#this meme format is so incredibly me!!! in all situations!!!!!!!!!! | Explore Tumblr Posts and Blogs

1moremilgram-enjoyer · 7 months

Text

Play-by-Play Analysis of HARROW

Hello members of the jury! Since I only recently joined the Milgram fandom, I feel it'd be nice to have most of my thoughts on each MV so far in one big analysis for each. I'm starting with HARROW because Kotoko's second trial MV is coming out relatively soon, so I want to get my thoughts about her in order before then!

What? Double? MeMe? What are you talking about?

(Translation: Mikoto's giving me a headache so I've decided to hold off more in-depth analysis until Double actually releases)

Anyways, let's see what our local furry vigilante has for us!

CW Death and murder, child kidnapping and torture, vigilantism, online radicalization, self-loathing and grief, mention of cannibalism, sexual harassment (upskirt shots)

Theoretical Basis

(For anyone not yet familiar with the prisoner's situation)

There's not much debate over what Kotoko's murder is. She killed someone to "protect the weak", so vigilante justice.

[TASK (First Voice Drama)] Kotoko: I did kill someone. This is the one reason why I believe in the power of MILGRAM. But, the murder is only to protect the weak ones being bullied from the extremely evil ones. I became a shield for the weak, the result of becoming a fang for the weak.

The exact nature of her murder is... complicated, but we'll get there in the analysis.

Analysis

Alright, let's see what kind of incredibly subtle symbolism this video has in store for us-!

Or maybe we just get punched in the face by the symbolism! The opening lingers on a shot of Kotoko wearing a blindfold because "justice is blind." You get it? The lyrics in this scene are:

Let’s end this! “HARROW” “HARROW” I can’t forgive the evil hurting the weak It’s unforgivable, I won’t allow it, I sweared

(I'm using the English subtitles transcribed in the wiki btw, though I might change a bit of formatting for funsies)

So basically setting up the main message HARROW wants to communicate; Kotoko wants to protect those she considers weak. She cannot possibly forgive any offense, that she... "sweared." The past tense of 'swear' is 'swore' but alright.

However, it's worth noting that this is a biased showing of the events, as we're seeing them through Kotoko's eyes. She considers her justice as "blind", but I'm not entirely sure that's true. We’ll get to it when we get to it.

‘Harrow’ means to cause distress to (because I’m pretty sure we’re not referencing any farming equipment). In context, I believe it means Kotoko feels distressed by the evil in the world, which will make more sense as we look at other lyrics.

Kotoko is in her investigation room, for lack of a better name, and is pondering her investigation board. Now, if you think I'm insane enough to try to figure out what she's doing in that board... you're right, but I couldn't figure out anything too interesting. She seems to just be narrowing down suspects and figuring out murder routes.

Kotoko is seen wearing a white jacket with red streaks, as well as a black tank top of despair and white shoes. I've explained how I view the symbolism of her clothes in this other post (which you should probably read before this one because I reference it quite a bit), so I'm not gonna go too deeply into it here.

The interesting thing about this scene are all the wolves staring into the camera there. I believe all these wolves represent people online who do similar things to Kotoko and influencing her, which is gonna make slightly more sense as we go further. Note that there are many wolves here, too many to just be her family in my opinion, which is an interpretation I've seen around.

However, it's notable that there is also one other wolf which is seen directly next to Kotoko, not to mention the two wolf pelts (a white one where Kotoko is sitting, a brownish-grayish one next to her). We see the wolf sleeping for a moment, before waking up with a close up of its eye. By the way, in case anyone's concerned, the wolf is not different from the wolves we see in the pack later. It only looks white momentarily because of the lighting, but you can actually see it has the same "white under - gray top" as every other wolf.

I hope it's clear enough.

So why is this wolf important? I believe this is another person, but one who is working alongside Kotoko directly. We unfortunately never really see who they might be, but I do think they exist, and they're not the serial killer with the white hoodie. Again, things in these MVs make more sense the longer you go on.

One interesting thing is that the close-up of the eye looks like a camera lens. Currently, the theory I'm going with is that Kotoko is working alongisde this "wolf", but they don't meet in person often; they mostly speak through video chats. Thus the wolf's eye, the one which can stare at Kotoko, is a camera. I have very little basis for this, mind you, but without Deep Cover, this is the best I can come up with for now.

Finally, the lyrics, which are repeated several times over the course of the MV.

How heavy “HARROW” “HARROW” Is the damage to get in the way of someone’s dream. I’ll gouge you out with my fangs

I think the placement of the word 'harrow' is sort of confusing the lyrics a bit. I think "how heavy is the damage to get in the way of someone's dream" makes one full sentence, so the way I read this is

"It's so horrible (it's harrowing, it distresses me) the damage evil people cause, that gets in the way of people's dreams. I'll destroy the evil, gouge them out like a wolf's fang."

Does that make sense? I hope it does. It's not like the exact meaning is too important; the main thing to take away here is how much Kotoko hates people who get in the way of other people's lives.

Alright watch out this one's important. Kotoko's out on the street, and looks at a sign which speaks of an accident, asking the public to call the police if they have more information. Meanwhile, this lyric plays:

Stained emotions, what is winning or losing Feeding on food so I don’t burn out

The important thing to note here is how unsure Kotoko seems here; she sounds lost. She can't tell what she wants, "what is winning or losing", her emotions are "stained" because she's in despair. For one reason or another, she seems distraught.

The reason for the stained emotions is likely that accident sign we see. It appears repeatedly throughout the MV, as you're going to see. Why it's so important is up in the air, but for now, I'm going with the idea that the person who died in this accident was someone Kotoko knew personally.

Well, "accident." We'll get there.

The moment Kotoko stares at the sign, the lyric "feeding on food so I don't burn out" plays. Presumably, "feeding on food" refers to her vigilantism, the thing she does to feel alive, to keep the flame inside her burning. This isn't the only reason she does the things she does, but it is an important one. Kotoko is sad over this "accident", so she feels she has to do something about it so as to not break down entirely. In fact, it’s very possible it’s after this incident occurred that Kotoko dropped out of university.

(T1) Q7: What did you study at university?

KY: For a while, I studied at the faculty of law. There's something I want to do, so I'm currently taking a break from studies, though.

For the flower symbolism fans, I believe the flowers next to the road sign are white lilies, pink roses, and I think baby's breath (the tiny ones). They are all suitable funeral flowers.

White lilies in particular are apparently pretty popular funeral flowers in Japan, representing purity, elegance, virtue, that kind of thing. Pink roses are also used in funerals, representing love (though explicitly not romantic, I think), appreciation, gratitude, gentleness, etc. Finally, baby’s breath represents purity and innocence, and important to note, are usually used for the funerals of young children.

This is a surprise tool that will help us later-

Another thing to note is the name on Kotoko’s cap and jacket, Jacques Roulet. I’ve talked about it in this post, but if you don’t want to read the full story of Jacques Roulet, it’s about a man who claimed to be a werewolf, killed a child to eat him, and only stopped when two wolves scared him off. I couldn’t come to any definitive conclusions, but I think the best answer here is that Kotoko is one of the wolves who scared off Jacques, who in this case would be the serial killer Kotoko ends up killing. This would entail she had a partner in vigilantism, which is part of what gets me to believe that wolf buddy in the beginning is an actual person.

Finally, a fun fact about that stop sign to our left, that’s actually outdated lol. Stop signs in Japan used to be like that, but apparently from 2017 onwards they now display “stop” in Japanese and English, not just Japanese like in the MV. I doubt this means anything other than ‘the artist who drew this probably grew up with the old stop signs all their life and didn’t think much about it’, but it’s there. Oh, and if you want to really look at the symbolism, Kotoko could be said to be turning away from the stop sign, implying this is her “start.” Get it? Like the opposite of “stop.”

(And listen, I have to draw a line somewhere, I'm not talking about the trash bags and vending machine, etc)

(Girl do you want a chair)

Here we start to see how Kotoko spirals down, and begins to form more and more radical ideas in her search of justice. The articles she's reading are all speaking of different crimes, as these lyrics play.

Becoming light-headed again, it all becomes crazy The normalcy sought for, fading away, everytime death comes The soul moves forward

She's "becoming lightheaded" as she looks at these reports, sickened by the evil in the world. The status quo she's searching for, a world without evil, disappears as horrible people keep killing and hurting.

Yet, "the soul moves forward." Kotoko must find a way to keep going, must find a way to deal with the death and the evil. Both for the sake of "the normalcy sought for", and for the sake of her own feelings. And that is her vigilantism.

Let's go over what exactly she's seeing. I won't post full translations for most of these, you can go to this post by Maristelina which is nothing short of a God-send for that, but I'll give summaries. In order of appearance:

A man and a woman in their twenties stole a bag from another woman and drove off. They were caught on camera, so they were arrested and admitted to the police they sold what they stole to pay for food and drinks. They had a prior record of theft.

(Note: I've seen some theorize this could be Kotoko and someone else, and while it's an interesting possibility, I don't see much evidence for it, and the fact Kotoko is 20 in Milgram makes the timeline a bit wonky imo)

A man in his 30s deceived an 80 year old woman out of 500.000 yen by pretending to be a bank employee. Keep this one in mind.

A 46 year old man took over 200 upskirts photos of high school girls in public transport. One of his work colleagues claimed he'd been saying he was going to pick up his kids, and had no idea what he was actually doing. The man himself claims to have done it to escape the stress from work. Below the article, there are two comments... which Maristelina didn't translate, so I did my best but take the following two translations with a massive grain of salt because my ass does not know Japanese.

何やわんこいつ = What is this guy? 同僚のコメントおかしぃだろwwww = Your colleague's comment is funny hahahaha

Additionally, we later see two anonymous comments which follow the same style as these two, and thus I believe they're talking about this. These ones Maristelina did translate!

Anon on Top: It’s just stress, cut him some slack. Anon on bottom: People like this will just do it again.

(Note: That last one is one of the things which make me believe Kotoko was at least slightly influenced by the comments of other people online)

A man in Tokyo was arrested for stealing luxury bikes by figuring out their combination locks. The police will charge him with theft and other crimes soon.

A group of people have pulled off something called the "It's me" scam over 40 times (FNAF reference?). Basically they call someone, disguising their voice, claiming to be a family member or someone they know and asking for cash for an emergency. The article specifically talks about a 23 year old woman who lost a million yen to this scam.

Point is, there's a lot of crime going on.

Anyways, as the camera pans out, we see a tripod, which can be assumed to have a camera pointed at the investigation board. Since it's not a very good idea to record yourself planning to commit crimes and posting it online anywhere, my best guess for what Kotoko is doing with that is videochatting with someone specific? Maybe? That's why the wolf's eye sort of looks like a camera in the beginning? I'm trying, cut me some slack here. This is very possibly wrong, but I don't know what else to do with this tripod.

If you don't get what's going on here, basically these images flash on screen very quickly, in the order I put them in.

Let's start with the lyrics, which are easy:

I hate all the evils in this world I feel like I’m about to break The surrounding net covered with poison

Kotoko hates evil, she's this close to breaking down, she feels trapped in a net of poison. You get it.

The image flash is important, though. We see the "accident" I said was important before, alongside two things: a TV report I'll call the Street With Bushes Report (SWB report), and an article about white hoodie guy. The SWB report says:

Body Found near the Home of Another Female Victim. Possible Connection to Series of Murders of Girls The body was found near the home of another female victim, and the police are investigating a possible connection to a series of murders of girls committed by the same perpetrator.

And the article:

Shocking revelation: The heinous criminal behind the crime is the privileged son of a high-ranking official! Killed 10 people in just about 2 years. Victims are elementary school students. Hidden by a cover-up.

Presumably the SWB report is of one of this guy's murders. He killed 10 elementary school girls, dumped their bodies near their home, and it was hidden because his father was a high-ranking police officer. I imagine this is probably why Kotoko lost faith in the police and the judicional system as a whole.

However, you'll notice an interesting detail. We maybe actually get to see this victim, somewhat. That person with the white dress laying on their back on a wooden floor. The only other time we see them is at the very end, so I think it's possible they really are related to the SWB report.

But why are we getting so many details about this one murder? It's not connected to the "accident", since the street is different. Well, it's not something I can answer now, but take this idea that there's a second murder which Kotoko isn't necessarilly related to, but one she knows more in-depth than some of the other white hoodie murders.

I put a lot of images here because I gotta properly illustrate this. This scene, where we see a representation of Kotoko's mind, starts with her literally opening her eyes or "waking up", sort of similar to the wolf at the beginning. She's surrounded by wolves, looking around hesitantly. Like I said before, at the beginning of HARROW, Kotoko is still very unsure of herself, but here, surrounded by the wolves, she seems to finally find a purpose. That's why the scene ends with her focusing on the foggy path ahead and starting to run with the pack.

What I believe is happening here is that Kotoko believes she is beginning to understand just how much evil there is in the world, with the guidance of the wolves (again, possibly people online with radical views), and decides to follow them into the foggy path of vigilantism. Essentially, this is a representation of her radicalization. And it's scarily accurate, isn't it? Someone lost and vulnerable, who literally starts by being framed as the wolves' prey, thinks she finds an answer to her 'harrowing' situation. Even the imagery of "waking up" is pretty common for some of these types of communities.

This also vaguely mirrors the scene in Little Red Riding Hood where the titular character first meets the wolf, which presents itself as friendly while getting information of what the girl is doing. This imagery of Little Red Riding Hood will come up again, so.

One note is that the trees are dead, which not only shows how grim Kotoko's views on the world are, but can also see as symbols of death and rebirth. That's going to come into play later, though you could argue Kotoko's already been reborn by becoming radicalized. Additionally, the fog can represent a twisted or limited view on the world, cloudy thoughts, that sort of thing.

The lyrics aren't anything special, since they're the same as in the beginning.

Let’s end this! “HARROW” “HARROW” I can’t forgive the evil hurting the weak It’s unforgivable, I won’t allow it, I sweared How heavy “HARROW” “HARROW” If it damaged someone’s dream to the points of stopping it I’ll gouge you out with my fangs

Well that escalated quickly.

We actually see a lot of articles between when the chorus ends and when the verse begins, but they're mostly the same ones we've already seen (or Maristelina didn't translate them). However, that one I put in the collage is interesting. It talks about how a wanted thief named Mikio Oshii was beaten in the face, stomach and other areas by someone in a hood and using men's sneakers. Oshii was taken to the hospital, but there's no mention to whether or not he died.

