kinda pathetic and weak? Lol, I loved how Oda planned this.

Once the Weak Trio arrives at Dr. Hogback's Manor, Nami is assaulted (ugh) by an invisible Absalom (mind you, a guy who has lion parts - a symbol that usually is connected to her throughout One Piece) and he decides to take her as his wife. Meanwhile, as the trio tries to escape, and the rest of the Straw Hats are looking for them, Sanji's and Zoro's shadows are taken by Gecko Moria and put inside Zombies. Something interesting happens: because Sanji is not well known like Zoro, Moria underestimates him and puts his shadow inside the body of a weaker Zombie (keep that in mind for later).

Sanji's zombie finds Usopp, Chopper and Nami, and rebels against his "programming" to protect Nami specifically.

That's when Moria's minions realize that Sanji is much stronger than they anticipated.

Later, Chopper and Usopp escape, but Nami is taken by Absalom. She also meets a Zombie named Lola whom she ends up befriending. Through Usopp, (original) Sanji finds out Nami was harassed by Absalom and was planning to force her into a marriage.

He gets so mad, he lights himself on fire and we have these interesting exchanges.

(Posting two translations of the same panel because both translations are so interesting: one of them Zoro says that he might “transform” into something, but the other says he might “mutate” - and considering the things we know now of Sanji’s past once again shows how Oda gives a lot of thought to Sanji’s characterization.

Anyway, if anyone knows which phrase is the closest to the original japanese and what else it could be talking about, feel free to comment or DM! I have zero knowledge of Japanese and I just know how many hints we might be missing because of it).

Meanwhile, Nami is (probably) drugged by Absalom and is carried to the altar to get married.

Obviously (and under Luffy's orders) Sanji goes to look for Nami and we know how things go after this. He

crashes Nami's "wedding",

fights Absalom as he protects her body against any minor harm,

and ends up talking about his dream to become invisible and how he studied devil fruits when he was a kid (that moment for me is enough to prove that Oda had already planned Sanji's entire storyline with Germa, his siblings and his metal mask - I will talk about it in more detail later)

All of that effort seemed to go nowhere since Sanji was unable to free Nami. Absalom escapes with her and tries to marry her again, only for her to (finally) wake up and defeat him.

That's when we realise that it was thanks to Sanji, who weakened Absalom in their previous fight, that Nami was able to (in a sense) oneshot Absalom so easily.

So, unbeknown to himself and Nami, Sanji did end up saving Nami - this is an interesting motif in their relationship, and something I plan to talk about more in future posts.

Later, after everything is resolved, Nami befriends the real Lola. Lola not only talks about her mother Linlin (the Big Mom, one of the Four powerful Yonkos) but also gives Nami Linlin's vivre card. Only later in Whole Cake we find out Lola ran away from home and Chiffon mentions how she rejected the advances of a prince (Loki - Elbaf foreshadow) whom Nami takes interest upon for being… well, a prince.

Obviously a bunch of other things happen, but I only talked about the points I wanted to explore in this analysis. I'm sure you noticed there's a lot of them to talk about already.

Also, if you watched/read WCI I'm sure that, as I listed what happened in Thriller Bark, you already noticed how there are some interesting elements in it that later become crucial for While Cake to play out the way it did.

As I mentioned, one of the most important things that I think Oda had been planning to write ever since Thriller Bark (or before) was for Nami specifically to participate in Whole Cake.

This part I will leave for last, since the next topics will serve as a way to explain it.

TB Absalom's Invisibility and Sanji's Dream mirror WCI Stealth Black and the Rejected Germa Prince Storyline

Well, this topic is kinda controversial because of the sexual undertones it has and because of how Oda portrays Sanji's perviness. I won't talk about this part here since it's not the focus of this analysis, but I will link you to an amazing post that explores exactly that part of Sanji's character.

Here I will focus on the other part that Oda left implicit: which is the fact that Sanji had the dream to be invisible ever since he was a kid (when he still didn't have his hyperfixation on women) and how, at the same time, it was the exact power he was "supposed" to have as a Germa soldier and prince.

To me Oda not only used Absalom's powers as a way to leave open the possibility of Sanji having invisibility related powers in the future (which he kinda did in Wano), but also to tie it to his past with Germa.

Only now do we know that the power Sanji was originally supposed to have was invisibility and the fact that Oda put Absalom with that exact power might show how ahead he was on the story (or how good he is with improvising hehe).

Now, this raises the question: if Sanji's mutation was supposed to be invisibility, where exactly did those fire powers come from? (This is something for a future post ;))

TB Nami and Lola mirrors WCI Nami and Chiffon

Through the bond Oda developed between Lola and Nami, the Straw Hats (and we, readers) gathered a lot of important information that would later be used by Nami herself to survive their adventure through Whole Cake.

First, Lola had a twin sister, Chiffon, who, because of the bond already established between Lola and Nami, ended up taking a liking to Nami in Whole Cake (and vice versa).

Big Mom's Family and Political Marriages

Second, as we get to know Lola in Thriller Bark we see that the idea of finding the man she loves and marrying him is an important concept for her. This is later on explained in Whole Cake, where we realize that Big Mom uses political marriages to gain more power and wanted to force Lola to marry prince Loki. That’s the sole reason for Lola to leave Big Mom and, once again, it seems like something Oda had already planned in Thriller Bark.

Big Mom's Vivre Card

Third, the Vivre Card Lola gave Nami was crucial for Nami, Luffy and the rest of the crew to navigate through Whole Cake and control Big Mom's henchmen. A lot of the problems that they were going through in Whole Cake were resolved because of that simple vivre card given around six arcs earlier, Thriller Bark.

Sanji and Nami Wedding Crashing Each Other's Weddings and Bridal Carries

Well, this is the part the SaNami Fandom has already talked about the most and for obvious reasons. It's not everyday a ship has so many wedding motifs, and the fact that Oda chose to parallel a lot of things that happened during the wedding in Thriller Bark at Whole Cake with Sanji and Nami, obviously adds more fuel to the fire.

This topic, along with Lola, is actually the reason for me to write this analysis, since, in my opinion, there are a lot of details that seem too coincidental to be considered unplanned.

First detail: we have the fact that Nami was the main reason for Luffy to ever decide to invade Big Mom's territory and go after Sanji, whilst in Thriller Bark it was Sanji himself who was determined to stop Nami's wedding at all costs and Luffy… well, he just gave Sanji permission to do his thing lmao.

Second: during both wedding ceremonies, Sanji carried Nami bridal style; something that the groom was supposed to do with the bride.

Third detail: both Nami and Sanji were being forced to get married and it was always the other side that would try to save the forced groom/bride. The best part about this is the fact that neither Sanji nor Nami knew about the amount of difficulties the other went to save one another. Which brings me to the next topic:

Nami's Obliviousness to Sanji's efforts mirrors Sanji's obliviousness to Nami's efforts

Okay, this is more of a fact for the entirety of One Piece, but I think it's more evident in both Thriller Bark and Whole Cake. Again, although this is a topic that I want to talk about in more detail in another post, I do think it's worth mentioning a bit in here.

In Thriller Bark, Nami does not realize how important she is for Sanji and the extent of the things he is willing to do for her safety. Not only that, but Nami is also not aware of the things Sanji already did for her ever since Arlong Park.

In Whole Cake, it's more subtle, but the fact that only Luffy truly saw Sanji's breakdown and how much he was sacrificing himself for his crew, shows that Nami still does not know the true extent of Sanji's care and selflessness.

And it raises the question: why? Why is it that Oda does not let Nami (until this day) know how much Sanji did to his crew and especially to her? To me, it's because, if Nami knew, she would treat Sanji differently. If she knew that Sanji does have a preference for her, that he defended her in Arlong Park, that he tried everything he could to protect her in Thriller Bark, and that he did a lot of things he wouldn't do for any other woman, maybe her view on him would change.

Consequently some type of tension between the two could eventually build up and what Oda has been trying to avoid for years (which was a romance between the crew) would eventually happen, and the entire dynamic of the crew would shift (but this is speculation ofc, it might be nothing and even if Nami knew, nothing could change).

And let's also consider that, although Sanji looks for Nami's validation when she witnesses him fighting, he never tries to brag or tell her about the times he defended her when she wasn't looking.

Obviously, in Whole Cake, Sanji is thinking about the entire crew when he sacrificed his happiness, not only her, but as I said, it's more about the fact that Nami does not know how much Sanji truly works under wraps to make sure the people he loves are safe - and how selfless he truly is for her when she only sees his perverted side.

Now, the same can be said about Sanji, to some extent. It's clear in the manga that Sanji does have strong feelings for Nami, if it's reciprocated, it's up to debate. But no one can deny that Nami does care about Sanji and sometimes, she cares more than anyone else in her crew.

We all noticed how Nami was the most eager to rescue Sanji, always trying to bring the seriousness of the situation to the rest of the crew and dragging Chopper, Luffy and Brook to the right path whenever they got distracted by something else.

However, when it came to truly knock some sense into Sanji to accept help, Nami was conveniently taken out of the picture in favor of Luffy.

Keep in mind that I am in no way complaining, the moments Sanji had with Luffy were beautiful, and he obviously would have the focus: Luffy is the main character and Sanji's captain.

But the fact that Oda kept Nami away in one of Sanji's moments of fragility, when he exposed his true nature and showed how caring he really is, can come off as suspicious. As if Oda does not really want Nami to see those moments… yet.

You can say that Oda also kept Chopper and Brook out of the picture, but even when Nami is with them, Oda kind of separates Nami's behavior from theirs. He emphasizes Nami's reactions and gives her serious expressions while the rest are put in more comical situations.

Also, during the Luffy vs. Sanji fight, one of the most emotional moments of WCI, Nami didn't need to be there if Oda only wanted to emphasize the importance of Luffy to Sanji.

In my opinion, he put Nami there, because Sanji cares about her and her opinion more than any other woman’s, even more than Robin’s. Which makes the following moment even more hurtful, especially because that was the only time Nami didn't use the "kun" honorific - showing how she lost respect for him.

Conclusion: the importance of Sanji and Nami in each other’s stories

By looking at these topics, I think it's very interesting how Oda made sure to use parts of Nami's plot in Thriller Bark to gather information that would help her, Luffy, Brook and Chopper to save Sanji in Whole Cake.

To me, the fact that so many of these things seemed to point out something: the interactions that both Nami and Sanji have is something that Oda thinks about carefully. Not only that, but everytime they are having a major moment/development, most of the times one is there to support the other.

Examples:

In Arlong Park Sanji defended Nami's actions

In Ennies Lobby Nami had a major fight against Khalifa because she knew Sanji wouldn't fight a woman

Until Nami decided to forgive Jimbei, Sanji was there to defend her

Again, the only exception is during Sanji's and Nami’s arcs in Wano - but in my opinion it's because Oda’s intentional hiding of Sanji’s story from the other Strawhats will pay off in the future and will be a major factor in the One Piece story.

Well, this is it.

Okay, with all of those topics in mind, there are two main events in Thriller Bark that happened in relation to Nami and Sanji that still don't seem to have been mirrored:

Sanji's Zombie fought his own programming to protect Nami in Thriller Bark mirrors (?)

The underestimation of Sanji's True Power, what it truly is and how will it be activated

I plan to write that part for my analysis of SaNami in Egghead. If anyone is interested, stay tuned!

For everyone who stayed until the end, thanks for reading!! See you in the next post.