And in the next scene, Kotoko scrolls through an article describing Mikio Oshii, which explains he had been the one to steal money from the elderly by pretending to be a bank employee.

Note that this guy has a face, possibly signifying importance. This is because this is the first big act of vigilantism Kotoko performs. Note she uses men's clothing because it throws off the police; the first article actually says the police narrowed down suspects only to men, so it clearly works.

However, Kotoko isn't looking to stop after one. She's still walking forward, the evils always lurking in the background. The lyrics as she beats up Oshii are:

I’ll teach you the pain you caused It’s a tie after saying sorry? What are you hoping for?!

And when she's walking along:

Shall we replace the poor soul, and the miserable delusion “I didn’t mean to offend”, “I won’t do it again” How many wins in a row?

It's evident something's changed in Kotoko. Before, she was asking herself "what is winning or losing?", now she seems to speak with authority on what a "tie" and a "win" are.

And what is a win in her eyes? Well, I believe it's when she "replaces the poor soul and miserable delusion." In other words, when she can get an evildoer to stop their acts of evil by "teaching them the pain they caused." That's why after they say "I won't do it again", Kotoko adds a win; how many in a row? Saying sorry isn't enough, of course, it's not even a tie; she needs to make sure they never engage in evil ever again.

So here's how I read this line:

Let's replace the evil monster with a respectable citizen. Saying sorry isn't enough, we need to teach them the pain they caused so they never do it again. And we hear them promise to stop over and over; how many times have we done this in a row?

Maybe there's other ways to interpret that, but we ball.

(This really makes me wonder what she would consider a "win" in Milgram, though. She doesn't even know what the people she attacks did, how would she know they would stop after getting beat up by her? Unless she straight up aimed to kill, which would stop them, but I believe she was probably going more for an incapacitation thing, otherwise I don't think Mahiru would have survived at all. Whatever, we'll presumably get an explanation in her second VD)

One question that comes up is what are the other "wins in a row"? However, we have genuinely no way to tell, so it's just an unknown for now.

Now, let's ask the big question of the scene. Did Oshii die in the hospital, or did Kotoko intentionally let him live? Well, I believe he survived. One, because there isn't much of a point to specify he was taken to the hospital if he did die. Two, because there is precedent of Kotoko being able to control her strength as to not kill her victim provided medical attention is adminestered (Mahiru), and if she didn't kill him in the moment, she presumably didn't want him dead. Three;

[TASK] (First VD) Kotoko: I did kill someone. [...] what I did is, "facing an urgent and illegal infringement, an action taken out of necessity to protect the rights of myself and others".

Even beyond the wording of someone implying only one victim (and she most likely did kill the guy at the end), Kotoko was not facing an urgent infringement when she found Oshii, since he seems like he was just minding his bussiness when she got there. So it wouldn't be justifiable defense as she claims her murder was. Yes, it's possible she's lying, but I genuinely think there is at least an argument her murder was justifiable defense, as she's usually paired up with Yuno, Fuuta, Mahiru and Kazui (long story), and the most straightforward connection there is "their 'sin' would not be considered murder in a court of law." The other four didn't outright kill a human with their own hands, and Kotoko's would be considered "justifiable defense." Get it?

Undercover prisoner card? What are you talking about? Let me cope and ignore that.

Anyways, for now we can't be sure whether Oshii died or not, but I think he didn't. There's really no way to confirm though.

Finally, the scene ends with Kotoko finding the warehouses we'll see the serial killer take a victim into later. And yes, warehouses, plural. Go back and check; there are two warehouses connected to each other. I believe the warehouse complex might even be referenced in the whiteboards of the investigation room.

I have zero way of checking the Japanese, but none of the other marked locations in her whiteboards match multiple buildings being circled as one complex, which seems to be what these warehouses are.

Why is this important? It probably isn't. But my insanely deranged murder theory sorta requires the possibility there are multiple warehouses connected together in the same complex, so I'm introducing it now so I don't have to convince you of too many things at the same time.

Speaking of not important things, there's a 40 km/h speed limit sign, and a 'no parking' sign. Nothing too wild there, though I guess you could try to read into some kind of symbolism that Kotoko needs to slow down, but she's not gonna stop. That's insane even for my standards, but it's there.

Before we deal with the images, the lyrics are:

Whose fault is it This is getting ridiculous What should the punishment be?

Considering the fact all the images here are connected to the serial killer dude, that's probably referring to him. "Whose fault is it" that he keeps getting away with it. "This is getting ridiculous" because come on, how have the police not caught him yet? "What should the punishment be?" because if the police isn't gonna do anything about it, then she will, and she gets to decide how he'll be punished.

So what are we seeing? Let's ignore the TV report for now, because what is probably the most important article in the MV shows up here; the article with the serial killer that shows up.

“Since he was young, he has been aware of his environment, and his parents are satisfied. His thoughts are unknown,” according to the voices around him. He lives in a tower apartment located in the city. It seems that the suspect’s name (A) was not revealed, and no investigation was conducted based on his bodily fluids. According to sources, there may have been concealment due to his father’s pressure. The victim may have been run over by a car or killed by hand. However, due to the fact that suspect A is his son, there is a lack of consistency in the handling of the case.

Did you spot it?

The victim may have been run over by a car or killed by hand

In case you missed it, the police should be able to easily tell whether someone was ran over by a car, or they were killed by hand. This should not be difficult, though I can't confirm with sources, I'm pretty sure just looking at the injuries should be enough. And yet, they're unsure. But as the article says, there could be some foul play going on, since the guy is the son of an official.

Do you get it? If there's doubt of what happened, that's because the victim wasn't ran over. The police are trying to cover up a murder by claiming it was simply an accident, that way the killer can get away with simply a slap on the wrist. Which is interesting, because we already know this guy killed ten children, why is this murder and cover up so important?

Well, we do know of another "accident", don't we? And if you remember what I said about baby's breath the flower, you'll remember it's possible the victim of said "accident" was a child, which fits the profile of this guy's victims.

Thus, I believe if we're bringing attention to this murder in particular, that's because it's connected to the "accident" Kotoko is so fixated on. I believe the serial killer murdered someone close to Kotoko, and the police covered it up as an accident. And this is what kickstarted Kotoko's path to vigilantism.

This brings up the interesting possibility that Kotoko may have killed him out of a personal grudge, rather than simply to protect someone else. Don't get me wrong, she definitely wanted to protect the weak, that's her thing, but she could have done that without killing him, in theory. She hurt him to protect others; she may have killed him for revenge. At least, that's what I think.

Her justice isn't as blind as she makes it out to be, is it? Unreliable narrators, gotta love 'em-

And speaking of, subconciously twisting a supposedly strict moral system to justify killing someone for personal grudges? That reminds me a lot of another prisoner, but I will not allow Amane Momose to consume this post.

Anyways, that aside, there is actually another murder referenced in this scene. The one referenced in the TV, what I'll call the Highway report (not entirely sure it's a highway actually, but that's what it looks like to me).

New evidence in the case of the abandoned and murdered girl’s body? Report: Police (this afternoon) The same tire marks found at the scene where the victim’s body was discovered were found near the scene of the crime. The perpetrator likely abducted the victim in a car, killed her, and then abandoned her body in the vicinity of her home.

Note that the police are sure this one's a murder, presumably because there's no way to connect the white hoodie guy to it, so there's no need to cover that up. Because of that, and because again the street shown doesn't match either the "accident" street or the SWB report, this is a third murder Kotoko is oddly fixated on. Although we don't see the victim for this one. However, the whiteboard shown here doesn't actually match the whiteboards on Kotoko's room.

It's possible, then, that each of these whiteboards represent a different murder. And once again, we have the theme of three murders Kotoko has more knowledge of than the rest. Presumably, these are the murders Kotoko investigated deeply to figure out where the killer was taking his victims. Keep this idea of 'three important murders' in mind, with what Kotoko knows about them.

>She may have known the victim of the "accident" personally.

>She remembers seeing the victim of the SWB murder, the one with the white dress.

>She doesn't seem to know what the victim of the Highway murder looked like.

Anyways, the scene ends with Kotoko running forward, as we cut to another forest scene.

This one doesn't have much new stuff in terms of imagery, though there's three things worth noting. First, by now Kotoko is firmly running in front of the pack, so she's firmly one of them, unlike in the first chorus, where she was still figuring stuff out. Two, the waning moon is still there. Three, Kotoko's clothes haven't changed despite how much she's changed, which I talked about in the clothes' post and I believe represents how Kotoko doesn't realize how much her views are shifting as she hangs out with the "pack of wolves."

Timelines - 20/6/18 Kotoko: Treat you [Amane] like a child? Hah, you’ve got to be kidding. Back when I was your age, I was already the person I am today.

However, the lyrics are quite interesting.

Want to find “HARROW” “HARROW” I feel like I’m going crazy after straining my nerves The person that can’t be saved, is now understanding the abnormality How heavy “HARROW” “HARROW” If it damaged someone’s dream to the points of stopping it I want gouge you out with my fangs

I've already talked about the second part, but the first one is new. At first it doesn't seem like anything special; we already knew Kotoko was "going crazy after straining her nerves", again becoming sickened by the evil in the world.

But then there's "the person that can't be saved, is now understanding the abnormality." Which seems to mirror the earlier line:

The normalcy sought for, fading away, every time death comes.

As stated before, Kotoko sees a "normal" world as one without evil. But as she saw more and more crime happening around her, she "begun to understand the abnormality", she begun to understand how much evil there was in the world.

But the person who begins to understand the abnormality "can't be saved." Which seems to imply Kotoko considers herself impossible to save. She's far too sickened by the world to feel anything but awful, she feels nothing will ever make her feel good with her life.

Friendly reminder that Anti-Beat, her Trial 1 cover song, is extremely depressing. CW suicidal ideations

[Anti-Beat] Anti Beat I just want to die already, So I can finally be at ease Anti Beat But all I know is pain And there’s nowhere to run Anti Beat

CW over

So yeah, she's extremely sad, and doesn't think anything will make her feel good. That's why she clings so hard to vigilantism; as we'll soon see, it's the only way she's found she can feel good about her life. Yeah, it's sad.

As the bridge plays, we get to see the last few investigative actions Kotoko performs. She shows some dude possibly named "Kaneshiro Ken'otoko" something on her phone, then pays him 10k yen (around $100) for him to... do something. He works for "Shoko Newspaper Corporation" (Shoko is just a woman's name), and is an external director. Well, that's not a real term, but it's probably meant to mean outside director? A member of a company's board of directors who is not an employee or stakeholder in the company. I don't know how important that is, though. Point is, it seems he's pretty high up in a newspaper company, and thus likely has some kind of information Kotoko finds useful. Presumably that's how she found the warehouse complex in the first place.

And then, Kotoko sees the killer take a child with orange overalls into one of the warehouses. I'm going to ask you to pay attention to three things (at this point I'm starting to feel like a Playmaker from Yugioh kinnie). First, the guy has put up a sign to seemingly close down the entire complex, either implying it's completely abandoned or he owns the entire place. This implies he can be relatively confident no one will enter the complex until he's done with his victim. Second, the walls have verticals lines on the walls and vertical bars on the windows. Third, Kotoko is wearing her blue and yellow jacket + cap, and the girl's hands are unbound.

We'll get to why these things are important (to me and no one else) later.

And this is a really weird thing to put here. Although we just saw Kotoko witnessing a crime, we see her slowing down, getting tired and discouraged. It's almost like she's going back to doubting herself, see the lyrics:

Newly born “HARROW” “HARROW” It’s ok to dislike, right? Losing it, losing it. What should I hope for?

She's 'newly born' since she recently underwent some pretty big changes, but she's still distressed. She's doubting whether or not she's allowed to hate evil/the hoodie guy as much as she does, and questions what she even wants to do, what outcome she hopes for.

But the doubt doesn't last long. One of the wolves, possibly the one from the beginning she's particularly close to, smiles at her as this line plays:

Goodnight “HARROW” “HARROW” Laugh and I can get to like myself

Goodnight, because something's about to end, there's a big change looming. She will now "laugh" to "get to like herself." As stated, Kotoko feels deeply dissatisfied with her life, and her vigilantism is the only thing she has which makes her feel good about herself. Kotoko literally laughs after she says that, because her vigilantism is about to reach a climax. She will now kill the man who caused so much suffering, to others, and to her, by killing the victim of the "accident."

So what was up with that hesitation at the beginning? Well, uh. I'll get there in the murder theory. Let's go to the final scene.

Lyrics first since it's the easier part, as most of them are repeated.

Let’s end this! “HARROW” “HARROW” I can’t forgive the evil hurting the weak It’s unforgivable, I won’t allow it, I just can’t let it go How heavy “HARROW” “HARROW” If it damaged someone’s dream to the points of stopping it I want gouge you out with my fangs

The only notable thing is the addition at the very end.

I want to be drowning in the knowledge that I am right

Basically what we've heard before. As Kotoko is very unhappy with herself usually, she finds worth in herself by protecting the weak, which requires "the knowledge she's right" to do the things she does. She wants to feel sure of herself, which as stated is one of the reasons she engages in vigilantism.

As for the visual symbolism, I talked in the clothes post about how Kotoko undergoes a pretty big change here. She's reborn. Remember how the forest scenes always had a waning moon? Well, this one has a full moon, representing the end of a cycle, rebirth. The same sybolism is found by the fact dawn breaks there, again showing rebirth. This also connects to Red Riding Hood symbolism, etc.

This idea of rebirth is even further implied by the fact we see a wolf with her neon pink smile take its place in the investigation room. Kotoko, with the full moon like a werewolf, has become just like the rest of the wolves. She's changed for good.

One other note, you see that one shot where we see the killer's smiling shadow? Doesn't it look like his mouth casts a shadow like a wolf's snout?

If you squint, yeah, I think so. This, and the fact he kills children, is what makes me think he's "Jacques Roulet" getting chased off by the two wolves (Kotoko and wolf buddy) in that metaphor. Not entirely confident I know what the deal with this is, but you know.

Okay so the symbolism is all good, but now we have to get to the really weird part of all of this. Which is, what the fuck is actually happening in her murder? Let's get to the most speculative part of this post, the one which will most likely be outdated by the time Deep Cover releases lol.

(Unhinged) Murder Theory

First Problem: The Time Gap

So it's pretty well known that Kotoko's clothes mysteriously change between when she sees the kidnapping outside, and when she actually goes attack the dude. She sees the kidnapping happen with her blue and yellow jacket, but she kills the dude with her red hoodie. This isn't even the only indication that some time has passed. We can also see the girl's hands are bound and her shoes are off on the floor, so there were at least a few minutes the killer had to do that. Additionally, the lighting slightly changes between Kotoko seeing the event and the murder ending.

Okay the change is actually subtle enough I could believe it just took her a few minutes to finish off the guy, but it is there.

So I believe some time passed. Clearly not much, since the lighting shift isn't too radical, but there's at least a few minutes between when Kotoko sees the kidnapping and when she rushes in.

And I believe we can get a vague idea of what happened, by looking at the scene in between these two things. Which you'll remember, is the scene in the forest where Kotoko slows down and hesitates, before being encouraged by the wolf again. Essentially, after seeing the guy commit a crime right in front of her, Kotoko briefly hesitated, and maybe rushed back to her investigation room or somewhere else. Perhaps she considered just calling the police, perhaps she was paralyzed by the trauma of the "accident", whatever the case, Kotoko couldn't get herself to immediately rush in. However, maybe she called her partner in vigilantism, that wolf she seems particularly close to, and they encouraged her to go in and do her thing.

Is this a good answer? Fuck no, but it's undeniable some time passed, so until we get Deep Cover, this is the best explanation I can come up with as to why that happened. The point is, there's a time gap between the kidnapping and the attack. Keep that in mind.

Second Issue: Different Warehouse

The warehouse Kotoko kills the guy in has bricks which form both vertical and horizontal lines on the walls, and the window has a horizontal and diagonal bars instead of just vertical. It's a different warehouse. Thankfully, though, this is pretty easily solved by what I mentioned before; the killer didn't block off access to just one warehouse, but to the entire complex.

Thus, it's perfectly possible he just took the kid through one warehouse and into another one. This is simply more indication that there really was a time gap between the kidnapping and Kotoko's attack.

However, there's a huge problem. Not only is the girl nowhere to be seen in the last shot, this isn't the room the kid was in. That one's a lot smaller.

Biggest Issue: The Nonsensicality of the Attack

The first thing I want to address; I don't think Kotoko ever worked with this killer. It goes against pretty much her entire character, and as mentioned, I'm pretty sure she has a personal grudge agaisnt him. There is reason to believe otherwise, you can find other posts around talking about it, and you can actually see two hammers on the floor in that scene, which I don't have a great answer for. However, it just doesn't seem like it makes much sense. And yet, there's so many weird things about Kotoko's initial attack in this wooden floor room.

>As mentioned, the room of this scene isn't where the guy actually died.

>The guy is standing on one of the hammers, seemingly not doing anything.

>He doesn't react to Kotoko entering at all beyond simply turning his head a bit, which doesn't seem appropriate even if he was working with her.

>The girl also doesn't react to Kotoko slamming the door open.

>The toolbox appears to be empty, though this isn't too big of an issue.

>Kotoko reaches for him with her right hand, but later we see her grabbing his hoodie with her left hand.

You could argue she turned him around with her right, then grabbed him, but that doesn't make much sense. Why not tackle him to the floor while his back is turned?

Well, to answer what's going on here, I think we need to look at the other scenes where this room appears, and notice they also don't make sense.

How does Kotoko remember these events? As I said, it doesn't make sense for her to have been working with the killer, but that's not all. The last one in particular is extremely impossible. Kotoko is nowhere to be seen in the room (unless she's the girl there, but I don't think so), and there's nowhere she could be where she doesn't cast a shadow or show up on the shot.

Well... I have an answer, but it's sort of insane. Kotoko shouldn't remember these events, so she doesn't.

Unhinged Hypothesis #1: These Scenes Are All Kotoko's Imagination

Alright hear me out. I think Kotoko saw this room at one point, but only when she went to rescue the orange overall girl. The rest of the scenes are her filling in the blanks with what she knows. When she saved the orange overall girl, she saw what the room looked like, the toolbox and weapons the killer was using to torture the girls with, and just imagined the rest.

And why do I say this? Well, apart from the aforementioned nonsensicality of the situation, remember those three murders I mentioned earlier? The ones Kotoko knows the most about?

>She may have known the victim of the "accident" personally. >She remembers seeing the victim of the SWB murder, the one with the white dress. >She doesn't seem to know what the victim of the Highway murder looked like.

Does this ring a bell? Because it matches the scenes of the room with the wooden floor, aside from the occassion with the orange overall girl obviously. We have:

>One shot of the killer attacking a victim out of frame, a victim Kotoko knows exists, but one she can't visualize. This would be the Highway victim, the one Kotoko never saw.

>The girl (because the report specifies it's a woman and it may be connected to the murder of other girls) with the white dress, as stated is likely the victim of the SWB murder. It's possible Kotoko got a glimpse of her corpse being carried away, which is why she only remembers a portion of her body covered by a white dress.

>And finally, the last shot of these we get, book-ending the image flash which starts with an image of the "accident" sign, is of a girl which Kotoko remembers in full. And it's a girl who looks like she could be elementary school age if you look at her at the right angle, so she likely is one of the dead girls. And it's a girl who looks suspiciously similar to Kotoko, perhaps a younger sister, a cousin? This is the victim of the "accident", I believe.

With this, it's possible Kotoko is simply imagining these things based on what she knows after seeing the murder room when she went to rescue the orange overall girl.

Am I confident in this claim? Not really, I'm decently sure it will be deconfrimed in Deep Cover, but for now I'm running with it so I can have something.

But why is this important? Well, apart from explaining how these scenes would be in the MV without having to assume Kotoko worked with the murderer, it also throws into question anything we see in these scenes. If you've been paying attention, you'll have realized Kotoko is not a particularly reliable narrator; see the "justice is blind" thing from the beginning, the non-changing clothes in the mind space, etc. And now, we're wondering if maybe, just maybe, that scene where she enters the wooden floor room and attacks the killer didn't play out how she's presenting it to us.

Unhinged Hypothesis #2: When Kotoko Found the Girl, the Killer Wasn't in the Room

Let me draw your attention to the distorted quote in her Trial 2 Voice Reveal.

"From the beginning I've never asked for your understanding! My actions, one by one, are bringing earth closer to peace. Useless weaklings should just shut up and let me protect them!"

Going by the pattern these things follow, this should be something Kotoko says before her murder. But, who is she saying it to? Looking at the context, it really seems like she's talking to an 'useless weakling' who is pushing against Kotoko's decisions. But, with the information we have so far, the only 'useless weakling' Kotoko could be talking to... is the orange overall girl. None of the other characters shown in HARROW really fit that description.

But how the hell would that happen? By the time Kotoko gets close enough to talk to her, she's suppossedly already attacking the serial killer. And yet, if you hear the quote, she doesn't sound winded or anything during the quote, she doesn't sound like she's fighting the dude. This implies there may have been some time before the murder when Kotoko could talk to the girl, but the killer wasn't there.

So we go back to what we have. The killer has no reason to think anyone will enter the warehouse complex, so he could perfectly leave for a moment to do something. By the time the killer is dead, the girl is nowehere to be seen, it's possible she's been untied and has ran away. And Kotoko's views of the events in the wooden floor room are not to be trusted. She sees herself as saving the girl from an immediate threat of danger, but that may not have been the case.

Heavy Speculation Incoming

My vision here is that Kotoko, after changing and coming back, found the girl in the wooden floor room alongside the toolbox and stuff, and untied her. After getting a bit of an explanation, she hears the murderer will probably come back soon, and decides to wait for him, so she can enact justice. Remember, this is personal; she doesn't just want to save this girl, she wants the guy dead.

Upon hearing this, the girl tries to convince her not to do that. It would be better to call the police and let them deal with it, right? But Kotoko obviously doesn't expect that to work, so she tells her she needs to kill the guy herself. The girl tries to talk her out of it, saying she doesn't understand, and that's where we get the Voice Reveal line. Kotoko never asked for her understanding; her actions are bringing Earth closer to justice, so 'useless weaklings' like the girl should shut up and listen to her.

At this point, you'll notice I'm practically just writing fanfiction. I have very little evidence for most of this, it's more just me trying to come up with some kind of explanation for all the seemingly contradicting evidence we have.

Though there is one more thing Kotoko being in the final warehouse before the killer would... somewhat kinda explain if you squint; the cap on the floor.

Listen. There is, like, no good explanation for why the fuck that's there. People don't just leave caps on the floor, no matter what they're doing. However, ignoring for a moment the why it's on the floor, let's look at the how. If the killer was already in the warehouse when Kotoko went in, there's no real way the cap would end up there. Kotoko has her hood up during the entire attack until the guy's already dead, so it couldn't have fallen off if she was wearing the cap under the hood for some reason. If she came in with it in her hand, for some reason, she would have to drop it before attacking him (see: grabbing him with her left hand then hitting him with her right), but she would drop it before reaching him; the cap wouldn't end up so close to them. Putting it in her pocket would be insane, and also wouldn't exactly explain how it would fall off and land upright either.

Thus, the only way I can think of to explain how it ended up there, is if it was already on the floor, then the killer went to inspect it or something, and that's when Kotoko attacked him. Again, no idea why Kotoko would just leave the cap there, but it's what I think makes the most sense, physically speaking.

Thus, Kotoko was in that warehouse before the killer, or like I'm claiming, the killer went away, Kotoko went in, waited for him, he returned, got distracted by the cap and went to investigate, got attacked by Kotoko.

Closing Argument

+Kotoko sees the man taking the orange overall girl into the warehouse complex, with him having put up a sign to close off the complex to the public.

+For some reason, she becomes discouraged and goes away for a moment, doubting what she should do. She's encouraged by her wolf buddy to go kill the dude, she changes into her murder fit, and goes back just a few minutes later. Meanwhile, the killer takes the girl to a small room in another warehouse connected to the first one, binds her hands and takes her shoes off... for some reason.

+The killer leaves for a moment for God knows what reason, Kotoko comes back and finds the girl, unties her. Thanks to what she sees in that room, she forms a mental image of what the other murders looked like.

+Kotoko decides to wait for the killer to come back, leaving her Jacques Roulet cap on the floor... as bait or something I don't know. The girl tries to convince her not to do that, but Kotoko refuses to listen. Cue T2 Voice Reveal line.

+The killer comes back, sees the cap on the floor, and gets closer to investigate. Since he's distracted, Kotoko takes the chance to run up to him. He turns around right before she reaches him, and before he can react, Kotoko grabs his hoodie with her left hand, and punches him with her right. He falls to the floor, and Kotoko starts beating him to death as the girl runs away. However, since he arrived while the girl was still in the scene, Kotoko can claim it was justifiable defense of either the girl or herself.

... Yeah this is completely fucking insane. This is most likely wrong, so don't be surprised when Deep Cover comes out and deconfirms it. However, I do think some of what I said has a chance of being accurate, so I'm putting it out there so I can pretend to be smart and stuff if it turns out some of this is right.

(Can you believe that's not even the most insane murder theory I've ever done? Like, at least I didn't bring in an accomplice and several pulley systems, or made a wire circuit extending throughout the entirety of a room, both things I've done for another fandom. Yeah, my brainrot runs deep)

Conclusion

Well that last part was a bit of a mess. I hope you can forgive my insanity, and that you still took something out of the rest of the analysis if not the murder theory. I'm really excited to see what Deep Cover has in store for us, Kotoko is a very interesting character. Anyways, if you made it this far, then I think you deserve your own wolf buddy! Though be careful, and don't listen to it when it tells you to kill. Take care!

#milgram #milgram project #milgram theory #kotoko yuzuhira #harrow mv #milgram analysis

31 notes · View notes

phoenixyfriend · 1 year

Note

2. A fic you've reread several times?

Fic Recs (Ask Meme)

I want to answer with more than one because lbr I love doing recs. (I've tagged those I could find a tumblr for, but some don't have immediate links that I can find with a cursory search.)

Catvengers by nyargles (@defractum) - I read this probably once a year because it's just an eternal favorite

Bargaining by proantagonist - no longer available on AO3 (not actually sure why), has made me cry every time, which I've found is pretty hard! EDIT: It's back on AO3! Also, op has a tumblr, @proantagonista.

#standbylegion by esama (@esamastation) - a haunting but hopeful fusion of the MCU and Kingsman.

(The rest are Star Wars, promise.)

Lion Jinn, also by esama - I'm a sucker for a reincarnated-as-animal fic. This one is incredibly cute.

edge of providence by adiduck (book_people) (@adiduck), whimsicalimages (@keensers) - I am perhaps at this very moment rereading this one. Shhhh don't tell.

the massive machinery of hope by Killbothtwins (@killbothtwins) - I've read this one SO many times, it has one of my absolute favorite Qui-Gon&Obi-Wan dynamics of all time.

Dead Peanut Gallery by tanarill - IDK what to say about this one other than that it's very fun. Ghostly Obi-Wan pokes Vader into defecting when he finds out Luke is his in Episode V.

Kneading by Threebea O (ThreeBea) (@threebea) - Have you ever wanted a canonverse bakery AU that's actually undercover work and ends with our precious idiots getting kidnapped to Kamino? Because this fic is great. Everyone's got idiot moments, and also Boba is three, and adorable.

R2-D2 Saves the Galaxy (Okay, so Obi-Wan helps a little) by kj_feybarn (@feybarn) - One of my absolute favorite fics. Nothing liked Artoo POV, especially when interspersed with Obi-Wan.

there is no death (there is a wedding) by virdant (@virdant-writing) - one of my early forays into Jangobi, and generally just a very fun approach to things like Petty Legal Battles With Grandpa Who Thinks You Married Wrong.

Encrypted Channel by qigiined (@deniigi) - Do you want OT-era Rexwalker, but infinitely more stupid despite theoretically being too old for this shit? Do you want it in chatfic format? Do you want Vader to be following Rex around (metaphorically) with puppy eyes (less metaphorically) and being upset that Rex doesn't want to get with him after all the many crimes? Yes. You do.

A Star to Steer By by dogmatix, norcumi (@dogmatix, @norcumii) - I have reread this so many times. I'm not even in Stargate fandom, and yet this crossover verse owns me. (Still thinking about how Ventress and Narec and the entire Rattatak situation might have gone down ngl.)

Although He Smiles by AutumnChild22 (HonestlyHelen) (@autumnchild22) - we love a time travel fic that has people redefining the natures of their relationships to one another.