#SaNami #SaNami Analysis #SaNami Theory #My Theories #Sanji x Nami

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mirrormazeworld · 11 months

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TWST Theory : A Way For Yuu to Go Back Home (Deep Analysis Based on Alice in Wonderland and Through The Looking Glass) Part 1

⚠️WARNING⚠️

⚠️CONTAINS SPOILER CHAPTER 7 ⚠️

⚠️VERY LONG THEORY AND CONTAINS MATH. MIGHT GIVE YOU HEADACHE, PROCEED WITH YOUR OWN RISK⚠️

Finally we got some more essential informations from Diasomnia chapter 3 so it's finally time to end this long analysis of TWST Theory : Deep Analysis Based on Alice in Wonderland and Through The Looking Glass . The analysis and theory is longer than I expected so I'll divide it into parts. As for now part 1 of this theory is only about introduction to warm up our brain so it's still easy to understand before I drag you to this rabbit hole of a theory later. This is just my own personal assumptions, analysis and opinions as the fans of Twisted Wonderland and Lewis Carroll's work of Alice in Wonderland and Through The Looking Glass and isn't necessarily right, so please take it with a grain of salt. And as Alice in Wonderland and Through The Looking Glass are full of logic and Math, this final analysis will have Math as well.

Side note : I recommend you to read at least this previous theory first so you'll know what I'm talking about.

Epel: “What is your favorite class?”

Ace: So now you wanna know what I’m actually good at…? Mmm, I wonder what it could be… I guess maybe Enigmics?

Epel: Eh, Enigmics!? That’s one of my weaker classes, so that’s amazing.

Ace: Hah, yeah, there’s a ton of guys who’re not that good at this class, huh～ But hey, I kinda get it.

Ace: Like, when I first saw questions like "Express the strength of this fire magic as an equation," I was super confused.

Ace: But you can figure it out as long as you just remember the formulas to use, right? And…

Ace: There’s also stuff like “Express phenomenon A using this magical formula,” or “Derive the power of magic B using this equation.”

Ace: ‘Cause there’s only one possible answer, I don’t really gotta stress too much.

-From Ace's Broomquet Card-

(Translated by @/mysteryshoptls)

One biggest mystery of Twisted Wonderland that's Yuu's main purpose in the game and something Crowley has been avoiding the whole time to answer is : "How can Yuu go back to their original world?"

We all know that when the first time we play the game we see Dark Mirror with Crowley's voice guiding us to take the hand reflected in the mirror and then this is how we(Yuu) start to enter the world of Twisted Wonderland.

Ortho said there might be "specific conditions" and "coincidence" in order for Yuu to go back home. From what Ace said in his Broomquet card, in Twisted Wonderland, there's something equivalent of Mathematics in our (Yuu's) world called "Enigmics". It's said that a phenomenon in Twisted Wonderland can be expressed in the form of equation/formula in the same way as Math and Physics.

In chapter 7 Diasomnia part 3, it's revealed that Malleus can disturb spacetime. In the prologue, Crowley also said something about spacetime teleportation.

In physics, spacetime is a mathematical model that combines the three dimensions of space and one dimension of time into a single four-dimensional manifold.

So just as "Enigmics" is something to calculate and do some magic with certain formulas and equations like Math and is also claimed to be something that can answer and explain any phenomenon ocuring in Twisted Wonderland just the same as how Physics explain somewhat "magical" phenomenon before the formula was discovered, just like how Lewis Carroll put extreme level Math inside his works of Alice in Wonderland as the logic behind his writing, what if Yana really put some kind of real life Math equation as the concept for Yuu to go back home so that all this time what Yuu seek is actually this equation?

Looking back at my previous character analysis about Crowley having the role of Mad Hatter (and I recommend you to read it), if it's really true that math and physics has influence in Twisted Wonderland then the only reasonable and suitable "condition" that can explain all of this is the spacetime equation, the four number system called "quaternion" that is the main inspiration of Mad Tea Party from Alice in Wonderland. And if Twisted Wonderland is truly based on "Alice in Wonderland" and "Through The Looking Glass and What Alice Found There" by Lewis Carroll, then that would also means that this "quaternion" is actually also a way and a condition for Yuu to go back home.

The Key to Go Back Home : "The Missing Characters of Alice in Wonderland"

Have you ever noticed that despite the name of the game being "Wonderland", we never see some famous characters from Alice in Wonderland like White Rabbit or Mad Hatter? And yet we don't even see those characters in Heartslabyul dorm even though Heartslabyul is the dorm of Alice in Wonderland...

Ortho said each individuals in Twisted Wonderland has different specific conditions.

In reality, Mad Hatter, March Hare and Dormouse which appears in chapter Mad Tea Party from Alice in Wonderland are actually represents three terms of quaternion. In the same way, if Yana really put quaternion inside TWST then that also means we can put twst characters that meet specific conditions into quaternion as well, which means each TWST characters that meet specific conditions to be put inside quaternion will be the key characters for Yuu to go back home.

And those "specific conditions" are the traits/conditions that has connections with the characters that appears in Mad Tea Party from Alice in Wonderland, and those characters are the characters that's hidden by Yana, "The Missing Characters of Alice in Wonderland". Today I'll reveal who those "missing characters of Wonderland" are and also the "key characters" of Twisted Wonderland for Yuu to go back home

Mickey the Dormouse

We will start from the most obvious one which has already been confirmed by Ortho that Mickey is one of the "key characters" for Yuu to go back home.

In Disney Alice in Wonderland, Dormouse is one of the character at the tea party and he is always sleeping inside the teapot.

The dormouse is a nocturnal rodent; its name is derived from the French dormir, thus “sleeping mouse.”

In the newest Diasomnia book 7 chapter 3, it's revealed that everytime Mickey come to that room and interacted with Yuu through the mirror (and finally meet Yuu and Grim in person)those are all happening in his dream when he is sleeping.

Dormouse is also somehow "in a different place" which is inside the teapot. Mickey is in different place from Twisted Wonderland, which is inside/behind the mirror. In addition, if we put some wordplay like Lewis Carroll did in his works, Mickey only appears in ramshackle dorm and not anywhere else. Which makes him the "Dorm Mouse" (Dormouse)

Crowley the Mad Hatter

Not only because of obviously he knows something about the way for Yuu to go back home (and even if he doesn't really know he is in charge of researching it anyway), If you read some of my previous theory mainly from here about Crowley, you might already know that Crowley has Mad Hatter aspect in his character concept besides Diablo (in which makes him both Crow and Raven and thus also met the condition to be associated with Mad Hatter), but I'll give some more explanation and also conclusion from the previous theories about Crowley.

From this analysis I did previously, his name Dire Crowley, are both refers to a raven and a crow. Dire is read "Dia" in Japanese katakana, retconned to have similar pronunciation as "Diaboro"(Diablo) which is the name of Maleficent's raven. In Diasomnia book 7 chapter 3 Yuu, Grim, Silver and Sebek meet Maleficent's minion in Lilia's dream, which wear similar mask like Crowley's that only shows the light of their eyes. There are no official confirmation yet, but this is a strong sign that Crowley might be the minion of Thorn Witch/Thorn Queen, moreover her right hand man, as Diablo is Maleficent's right hand, which makes Crowley also a raven and therefore meet the condition as Mad Hatter from Alice in Wonderland as well, since raven is the key to Mad Hatter riddle, and crow is the key from its sequel, Through The Looking Glass which refers back to quaternion in Alice in Wonderland's Mad Tea Party chapter, both raven and crow are revering to the time itself. More about the explanation of Crowley's name that's associated with Mad Hatter riddle can be found there in this post.

Silver the March Hare

I know what you are thinking, Sliver is just a normal beautiful human and not a hare nor a rabbit fae nor he is born in March but why is he the March Hare?

Just the same way as I did an analysis on Crowley previously, I will need to solve the riddle in Alice in Wonderland first and then I can show you why Silver has the role of March Hare.

The Hatter was the first to break the silence. “What day of the month is it?” he said, turning to Alice: he had taken his watch out of his pocket, and was looking at it uneasily, shaking it every now and then, and holding it to his ear.

Alice considered a little, and then said “The fourth.”

“Two days wrong!” sighed the Hatter. “I told you butter wouldn’t suit the works!” he added looking angrily at the March Hare.

“It was the best butter,” the March Hare meekly replied.

“Yes, but some crumbs must have got in as well,” the Hatter grumbled: “you shouldn’t have put it in with the bread-knife.”

The March Hare took the watch and looked at it gloomily: then he dipped it into his cup of tea, and looked at it again: but he could think of nothing better to say than his first remark, “It was the best butter, you know.”

Alice had been looking over his shoulder with some curiosity. “What a funny watch!” she remarked. “It tells the day of the month, and doesn’t tell what o’clock it is!”

“Why should it?” muttered the Hatter. “Does your watch tell you what year it is?”

“Of course not,” Alice replied very readily: “but that’s because it stays the same year for such a long time together.”

“Which is just the case with mine,” said the Hatter.

Alice felt dreadfully puzzled. The Hatter’s remark seemed to have no sort of meaning in it, and yet it was certainly English. “I don’t quite understand you,” she said, as politely as she could.

In that captions from Alice in Wonderland, it's said that the Hatter's watch tells the day of the month and doesn't tell what o'clock it is, so we can assume his watch as a calendar-watch, and he said his watch is "two days wrong"

In reality, there was exactly two days’ difference between the lunar and solar calendar months, therefore we can assume that Mad Hatter’s calendar-watch runs on lunar time, and this explains why the watch is “two days wrong.”. Besides, "Mad Tea Party" can also be called a "Lunatic Tea Party".

Silver is one of the seven metals in Alchemy, and often associated with the Moon. The symbol for silver is also associated with the moon in astrology as well.

The Hatter shook his head mournfully. “Not I!” he replied. “We quarrelled last March—just before he went mad, you know—” (pointing with his tea spoon at the March Hare,) “—it was at the great concert given by the Queen of Hearts, and I had to sing.

“Well, I’d hardly finished the first verse,” said the Hatter, “when the Queen jumped up and bawled out, ‘He’s murdering the time! Off with his head!’”

“How dreadfully savage!” exclaimed Alice.

“And ever since that,” the Hatter went on in a mournful tone, “he won’t do a thing I ask! It’s always six o’clock now.”

A bright idea came into Alice’s head. “Is that the reason so many tea-things are put out here?” she asked.

“Yes, that’s it,” said the Hatter with a sigh: “it’s always tea-time, and we’ve no time to wash the things between whiles.”

“Then you keep moving round, I suppose?” said Alice.

“Exactly so,” said the Hatter: “as the things get used up.”

“But what happens when you come to the beginning again?” Alice ventured to ask.

“Suppose we change the subject,” the March Hare interrupted, yawning. “I’m getting tired of this. I vote the young lady tells us a story.”

In the captions from "Mad Tea Party", it's said that Hatter quarrelled with Hare last March (Spring) just before March Hare went mad, at the concert of Queen of Hearts (party) where he was murdering the time and thus stuck in tea time and can't move past six.

We all know that Diasomnia chapters of twst JP are all released in spring. The frame story of Alice’s Adventures—in both the Under Ground and Wonderland versions—mirrors the story of Persephone’s journey to the underworld, in which Persephone herself is the Goddess of Spring.

As this part is only introduction, I'll not going to explain into details here, but I can confidently say that what Malleus did is actually mirroring to what actually is happening with Twisted Wonderland itself, NRC, Yuu, and Grim.

In chapter Diasomnia, the one who went mad is Malleus who is using his unique magic that can freeze timespace and murdering time itself within the range of his magic that keeps expanding as he also borrows magic from nature as he is a fae.