Blue Tooka Guy by Millberry_5 (@the-writing-mill) - This one is just a very fun little feel-good romp.

The Desert Storm and Rise and Fall by Blue_Sunshine (@blue-sunshine-mauve-morning) - Okay I admittedly haven't reread this multiple times, but I have reread parts of it multiple times, if that counts? (The two series together are one and a half million words, so.)

Realign the Stars by CrystalRainsWriting, TerinAngel (@terinangel) - afaik this is discontinued but it's so good and shaped a lot of my early approach to SW time travel fic.

Of Queens, Knights, and Pawns by chancecraz (@chancecraz) - Do you love Leia? Do you love hypercompetent future Leia who's cranky about being nineteen again because nobody takes her seriously? Read this.

Shifting Sands also by chancecraz - still a hypercompetent Leia, but further back and Still Old and also the most recent chapter was 65,000 words.

Don't Look Back by acuteneurosis (@this-acuteneurosis) - another Leia time-travel, this one focusing very heavily on political maneuvering and things like trade routes. We got economics and supply route fic.

Force of Many Sights by DAsObiQuiet - There's something magical about fics that go into such detail about the time and effort that therapy, especially therapy for Darth Vader, takes.

Viridescent Skies by DarthSnug (themikeymonster) (@themikeymonster) - listen I just really love age/role swaps and this is a REALLY good one.

Living in Borrowed Time by smug_albatross (@scribbling-albatross) - Another one of those fics that I'd say really shaped my early approach to characters of this era. The handling of Rex and Ahsoka is magnificent, honestly, and we all know I love a good time travel plot.

Senator Obi-Wan AU by BeanieBaby - incredibly fun. Yes there's Senator Kenobi, but there's also Fox being pursued by two different Jedi (Kit and Quin), a variety of topsy-turvy character interactions that make sense in a funhouse mirror sense (e.g. Obi-Wan preferring blasters to sabers because he didn't grow up with the Jedi), and Anakin repeatedly almost kills Palpatine by accident.

Soft Wars by Project0506 (@thefoundationproject) - no explanation needed. Is cute.

Dominoes by meridianpony (@meridiansdominoes) - we don't need to go over my intense love of time-travel fics again. really.

Sith Lord Swell by AMournfulHowlInTheNight (has a blog but not for fandom stuff) - Luke falls back in time and decides to handle it by pretending to be a Sith Lord. It works (somehow).

#marvel #mcu #star wars #I've excluded the Very Rated fics because sharing E-rated recs just seems like a hassle #phoenix answers memes #phoenix recs

104 notes · View notes

gunsli-01 · 1 year

Text

Alright, let's get this set up in a somewhat digestible format. While also testing the waters. For people looking for more Mikoto info in particular this has some stuff on him within it but mostly gives a clearer idea on my experience with Milgram so far. Along with me being slightly unhinged. Soooo...woohoo...

Here's the set up. The next post will be the beginning of an in depth analysis of the two Celtic spreads found in MeMe. We will not only be analyzing them but delving into visual spin Mikoto put on the classic tarot cards with some insights his changes to them give us on his character.

There are two sets of ten cards. The first post on this will go over the first five cards in the first spread the second will finish off the first and give an overall interpretation of the reading. Then the same will be done with spread two. After we finish that then I’ll be attempting to break down the series of murders shown throughout MeMe.

Lastly, and my favorite part. We’ll finally be going over Mikoto’s character as a whole. Along with me just generally getting to talk about him without putting him beneath a microscope. Which I haven't gotten to do in weeks and still can't cause I'm stuck in tarot hell.

For those who don't read all of this and skip straight to the tarot I at least want to highlight and reiterate one part from here:

The point of Milgram is testing limits at any point these characters can do something that will make even their most devoted fans turn on them and I think the fandom should be open to having their opinions change and develop over the course of this.

So, here's post 1. I will link the beginning of the tarot interpretation here when it's up.

So, when I started writing what has to be the longest character analysis essay, I've ever written... I remember in December when I was like yeah I can crank out a few pages on Mikoto it won't be that difficult I can get this done by new years. I've already gone through the tarot once too what's a second time typed up gonna do? Maybe even before Mu's song.

I was wrong. But back when I was young, hopeful, well rested, and happier. I wrote something of a Preface. Just to explain all of my biases up front and let people form an opinion on if they wanted to take anything I said on this seriously or not. What comes after this part is that Preface.

Okay, so this is going to probably seem insane, but I might as well get it out of the way just to break in the new year putting my best foot forward. Yes, this is my best foot forward. Now Mikoto has a lot of diehard fans and detractors for some reason…How can such a normal guy be so controversial? Really unlucky… Honestly. Because of his popularity I’m a bit nervous to put out anything on him even though he is my favorite. Believe it or not I can get shy when talking about things I genuinely like a lot because I don’t know how it’ll be perceived, and I can get very, very critical when I like something.

It is not a normal like situation. It doesn’t go I like you; you could do anything, and I wouldn’t care. It goes OH, YOU UNLUCKY BASTARD! YOU’VE CAUGHT MY ATTENTION I SHALL NOW EXPOSE YOU TO THE WORLD! IF ANYTHING, BAD HAPPENS TO YOU IT IS LIABLE TO BE BY MY HAND! I well wade through the façade to find the truth I’m seeking knowledge, I’m seeking your identity, I want to dive deeper.

Don’t misunderstand- It’s just natural to want to know everything about the person you like and get all torn up inside because you never can. That’s just love isn’t it~ Ahh it’s an incredibly damning feeling that love, the idea of soulmates all that trite nonsense. Because when people aggrandize others, they usually end up wanting to pull them down to their level. That sort of sadistic thing is just as much a part of love. The adult world is so cruel that way.

As such I’m going to do my very best to tear this man to shreds lovingly, okay?

So, let’s start with some context did I love Mikoto immediately? Was I like innocent he just has to be? He’s just so good looking he can’t fail, lol. Okay, to be honest when I got here, I thought Kazui was so good-looking cause of his broad shoulders that when watching Undercover and seeing the flash throughs with Star I went that’s Kazui I know those shoulders anywhere. Got damn he looks like he gives good hugs those shoulders…

Also, I like sorry cowards my apologies for the disappointment but when I saw Mikoto in MeMe I willfully ignored him. I had a visceral response to his song telling Star I hated it and never wanted to see him or hear it again. While also going he clearly killed three people… in an obviously premeditated way as well. So, yeah guilty. Maybe? I don’t know. I’m just not interested I’ll leave that to the people who are.

I came in around Amane’s first trial… Soooo I very much could’ve voted on Mikoto, but I just did not want to look at him at all. Actually, I still don’t know why that was, but he made me uncomfortable and annoyed. Despite his video involving multiple things I very much love baths, tarot cards, clouds, water, records, baseball bats… Hell even his song was a genre of music I’m partial too. Like jeez in retrospect I really don’t know.

I just did not want to even think about him, so I didn’t. That changed when YouTube recommended me an English cover of his first song, and I was like now hold on… Those Sisters You Know really did a good job on that lyrics wise. Like it just hit different okay. I was listening to that cover every day having first job flashbacks and wondering huh why did I hate this guy again this is a complete mood actually.

After that I fell into an over analyzing loop for several months. Before I had pulled a nothing to see here and once we do that my brain just deletes the information since it’s been deemed irrelevant. Incredibly convenient skill to have. Yet, as it piqued my interest music wise, I was like well hold on…I have to know everything about this specifically now. Something that none of the Milgram characters had managed to achieve at that point.

To an extent I was pretty much like there’s nothing to see here at all when I was dragged into Milgram by Star. She showed me Mahiru’s first trial song like I really just want you to see this one and my immediate response was, “Are you trying to say something about me?!” We’ve been partners for years and this is what you lob at me what are you getting at? To which she had to dryly explain no I just think she’s neat and you love mystery things and putting together stuff so I wanted your opinion on what you think is going on here.

Then I got a rundown of the situation and was like ah okay. Then went through one through six giving all my thoughts on what they did and how I would’ve voted if I was there as she explained the results. I was surprised to hear from Star that none of the things I was saying to her had come up in the fandom as far as she saw.

As Star showed me Milgram my experience was basically

Weakness: Guilty. Committed murder for attention. Next.

Later down the line I asked Star about the reasoning behind Haruka’s trial one Innocent Verdict. It was after we watched Bring It On and she told me about Futa’s verdict. I needed to understand why Haruka was voted Innocent/Forgiven but Futa was not. Weirdly long before Futa asked us that same question in Back Draft. Why did Haruka of all people get a pass when we see him kill directly? That was the first thing that piqued my interest.

However, I was pretty disappointed by the answer Star provided and maybe to some people this will seem like a reduction of the actual reason behind prevailing consensus. Yet, what I gathered from her explanation was that he was voted innocent due to Autism. Particularly, people assuming he had a learning disability the most speculated one being Autism. Now, my response to this information was to go, um…that’s ableist right? Like, just because it’s helpful to him in this circumstance does not mean ableism isn’t present.

That’s just infantilizing and belittling his intelligence. Having a learning disability doesn’t suddenly exempt a person from knowing murder is wrong. It’s the same as using a person’s age as an excuse. Made even funnier that Haruka is treated more like a child than the literal child is. So…it’s not like that interpretation is that far off or difficult to get to. Plus, do people even critically engage with who benefits from these sorts of excuses and when they’re extended?

Because they aren’t applied indiscriminately. A perfect example of this in Japanese media in particular comes from something else Star and I were watching when she recommended Milgram. Higurashi Sotsu and the character Satoko a lot of people in that fandom got angry and found the concept that Satoko would become a villain all because she had a difficult time studying insane. Like she should have just studied harder ignoring everything else that occurred in Gou and Sotsu up until that point.

Even some going as far as creating a completely different reason for her actions. Because having trouble focusing, studying, and being ostracized in a new environment after being taken away from the people and things that brought you comfort weren’t good enough reasons. Ryukushi-07 also has a tendency to write about neurodivergent coded characters like Maria in Umineko and Satoko herself can be considered coded that way through sotsu and gou. The excuse extended to Haruka in trial one was definitely not extended to her by the Higurashi fandom.

So, it’s not surprising that same courtesy was retracted in trial 2. Sorry, to rain on your parade but disabled people of color from any minority group are not extended those same benefits of the doubt and rarely have their impairments or age taken into consideration if they even reach a trial. So, this is when I went oh well people are gonna people glad to see some things still haven’t changed. This is what Milgram’s bias looks like. It’s almost a perfect reflection of the performatively politically correct space we live under today and highlights the pervasive biases that continue to disenfranchise many that go overlooked.

All we’re missing is overt ableism, racism, and sexism disguised as feminism and we’d have everything that’s wrong with performative morality. (Star just informed me one of these things is just Yuno.) So, my interest was piqued around here but mostly from a sociological standpoint.

Yet, I was mostly ticked off. Media is supposed to be a form of escapism for many people and I found a lot of the issues that people usually use media to escape from pulled to the forefront in Milgram through its voting system. I came in and was like this series probably isn’t saying a damn thing special. Reluctantly after telling Star I wouldn’t watch it multiple times because well I was a mad at her and she kept asking. I had every reason to hate this series given what was going on around our relationship at the time she presented it to me and didn’t really think taking something lightly could end up saying a great deal about society as whole.

Umblical: Guilty. It was clear to me from the very first video that she attempted to entrap someone in a relationship through the use of a pregnancy then committed murder when that failed. Possibly multiple times.

Later, Star told me people assumed she got an abortion. Because the woman that was clearly in a sector of sex work knew nothing about contraception. That and she may have had family issues. I said oh so they thought she was stupid. That’s insulting and then people continued to think she was stupid. So, some things never change but my opinion of her did. She’s the only person here with a consistent character and seems to be incredibly considerate but not hesitant to go after the things she wants by any means necessary. I find that endearing and respectable and really wish she’d get a 50/50 since regardless of what she did I respect her want for us not to give our opinion on it.

It’s only polite to shut up and say nothing when no one asked you to speak. Yuno not only never asked us to speak but openly asked us not to. Her character description even states she dislikes being psychoanalyzed. She sort of reminds me of Kotono Kashiwaba from Caligula Effect but I can’t really figure out why yet. I haven’t finished the game at this point and right now we’re only up to Ike-P but I just get that feeling.

Bring It On: Innocent due to lack of information. I haven’t seen a murder. I don’t know what happened here. Having a flop Twitter account and making callouts is not murder or a crime at all. So, innocent. Then Star tells me the actual outcome and the reasoning behind it and this is when I start to get a bit heated.

Basically, went what do you mean guilty on the grounds of his actions allegedly leading to someone taking their own life??? Because they were just involved in someone’s death. It doesn’t say they directly caused them to die which means indirect involvement is on the table. Ha, ha, oh my fucking god that’s rich considering the dude that clearly killed a dog and a child was given a pass. Did that with his whole chest but he’s good. Alright, alright… I literally went back and pointed out all the kills Haruka was directly responsible for in his first mv going but this was passable. At that point don’t even try to justify it just say you don’t like Futa that’s less insulting.

Like I discussed in the part on Weakness I found this way of thinking inherently unfair. The benefit of the doubt and consideration extended to Haruka was completely absent for Futa. A lot of people want to say this is because he didn’t appear sorry. But, what gives others the right to decide when someone is really sorry or not. Futa’s entire voice drama goes into how you can’t tell how someone is feeling or what they’re thinking based on how they behave outwardly alone and that’s all anyone did when it came to him.

Not many people extended that same courtesy or empathy. They didn’t attempt to look deeper because no one cared to and that’s sad. Start didn’t see anyone go hey that’s clearly a kid with anxiety who’s attempting to garner validation through social media possibly due to a lack of external validation in his actual life. Something tackled in the writer’s previous game Caligula Effect Overdose with the character Naruko Morita. Who does the same sort of things Futa does if not worse. Because she literally outs a trans person on social media, takes pictures of people without their knowledge, and looks up someone work application to then go oh they’re not as good looking in real life let’s tell their fans so they no longer like this musician.

Like these are things she does repeatedly throughout the game. She is a terrible person and in the game she’s your teammate. She has a social link and reasons for the way she behaves. She’s obnoxious, annoying, egotistic, inconsiderate, a snoop, has an aversion to criticism, low self-esteem, and is easily dissuaded from doing things she enjoys if it’s not immediately praised or faced with scrutiny.

She goes out to eat popular limited time items at shops just to post food reviews about it after one bite. She doesn’t even post her own opinion on it at times but instead goes by reviews others have left already while giving a little bit of a different perspective but not really. Then if you say no to her being on the team because she basically airs out your entire organization on social media for likes, so everyone now knows who you are, what you look like, your name and all of your teammates information you’re treated like the heartless asshole.

Hm, it’s like she doxed you and it has real life repercussions and makes your life harder. It continues to make the lives of everyone she does this to harder and in instances is retraumatizing for many of them. All I’m saying is if you play this game and end up liking her but still hate Futa then you don’t dislike doxing you just hate men. Point blank. At which point I hope you enjoy Ayana.

After Pain: Guilty, I didn’t and still do not believe she’s sorry. Plus, the person she killed was uninvolved. When Star told me she was voted Innocent. Well, I couldn’t really say I was surprised given certain universal truths but- When she explained it was because people were saying it’s because she’s clearly a lesbian and that person she stabbed told everyone she was which led to her bullying.

I kind of went well isn’t that sort of justifying someone getting murdered or in blunter terms just victim blaming. Even if the victim did do that which I’m doubtful of that does not justify murder. Like people really immediately went we trust Mu she’s a victim now what did this clearly evil girl do to deserve to get stabbed, huh?! I found that kind of odd, I wouldn’t want anyone thinking that about me or anyone I love if they were murdered. Plus, given the circumstances I grew up under it’s very common to see that sort of mindset pushed on specific types of victims of brutal crimes. Just saying; it’s really not interrogated often enough who the whole what did they do to deserve it mentality benefits and hurts.

Ultimately, I found the whole concept kind of cruel. However, I guess as we’ve learned Es is the sort of Guard that abhors a person doing something that may have inadvertently led to someone taking their own life more than very purposefully taking someone else’s life with your own two hands. Taking into consideration the response seen in the English speaking part of the fandom this mindset is showcased twice throughout the first trial with the only noticeable outlier being Kazui.

Throw Down: Guilty he asked to be voted that and I respected it. Also, he was organ harvesting from his patients. Like what? Innocent is this some reverse psychology nonsense well okay at least he already feels bad.

This is how to be in love with you: Innocent due to lack of information. I can’t punish someone for something I do not understand I genuinely don’t know what she did. I assume she poisoned someone since she works as a florist, cooks, and mentioned herbal remedies. However, I just knew too little at the time.

What do you mean they thought she was so clingy her partner committed suicide, so she was voted guilty? I’m sorry so what I’m understanding is stabbing a woman in cold blood is okay but indirectly causing someone to end their life through social error is a irredeemable sin? That last girl stabbed another one purposely and that first guy killed a dog and kid-

Half: Guilty but also- That dudes incredibly good looking and has nice broad shoulders that is certainly an impressive physical build look at him in that uniform- Hears the song oh my god he’s an emotionally unavailable and dishonest coward too just my type! Guilty I know in my heart what he did was fucked up but got damn I’m hoping it’s fucked up at this point- not me literally getting chills at the let’s make it victim and assailant line in Cat like boy howdy don’t say such things oh no. Is this how people feel when Yuno says Come Marco I’ll Polo?

It certainly doesn’t help that Kazui’s demeanor and communication habits remind me a lot of Star and I end up feeling a little bad for him but slightly want to watch him squirm as well. Truly, it’s the emotionally unavailable quiet ones you gotta be careful with. They have such intense emotions but they hold them back to the point they can’t express them and then the right person pushes and boom it’s like a pistol accidentally discharging. People who bottle up their emotions like that for as long as it seems he has well when they blow a gasket it’s like a volcano and I want to be in lava range.

Innocent I- well I’m fine with this you saw that up there you know why I'm fine with it we don't have to talk about it but like why??? Because they believe he’s gay and was in a very loveless and performative marriage while also assuming his actions just led to his partner committing suicide or an accidental death. Wait why is that okay here but with the other two it’s not… It’s cause he’s hot and seemingly pathetic ain’t it? Lol, that dude is not as weak as he presents but have fun with that when it comes up I suppose. Good liar my ass...

Magic: Guilty even asked Star to vote on it. So, I was made aware of how to vote at this time. This was not because I want her to be punished but I didn’t believe anything could be solved through agreeing with her and I honestly don’t think agreeing with her will solve anything now either, but it will maybe stop her from getting jumped. Maybe? Though I’m unsure about that because Kotoko has jumped people who were pardoned before sooo... That and Amane told us not to treat her like a child.

I believe it’s a bit unfair or shortsighted of her to ask us to respect her agency in her own life, that she chose to make these decisions, and yet at the same time ask to not be held accountable for them if we feel her behavior was wrong because she answers to a higher power. Her mindset on her killing and being considered a murderer highlight her immaturity to me. Those aren’t two separate things but childishly and stubbornly she attests that they are. Being an adult is recognizing that regardless of if you had a good reason, or a higher law you abide by other adults don’t need to care about those things when judging you they can just objectively judge the actions you took. It truly is that simple. To me it just seems like she didn’t really know what she was asking for when she said that. Like she equates being an adult with gaining respect but it's more than just that.

Amane’s situation really reminds me of that song by Maaya Sakamoto More than Words, particularly these lines, “Isn’t freedom painful? I’ve become an adult, haven’t I?” “Isn’t freedom painful? I’m now alone, aren’t I?” “Isn’t freedom painful? Endlessly so…” Because a lot about being an adult is being able to stand on your own by the decisions you choose. The respect you get from others is fickle at best and never really equates to understanding or empathy. In a way as we age, we become more and more emotionally isolated when it comes to social communication and consideration. Because the patience and consideration that is frequently extended to children is not given to adults since they’re meant to know better by then and not need that sort of care.

Adults have the freedom to make their own choices and have that agency recognized. However, many times that agency we yearned for so badly is weaponized against us in small and insidious ways. Causing adults to become more emotionally closed off, socially defensive, or calculating. An adult would never ask to have their choices looked at while taking into account that they chose to do those things they’d simply tell the person accusing them to figure out why they did it or take into consideration their circumstances. Not pull a don’t judge me and I won’t judge you. They would know that their main focus should be endearing themselves by any means necessary like Mu attempts to do or lean on their legal rights.

So, I really feel like Amane was her own worse advocate during trial one and it ended up biting her in the butt. Also, another song that I feel properly exemplifies that feeling of emotional isolation one faces with age but isn’t as somber I think is “Love I need” by The Living Tombstone.

MeMe: Abstained due to a vague sense of hatred. I literally told Star to never show this to me again and not to bring him up I don’t have an opinion, I don’t care, I’m glad that’s over was my immediate reaction to MeMe. [Star: She said that she didn’t like the song, him as a character, and it was obvious that he committed several murders. So, there was nothing left to look into.] Afterwards I promptly deleted the information from memory until finding that cover song.

Harrow: Guilty she literally did the same thing Futa did just in a more direct way. She also seemed to jump people who had already been put on trial and had a decision on their actions handed down. Even openly said apologizing meant nothing. I’d rather give a pass to the person who says just say sorry then the one who goes lol it doesn’t matter if you try to make amends now no second chances ever once a bad guy always a bad guy.

I put all this to show that even before I was actively posting Milgram stuff on here. I did have opinions on all this that have only developed over time. As much as I came out swinging in the oh I really like Mikoto camp. I really did not want to see this dudes face when I first saw him. Like I feel as though I’m being a bit of a broken record. I said the same with Haruka. Yet, with Mikoto there was a bit of hatred there. Like a knee-jerk reaction that I couldn’t even pinpoint and didn’t want to interact with. Something, I still don’t really have an explanation for.

Even still before this I was spending months talking to Star over the phone sifting through the music videos reading the conversations and literally burning out all my investigative skills on it. Something I believe she knew I’d do when she brought it to my attention and asked, “What do you think happened here?”

Now here I am trying to churn out an entire essay on the guy. Certain characters can grow on you. However, with Milgram there’s this feeling that such a fondness like that can be broken. The point is testing limits at any point these characters can do something that will make even their most devoted fans turn on them and I think the fandom should be open to have their opinions change and develop over the course of this.

I feel like being shut off, isolated or just stubborn about one’s own opinion is unfair to the social experiment aspect Milgram is trying to pursue. That’s just me personally. I really hope that by the end of this there is interesting data collected. We can vote any way we want at the end of the day. Not everyone has to take into consideration what the characters did or how bad it is objectively.

Yet, for people to trick themselves into believing the vote doesn’t matter, this is all in good fun, and no one will be held accountable for the outcome in any way is negligent and blatant denial. The verdicts have a direct impact on the sort of place Milgram is currently and could become. It's a direct reflection of the will of the fanbase. If we vote a certain way the creators take that into consideration. They seem to not just take the winning verdict into consideration but pay attention to responses from both sides overall. They’re paying attention. So, it’s incredibly short sighted to assume our collective judgement regardless of how you vote or if you chose not to doesn’t reflect on the entire fanbase in some way.

I’m not saying this to be a Debby Downer or go really interrogate why you’re voting this way. I’m saying all this to get one point across if you’re going to vote seeped in bias the least you can do is express what those biases are in your own unique way. That’s what will make this all the more fun for everyone. I don’t care if you choose to vote guilty, innocent, or abstain, but at least vocalize why that is. Especially for people choosing to abstain since that’s more difficult to gauge since it is just not an option and the closest thing to abstaining would be attempting to get a fifty/fifty.

I know not everyone is willing to be that out there with their feelings and that sort of thing isn’t fun for everyone. Though even just discussing it privately with friends, people you trust and feel comfortable around is enough. All I want personally is for people regardless of how or why they vote to look at these characters for what they are and give them the opportunity to surprise you outside of your personal opinions like with actual people. All these characters will probably disappoint someone at a point but I feel like if you keep a healthy sense of realism and treat them in an unidealized way that will help in not causing resentments towards the series or the people who work on it down the line.

Some of these resentments are already present in the fandom and being used to create a reflection of the writer that could be wholly inaccurate. Personally, I don’t find that sort of approach to be fun or fair. However, it very well could be to some. Yet, at times I find it incredibly disheartening to see. My hopes in writing all of this and thoroughly attempting to analyze my fluctuating feelings on Mikoto may tackle why that is in some way. Even if the problem isn’t firmly rooted within the interpretations around his character but extends to the entire cast.

Though it’s like Jackalope said he certainly did cause a bit of trouble.

I hope this has been a good prelude of what’s to come and helped whoever may have read this far better understand my personal perspective on Milgram. This post didn’t focus on Mikoto as heavily as I would have wished but served to properly build an understanding of what one may be getting into when it comes to my analysis of his character.

I hope by displaying my biases and feelings on all the characters that one can decide whether reading what comes after this is for them or not. Regardless of if you continue to read or go back to this post from the ones that precede it, I appreciate you reading my ramblings.

#milgram #kayano mikoto #yes it's in parts i'm sorry

11 notes · View notes

pressroletoplay · 1 year

Text

Press ROLE to PLAY

Welcome to my special hell <3 I'm Crash, he/it, 21, and this is my multifandom multimuse blog! Here I will write for multiple characters across many sources with other blogs via reblogging ONLY - which means no trying to start anything in DMs.

Muse Database (Carrd)

Rules and Taglist under the cut :)

RULES

Communicate with me. Whether it be about potential plot ideas, just to chat, or if you want a plot we're writing to take a different direction!

Do not hijack threads. If I am playing with one person, I do not want other people jumping in and trying to take control of the story unless it has been specifically asked for. If you do this, you will be ignored, or blocked if you continue to do it.

Please be literal. I don't mind if you use square brackets or asterisks to indicate actions, you can format your replies however you like! But please don't come with one-sentence replies or *attacks you*.

Please do not try to incite a romantic storyline if I am writing a character that I do not want to write romantically with. If this happens, I will turn you down. (However, if you want to try to romance in-character, that is fine! just be prepared to be let down :)) Additionally, if you are under 18, please don't try to start anything romantic. It's incredibly uncomfortable for everyone involved.

I'd like to ask that minors under 16 years of age to not roleplay with me, or at least exercise caution and communicate with me if you ever feel uncomfortable or unsafe. I cannot help you police your experience on the internet, nor sanitize each and every little thing I do. But, I can at least try to help if you are nervous or need advice!

I will NOT write anything 18+. Romance will stop at kissing/making out, and there can be flirting but nothing too explicit. Please message me if you want to make sure something will be comfortable!

If I or you want to write a child character, please be mindful of the situations the child character will be put in. Nothing too violent or mature, please. Again, message me if you want to make sure of something.

In threads where fighting is prevalent, please ask before trying to seriously wound or attempt to kill one of my muses! I will not kill off a muse, but if I am comfortable with it, I will allow you to try to or to seriously impede my muse's ability in some way.

If you dislike a fandom I write, you're welcome to block the tag I use for that particular source, but please don't send anything trying to force me to stop or incite discourse about it. I don't care, I am critical of the media I consume, and your messages will be deleted or ignored.

I reserve the right to refuse to respond to something if I so choose. You cannot bully me into responding to you. You will be blocked if you try.

---

TAGLIST

#[PROMPTS] - All RP prompts/memes I've reblogged

#[EGOS] - Youtuber Ego muses (Markiplier, JSE, MandJTV)

#[SCRY] - Inscryption muses

#[TF2] - Team Fortress 2 muses

#[OBM] - Obey Me! muses

#[MHA] - My Hero Academia muses

Specific tags for muses will be added below as they are added!

#roleplay blog #multimuse rp #rp blog #indie rp #rp blog promo #multimuse #roleplay #[TF2]#[OBM]#[EGOS]#[MHA]#[SCRY]

2 notes · View notes

el-eye-zee-aye · 2 years

Text

musings on writing for a new fandom

I am in no way an incredible writer, let’s get that established first. Over the course of the last 4 or so years, I’ve been heavily involved in the Harry Potter fandom, specifically Hinny. I’ve written Hinny, hosted many challenges for writers, participated in some, and have been working on a big story for as many years. I’ve yet to get my shit together and finish it.

Before Harry Potter, I wrote Bones (Bones-Booth) and was deep in that fandom, especially on Twitter. This is all to say I know how fandoms work in general, I know it’s complicated and sometimes messy, there is some shorthand and inside jokes you eventually learn that make you feel... more like you belong?