In Diasomnia chapter when everyone fell asleep because of Malleus' UM, Yuu and Grim appeared in a dream behind ramshackle mirror, which is Mickey's dream, and because of it's behind ramshackle mirror and in Mickey's dream, the number on the calendar is reversed. Assuming it happened in the same month as when twst JP released part 3 of book Diasomnia, it seems like Mickey had this dream on May 15th, which means when Yuu and Grim arrived in that room because of Malleus' magic as Malleus went mad and freeze the time at 21:18 , it happened the same day as Silver's birthday. It's similar to the Hatter who murdered time at Queen of Heart's concert (party) and made the time stopped at six, which also at the same time when Hare went mad. Although in chapter Diasomnia the one who went mad is Malleus and not Silver, remember what kind of tea party is in Disney's version of Alice in Wonderland where there are Mad Hatter, March Hare and Dormouse? It's "Unbirthday Party", as it's the opposite of "Birthday Party", the same way as the reversed number in calendar as Mickey's room/dream is "The Dream Behind the Mirror".

Then you will wonder, "If Mickey, Crowley, and Silver are the three terms of quaternion, then who is supposed to be fourth term? Isn't it supposed to be four?" This is why in the beginning Crowley said "Grim and Yuu are one student" as they both represent the fourth term of quaternion.

How so? This is only an intro to the theory as I said so I won't explain it here, this is all for now. I'll post the next part after I finish writing it as it'll be even longer and much more difficult than this so please look forward to it!

#twisted wonderland #twst theory #twst thoughts #twst crowley #dire crowley #twst yuu #twst grim #twst silver #twst malleus #malleus draconia #malleus twst #silver twst #twst theories #twst chapter 7 #twst chapter 7 spoilers #twst ortho #ortho shroud #ortho twst

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inkblackorchid · 3 months

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What the hell happened with Crow: an autopsy (Part 2)

Hope you didn't think I'd forgotten about this post yet. Lads, ladies, and other lovely people, here we go. I have more yelling about bird boy to do.

But first, a few disclaimers. For people who may have missed part one, yes, as the title implies, this post is part two of an attempt to analyse Crow's character throughout 5Ds' whole run. You can find part one here. Now, both for people who may not have the time/energy to read my first, huge post about this right now, let me explain what I'm about here before we start again: My analysis is not meant to deter people who like Crow from liking him. It's also not meant to convince Crow haters otherwise, even if I admittedly personally like Crow. All of this stuff is just my personal attempt at dissecting how his character was handled in the show and why that might have been. And because this is part two, and I covered the Fortune Cup and Dark Signers arc in the first post, I'll start with the pre-WRGP arc, then dig into the backstory Crow was given directly before the WRGP begins properly. Also, mind the length of this post. I'm physically incapable of writing short things.

I also feel the need to reiterate another thing before I really get into the meat of things again: If you were hoping to see any old rumours about 5Ds confirmed, this is the wrong post. In fact, thanks to the very thorough work of someone over on Reddit (another shoutout to @mbg159 here, who's the author of those posts), I know for a fact that literally all the big rumours surrounding Crow are one big pile of logistically impossible horseshit, and I think after so, so many years of people citing this nonsense, the fandom as a whole finally deserves to let these go:

No, Crow was not meant to be a dark signer, least of all the final boss of season one, and Blackwings were not the reason he got more screentime later.

No, Aki being sidelined was not the result of her irl voice actress' pregnancy.

Yes, I know these two posts are both a long read each, but I cannot begin to tell you how tired I am of these rumours. So even if you don't have time to read the stuff above, please take away this: The big 5Ds production conspiracy theories are. all. bullshit. Because, to put it in as simple terms as possible, none of them work out logistically. The events people have pretended affected the show's production in a major way all don't line up with the actual production timeline. So just can the rumours already. Please let them die. And no pitting Aki and Crow against each other on his post or because of this post, yes? I beg you, I am so tired. Ok? Ok.

All right, now we can get to the good part. In my previous post, I left off at the end of the DS arc. So, in what position is Crow at the end of the DS arc? He helped save the world by defeating Goodwin and got his very own signer mark after Rudger/Roman Goodwin's death.

And now, where is Crow at the start of the pre-WRGP arc?

(Bam. Delivery bird boy be upon ye.)

This time, Crow wastes absolutely no time coming back on screen. We see him again within the first episode of the second half of the show, and wouldn't you know it! He moved in with Yusei and Jack and the three of them have a funny, brotherly, bickering dynamic between them. Also, as a fun little add-on that is very much in line with his deeply Satellite, down to earth characterisation from the first half, Crow now works as a delivery driver to earn money for the household. That's all very nice and good.

But what is his role in the plot from here on out? Well.

First, a small note about the pre-WRGP arc. Though this arc is fun to watch because it gives us a lot of silly character interactions the show no longer found the time for once the WRGP started, the pre-WRGP arc really can't be said to bother with actual plot much. It's the known filler arc of 5Ds, and as such, Crow is not the only character who gets pretty much nothing plot-related to do during this arc. Thus, I'll only give a quick run-down of what he does get up to, just in case any of these tidbits end up showcasing a relevant aspect of Crow's character I might come back to later.

Furthermore, another thing that's pretty much obvious to everyone who's ever watched the show in its entirety but still bears mentioning: Crow gets a lot more screentime from this point on out. Technically. Why do I say "technically"? I'll get back to that further below. For now, just keep it in mind.

So, how does Bird Boy spend his time during the arc where the plot's on the back burner? To be honest, on the sidelines, mostly. Don't get me wrong, Crow's there. Most of the time. But he gets pretty much only two episodes where he's the focus, and both of those aren't exactly known for being 5Ds' most memorable episodes (even though I still like them both tbh, but I digress): For one, in episode 68, he gets to convince Bashford to move in with Martha so the depressed old man isn't spending his entire retirement living in a scrapyard.

(This episode's comedic moments are actually fairly solid. But those are just my two cents.)

And for two, in episode 85, Crow gets to bond with the boys' somewhat cranky landlady, Zora, by duelling some sense into her son, Lyndon. (Which also introduces us to a duelling tactic only Crow uses that we will later see again: Losing on purpose.)

(And here we can see Crow showing off his skills at dealing with petulant children.)

Now, do these two episodes where he gets to be relevant actually do anything for Crow? As a character? Debatable. If nothing else, they strongly reaffirm the values Crow represents which we were introduced to in the first half of the show, though. They reintroduce us to his stubbornness, to his (in comparison to Jack and Yusei) more playful nature, to his very Yusei-ish dedication to doing the right thing, to his penchant for spite, and to his strong sense of family and community and his belief that these two things shouldn't be abandoned unless you have a damned good reason for it.

You may notice that there's a sizeable gap between these two episodes. That's because those episodes are where we get the only smidgens of plot in this arc. Among them, highlights like Sherry's introduction, the first reveal of accel synchro, Aki's turbo duelling license exam, three separate story beats hinting at the machinations of the emperors of Iliaster (Luciano's little stunt with Rua and Ruka, Placido getting started on building a killer robot army, and the Jack double being unleashed onto NDC), and Bruno's introduction. So, here's the thing: Crow is technically present during most of those episodes, too, but he doesn't actually get to meaningfully interact with the plot-relevant elements. (Which is not to say he doesn't have nice moments here and there. He does get to bounce off the other characters, and, just as one example, helps Yusei and Jack upgrade Aki's duel runner, as well as help Yusei build Rua's duel board. Crucially, he doesn't get to do anything that later becomes plot-relevant, though.) Moreover, not one, but two characters who end up becoming major players in the series' finale are introduced here, which is relevant insofar as that Bruno and Sherry both end up needing a good amount of development before they can impactfully take their later roles. Now, I say this with nothing but genuine appreciation for both these characters, because I do like them, but I feel the need to point out what this means not just for Crow, but for pretty much everyone who isn't Jack or Yusei: Every minute of screentime that was dedicated to Bruno and/or Sherry was one minute less the writers could spend on the rest of the cast. This is not to say that time shouldn't have been spent on them, they needed it, especially because they were introduced so late, but it's something I do want people to keep in mind when talking about who got how much screentime and whether or not that time was well spent. (I also have a larger gripe with the definition of "screentime" in general, but more on that later.)

So when does Crow get to be relevant to the plot again, now that he's even a signer and all? Well, not until episode 94, when the WRGP arc has already started. (Note that I'm using the 5Ds episode list on wikipedia as a general guide for which arc and which season starts where. You can find it here.)

*Deep breath*

So. Episode 94.

(Pictured: One very scruffy dragon. Bird? Dragon-bird. Bird-dragon. You figure this shit out.)

That episode. The episode where Crow, who was awarded with the status of a signer during the finale of the DS arc, finally gets a dragon to match his mark. And the episode where we finally, finally, get some actual backstory for Crow that goes beyond his involvement with the Enforcers and childhood with Jack and Yusei. A backstory that's only Crow's own. Except. How do I put this politely...

This shit doesn't make a lick of sense. Neither the events in the duel between Crow and Bolger in the present resulting in Black-Winged Dragon's appearance, nor the Pearson backstory.

Now, I'm not saying this to step on anyone's toes. From a writing standpoint, I can even make a fairly reasonable guess as to why this episode/mini-arc is here, I think: As I mentioned in part one of this analysis, Crow was not only introduced very late, but also got very little backstory of his own, which set him apart from the other signers. Don't get me wrong, he did get some backstory—we know of his strong connection to Duel Monsters because he learned to read from cards, and we know of his involvement with the Enforcers/Team Satisfaction. Crucially, though, Crow doesn't really get a backstory segment that feels as unique to him as the others. Aki gets her tragic past with her parents and her powers, Jack gets his betrayal of Yusei, which also doubles as part of Yusei's backstory, who as the protagonist understandably gets the most backstory, and even the twins, though they are as always treated as one unit, get their very own segment about the time when Ruka was essentially in a coma. Meanwhile, Crow only has that one-off tear-jerker moment about learning to read from his cards and his being a part of the boys' duel gang, which, and I cannot stress this enough, is treated as more of a Yusei and Kalin/Kiryu backstory by canon than a Crow backstory. Thus, it makes perfect sense from a writing standpoint that the Pearson/Black-Winged Dragon mini-arc would be here. Crow, up until this point, has neither a backstory segment dedicated solely to him, nor a signer dragon to call his own. So, how do we solve this? Give him both in a strategic double-whammy! The math checks out. Unfortunately, the writing of said mini-arc... doesn't.

Now, look. The juicy question of whether Crow would have worked better as a non-signer or not, which I already discussed in part one aside, I personally don't hate what this backstory is trying to do. It's just that the whole Pearson-drama has some very notable, logical holes which I'll get into below. Furthermore, this is not the first time something related to Crow has some unfortunate, logical and/or chronological issues. I already brought up the infamous fridge and Rex Goodwin's rather confusing backstory in part one, both of which raise some serious questions. However, Pearson and everything surrounding him arguably blow that clean out of the water. Let's examine this more closely, shall we.

The long-overdue backstory we get for Crow begins with a mystery: Mikage and Trudge, for a reason that is never given to us, are investigating the death of Robert Pearson (whose death would have been several years ago at this point), whom Crow knew very well, and they're doing it because they found a hint that the person who killed Pearson used an illegal card, Crimson Mefist, to do it.

(Post redemption-arc Trudge actually doing his job instead of bullying random Satellite citizens. Who would have thunk.)