There has always been a point where I felt I’d made it- not necessarily for my writing, but for making friends and having rapport with folks in the fandom I respected/admired/etc.

(I swear this is going somewhere)

As of recently, I’ve become obsessed with a brand new fandom *cough* gay pirates *cough* that is not even a year old and also quite new to me. The feeling with this one is different from that of the two previous fandoms I’ve been a part of before, however. I have not seen an opening to jump in and insert myself like I have before.

I’ve considered why I feel this way. In some aspects I feel that perhaps I’m too old for it, seeing teens and 20-somethings meme about it in ways I know I am too old to comprehend... but then there are the occasional 30-somethings like me that love it because the titular romance is between two middle-aged men. Surely the age thing can’t be it.

Perhaps it’s the format- a slew of Discords and twitter circles have popped up surrounding OMFD. Perhaps I’m just not keeping up with the pace of discussion? But wait, I’ve existed in HP spaces on Discord and Bones spaces on Twitter, so that can’t be it. I’ve even looked into writing a SMAU, as it’s the combination of a bunch of shit I like. A lil bit of visual interest, a lil bit of writing, using my knowledge of social media to my advantage... but the SMAU spaces in OFMD feel so protected by the folks already writing good ones and the fans that read them. Almost to the point that I feel like an interloper when I comment on an update. Not necessarily like it’s being gatekept, but perhaps that there are just defenses in place? So I guess all of that being said, I have a couple questions: 1. Do you ever feel like it’s too difficult to break into a new fandom space? 2. Have you ever felt like you’ve missed your window of opportunity to participate? (i.e. due to age, queerness, ability to produce content) 3. What do you do in those situations?

#fanfic writing #feeling old #ofmd #ofmd smau #would love some input

2 notes · View notes

maluspuerum · 2 years

Text

What does your Muse’s Name Mean?

now, i had a meta on this earlier, so i will just rework that here, even though this is not at all the format of this goddamn meme.

慎二 , 慎治 are both ‘shinji’ the first is our shinji 間桐慎二 ( matou shinji ). evidently, the name is comprised of 慎 “truth” and 二 “second”. ( the other meaning is 慎 truth 治 ruler )

there’s the “very likely nasu thought process” which is shinji meaning “second best”, which ok i see where this is going, and you probably do too. shinji does in fact play the role of “second best”. second best to sakura as a mage heir (in the eyes of zouken, at least). second best to illya as the grail vessel (because he wasn’t even meant to be). second best to shirou, who is the goddamn protag so that one isn’t surprising at all. vice captain of the archery team puts him again as “second best”. and this inadequacy has been hammered home again and again and again.

shinji, despite his name, is actually better at most things than most people. rin admits that the bounded field that shinji creates is one that is even more advanced than she could make herself, and she’s a VERY STRONG MAGUS. shinji is noted to be handsome and intelligent and very popular with others in school ( shirou notes that shinji is in fact a genius, albeit incredibly temperamental, and to have him as an enemy is ill advised considering. nasu even says shinji is talented in deductive reasoning, which the first thing i think of there is the sherlock holmes type- a curious mind capable of piecing together clues even in the most complicated of situations. a natural navigator of life’s complexities ). he’s a champion gamer in the yugi mutou style. but the issue is he’s got some deep trauma.

as a child, when he first meets sakura he says “i will succeed as the greatest person of this household” and tells her to sit back and relax, to not worry because he’s got everything under control. and in a way he does, but in other ways he absolutely doesn’t.

there came a point where people told shinji to start writing his name as 慎治, because his self image versus the image he projects is vastly incongruent, and people wonder why on earth he’d ever think himself second best, but then again ... no person actually knows who shinji matou really is, because he lets no one in. because his entire life he’s had to face horrific trauma in his own home, which he never speaks of. and even sakura doesn’t know everything and she’s got her own sufferings too! needless to say, shinji has taken his name to heart, and when something is that deeply ingrained, it’s hard to change that thought process, whether or not he’s actually second best is irrelevant.

tagged by: @madamhatter tagging: steal this tag me

#don’t wanna live as an untold story ❜ › meta

2 notes · View notes

ventingoutmyass · 2 months

Text

2.27.24

for how I had worked through the two and a half years I spent in daily agony to detach from my dad, I guess it couldn't heal everything.

making a call to him, to check in on unwell family, and the call not being within a formula we had followed all my life until the last few years. Awkward silence, with not knowing what to say, knowing very little about each other's lives, too out of practice to remember the format our calls once had.

this morning I came across a wholesome meme, a screenshot of somebody's conversation with their father. The joke being the father texts like he's sending out update tweets, and the last one being "How is my number one?". And feeling an ache in my chest, because I've never had a parent who understood I hated talking on the phone, and so worked around my abilities and texting a 'how are you' to simply and genuinely know the answer. Certainly to never give my honest thoughts and feeling without the emotional repercussions of their response.

Apparently having a fully-formed frontal lobe means facing my parented issues smack in the middle of my twenties. Understanding that yes, I was at least somewhat-abused, but most definitely emotionally neglected. Very much so.

Seems I just couldn't unlock it until I began to face the issues with my mom. Had to face both parents to accurately see the picture.

The envy I always was aware of as a kid, was seeing teens on sitcoms be angry with their parent, be allowed to express their anger and storm away. For their parent to soon follow them, wait for them to cool down, to then get on their level and talk to them and apologize. I envied showing emotion. I envied having situations explained. I envied being understood and apologized to. I envied feeling comforted by the hug to finish the scene. I envied loving my parents in the ways these actors portrayed. I envied having parents with patience, and want to understand their children, for who they are and not just how the parents wish they were.

My mother wanted affectionate children, who respected their parents and didnt talk too much but looked for advice and wanted to be hugged when they cried. My father wanted young children of stone who expressed nothing but gratitude and were quiet and never hit first always last and were in need of protection of their big strong father, to grow up to be strong themselves.

Stepparents who were largely the same. One who couldn't be more different from me in all bad ways and another who I would swear every day for thirteen years is the devil incarnate. Each with their own children, whom vary in favor, but all incredibly different from me all the same. It truly has always been my brother and I from the start.

"why dont you try to meet them on their level, instead?"

I have. I have tried, many times, in the ways I could think of. Nothing worked. I have parents who have refused to speak and to listen for twenty-five years. You get tired of constantly trying and waiting. There is a constant truth. I am the child. I was always the child. I am the infant they chose to raise and the person who came from that. If they were unwilling to meet me at my level as a child, if they are unwilling to try even now, I will not waste myself to meet them where they refuse to move. Not again, not anymore.

All children deserve guardians who will talk to them, and who will listen to them. I am children. We are all children. We all deserved that treatment all the same.

They wanted children who were things I am not.

I wanted parents they were not.

0 notes

longtimenospooning-luci · 2 years

Text

Azalea's, Camelia's and Rhododendron's Chapter Three

Summary: Life always seemed to throw bullshit your way. A bullshit childhood, a bullshit family with the exception of your older brother, a bullshit bodyguard team because of aforementioned older brother… To say you were tired of it would be an understatement. You just wanted to bask in your self-made richness as a bestselling author, all by yourself being the key point, and pretend you're not doing it to avoid your trauma. But now you have to deal with seven incredibly hot, stubborn and frustrating men forcibly barging into your life against both of your wishes and ruining your peaceful silence. So, if they were going to be hardheads, you'll be one right back.

Pairing: Bts x reader, featuring older brother Bang Chan and a dickhead ex to be revealed later on.

Chapter Warnings: Dickhead Do-Yun talking about the deal, cursing, brief mention of throwing up, implication of abuse, now all of the boys are guilty babies who don't know how to apologize.

Taglist Form

Word Count: 2.5k

Ya'll know that one Elmo meme where he's just standing there in a pit of fire with his arms out and the :] face?

Yea that was your mind right now with Do-Yun's ugly mug right in front of you.

Y/N who? She gone. Exe has stopped working. Windows File error with the deep 'DUN' to go with it and the infinite pop-ups. Brain has said 'peace out homie!' The ice-cream has vacated the waffle cone to disappointingly go splat on the sidewalk if you get my drift.

Surprisingly, it's Taehyung who first notices something is wrong. You've frozen up mid step like you did the morning of the incident, but what really piques his interest is that Namjoon reacts like that too.

There's an honestly fugly looking creep standing in their way to the valet curb and the two of you are staring the clown down like he's the Boogie Man. If only Taehyung knew he wasn't that far off in that assessment. Since he stopped to observe the odd behavior, Jimin stopped too, and that caused a domino effect. The six of them watching the weird three way showdown, no one moving or breaking the silence until Creepy McCreep decides to do just that.

"Y/N darling, how are you? It's been so long…" They find the way you jump and recoil into yourself at his voice extremely odd. But what shocks them is Namjoon moving in front of you, shielding your figure behind his back.

"I suggest you keep your mouth shut and go about your business." Namjoon grits out the words, his hands in fists at his sides. The boys have been with each other for a long time, it's hard to make Namjoon angry, and yet here he is looking ready to bash this dudes face in. They are completely perplexed by the situation, but if their leader is angry over the presence of a stranger related to a client, then they know the situation is serious.

"Oh, what's this? Y/N, love have you replaced me? Surely you haven't stooped so low while I've been away?" the Cheshire grin on his face gives off bad vibes in waves, they notice the way he eyes Namjoon like the dirt on his shoes, and they don't like it. He's practically feeling you up with his gaze and not a second more of hesitation is taken as they move into action, using their bodies to wall you into their formation and out of sight. They see the way you're shrinking further, and they really don't like it, your spitfire IDGAF confident attitude has disappeared completely. The change unsettles them and as much as the other morning was a shitshow they'd rather have that version of you than this one.

Namjoon turns his head slightly to the side, murmuring calm assurances to you, and then quickly locks eyes with the boys. It's the look he always gives them when they need to take extreme measures to ensure a threat doesn't get near a client, and they mentally steel themselves.

Coincidentally, or maybe even unfortunately, Jungkook and Yoongi's positions are to flank the sides of their clients. Which means they have to walk angled inwardly at you and keep a hand on your arm or back. When Jungkook places a hand on your bicep he drops it as if you burned him, your whole body had flinched at his touch. Yoongi takes note of this and they quickly share a glance, he holds out his hand for you to see and slowly moves it to the middle of your back. When you don't flinch, Jungkook does the same and replaces his hand lightly on your arm.

During this whole ordeal the douche in front of them has been talking shit, trying to get your attention. Getting increasingly frustrated when he notices you aren't paying attention anymore and neither is Namjoon. The leader had been watching the boys adjust in order to move, waiting for their nods, tuning the prick out completely in favor of watching your mental state. That all stops when the next words come tumbling out of the assholes mouth, and Namjoon isn't the only one who looks like he wants to commit murder.

"Did daddy dearest fetch a good price for you with this one? I can't imagine got paid nearly as much as I would have given. Or did mommy do it in his stead since you threw your tantrum and got him thrown in jail before our wedding?" You snapped your head up in anger at the mention of your parents, your eyes swirling with hatred for the man before you.

Jungkook being the hothead he is tried to step away from you to go give the bastard a nice right hook, he certainly didn't like you but hearing the implication that this sicko tried to buy you makes him see red. Jin has to grab the neck of his shirt to stop him, much like the rest of them he'd love to let the youngest wreak havoc but they have a professional reputation to uphold. However, this was the perfect opportunity for you to slip out of the human wall while they were focused on him, snatching the retractable metal baton strapped to Jungkook's belt in the process and flicking your wrist to extend the bar.

Your gait is powerful as you stalk toward the man, decked out in thousands of dollars worth of luxury brands that make you look like a goddamn Amazon Queen. Yoongi thinks to himself that he would actually pay good money to watch you beat the shit out of the guy, but he really doesn't want to get fired from the company for letting a client use one of their weapons to hurt someone. He resigns to let Namjoon stop you though, having half a mind to hope he does and the other half hoping he doesn't.

However, Hoseok is the one who ends up stopping you as you raise your arm to strike the now cowering man. You whip your head with a fire in your glare at the culprit of your halted movements, standing tall next to you with a hand wrapped around your wrist. He says nothing as he levels your stare and it strangely calms your ire, as if you know Hoseok won't let him off even if he did stop you. The hand gripping your wrist moves up to grab the baton and you let him take it from your grip, his other arm comes around in front of you to guide you behind him as he shifts his stance to face the coward in front of you.

"Like my leader said, I suggest you shut your mouth and scurry along like the rat you are. If I hear so much as another word out of your mouth I won't hesitate to lay your ass out right here on this sidewalk. Do I make myself clear?"

It's incredibly satisfying watching the fear flush through Do-Yun's face at Hoseok's words, and you think for now you'll take this as a stepping stone to retribution. Your bodyguard steps away from your ex without bothering to wait for a response and places a hand on your wrist again, pulling you along to the car with the rest of the boys in tow. The ride home is just as silent as the ride into town, but strangely no one feels awkward or the lingering feelings of hatred from the other day.

You rupture the silence when Yoongi pulls the SUV into the pristine garage of your home.

"Namjoon, I'm going to assume from your behavior earlier that you figured it out, and I really don't have the energy to deal with my brother's overprotectiveness right now. Could you call him sometime today and ask him to contact our lawyer? And don't let him storm over here please I might actually go insane if he does." Your voice is calm and even as you speak and everyone has their attention focused on you, not bothering to make a move to get out of the car yet.

The look he gives you is full of something Jin would describe as guilt and maybe even despair, simply nodding his head and moving to open the door. Namjoon knows something serious about you and he obviously failed to let the others in on the secret, and as they all make their way into the manor they decide they'll get it out of him whether he likes it or not.

They all stay silent in the mansion foyer until the soft click of your bedroom door closing can be heard. Jungkook pipes up first, a bite to his tone. "You wanna tell us what the fuck just happened, hyung?" Jin would normally scold him for speaking like that to his elders but at this point he can't deny it isn't warranted. He almost expects Namjoon to fight them on this and refuse to say anything, but he simply lets out a sigh and asks them to follow him. They spread out in the spacious guest room that has been claimed by their leader, watching him as he gathers some files out of a desk drawer and walks over to sit at the chaise; putting the manila folders down on the surface of the coffee table in front of him.

"It's not much and it's not definite but it wasn't that hard to connect the dots after witnessing her behavior that morning." Jimin gets up as the man speaks, taking a file and opening it as he returns to his spot, flipping through the printed article headlines one by one as a feeling of horror trickles through him as each piece falls into place.

He looks up to lock eyes with Jungkook and then Yoongi, swallowing down the bile in his throat, addressing the leader without moving his gaze from his two brothers. "How long have you known?" The shake in his voice sets the others on edge, so Taehyung takes the folder out of Jimin's hands to look at the information in question. "I started looking into it that night, It took me the whole night to put all of the pieces together. I had to dig into news archives to figure out how it started." The sharp inhale Taehyung takes as he listens to Namjoon's response while looking at the papers makes Jimin think he's figured it out too.

By this point Jungkook being the person he is, has grown tired of the cryptic words and the pale faced expressions of shock from his hyungs. He gets up and snatches one of the folders for himself, ignoring the protests of the others that he shouldn't open it and look. Standing by the table he turns each page with more aggression than the last, his eyes flitting across the words in a frenzy, until eventually he lets the papers drop out of his hands. A crawling vine of guilt has grown its way up his body and wraps itself around his throat, his hands shake at the breathless feeling it gives him and the constriction of his chest aches in ways he's never felt before.

In his turmoil the rest of the boys with the exception of Yoongi have passed along the file Jimin grabbed and look at the last one out with apprehension and pity. The man in question gets up from his spot at the end of Namjoon's bed and picks up the stapled stack of papers Jungkook dropped. He reads through them without any emotions on his face and steady hands, only cracking his exterior when he looks up to Namjoon. "That was him, wasn't it?" The lifelessness in his voice sends a chill through the others. The leader responds to his hyung with a soft 'yes' and Yoongi feels like his knees are going to give out.

With a nod of his head he turns on his heel and makes his way out of Namjoon's room, each step he takes in the hallway towards his room the grip of his hand on the papers intensifies. Upon closing the door he casts the papers to the floor and nearly runs to the bathroom, barely making it to the toilet before his body wretches the acid in his chest out into the bowl. The guilt settles in his chest like a cement chain around his heart and he doesn't know how he's going to face you again now that he knows what he does.

Downstairs Jungkook is in a similar state and he doesn't know what to do with himself. He's regarded you with the same attitude he developed in your brothers office since he was told you were going to be their client. Never in his career has he come across a client like you, much less a heiress like you that didn't fit the mold he knew so well. Thinking he could speak to you that way in order to get the contract nullified was now his biggest regret, he expected you to react like any other pompous rich kid would at the first signs of disrespect from someone under them.

Amidst the internal turmoil in the house and the hushed whispers of the remaining members in Namjoon's bedroom as he speaks to your brother on the phone, you slip out of your room and into the office. You keep one of your favorite books on the second floor shelves, preferring to have easy access to it in order to climb into the circular window nook. Its outfitted with a memory foam cushion that rises a quarter of the way up the sides, set onto the wall like a normal cushion would be stapled into a chair or indoor bench. Your favorite fluffy blanket sits in one of the carved out cubbies in the upper part of the circle, you climb in and grab it after finding the book, laying back against the large square pillow and propping your feet up against the crescent shaped wall.

You open the book to your favorite page, letting the words in the poem wash over your feelings, settling your mind into the clarity you crave. You let yourself get lost in the stanzas, knowing come tomorrow you'll have to face the men in your home who undoubtedly now know one of your darkest secrets. Closing your eyes for a second, the visage of your fathers face warped in hatred and disgust flashes in your mind. Jolting up, you despise the fear that slithers its way into your chest, squeezing the air out of your lungs. Life really won't let you have a goddamn break will it?

I wish I could cry as easy as the sky. The tears don’t come as easily now. They’re stuck inside my soul.

It’s empty and I am afraid Do you feel the emptiness? I guess it’s my own fear from within. I should be brave and battle that fear but it’s a war that’s gone on for so damned long. I’m tired.

The children are growing and the tears in my eyes are flowing. Missing the growth of them is like missing the seasons change, missing the roses that bloom in spring and missing snowflakes falling in winter. How many more years do I have to miss? The years won’t stop for me or for them and why should they? They will continue to blossom and bloom and my life will continue to stand still like a silent pond.

- The Noonday Demon, Andrew Solomon

<- Previous Next ->

Taglist: @emu007 @childfmoonn @candied-lavender @silscintilla @sporadicfuryface @definetlythinkimanalien @btsizlyfe @yoongiigolden @chim-possible @its-g-nm-stuff @ayoo-bangtan @janiva @devilsbooksworld @backinblack1967 @missseoulite @miraxflor @memerswrites

#bodyguard!bts x reader #author!reader #bodyguard!bts #bts x you #poly!bts #poly!bts x reader #bts angst

58 notes · View notes

language-sanctuary · 4 years

Text

Hispanic TV Shows Recs (with poc/queer rep)

I’ve decided on doing a post about the most known tv shows in Spanish and I am focusing on shows with POC and queer representation because I am POC and queer, no other reason. Enjoy!

La Casa de las Flores: A rich Mexican family discovers that the patriarch has a hidden life and a hidden family. Very entertaining series and has queer and trans characters (although the trans woman is played by a cis man, which I find... questionable, but I find the whole thing very respectful, talks a lot about transphobia and homophobia in my cis opinion), which is surprising for a series made in such a conservative country. Definitely recommend! Has been the origin material of many Mexican memes. Link to trailer

Juana Inés: Mexican miniseries about Sor Juana Inés de la Cruz, from when she was a young teen until her death. Very dark academia, gorgeous cinematography and very accurate from what I could tell. Really really recommend! Link to trailer

La Casa de Papel: I haven’t watched this one but everyone I know who has is obsessed with it. It’s an heist Spanish tv series, and has good queer and POC rep. Link to trailer

Club de cuervos: This was Netflix’s first Hispanic original series. Has very famous Mexican actors and it’s about two siblings trying to take control of their father’s sports team. Link to trailer

Elite: A Spanish series about a private school called “Las Encinas” that welcomes three students from the working class. I’d describe this as the Spanish Riverdale, lots of teen drama, lots of sex and tension between students. Also has murder and investigations. Not my cup of tea but might be yours! Link to trailer

Desenfrenadas: A coming of age story about a group of four young adults that go on a roadtrip in Mexico. Good story, amazing cast, very good musical choices, original! Link to trailer

Las chicas del cable: Set in 1928 in Madrid, Spain. Four women have just been hired in a new telecommunications company. Definitely a character-focused story, but I really dig it. Has a wlw couple and strong female characters! Link to trailer

El ministerio del tiempo: The premise of this show is INSANE. A secret Spanish government organization that only very few people know about which purpose is to prevent that time travelers change the present time. I haven’t watched it either but it’s next on my To Watch list. Link to trailer

Merlí: This is a series that follows the format of “Literature/Philosophy professor challenges their students’ view of their world through knowledge”, very similar to Dead Poets Society. You will learn a lot about different philosophers! (Addition by @lookingat-the-moon: Merlí is a Catalan TV show. The OG is in Catalan and then they translated it into Spanish. After Merlí you can also watch “Merlí: Sapere Aude” that it’s like a continuation of the story) Link to trailer

La jauría: This Chilean series just came out this year and follows an all-male group that is called “La Jauría” that assault female students from a catholic school, and the investigation that follows to take them down. Very empowering and with feminist values. Could be potentially triggering but if you like crime shows this might be right up your alley. Link to trailer.

Hernán: This series is about the Spanish colonization that happened in the 15th century in American territories. I haven’t watched it because it pisses me off that the focus is on the colonizer and the event still hurts even six centuries later but I’ve heard is good! I consider it important to watch historical series about very rarely touched issues and it was extremely researched. It is still mixed people talking about indigenous people’s history but I haven’t watched it and cannot emit an opinion. Link to first episode

La Rosa de Guadalupe: I guess I don’t have to tell you what this series is about. You know, I know you know but I’ll do it anyway. Just pure madness, the craziest situations about teen pregnancy, kidnappings, anime-loving teens, predators, addictions, just everything, but manages to be funny as hell because the acting is so incredibly bad. Link to the funniest and most memeable thing you’ll ever see.

Mi marido tiene más familia: A Mexican telenovela that made news because it was the first widely distributed series with a gay teen couple. Link to all episodes

Amar a muerte: Also a Mexican telenovela, also with a homosexual relationship, but this time is between two young women, Juliana and Valentina. I think they’re making a spin-off series based only on them?? Link to trailer and the trailer of Juliantina

El chavo del ocho: Probably the most iconic children show in Mexico’s history. It started being televised in 1973 and it’s a situational comedy about a homeless child that lives in a neighborhood helped by his friends, and the funny situations he somehow gets himself in. Has had incredible impact to Mexican pop-culture. Very charming characters. Full episodes can be found on Youtube! Link to playlist

Here’s my ko-fi if you wanna compensate me for the time and effort I put into my blog!

252 notes · View notes

rpbetter · 3 years

Note

Hey, can I get some advice on improving my descriptions / becoming more literate? I feel like I'm really dull when it comes to my writing and would like some advice! Thank you!

You absolutely can, thank you for asking! I apologize it took me a bit to get to this, tumblr didn’t show me notifications and I’ve been rather busy. Hopefully, I can offer some good advice!

Please, keep in mind that, as always, it is just my advice. If these things do not work out for you, don’t feel bad about it! You just need to find what does work for you. And, if you have anything that jumps out at you that you wish me to elaborate more on, or even that simply occurs to you more specifically to ask as you read, please, do ask! I am always happy to have those questions, of course.

Being more literate in itself can help. It can also be a hindrance, however, as we tend to compare ourselves to others negatively. I’d say not to do that, but it’s something you have to unlearn, not something you can simply stop doing. We’re taught a lot of self-criticism by comparison in both the educational system and our society. You’ve got learn to approach material you enjoy as just that, something you enjoy, not a standard you need to uphold. All writers should be unique, they’re all individual people! I think the death of a good many unwritten works hinges on that, honestly; the writer couldn’t live up to their own expectations, born of comparison to their literary heroes.

That being said? Read.

Read new and diverse things, and revisit old favorites. Learn as many words as you can in whatever way works best for you; through reading alone, through word of the day apps, or looking up novel words you run across/looking up words as you write to compare them to synonyms. I know, tumblr has gotten really nasty in recent years about writers who seem to have “regurgitated a thesaurus.” There is always a bad way to do something good, there are always excesses when you’re passionate about something. Don’t replace every third word with an exotic one simply because you think it looks better. Do replace words that are, legitimately, better in how they evoke the setting or mood you are going for. Remember that word flow is important, perhaps especially when it comes to descriptions.

If you do not tend to read much material that is description heavy, I’d suggest doing so. Try to find works that are still descriptive, but fit with the genres you like to both read and write the best to get you started, but don’t stay there exclusively. It doesn’t need to be something like...let’s say, Tolkien. Not to piss anyone off, I’m not anti-Tolkien or anything, but I could never get into his works, regardless of interest or effort, because they’re so description heavy, and in ways that don’t pique or hold my interest much. So, if you find that you are not into description laden works, that isn’t a poor reflection on you! It’s more likely that you simply aren’t into those specific works, you need to find something that is more of interest to you, personally.

If you do tend to read many works that are descriptive at all, take up a few of your favorites and pick some passages within them that you enjoyed the most. Ones that you could feel. When they described an outfit, you not only saw it, you saw the way it moved on the character, knew what it would feel like to touch it. When they described a setting in nature, you had a sensory experience there as well; you could smell the hyper-specific scent of wildflowers on a warm breeze, or the electric chill of a sudden summer storm moving in.

Ask yourself what does this for you so that you can experiment with doing it yourself. Is it the words, the word flow? Is it what the author isn’t saying, leaving the reader to automatically fill in with their own sensory recollections? There are so many ways of being descriptive in writing, as many as there are writers, and as many as there are things to be descriptive about.

So, it’s, again, a bit of a situation of finding what naturally pulls you into those descriptions yourself. While there are always good rules that can apply across the board with writing, it is a creative art. If you’re only following the rules others have set down, you can end up feeling negative about the process, yourself, and the product...or your readers/RP partners feel like the work is lacking or boring. Even when people can’t quite put their finger on something, forced work feels forced, unnatural, or lacking substance.

Diversify what you consume.

I know, I just said that thing about the familiar stories! Once you’re better able to identify what it is that stands out as evocative to you, though, you can better feel that in unfamiliar works. You can get a better idea of how language itself works as a living thing. Read some things out of your usual genres, ask for recommendations from friends or family who read, check out some older works, and even follow some blogs that post a variety of poetry quotes or full poems.

Reading song lyrics and a variety of other spoken-word style things like slam poetry and rap is helpful as well. They’re all doing the same here, evoking imagery and emotion. That is what you are trying to do as well! These formats, additionally, use highly evocative words to describe in a shortened way. They are great for realizing unique ways that familiar words can be paired.

By going outside of your usual bounds, you may encounter words, writing styles, and other descriptive qualities you hadn’t considered before. If you don’t, you still end up with a fuller grasp on writing itself. Everything is a potential learning experience if you are willing to approach it that way! Use it to play around with words and styles, Use this as experimentation, and realize that it is perfectly alright for it not to work out. That’s part of the exercise of finding what works for you; realizing what doesn’t work.

When you have some ideas of what makes you experience the things being described, practice. Pick anything. In fact, incredibly mundane, irrelevant things are perfect for this. If you can describe a sock in good detail, in a way that isn’t either inaccurate or boring, giving it relevance and life, you can describe anything.

Use ask memes and writing prompts, and write them out from your character’s perspective.

Even if you are not writing a first person account, it helps you to use narrative language that the muse might use, or that gives the reader a intuitive feeling for the muse. Don’t try to fill the whole thing up with descriptions. Sometimes, just simplifying is a good thing, and will help more relevant details stand out.

For example, I will often use things in the environment around my muse to help pair with, further denote, and give the reader a feeling for the muse’s emotions, psychological state, and so on. If that muse is in a hectic state, I’m not going to describe something in the environment that isn’t, like a peaceful meadow. I’m going to describe the seeming chaos of some ants in the grass taking apart their food, the erratic seeds or spores on the wind, or the clatter of an old farm truck on the roadway that breaks up the peace of the surroundings.