Thing is, here, we already encounter our first, minor problem: Pearson has never been mentioned up until this point, not even as an aside. And this issue is compounded by the fact that not only Crow seems to know him, but Trudge claims to as well, because "Satellite used to be his jurisdiction". So, a named character who's familiar to both one of our protagonists and a notable side character, and we've never seen hide nor hair of him. If we pull our heads out of the story for a second, the irl reason for how this came to be is probably pretty obvious: Pearson was never mentioned before because the writers had nowhere near as solid of a plan for Crow as they did for the other characters, which leads to him being introduced out of nowhere here because we need a backstory and a dragon for Crow and we need those now. Moving on.

The mention of Pearson having been not simply killed in a fire, like Crow previously assumed, but having been murdered through a special, illegal card immediately makes him suspicious. So, he goes to consult Bolger/Bolton, another never-before-seen character who gets introduced in service of this backstory, and who knew Pearson well. And while this guy certainly acts amiable towards Crow at first, implying that the two have a good rapport, at least, he quickly starts acting suspicious when Pearson's murder comes up. Moreover, we as the audience at this point already know Bolger's looking for Black-Winged Dragon so he can use the card essentially as collateral to save his company. And the name "Black-Winged Dragon" already leaves very little to the imagination as to whose deck this monster is supposed to fit into. But, in a small twist, we learn from Crow that this was apparently Pearson's card, and supposedly lost in the fire where said man died, to boot. Then Bolger challenges Crow to a duel, too, offering to tell the truth about Pearson's death if he loses, but demanding Black-Winged Dragon, which he believes Crow to be in possession of, if he wins. So far, so good. We've got a mystery here, and canon is not contradicting itself just yet. Until we get to the actual backstory, which shows us the time Crow spent with Pearson, that is. Before we get into that, I'd like to highlight one theme this mini-arc introduces that actually feels like it fits Crow: Legacy. Over the course of meeting Bolger again and being reminded of his time with Pearson, Crow starts thinking about whether he's taking over his former mentor's/father figure's legacy well enough.

(Crow having some Deep Thoughts TM, featuring one of Yusei's most relaxed, easygoing smiles in the entire show, probably.)

This theme, I would argue, is one of the major things this backstory introduces that really meshes well with the Crow we already had until this point. He's a community-focussed guy and absolutely a family person, if him taking care of Satellite orphans is anything to go by, so leaving behind a good legacy for the people after him (read: the kids he took care of) would absolutely be something he cares about. We see this element of legacy again in his cards during this episode, too, which canon implies he inherited from Pearson. (I'll get to THAT can of worms below.) And on paper, with the themes he's already got going, Crow being the only one to inherit his deck rather than build it all by himself would actually make sense!

However. This is where we have to get into the meat of the backstory. I'll start by listing the barebones information Crow's backstory with Pearson gives us, then going into why several aspects of it are either logistical or chronological nonsense.

So, as canon tells us, Crow met Pearson after Kiryu/Kalin was arrested, when the Enforcers/Team Satisfaction all went their separate ways. During this period, Crow had already set up shop near the original Daedalus Bridge and started out taking care of orphans, but it wasn't all smooth sailing. He was, by his own admission, "living aimlessly". Then, during a pinch, Pearson and Bolger show up, take care of some bad guys for Crow and the kids, and Crow sees a new role model in Pearson. Pearson, who rides the Blackbird, plays a Blackwing deck and owns Black-Winged Dragon. So, he joins up with Pearson, presumably learns how to work on duel runners from him, and also befriends Bolger. Then, one day, a fire breaks out at Pearson's workshop and the man in question dies, but leaves Crow his runner and his duel disk before he does so. End flashback. Because I want to tie this together nicely, we also learn later that Pearson technically left him Black-Winged Dragon, too, by sealing it in his runner. And, of course, that dragon later becomes Crow's very own signer dragon.

Several points to be dissected here. And funnily enough, Bolger's duel with Crow isn't relevant for any of them. Let's start with the big one: The timeline. I want you to remember that as far as canon is concerned, Crow is 17 during the DS arc. Moreover, it's canonically stated that Jack stole Yusei's first duel runner two years before the show's start, at which time Crow would have been 15. And their time together as the Enforcers must have been even before that, because Kiryu/Kalin was already in prison for a while at that point and Crow and Yusei don't reunite until the DS arc is basically in full swing. So, I'll make a vague estimate here and say that during the time of the Enforcers, Crow would have probably been 13-14. (Which is hilarious when you think about the fact that this gang of angry teenagers essentially took over the entire duelling underground of Satellite, but I digress.) Now we add the idea that Crow met Pearson after the Enforcers, but that he died before canon starts into the mix. That means Crow first ran into Pearson sometime around age 15, and that he then died presumably before Crow turned 17. So far, so good, that still slots into canon, even if it makes Crow pretty damn young for some things. He's even missing the personalised Blackbird duel disk he later wears during the Enforcer days, I went back to check. What he is not missing, however, are his Blackwings. And this is where canon may or may not have made an implication that, if intentional, breaks this timeline. See, during the scene where Pearson's workshop is burning down and he's already trapped under debris and has embraced death, he tosses Crow his duel disk and leaves him his runner.

(Two important screenshots, in sequence. One, Pearson with his duel disk still strapped to his arm. His deck is very obviously still in there. Two, Crow with that same duel disk, as made obvious by its distinct shape.)

What this implies is that Pearson also left Crow his deck. Which, yeah, fair enough, if I were dying in a fire I'd probably also think "fuck it, not like I'll need my cards in the afterlife". What this (and Crow's look the first time he sees Pearson's monsters) implies, though, is that Crow didn't start playing Blackwings until Pearson left him his deck. Which is factually untrue, because there is literal evidence in the show that Crow already had Blackwings during his time as part of the duel gang, before ever meeting Pearson. (The exact episode, if you want to check for yourself, is 33, where Crow summons both Bora the Spear and Blackwing Armor Master during a flashback.) However, I will concede that the show never actually states this is the case, it's just implied by what we see on screen, so perhaps the idea here was that Crow already played Blackwings before Pearson, but grew to love them even more through his mentor/father figure, and so later happily integrated the deck he inherited into his own. Crucially, canon never states this outright, either, though, so the option remains on the table. But, to give the benefit of the doubt here, the possibility that this could still slot in with canon and that it was just handled poorly is there. The same cannot be said for the Blackbird, however.

(Uh oh. So much for canon continuity.)

The above two screenshots directly contradict each other. First we have Yusei, upon reuniting with Crow in Satellite during the DS arc, casually remarking that Crow finished his duel runner. Which means that canon at this point suggests to the audience that one, Crow built this duel runner by himself, for himself, and two, that Yusei knew about it for a while already. Then there's the second screenshot, from the Pearson backstory episode, where Crow outright claims the Blackbird was left to him when Pearson died. I don't think I need to tell anyone that these two things can't be true at the same time. And again, I think this is where Crow fell victim to the writers not having a clear outline for him. At first, he was supposed to be this scrappy guy who also built a duel runner for himself, just like Yusei. But now, he's a signer, needs a backstory and a dragon, and because a theme of legacy is introduced alongside Pearson, the runner suddenly needs to be inherited, as well as (possibly) Crow's cards. Now, a crafty fanfic writer could probably reconcile the above contradiction somehow, and I know some stories that accomplished that. But the point isn't that we, as the audience/fandom could make this work, the point is that canon didn't make it work. What canon, sadly, also didn't get to work was Black-Winged Dragon.

(We meet again, bird-dragon.)

Here comes the next elephant in the room: Everyone and their mother who has watched 5Ds knows that Black-Winged Dragon was never implied to be a signer dragon up until the duel where Crow acquires it. In fact, an entirely different dragon is teased so heavily long before BWD ever shows up that it to this day is one of many people's major gripes with the show's writing.

(Why, hello, Life Stream Dragon! Fancy seeing you here.)

And yet, Black-Winged Dragon is turned into a signer dragon before Life Stream Dragon, who was teased more than sixty (!!!) episodes before BWD was ever even mentioned. Why? Simple: Because Crow became a signer and Rua/Leo didn't, because the signers all need dragons (or else the "5Ds" part kind of doesn't work), and because Life Stream Dragon thematically doesn't fit Crow.

Now, I've seen people post theories to reconcile this weird hitch in canon, hell, I've even posted an idea for how it could be reconciled myself. But, again, that isn't the point here. The point is that as far as good old, barebones canon is concerned, it isn't reconciled. Canon at first states there are five signers, suggesting that there are also five dragons. But then, the fifth dragon never shows up, and one of the signers dies, to boot. Only for canon to then teach us, oh, no, look, the signer marks can wander from one person to the next. And to add insult to injury (at least where the show's writing and internal consistency is concerned), the signer mark that was "freed up" by Roman/Rudger's death doesn't wander to Rua/Leo, who any attentive watcher would have expected to become a signer because it was heavily teased during the DS arc, but to Crow. Frankly, I'm not surprised many people were angry about this, but in case my disclaimer didn't make it clear, I don't think it's productive to pin this on Crow by claiming his cards became super popular irl. There was definitely an out-of-left-field writing choice made here, but the only answers as to "why" were left in the 5Ds' writer's room, I believe. At a guess, if you want me to throw out a non-sugarcoated theory as to why, though? They probably thought Crow would be a more interesting character for their target audience. He's a scrappy guy who sticks it to authority, he's brave, he's funny, he plays a cool deck, and most of all, unlike Rua, he never embarrasses himself in a duel on screen. Why am I highlighting that last part? Because I feel like people sometimes forget that the target audience for this show, at the time of its creation, were about twelve year-old boys. And you can feel free to contradict me on this, but most twelve year-old boys I've known and know don't want to project themselves onto a chracter who loses and gets his butt kicked a lot, and who's a bit awkward and steps in it sometimes, which is much closer to how actual twelve year-olds are—but that's exactly why they prefer the cooler characters. And Crow is the cooler character, by average twelve year-old boy logic, regardless of what the grownups of this fandom think.

So Crow gets a dragon and the writing doesn't bother explaining the how or why of it, let alone tackles any of the implications made by Black-Winged Dragon's existence as a signer dragon. (Like what does this mean for the larger worldbuilding? Does the Crimson Dragon actually have more than five servants, but chooses to only ever bestow five marks at a time? Can any "dragon" the Crimson Dragon chooses be a signer dragon, and it just so happens that the constellation of signer dragons is nearly the same as the original one in present-time 5Ds canon? Did the Crimson Dragon specifically elevate BWD to a signer dragon because it felt like it? Was BWD always supposed to be a signer dragon? Was Pearson supposed to be a signer, but died too early before the dark signer prophecy was set into motion? Am I overthinking this? (Yes.)) He also obtains his dragon in what feels like the weirdest way possible to me, because it suddenly??? Just decides to appear in his runner????? Out of nowhere??????

(Why is that here. How did it get there. Why did Pearson even put it in there. And HOW. Is it just wedged between the machinery or what???? And how on earth did Yusei, Bruno, and/or Crow never find it before this point considering how often someone tinkered on the Blackbird on screen???)

(This scenario, of course, also raises the question how the other signers even got their dragons. But like many other, interesting questions, this episode chooses not to interact with that one whatsoever.)

In short, this backstory is a bit of a mess, to say the least. For as much good as it tries to do by contextualising Crow's character and giving him something that sets him apart from the rest of the protag group, it feels like a rough draft of an episode was given the green light to be produced without any editing, judging by the contradictions and weird implications. As such, it harms Crow's character as much as it builds it, as evidenced by how much fandom backlash he still receives years later for the things that were bungled in this backstory and also in different aspects of his character writing.

Now, you may notice this post has gotten stupidly long due to just how convoluted the specific hangups of Crow's backstory are. I originally meant to cover the WRGP and even the Ark Cradle arc for Crow in this post, too, but due to how much there was to say about canon's attempt to finally make Crow a "proper" signer, I've decided that trying to force another two whole arcs in here would be a disservice to the analysis and the character, and also make this agonisingly long, so I'll close this part out here and write a part three, perhaps even a part four depending on how much material the WRGP gives me to work with.

There's one more thing I need to get back to before I finish up this part, though: The "screentime" discussion. I mentioned far above that I take issue with how some people seem to be using the word screentime, and now I can explain why. First, I want you to take a look back at the episodes I covered here, those being 65-95, essentially. Now, as anyone who usually dislikes Crow will tell you, Crow is present in most, if not all of these episodes. He's on screen. He's getting screentime, and, according to many people, hogging it, even. Okay. Now, I want you to look back up at the analysis. How many episodes did I cover where Crow actually gets something to do? As in, where he's either the focus of the plot or gets to contribute to it in a significant way? There's the old man Bashford episode. There's the Poppo Time clock episode. There's his two backstory episodes. That's four. Four episodes. If you're generous, you might add in the episode where he gets to narrate Yusei's backstory alongside Jack and the two fake Jack episodes where he gets to have an emotional moment or two with his foster-brother. If you're less generous, you'll note that none of these episodes have Crow actually interacting with the main antagonists in a meaningful way or set up anything important that pays off later. (Hell, he doesn't even get any, and I really mean, any meaningful setup interactions with Sherry, who ends up being his final-boss-level opponent during the final episodes! Aki gets more meaningful interactions with Sherry than him, not that this ever gets a payoff.) And this is why I take an issue with people claiming Crow gets so much "screentime" post DS arc. Because to me, "screentime" should be time spent letting a character act meaningfully within the story, which most of the pre-WRGP episodes aren't for Crow. He's on screen, yes, but in many episodes, it wouldn't matter one whit whether you replaced him with a nameless side character, which isn't exactly a great look for a supposed third of a protagonist trifecta. Perhaps I'm being too strict with my definition of "screentime" here, fair enough! But the claim that Crow hogs screentime already rubs the wrong way during this comparably unimportant arc, so I can't leave it alone. It feels very decidedly malicious to claim a character who during some episodes seems to only be there to provide exposition or make whatever jokes Yusei and Jack's personalities aren't suited to is stealing screentime from other characters. As for the WRGP duels and whether he's "hogging" anyone's screentime there, I'll dig into that nonsense in the next part, please be patient with me.

...Phew. Okay.

Now, before I leave you to wonder whether I'm every finishing my Crow analysis in full again, I want to attempt to do the same thing I did in part one—propose some changes that could have been made to the writing for Crow's character in order to make things slot in better with the rest of canon. With a small disclaimer, of course: These are just my suggestions as to how Crow's character could have fit into canon more smoothly and been done less of a disservice by his own backstory.

So. First, a quick-fire thing about the pre-WRGP, to get that out of the way: Crow, alongside Aki, is the only signer who didn't get his own confrontation with either Iliaster or their minions. (Yusei had Ghost, Jack had fake Jack, Rua and Ruka had Luciano.) Instead of having him confront a cranky old man in a scrapyard or Zora's son, they could have easily given him a very short side-story where he gets to experience the threat of Iliaster up close and personal, too. Hell, they could have very nicely cut the recap episode where Crow and Jack lie in the mess of Jack's terribly built coffee table and philosophise about Yusei's backstory for this, too. (As funny as their interaction about the coffee table and Jack lying on the floor with a perfectly intact coffee cup are.)

(Pictured: Two idiots (affectionate) contemplating life among the scraps of a shitty, broken coffee table.)

Then, there's the Pearson backstory, of course. So, here's the thing, I think two very different kinds of "fixes" could have worked here. Crucially, they both depend on Crow's status as a signer. I argued in part one that Crow might have worked better as a character if he hadn't actually become a signer, so I'll give both versions here. Let's go.

Option A: We try not to touch canon too much and Crow stays a signer.

How to do this? Frankly, I think what Crow's mark and Black-Winged Dragon were majorly missing was setup. The mark is the smaller offence here, since, fair enough, the idea that signer marks can wander from person to person isn't too out there for 5Ds canon. However, the lack of a dragon despite the alleged 5Ds stands out, and Life Stream Dragon's wasted setup only makes it worse. Thus, making Black-Winged Dragon make sense would have required giving him the same amount of foreshadowing as Life Stream Dragon, at the very least. And you know who could have been great for that? Sweet, ever-forgotten-by-canon Ruka. She was already shown having flashback dreams to the signer dragons' first battle against the dark signers, so who's to say she couldn't have gotten dreams about a shadowy, new dragon she's never seen before? Perhaps even dreams where she's not sure if the dragon is good or bad at first! It could have provided intrigue, it could have made the audience curious. To strengthen that, canon could have also bothered taking the question "hey why are there only four dragons now" seriously. No character in canon ever questions why there are five marks, but only four dragons. Even Rua, who was previously hopeful that he might secretly be a signer, never brings it up. If canon had bothered to actually point this mystery out, they could have used it not only to foreshadow Black-Winged Dragon, but to aid Life Stream Dragon's setup, too. What the fuck am I talking about, I hear you ask. Hear me out: Life Stream Dragon is shown way, way later down the line, long after the audience probably already accepted that it was simply never going to show up, literally bursting out of Power Tool Dragon's armour. We are not provided with an explanation as to why. Imagine if they had sprinkled in another dream Ruka could have had about the ancient past here. Imagine if they had used the opportunity to show something like, oh, during the battle, Life Stream Dragon got injured so badly they had to protect its wounded body with a suit of armour, in the hopes that it would heal. And with one original signer dragon out of commission, the Crimson Dragon sadly had to choose a replacement in between, because the Earthbound Immortals were sure to return. Bam. Black-Winged Dragon. Two signer dragons, set up simultaneously, without forcing the canon lore to do somersaults. Furthermore, to actually explain why Pearson had the dragon but wasn't a signer, they could have easily sprinkled in a flashback between him and Crow. Maybe Pearson could have mentioned how the dragon always feels like it's never really his, as a joking aside. It would have been enough for me to suspend my disbelief, you know? And then the rest of canon could have played out exactly as we know it. Crow could have confronted Bolger, could have obtained Black-Winged Dragon because maybe the dragon finally decided he was worth throwing its weight behind. The mystery behind the missing fifth dragon could have been solved, and it would have made for satisfying payoff without kneecapping Life Stream Dragon's setup or conjuring an extra dragon out of thin air. And really, stuff like the runner thing could have so easily been solved by simply picking one version (did he build it himself or inherit it?) and sticking with it. All it took was a little more care.

Option B: We assume Crow didn't actually become a signer, but try to keep his backstory intact.

Okay, this version works under the assumption that Crow, despite partaking in the final battle against Goodwin during the DS arc, didn't receive a signer mark. To make this work, I would, bluntly put, simply make it so that Black-Winged Dragon doesn't exist. Pearson can still play a powerful Blackwing monster during his flashback that Bolger wants to find and sell later, but it simply isn't that dragon. Really, Blackwings have enough to choose from there. If the backstory episodes had been placed a little later, say, during the pause in the middle of the WRGP, he could have even received something like Blackwing Full Armor Master here. (Yes, I know that card didn't exist at the time, but my point is that he could have simply received a powerup like Yusei and Jack did, instead of a completely new monster.) With this setup, they could have still added the intrigue of taking the question why there are only four signers now seriously. They could have still set up a mystery about why no one ever saw the fifth dragon outside of dreams. And it could have made Rua becoming a signer later, and in this version getting the tail mark instead of a completely new one, that much more satisfying. And Crow could have kept his "fuck destiny, I'm trying to save the world here"-attitude from the DS arc, providing a nice, amusing counterweight to our heroes chosen by an ancient Incan dragon deity. All it would have taken would have been not giving him a mark and switching out Black-Winged Dragon for something else.

So, take your pick, I guess. In the meantime, I'll try my best to work on part three faster than I did part two, lmao.

See you next time!

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weirdmageddon · 6 months

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long meditation on jade and dave's relationship - part 1

here's a three-part heavy homestuck meta. took me about 3 days to scrobble together and format and everything

part 2 part 3 cooking

i apologize in advance for the disorganization of my thoughts. after writing it i realized this is probably one of the clearest glances into how my mind thinks associatively so everything relates in some way to something else in here. the foundations for my thoughts might be invisible to others because they can’t see the connections ive built upon but you can probably see them here, and that strong foundation is also why i care so much about them and why i chose to lay it all out. sometimes i feel like i have Got to get this tangled associative web out of my head and into some form of writing so other people can be like, “oh so This is why you have so much to say” and can just. see into my head and where it all comes from for me. people have expressed interest and the general opinion tends to be that people like hearing my thoughts a lot so yeah. pov you are in my brainwebs. seatbelts everyone get on the magic school bus in that bitch

some time ago i saw this post i saw as i was going through florals jade tag again. my homestuck hyperfixation flared up again and ive been hyperfocused on dave and jade and particular just absolutely entering these monotropic black holes over them and turning them around at different angles and looking at discussions and what people thought both now and in the past and now that im older i can appreciate them even more. ive always been a fan of dave and jade both, but i cant even lie dave has my whole heart so maybe im biased as well. but i like to believe that regardless of my liking for dave and interest in not even x-ray scanning him just straight up 3D mri scanning him and rotating him in my head that my argument is still very reasonable. i just understand his psychology a lot

i want to preface this by saying i absolutely love floral and im so glad she’s on the hsbc team because i know she can do jade harley justice. one of the best jadesters fr. we all come into media analysis with different personal experiences and perspectives, and i understand this was from her perspective as someone who had run ins with dumb boys and relates a lot to jade which is why she can put so much love into her <3 i just found myself disagreeing with some of the arguments that she presented in that post just as a peer who also read the comic from my own perspective. keep in mind i also love jade to bits and want the best for her

so yea this isn’t a targeted post at all. it just got the juices flowing and inspired me to actually write my pre-existing thoughts down and i used it as a springboard for them

i think it ended up being pretty insightful overall especially because i was stoned as fuck writing it and ive come to realize being stoned amplifies and improves the output of my deeply inwardly associative thought processes tenfold. or maybe weed just changes how significant it feels. maybe a little of both

part 1: on using davesprite as a basis for interpreting jade's relationship with all daves

i love what hussie does with alternate versions of characters and. it’s one of the coolest things about homestuck’s characterization. like floral quoted:

… we see that Jack is a simple man, no matter what name he goes by. He is, if not much else (and he’s not), impatient and violent. We only got the briefest glimpse into these qualities when we were first introduced to him on Derse. But now we get to spend much more time with him, albeit in the form of a completely different character. This is another bit of sneaky utility provided by this intermission tangent. It serves as an arc to help indirectly characterize the villain of the early acts. Having multiple copies of a character operating in totally different circumstances turns out to be a great stealth characterization tactic, and it gets used much more aggressively later in the story. In fact, it proves to be inseparable from one of the story’s most essential themes. (Hussie’s Intermission commentary)

so i agree in principle and think the alt self thing is fucking brilliant

however, i disagree with the argument it’s supporting.

So, not the same character, but if switched, I would go out on a limb and say that Dave would experience all the same issues as Davesprite did, but without the “bird” part acting as an easy explanation. That doesn’t make Dave responsible but it does speak volumes to how their personalities respond to each other, insinuates that a relationship involving any Dave would end badly for Jade and that “Real” Dave indeed has Some Issues To Deal With.

i don't agree that dave and davesprite should be compared in this context. yes they are splinters of the same character and floral is right on the money in that canon deflecting the relationship failing on "bird issues" doesn't really explain anything meaningful, but i do not think its the case that all of jade’s relationships with dave are doomed to fail because of what we saw with jade and davesprite.

yes, if switched, dave strider would be practically identical to davesprite since they were the same exact person until a branch in the timeline

however, it's the unique things davesprite has been through that made him like this. davesprite has baggage that dave doesn't. a timeline where john was tricked into fighting his denizen early and died and jade couldn't get in on time and was presumably wiped out dinosaur style on earth. with alt future dave's year-worth of knowledge, gear, loot, and experience, he rescinded his player status and "realness" as a human person to be a game guide for his naive past self right before the timeline split in order for himself and his friends to continue existing.

that would mess anyone up mentally. it's no wonder he's jaded, no pun intended. he's depressed as shit and bitter and probably has trauma issues unrelated to his bro, though they do compound on it. yes they both experienced bro's abuse but i'm talking about the differences between alpha timeline dave and davesprite; right now im not going to talk about things that are the same about them prior to the timeline split because it applies to them both so it's redundant.

essentially what's setting them apart is their experiences playing sburb, their chronological age (alt future dave/davesprite had been making timeloops over a span of four months and he says that in total the time from his chronological perspective is close to a YEAR in sburb grinding shit out before he goes back), their relationship to their friends and how their friends see them and how they see themselves, their ontological natures as beings, what their purposes are.

davesprite had his ontological status as a person and purpose changed. he assumed he'd be the one playing and doing important main shit in the alpha timeline with all his friends but then it turns out that wasn't the case due to the events that went down in his timeline. and becoming a sprite solidly changed his degree of existence. davesprite's best friend john asking if he can talk to "the real dave" is when i think he realized just how fucked up his existence as a person has become despite him doing pretty much everything for everyone for nearly a YEAR before the alpha timeline was even able to get properly started. if davesprite didn’t exist, nobody would have (john needed to live to do ectobiology). davesprite knew this and weaponized it against john who john treated as a secondary, lesser dave. so of course he’s kind of an asshole. it’s like his efforts and sacrifices meant squat to the people he considered his best friends because they didn’t experience it. to john he just suddenly appeared from the future and became a sprite.

this is heavy shit for davesprite that alpha timeline dave does NOT have to go through and it did change him in ways that cannot be said about alpha timeline dave. this is not a universal dave experience. so while it’s true that dave has the capacity of act like davesprite under those exact circumstances, alpha timeline dave didn’t undergo those that led to davesprite’s more miserable traits. therefore i don’t think it’s fair to conflate jade’s failed relationship with davesprite in particular as informing of how most of jade and dave’s relationships would unfold, because davesprite has been in exceptionally tragic circumstances, coming to terms with the state of his own existence. the last thing davesprite needs is romance. alpha timeline dave does not carry this burden.

Everyone believed that what was creating the dissonance wasn’t a central part to Dave’s character but an aftereffect of Bird Syndrome. Which you can’t blame them for because there’s nothing that would lead them to think differently. Every character besides Dirk is completely in the dark about Bro’s abuse and Dave stated he’d probably never tell any of the Betas. Which is fine, no one’s owed to know somebody’s baggage. But when you don’t give people a means to understand what you’re going through, especially when it leads you to hurt them, its only inevitable everyone’s going to be confused and going to come to conclusions using what they do know.

rebuttal to this: as i said earlier i don’t buy the whole bird issues thing and i get the handwaviness about being fused with a bird being john’s explanation for davesprite’s bullshittery. however i think it’s important to mention that john and jade both question if becoming a sprite might have had something to do with his change.

being fused with a bird never bothered him, as jade says. it was all the other baggage that came with the prototyping.

this includes playing the game for way longer than anyone else and mindlessly grinding from the ground up for about a year, then turning himself into a game construct and having his ontological level of existence as the platonic ideal form of dave strider lowered in the eyes of his friends.

JOHN: like what? JADE: its hard to explain JADE: just some slight differences in personality i guess JOHN: he still raps sometimes. JADE: yes... JADE: so? JOHN: i just thought i would mention that. JADE: ok i will admit i cant really tell if his rapping style has changed JOHN: trust me, it hasn't. JADE: i dont know if the differences are because he is a sprite JADE: or because he lived for a while in a different timeline... (p.4733)

JOHN: why is he such a basket case? he's like regular dave, but like, aloof enigma edition. JOHN: maybe it's because he's part bird? i think becoming a bird and a sprite did something weird to him. JADE: i dont think being a bird ever bothered him JADE: like i said... its all more complicated than that JOHN: normal dave was so much more level headed. JOHN: i have to admit, i spend a lot of time wondering what he and rose are up to. JADE: me too JOHN: ehh... JOHN: maybe it's for the best he broke up with you. JADE: why? JOHN: well, what kind of future do you think you would have with him? JOHN: he's a sprite. like really, what even is a sprite? how long do they live? will he still be around if we win the new game we are allegedly trying to get to? JADE: i dont know (p.5294)

as for the bro abuse thing, i can’t tell if floral’s position here is that davesprite is fucked up and had a failed relationship with jade because of bro’s abuse, and that dave would also necessarily have failed relationships with jade because he had the same experiences and also doesn’t tell anybody? the wording there is kind of vague and can be interpreted in different ways but that’s how i interpreted it.

they are right that bro’s abuse is something dave keeps to himself. but remember that dave has also deluded himself about it to cope. he doesn’t know what to think of it himself. both alpha timeline dave and davesprite have this baggage, but we explore it more with alpha timeline dave.

i know dave said in the post-retcon timeline when having a conversation with dirk that he could never tell karkat all of this or any of the betas about his abuse. but i still find this pesterlog interesting and i want to put a spotlight on it. even while dave was still chugging that copium, jade was the person he was closest to opening up about the nature of his relationship to his bro at this point. remember this is quite early on in the comic and he didn’t have 3 years on the meteor to contemplate it yet when he said this to her, his bro had just died at this point

GG: anyway dave im really sorry about your bro/dad GG: you were pretty close with him right? TG: meh it was a pretty bizarre relationship by any standard TG: fightin off wave after wave of face pumicing puppet ass every day TG: always being on guard for stealth attacks in the middle of the night while getting up to go to the fucking bathroom GG: heheh TG: but i guess it all sorta amounted to some vague unspoken semblance of kinship TG: if thats a thing TG: like if honor among thieves is something then lets call it camaraderie among ironic rapping roof ninjas TG: but thanks GG: sure TG: i thought about taking his sword TG: when i was there TG: but i couldnt TG: couldnt really bring myself to try to pull it out it was too weird GG: dave we have to stop him!!!!! TG: what GG: jack! GG: he shouldnt get away with this TG: you think (p.3204)

even if he’s in denial about it, deciding to point out the positivity he can rationalize about it to avoid spending too much time thinking deeply about it (it makes him uncomfortable), he’s getting closer to acknowledging the truth here that shit wasn’t normal, about it being “bizarre” and you can tell hes being genuine here when he thanks jade for her concern about his loss

dave then continues talking about his thoughts/feelings on the situation after jade says “sure”, as if he took her concern as an invite to open up about his thoughts even when it’s something vulnerable for him that he tried putting on false bravado in front of terezi about. jade then abruptly changes topic to what’s to be practically done about these tragedies—dave was still on the topic of his bro and she changed the topic to jack noir without clarifying, hence he goes “what”

this is interesting because terezi tried to get something out of him about this and was met by riddly puzzlecock and false bravado but he’s pretty straight up about his current feelings with jade. basically it really depends on the person dave is talking to.

in this specific argument, floral approaches grimbark jade solely from the position of her being uninhibited which is true in many ways, but grimbark jade is also quite nefarious and not in her right mind. i think that even if jade were unihibited and spoke her mind, she wouldn’t have it in her push the mayor into lava to get dave to fight her. thats the evil. floral does acknowledge this in a separate post though, but it’s not really touched on in her argument im discussing. i also want to reiterate that even though it might seem like im violently ripping this post limb from limb its really just something to bounce my pre-existing thoughts off of. this is all written with civility towards and respect for floral

even roxy says something about this—that the schtick doesnt suit her. like it doesnt feel like something she’d have the natural capacity to really be without some external influence

ROXY: so alt grannydaughter english ROXY: whyre u part dog + evil lookin JADE: DO NOT CALL ME THAT!!! ROXY: what JADE: my surname is harley not english JADE: but you may refer to me as jade, or ma'am if you are feeling especially nervous and deferential JADE: which as it turns out is the way you should be feeling about me, ALWAYS >:B ROXY: LOL!!! JADE: lol WHAT ROXY: jade i am in no way buying that ur normally this pompous and tyrannical ROXY: the shtick rly doesnt suit you its so obvious (p.6291)

so i don’t think everything jade says here should be taken to heart about her real feelings or how she would express them if she was being genuine as her normal self. we know jade can get mad but i think we’re giving her evil possession a little too much credit

that’s why i was personally disappointed in grimbark jade when homestuck was ongoing, is it felt like it didnt really give us anything? it was like empty calories while just waiting for the regular jade to come back which she never did. it is interesting to look at in retrospect to see if there’s anything there but…grimbark jade isn't exactly a reliable narrator. i guess none of them are but like, especially not grimbark jade. if i can’t separate what’s genuinely jade under this mess from what isn’t then what’s the point?

like for example this was left out of floral’s argument when showing this part, but in the comic grimbark jade tells dave that he’s “more messed up inside than davesprite” …. right after dave wouldnt comply with her demands to fight her and doesnt want to fight lord english. that’s…not really telling about anything at all for either of them. jade is evil and if things dont go the way she’s programmed to get them to go she’s gonna flip her lid. this is what i mean about her not being in her right mind

JADE: the fact is youre going to have to rely on those powers if you want to stand any chance against a lord of time JADE: it is safe to expect he can only be challenged by someone with a similar command over the aspect DAVE: why is that safe to expect DAVE: where are all these presumptions coming from DAVE: if you can use swords why dont you take the welsh cueball sword and fight him yourself DAVE: i bet you could fuck him up DAVE: youre probably even more extra strong now that youve succumbed to the bark side DAVE: did you ever think about that JADE: dave i am perfectly aware of the awesome powers granted to me by the bark side JADE: it does not matter JADE: i cant be the one to wield your sword against english JADE: it has to be you JADE: it is the will of the empress, and thats final DAVE: the empress can suck it DAVE: i have no intention of fighting him DAVE: and this isnt even me pulling more lame self aware reluctant hero junk DAVE: i am just straight up not going to do it DAVE: see thats not reluctance its just petulant refusal on my part DAVE: reluctant hero shit is when the guys like aw shucks i dunno if i wanna but deep down we all know he really does DAVE: but i really dont DAVE: why should i DAVE: i dont give a damn about lord english or his nebulous atrocities out in nowherespace DAVE: what kind of villain is someone you never met who hardly did anything evil to you or your friends directly DAVE: or even to anyone in your universe for that matter other than through some vague insidious influence DAVE: who even is this guy and why should i hate him DAVE: am i really supposed to be pissed off at a green muscle monster i never met DAVE: cause i aint pissed off at no muscle monster DAVE: hell wasnt he in some ass backwards way responsible for us existing in the first place? DAVE: or all of humanity for that matter?? DAVE: maybe i should thank him before chopping him up via welshscalibur JADE: jeez you sure have some issues JADE: honestly it has become very tiresome listening to this sort of thing JADE: i thought davesprite had problems JADE: his issues i could kind of understand JADE: i thought you might be different, being the alpha dave and all JADE: but no JADE: you might be even more messed up inside than he was! DAVE: what DAVE: why are you dragging that guy into this (p.6385 / 6386)

part 2

#homestuck #homestuck meta #dave strider #jade harley #davejade #davesprite #hs #homestuck analysis

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call-of-ishmael · 19 days

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The Last Ishmael OCD Post

One of my first times that i dabbled into character analysis was about Ishmael's OCD, people like that post but i really feel i could have done better

Canto V was my last major chapter i was willing to read. As i put more distance between me and the story, i want one final farewell in the form of finally fixing up my analysis

PART I: THE META-TEXTUAL

Before i delve into the writing itself, here is some pointers the story gives to her OCD in the form of flavor text and descriptions.

Firstly we have her Bio

This is easy to miss as its just a tiny blurb above her whole intro blurb.

Now, "obsessive compulsive neurosis" is a very weird way to phrase it, "obsessive compulsive" is clear enough but "neurosis" is odd, this is not TOO odd though, as "neurotic" used to be how OCD was classified as a disorder.

However if we look at her bio in Korean, the particulars do simply straight up say "OCD" very clearly, you'd need to MTL but this was also confirmed to me by a friend from SK

The sinner bios are biased though, and are written through a very corporate lens, so lets see if there's any other pointers elsewhere

Her base EGO, Snagharpoon, actually does just that

Her passives name is called "Compulsion" and in its gameplay design its a very interesting way to also point to it

Ishmael is a very all or nothing person, you do it well or you don't do it at all, and this is reflected on how this passive aids you to play

This passive is excellent for boosting the consistency of playing by only going for "Favored" or "Dominating" clashes, while punishing you for taking chances on clashes you MIGHT win

Base ID Ishmael is also a unit with all single coins, rolling tails puts her in a very unfavorable position so this also adds an extra safety net on top. Worth noting being all single coins is also a high risk high reward type of play style.

Finally we see two more pointers id like to note, both from Canto V

The Compulsive`s Knot, an ego gift themed after a naval rope, one of many in the dungeon all alluding to her struggles.

Most obviously though

Her exclusive status effect, Compulsion. This is in direct reference to her EGO passive, providing an attack boost at the same time it provides a drawback in the form of low SP.

We are gonna talk a bit more about this passive since it ties into another gameplay oriented way to point towards her OCD

During the story dungeon we have an event where a noise is heard, you are given two choices, check, gain SP, don't check, lose SP.

Compulsive checking is probably the most well known (to the conditions detriment we will talk about it later) hallmark of OCD

Notably, this doesn't aid Ishmael, while checking can avoid the combat encounter, not checking only has a chance of triggering it, and most interestingly, her SP will always start at -25 during combat encounters. Meaning the temporary boost in her sanity will just get reset next battle, should you decide to check. Checking wont satisfy her anxiety for more than a brief moment.

Lastly the most obvious ones are all the references to Obsession. These are so abundant i feel if you are familiar with the Canto its redundant to have them, i wanted to draw more attention to the allusions to compulsion, as they are less common.

PART II: BEFORE THE STORM

Even since before her own Canto, we can see Ishmael's ruminating and anxious tendencies pop up during previous chapters, which for OCD is important to explore as OCD is an anxious and ruminating disorder.

So lets talk a little bit about OCD! Its a disorder characterized by repetitive and constant intrusive urges to perform a task or a thought (lets keep this in mind for later)

These thoughts or actions are used to try to relieve stress from an anxiety inducing thought or situation. The most common example is OCD exacerbating germ phobia, and causing people who have it to wash their hands in excess.

While OCD is usually described as "irrational thoughts" i feel that's a pretty limited way to view it in my own experience with it. OCD compulsions and thoughts can be informed by very real worries, the worry of getting sick, of making the wrong moral choices, of hurting others. Being clean is a normal and a good practice to stave off getting sick, its the frequency and intensity that turns it maladaptive, OCD turns your own lived fears and traumas against you, and those might very well be real things to worry about, which makes dealing with it very hard.

Enough of that off to the writing!

Lets start with Canto II

This is the first example of her constant need for a lack of ambiguity, previous to this we see her complain about the treatment the sinners are receiving from Effie and Saude, skeptical of the whole deal.

Until shes shown the plans, they are so well crafted shes able to anchor to that and calm down.

This by itself is not really much other than being very detail oriented, lets look a bit further into the chapter

Here we see that aspect elaborated upon more, this moment is framed as a very important one between Dante and Ishmael in their dynamic later on, Ishmael is incredibly upset at the plan having fallen apart so quickly, while yes this is not unreasonable to be upset at, her anger is remarked on by Dante and Gregor as very intense and unusual. This in my opinion is a minor but clear indication her need for planning and considering every option is due to a deep anxiety, but don't take it from me, lets look at Canto III

Here we are told pretty explicitly, Ishmael moving quickly and asking lots of questions is something Dante has noted as an anxious habit.

And here we have more elaboration on what exactly that moment at the Casino meant for Ishmael, it was enough anger and disappointment she has stopped expecting Dante to perform well and instead taken it upon herself to see things go according to plan, this is VERY important to her.

And her worries, are repetitive enough to annoy others, and to be remarked upon by Dante.

This is perhaps the more notable chain of events to point out previous to her chapters aside from 4.5, as it helps contextualize all her usual ways of acting in a more complete light, showing a lot of this is driven by a deep anxiety

And this all makes S.E.A all the more interesting as it pays off on this.

Something i quite enjoy about Limbus is how it re-contextualizes things characters have previously done and said. And the events of S.E.A and Canto V bring a lot of interesting stuff to the table

Lets get cracking with this chapter

In general shes extremely confrontational, and tense, more than usual

But its her anxious outbursts i wanna focus on, what she puts

emphasis on.

This chapter is so crucial in this whole analysis. We see some behaviors way more clearly now, firstly we see her emphasize her need to be absolutely 100% prepared for this, no ambiguity no risks she wants certainty.

But we see something even more clearly and that's her ruminating behaviors, shes brought up things like this to a smaller extent before like commenting on a lot of aspects but here we see in full display her inner world become externalized, shes started voicing worries shes never voiced before can Dante turn them back always? What if Dante dies? What if the sinners get eaten can that be turned back?

And these don't all get brought up immediately, she mentions them in different conversations, pointing to the fact shes constantly going over the subject in her head with no pause, and she gets frustrated when she cannot work on these worries when she cant do anything to quell the anxiety.

And the last part, when Dante finds her so fixated in her planning its impossible to even talk to her. She has to perform some action do something to stave off the disaster she can see coming in her head

As someone with OCD inevitably i have to mention the personal component that drew me to analyze this was how real this feels to when you spiral

A lot of the times OCD is explained as the compulsions being something you do cause you feel its a sort of ritual to stave off disaster. Its in this way i see it reflected in this moment.

As we see with Heathcliff acting as her foil, he points out her worrying is really not doing much other than just her talking and talking, and by the state shes in when Dante checks in on her, aimless not even paying attention to anything else we see the main objective of the planning really isn't practical as much as a compulsive coping mechanism.

She has to do something

PART III: INTO THE DARK

Lots to cover and honestly i will make a companion post to this with all the examples, so for this section i wanna cover some highlights instead, as well as a general discussion of the tone.

The way this chapter is structured is very interesting, its really reflective of the mental state of Ishmael. The chapter feels really aimless, they wander around not really ever finding what they need, which drives Ishmael more and more tense and frustrate

Its a good continuation to how we see her by the end of S.E.A fixated on one goal one thing

As previously stated shes inflicted with a constant special and unique to her status effect called "Compulsion" as covered in Part I

Her behavior is also reflective of this

For a good part of the first third of the chapter shes in her room, the whole time whetting her harpoon, nonstop

However you might notice compulsion is not as present as obsession, and compulsion is also important to OCD its in the acronym! And i have seen others point to it too

However id like you to remember, in the post earlier i said thoughts can fit into OCD, compulsions can be mental and sometimes almost exclusively or mostly mental. Its even in the DSM noted that for diagnosis the compulsions to count you for a diagnosis can be mental in nature

Its in this aspect that i feel Ishmael shines a lot

In general OCD in media is lacking in representation and is often a trait given to assholes or villains

The normal conception of OCD in movies or TV is of neat freaks or control freaks, Compulsion is usually heavily emphasized when it isn't the whole picture

Often ignored though is the aspect of Obsession, some people can have Purely Obsessional OCD (Pure O), this isn't a formal diagnosis or term but its colloquially used by people who have it. Its a bit of a misnomer, as compulsions are present but internalized as mental rituals or rumination

Usually its harder to diagnose, its harder to treat as there's no apparent compulsions others can see, and the people having it seem pretty high functioning to the people around them.

This can be noticed though in people avoiding certain subjects, avoidant behaviors can be the clearest external behavior.

I personally read Ishmael as having more mental compulsions, the way she tends to be a more ruminating and anxious character than outwardly compulsive

During S.E.A and Canto V we see outward compulsions more but from the examples from previous Cantos we can see that's not her usual and she operates more on anxious overthinking most of the time.

However another aspect that ties into mental compulsions is in the previously mentioned avoidant behaviors, we see her isolate and try to stave of having to deal with her worries in both S.E.A and the beginning of Canto V when shes in her room, in both cases doing some excessive preparation in a compulsive way.

CLOSING THOUGHTS

As previously stated Canto V deserves its own companion post, and ill work on that later, i feel this encapsulates what i wanted to say well enough.

I wanted to discuss the previous signs of her behaviors that make me certain her OCD is an intended textual read, and in my opinion a well executed one

Canto V was hard to read as it felt very real and very familiar to the worst times i have had due to my OCD.

Shes a character that despite my distaste i have developed for the franchise, it will never stop meaning a lot to me same as her chapter will always be a piece of storytelling that affected me deeply in ways others haven't

To close i want to leave off what i feel encapsulates the feeling pretty well, in my favorite moment with the membrane consuming her as a metaphor for letting fear, anger, obsessions and compulsions cloud your mind until you forget why you were even there

To you, dear reader, Bon Voyage

#ishmael lcb #ishmael limbus company #project moon #lcb ishmael #canto V #canto v spoilers #limbus company #lcb

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deer-carcasses · 2 months

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somewhat an analysis of Alastor

I've been going over this multiple times while it was just some rambles in my notes, but I finally decided it might as well see the light of day. if you do read this all, thank you. if not,,, understandable. it's a lot.

if this whole things is not coherent at all and does some weird jumps, I'm sorry. I took multiple breaks writing this over the span of the whole day. it was even more of a mess, I promise this is the slightly cleaned-up version.

especially the later parts get less cohesive in my eyes since I had to take longer breaks in between them. they also might jump around more. but now, in case you do want to read this; enjoy.

obvious spoilers ahead

let's start with the most interesting aspect for me: we barely know Alastor. sure, we know a little about his backstory, and get snippets of interactions here and there, but it wasn't until well into the show that we got to know his character better. ep.5 was where we see something deeper than the shallow persona he puts on for everyone. he's been more of a helping hand to make the plot progress in an interesting direction than a character with obvious deeper meaning. I don't mean to say that he was not well-written, quite the contrary, I mean to point out that he seemed more like a tool in the story than a character we are supposed to connect with on deeper levels.

we all as viewers had no idea why exactly he was there, to begin with, he said it was for his own entertainment but even then, this seemed like an awful lot of work for him to come out more or less empty-handed most of the time. it's an unfair deal for Alastor if you ask me. and honestly, he does bring little less than "entertainment" to the table until then. being used to show that he is helping yes, but mostly doing it so he can pull someone else down with his help. double-sided blade. he loses, but whoever he helps also doesn't win.

let's talk about ep.5 though. in this episode it's the first time someone truly irritates him. he didn't really care much for Vox - seemingly finding his entire obsession rather funny and never seeing him as a true threat. and Sir Pentious he didn't even truly remember. but with Lucifer that changes. Alastor doesn't just see him as bothersome, he sees him as important enough to go out of his way to prove he is better than the literal king of hell himself. at first, you could argue that he's once again doing it for his entertainment. seeing how much he can push before he needs to get back in line. but looking closer, his body language betrays him.

the way Alastor holds himself shows a true disdain for Lucifer that is, from a viewer's perspective, totally unjustified. Lucifer did not start their weird rival dynamic, it was Alastor who from the beginning on looked down on the king. maybe it's a personal reason, maybe it's just the fact that Alastor is more than well aware that no matter how much power he gets, there's no way to get above Lucifer. his omnipresence might simply be an annoyance to Alastor because he knows as well as Lucifer that the king hasn't shown his face in a long time and his reputation and power over all of the pride ring, over all of hell, still stays in place. no real threat could shake Lucifer's power into crumpling and this thought alone might bother Alastor because he had to fight for his power, to keep his power. (see Vox having presumably more power with the modern media and all that before Alastor disappeared)

and there's also of course the whole bantering going on in Hell's greatest Dad. Are Alastor's words genuine when he speaks to Charlie, or is it just a tactic to get under Lucifer's skin, maybe not seeing his powers crumble but seeing the king's nerves being reduced to nothing by his hands.

I personally don't think he was being entirely truthful. he might not have straight up lied about everything, but I don't think he truly wishes Charlie to be his daughter. Charlie herself is more than a little surprised by how Alastor suddenly treats her, and that alone is proof enough for me that he wasn't being honest in his words. if it were true, wouldn't he have at least a slight fatherly touch towards her all the time? Later on, Angel Dust even somewhat points out that Alastor has never acted like this by asking what his [Alastor's] deal is. It shows me that no matter how badly he tries to make it seem real for Lucifer, it's not real for anyone else simply because they all know how he normally acts around them.

continuing to Mimzy for a short moment; she is proven to not be a reliable narrator at all so I don't want to really take what she tells about Alastor all too seriously. she even concludes her little tale about the radio demon with "That's the story most people know." which does not make it any true. something I thought is very interesting is that the only two people who might have any idea of how truthful Mimzy is in her story are both gone. Niffty, though she also does not seem like the most reliable narrator, is not part of this conversation, and Hus kates himself out of the scene almost in the same moment Mimzy starts talking about. Husk leaving is more important since he obviously knows more about not only Alastor but also the deal Alastor is bound to. Husk and Alastor might equally hate it, but Husk does seem to care about Alastor at least a little. warning the overlord about Mimzy and how she is known for only showing up when she needs something, and I'm sure Alastor is more than aware that Mimzy wouldn't show up simply to catch up with old friends, but still. the sentiment of Husk seeking Alastor out to warn him, and even mentioning how he [Alastor] has been gone for a while now, is in itself caring, especially when moments later the viewers find out how much more Husk seems to know about Alastor. it even seems as if he is aware of limitations, mentioning how it's "Big talk for someone who's also on a leash." coming from Alastor's deal, even if Alastor himself is ignoring them [see the line "Who in their right mind would cross me?"]

the whole fact that Husk even seems to know so much about Alastor's deal is confusing in a way. I can't see Alastor willingly going to Husk and telling him about not only the deal he made with someone above himself but also about the limitations of said deal, it just doesn't make sense for the character we know Alastor to be, and even when finishing the show my opinion doesn't change. it's even more prominent how he later hides away.

after this scene, Alastor isn't seen catching back up to Charlie, Vaggie, and Lucifer to continue annoying him simply by his presence. his outburst having left him apparently on edge - showing that he isn't as calm and calculated as he likes to pretend. he obviously struggles with his own anger, be it at Husk for bringing up that he knows about Alastor's deal, or himself for ever getting into the situation in the first place.

later we see Alastor taking care of Mimzy's problem -the loan sharks. he's not seen using his powers like he did when Sir Pentious attacked though, he willingly transforms into something eldritch to devour the threat instead of simply using the tentacles, which would've been just as easy for Alastor. in my eyes that's him getting rid of the last restlessness about his outburst at Husk. choosing to do it himself, showing he still has free will over what he does and doesn't do. if not proving it to Husk then proving it to himself that he can choose to do this. he goes all out, he even comments on it himself how he needs to let off steam and later on how he's important here and willingly choosing to be here, helping ["It's time to remind everyone [Husk] why I'm here."] Alastor needs Husk to know what happens when you cross him, and when you doubt him. because he took the comments about how long he's been gone and that he's also on a leash personally. I don't even think it's necessarily because Husk said it, it's that someone in hell said it. not a soul in hell is allowed to think that Alastor, the radio demon, is not strong enough to win every fight he chooses to start.

let me come back to Mimzy once more, as if this one scene scratching the surface of what lies underneath his smile-bright persona revealed by Husk wasn't enough we get Alastor being all buddy-buddy with Mimzy, who is not only acting like a friend to him but is also introduced as such. a normal friend to someone who is so obviously not normal.

but even with his more friendly behavior towards her, he ends up sending her away after the hotel has to suffer under the problem she brought along. ["I can't have that here."] If he was genuine with what he said then, why did he phrase it like that? I might be reading too much into it, but Alastor normally picks his words wisely enough to not let too much slip, and the sentence "I don't want this here." would've been better fitting for the situation, but he says can't have that here. new question, what can't he have here? Mimzy herself? someone who knows him better than the residence with maybe a habit of blabbering? or was it just the fact that it's her problems that he needs to fix? that he can't have her bringing more work than there already is at the hotel?

now making a bit of a jump, going from ep.5 to ep.7 this episode makes me mostly wonder about what Alastor could ask from Charlie later on based on the deal the two of them made. in terms of character, it gave us little besides his dynamic with Rosie and the entirety of cannibal city. though this was also not really anything new, more just what we already knew about Alastor in a new dynamic

there is one scene I do want to talk about though. his whole little speech around smiling. him actually standing by and admitting that he is hiding behind his smile did take me a second to actually realize what just happened, I did skip back to it because I was a little stunned by the absurdity of it all. after some thought it made sense that he might not mind it, Charlie does not know him well enough for this off-hand comment to truly affect anything for him, still it made me wonder. why would he reveal it to her? was he simply so sure that she wouldn't use it against him or did he think she wouldn't even think of using anything against him in this kind of way?

so it confirms that yes; Alastor uses his smile as a facade and also as a way to show he is above others who cannot hide behind a smile like he can. his smile means indifference to himself, neutrality. for him showing anything but the indifference that his smile represents is vulnerability. weakness.

let's move on to the actual "highlight" episode of "What We Learn about Alastor" ep.8

this surely was not the first time he got humbled badly by someone in a fight. it's what he wants to avoid most, the mask slipping, everyone seeing that he can be defeated, that he is not this otherworldly powerful being that not a soul in hell [or heaven] can touch. there had to be at least one very significant moment where he was powerless in a way. where he had to strike up a deal with someone higher, the one now binding him, now having him on a leash.

Alastor went into the fight with Adam overly confident, underestimating Adam's powers to the point he barely got away. he is, after all this, still a mortal soul. a sinner. Adam on the other hand was the first man which gives him roughly the same power Lilith must have. that in itself makes me think Alastor lasted a good deal longer in the battle than I would've thought. pure angelic powers far surpassing his own and he still 1) got away in the end and 2) was able to get in a few hits.

let's quickly touch on the fact that when Adam broke his microphone he seemed to be completely stunned, apparently not having thought that he could easily break his possession without any real resistance. I personally don't think his power is necessarily in the microphone [the was the simply gave it away to Charlie in ep.7 being my proof for why it can't be. he would never abandon his power just for Charlie to sing a song for a few cannibals] but what if it maybe is some kind of amplifier for it? maybe it's also pure placebo and Alastor was simply too stunned that Adam would go for the piece of equipment instead of for a deadly blow right away. the microphone surely was a confidence boost, feeling of being 'on air' the feeling of having his broadcast behind him while doing his everyday tasks giving him the boost he sometimes needs, his ego being constantly stroked by the knowledge that there would be countless sinners bowing to him if he simply said the words into his microphone. no longer being able to do that made him stutter in more ways than one, being momentarily careless, not prepared for Adam to strike again, deadly this time. he lost where he was in his performance, in his own show, and it made him mess up.

one interesting sentence is when Adam comments on how Alastor is just a mortal soul. "You should know better than anyone what a soul can accomplish when they take charge of their own fate." which makes me want to believe that's exactly what Alastor did, taking charge of his own fate. but the thing is that we know he did not. he made a deal with someone, and he doesn't have the ability to take charge of anything about his own being anymore. he's as much on a leash as he has Husk on one. that would only mean that he isn't at his full potential, held back by the deal he so desperately wants to get out of, and is actively looking for a way to get out of it. which turns this line into something else completely. Alastor reveals that he knows what he is capable of, but cannot parade his power due to his deal.

another interesting detail is his ears before he dissolves into his shadow. they are pinned back, showing not only agitation or fear but disorientation. he opens his mouth for no sound to come out and it frightens him to have come into this situation at all.

a big part of his mental disintegration in this moment surely is also the fact that if he had died at this moment, if Adams's hit was slightly more fatal, he would've died bound to the deal still. Alastor would have gone without being able to fulfill his own goal - getting rid of the chain around his throat. getting control back over his own afterlife. if he had died at Adam's hands, he would have died being possessed by someone else which we can assume is what Alastor sees as the lowest he can fall. the people bound to him by a deal mean nothing to him as it seems, we only ever got to see those who were needed for the Hotel.

while also, dying in this moment would have proven to everyone that he stayed to protect the hotel, his friends, but retreating and not being killed in a heroic death-wish battle be had proven to especially the audience that Alastor is not ride or die for these people.

in his breakdown ballad, we can finally see where he went to to lick his wounds. his entire breakdown also shows once again how scared he truly is of being inadequate. this wasn't just a reminder from Husk that he is indeed also on a leash, being pulled to where whoever holding it wants him to go, this is a rendezvous with death, barely escaping the situation that would have proven that he is too weak, at least while being bound by this deal he is [no longer] profiting from.

the place not only reeks of death for him, like he says in his song, but it also reeks of shame at the fact that he had nearly not made it out alive. it would've been seen as a noble act had he truly died in this scene, he had not died protecting himself, he had died protecting others. it is worse than dying on a leash even since at least almost no one knows about that, it would allow him to save some face. but dying for these people? he cannot even stand the thought of it.

in his mind he needs to keep up the smiling facade, the indifference in this smile he holds obviously so dear, for eternity. him dying should not allow the indifference he stands for to evaporate, he needs to play the act even after being killed in his afterlife.

even if this now ends rather abruptly, my work here is done. see you next time I start writing and simply don't stop for a while.

it truly is "Good to be back on the Air." with a newly cleaned-up space to talk about fandoms

this might be edited later on, nothing major, maybe just to have some actual continuity in it.

#hazbin hotel #hazbin alastor #alastor #hellaverse #vivziepop #vivianne miedema #character analysis #i just like tlaking about the little fucked up red guy #i am not normal about this show in the slightest #someone restrain me #i could talk about them endlessly #hazbin hotel ep. 5 / 7 / 8 specifically #hazbin spoilers #alastor character analysis #hazbin hotel alastor character analysis #the radio demon

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