It’s a very different effect than describing the entire meadow in high detail, in ways that are perceptible to my muse and not, down to a blade of grass or a rock. It then takes over too much of my reader’s imaginative process and agency without giving them anything of nonnegotiable importance about the scene or the muse. Details that reflect a state of internal distress, like the ants, seeds, or truck, then fall by the wayside of this massive scene-setting I’ve done. And, as unfortunate as it is, if you are writing RP especially, your audience is looking for details that are pertinent and impactful. They’re likely to, intentionally or otherwise, skip several paragraphs of descriptions no matter how beautiful they are.

Since you just said “descriptions” and “writing” {nothing wrong with that, I just want to be sure I’m covering as much as possible that might be of help to you}, I’m not sure if you are meaning external descriptions or more internalized, character-driven ones, and not sure if you are writing only RP, only traditional writing, or a combination thereof.

As I said above, using descriptions that reflect things about the muse is useful and interesting, regardless of how or what you are writing. So, even if you were not meaning internalized descriptions, doing the things I’m about to talk about relating to this will still be helpful!

Internalized descriptions include things like: mood, thoughts, memories, and sensory perception.

To do these things any justice, you have to really know your muse, be able to experience things from their unique perspective and not just your own - or just what you wish the reader to experience through them.

If you didn’t have inspiration for the muse, you wouldn’t be writing them, but inspiration isn’t the same as knowing them as well, maybe better, than yourself. To do that, it is a process of learning and experimentation...and practice.

Those memes I mentioned above? Those are useful here, too! It doesn’t matter if it isn’t an ask meme you want to reblog, or if no one sent you anything from it; you can find a variety of memes, save them, and ask yourself the questions.

On sentence memes, or “starter memes,” ask yourself what your muse’s internal reaction to having that sentence said to them would be, how it might externalize (or not), and if these things are true, or just your perception/what you would like to have happen. If you’ve developed this muse from scratch or spent time learning them from canon, you should have some pretty good ideas as to how they’ll feel. Expand on that instinctive or learned idea. Does it change if a different muse or character type says this? Say it is an inflammatory sentence, something accusatory, derogatory, or pushy. Do they react the same way if a loved one says it instead of a stranger? How about a person who is obviously intoxicated, or a person who is under the influence of youth, so to speak? Take that, and write out two different scenarios.

On ask, or “headcanon/development memes,” pick a question and answer it yourself. Just answer it in depth. Now, have your muse answer that question. You may notice that the muse didn’t want to answer as clearly, is lying or omitting things, and/or had other thoughts generated by that question. If you didn’t already do it this way, answer the question again as a story in which your muse goes through those thoughts. Describe their emotions using words that carry the same emotional resonance, not all descriptions need to be lengthy if the right words, right word order, are found for optimum impact on the reader. Write out the thoughts they are having, just as messy as they are naturally having them.

Outside of memes, you have yet more options for helpful exercises that get you in touch with your muse and your writing.

Try out photography and inspiration blogs. Pick a some pictures that drew your attention, and write about them descriptively. Write out how the picture makes you feel, what it makes you think about. Practice not just describing how something looks, but how it would feel to be there. Using the same pictures, write as your muse in the same way. Put them in this scene to give their experiences. It helps you get a grasp on putting impressions and experiences down in creative ways that allow others to experience it the same way, and it helps you more easily step into your muse’s mind and experiences.

Seeing things through your muse’s eyes (through the lens of their life experiences, preferences, biases, emotions, and thoughts) is critical in giving authentic descriptions. To do more of this, you can practice in every day life. Even if you cannot write it out, or write it out yet, you can consciously think as your muse. If your muse was watching this TV show or hearing this song, what would they think? Don’t just answer as, “they would/n’t like it.” Answer as to why they would or would not, what it makes them feel and think. You can continue doing this with your muse’s impressions of different environments and people.

You can even simply contemplate an emotion and how your muse feels and expresses it.

Adding on underlying and overarching emotions to the mix as you go along; emotion, and thought, is complex. We very rarely are only angry, sad, or happy. We are very rarely only thinking of a single thing, and even rarer, thinking of it out of nowhere. It’ll help you identify the way your muse experiences emotion and thought, as well as how best to describe these things.

For example, I write a muse that can easily present as simply being quiet and angry. Additionally, as the character develops, his actions and general behavior can seem to not match well with his overall, genuinely kind nature. It’s necessary for me as a writer to identify where the anger comes from, what its components are; it isn’t just anger. It’s built on the things anger so often is; frustration, sadness, and fear. It gives the reader insight and helps delineate the muse’s expression of “anger.” When the anger is coming more from a place of insulation and protection than it is frustration, it presents differently.

I describe the sensation of the most obvious emotion, the anger, but also the underlying states that have led to it being apparent. How it really feels to be a wounded animal in a corner. I describe an experience or two pertaining to the emotional pain and fear, keep it relevant throughout the text in callbacks (what set him off is related to those experiences in some way, and during or after the experience of anger, those other situations are referenced again). Maybe it is an outright flashback, maybe it is less thematically stated. The descriptions I use, again, of his surroundings-not just his expressions, tone of voice, or movements-denotes that he is in this particular state of mind. He might notice similarities in the environment relating to a previous bad experience, since he is in that mindset, or he might be noticing things in a more critical way than he normally would. Things he might see every day are being processed as hateful in some way; garish or otherwise visually displeasing, might be seen as outright harmful, or even menacing. Bold colors, sharp lines, stand out. Things come into high relief and are painted in large swaths of color, the minute details missing suddenly.

Further, you can think of things that make your own similar state of mind so much worse in these situations. Is there a repetitive sound in the background? Is the person he is speaking with seemingly blowing him off in some way? Is he hungry, tired, thirsty, in physical pain? I then write those things throughout as additional, building irritants.

Using your personal experiences isn’t a bad thing, I really wish tumblr hadn’t gotten into that mindset. Unless you really have written a 100% self-insert character, they shouldn’t experience things exactly as you do, no. However, you have a basis to go off of already when you are describing their inner life; your own.

Maybe you have never been so wracked with grief that you collapsed, but you have been caught up in a significant loss of some sort that you can build upon. If you can better imagine what your muse’s experience is, you can describe it not only better, but also in a way that reads as legitimate. It’s not a description of grief that you could have gotten from anywhere else, doesn’t have cliché lines in it about grief, such as, “though he was drowning in an ocean of loss, he knew he had to be strong for his friends, so, he put on a brave face.” (There are other issues with that, but that’s a whole other post!)

My point is, you have the tools of accurate inner life within you, and you should use them to build that accuracy in your writing. Again, play with the words and structure, make sure you are building the feelings or otherwise being immersive about them. Keep them throughout the thread, do not have a muse magically become the opposite of what you’ve described because it is no longer convenient, and do not forgo little reminders that the muse feels the way they do, no matter what their actions might be saying.

When you describe your muse’s actions that are being influenced by an emotion, good or bad, use words that evoke the emotion while describing those actions.

If the muse is very sad, do not use words that bring to mind vivacity and passion. Don’t use metaphors that bring to mind those same things. Your muse doesn’t slink like a jungle cat to the table when depressed, but they might move in a daze, like a shadow, or a have to put maximum effort into their every step as though heading to their own execution.

I don’t think anyone should describe, let alone to an extreme, every action their muse undertakes, but when you are imparting these things with emotional tone or thought processes, it really shouldn’t be done. It’s exhausting for you to write, and just as exhausting for your reader, who is very likely going, okay, we get it, she’s angry. Like the descriptions of the surroundings, try to keep it to important and telling actions. You needn’t describe your muse’s every eye movement, but if they are so embarrassed they’re having trouble keeping eye contact, or so annoyed they glare, that is a description you want to add.

Writers never seem to forget facial expressions or dramatic body movements, which is reasonable, considering how visual a species humans are, but quite often forgo tone of voice and word pronunciation entirely. These are great ways to denote what your muse is feeling. Consider how your muse speaks most often, whether they work at proper pronunciation and hiding an accent, or if they simply let their most natural speech flow. Then, consider how different emotions might impact that. I’m not talking about the only go-to many muns on tumblr have, the “my muse speaks -first language here- when angry” thing. I’m talking about your muse entering into any emotion strongly enough to drop crisp pronunciation, outright mess up familiar and easy words, stumble, stutter, or pause. Write emotion into your muse’s speech, and don’t keep it to adding things like, “said angrily.”

That’s telling, not showing, and is the death of descriptive writing of any sort.

Doing any of the above in a document is highly recommended. Not only are you less likely to encounter tumblr eating your drafts as you work on them, you have more freedom to open it up later and play around with the structure. Additionally, writing directly on the platform can be distracting in more ways than just the desire to dash scroll! It can make you feel like you need to be doing what you owe instead, need to be responding to messages, posted memes, comments. Taking it off site feels more like your own space and time for experimentation.

I know this was long, and covered many points (though, it could always use more). So, I’m going to kind of rehash some below!

For learning and inspiration:

read things both familiar and not in order to figure out what sort of descriptions speak to you, then practice doing them yourself

read a variety of works, not just books, and not just new books; oftentimes, the lessons in older books will stand out to you even more for using descriptions that are no longer common. Those lessons still hold, like the very act of using common, highly recognizable objects and settings to describe a person, place, or thing. In those cases, see what you can rewrite that would give the same feeling using things that are currently so recognizable

don’t count out things like music and poetry, they flow with emotion and it is imperative that they give emotion and setting in unique ways

use ask/starter memes, pictures, and even common situations occurring around you to experiment with both writing descriptions and getting into your muse’s mindset

think on your own experiences with your environment and emotions

consider how your muse’s perceptions may change based upon thoughts and emotions, and/or how you can describe the setting to reflect and drive home these factors

really get to know your muse by exploring headcanon memes, giving yourself a refresher on their canon (yes, even if you wrote it), and comparing and contrasting your experiences with your muse’s on the same topics

experiment with new words, their use, and their flow

seriously, practice! Outside of writing you intend for anyone else to ever see!

Things to Remember:

you are unique as a person, therefore, you are unique as a writer...and that is a good thing, you just need to find what works for you

describe things that are important in setting the scene in ways that are not just visual; be emotive, and pick things that have bearing on the immediate topic

don’t forget that your muse’s voice and spoken words use can, and should be, impacted by thoughts and feelings

just like you, your muse is unlikely to see the same objects in the same light under any manner of strong emotional influence

also just like you, who is saying something and in what context is extremely important in how your muse reacts internally and how that is presented externally; if your muse feels and reacts the same way no matter the other party, they’re a little cardboard and you’re not being descriptive or thoughtful enough

listen, if you just really need to describe something utterly irrelevant to live another second? That’s fine, but you need to make it relevant. Perhaps, your muse noticed the cracks on that rock because they’re in an altered state - be that by way of a substance, or an emotion

there is a reason why we use clichés, and I am not going to say they should never be used, just that you should try to be more creative with them, and they should always be viable ones that truly match the mood

the same is true of words, we have some words that are just so commonly expressive of sensations and emotions that they come up quite often, but again, try to find something similar if possible, and always make sure it’s still evoking the right thing

I repeat: get in touch with your muse, even if you do not write them from first person. The language you use as a writer to describe them and their world is better if it feels like them

no support for tumblr’s anti-wordiness, but huge support for optimizing word use for maximum impact

to that end, if you’re a RPer, even a fic writer, please know that your desire to write descriptively isn’t going to be appreciated by some people. That’s their fucking loss, and you are better off without them. You will find the audience that will properly appreciate what you’re doing!

I hope some of this helped to give you some starting points you might not have thought of!

#rp advice #writing advice #descriptive writing #Anon E. Mous #answered

27 notes · View notes

amphtaminedreams · 3 years

Text

Farewell to Spooky Season, AHS Style: Lookbook no.12

Hi to anyone reading,

Happy belated Halloween!

I capitalise it because if I'm gonna recognise any day as sacred, it’s the spookiest one of the year! Halloween 2020 obviously hasn’t been as exciting as usual, parties and club nights being banned has meant there’s been far less opportunities to dress up, but I still managed to get out for the night before they announced the upcoming second lockdown and do a couple of spooky movie nights (and carve a pumpkin!)!

I originally intended for this lookbook to be last minute halloween costume inspo but I was lazy and didn’t manage to get it out on time-a lot of these looks minus the makeup and maybe an accessory or two could work on any day or night out so I thought I’d go ahead and post it now anyway. Celebrating the fashion moments of American Horror Story is something I’ve wanted to do for a while; it’s probably not the first show you’d think of for sartorial inspiration but Mr. Ryan Murphy has fucking fantastic taste in stylists and the first five seasons of AHS in particular, which I’ll be focussing on in this post, have given us SO many amazing looks. The man may be guilty of many things-subjecting us to the character of Will Schuester, trying to turn Richard Ramirez into a thirst trap, embarrassing everyone who raved about how good Scream Queens was when he wrote season 2-but costume related laziness is not one of them. We see more consistency in a Ryan Murphy character’s wardrobe than we do in their story arcs and I respect that because honestly, as much as I love joining in when it comes to ripping into his ability to cohesively bring an AHS season to a close when it airs, I’d probably be the same; if you put Lady Gaga in front of me and told me to write her lines I’d probably end up getting overly invested in what her character was going to be wearing in the scene too.

So! Enough Ryan Murphy bashing from me! I’ll get on with it! Starting with 3 season 1 inspired looks:

Murder House: Elizabeth Short, Tate Langdon and Violet Harmon

-striped jumper from caitlinlark on Depop, kick flare jeans from ellagray-

When it comes to reflecting on season 1 of American Horror Story, all I can say do is thank the internet overlords that Tumblr has moved on from the romanticising school shooters and wearing normal people scare me tops phase to instead collectively taking the piss out of the “GO AWAY, TATE!”, “YOU’RE ALL THAT I WANTTT! YOU’RE ALL THAT I HAVEEE!” exchange.

In terms of fashion *moments*, whilst season 1 doesn’t stand out as much as the seasons that come after, Violet and Tate’s wardrobes did give birth to a bit of a 90s grunge renaissance with their oversized knits and faded jeans and layering of textures. It did also give us good costumes in the form of Alexandra Breckenridge’s Moira O’Hara and Mena Suvari’s portrayal of the Black Dahlia, Elizabeth Short; unfortunately, I didn’t have a slutty maid costume lying around so I did the best I could at giving the outfit Elizabeth wears when she makes that fateful visit to the Murder House a modern, more party appropriate update.

In terms of season rankings, Murder House isn’t my favourite. It starts off really great but lulls a bit towards the end and I could never get behind Violet and Tate as a couple because you know, one of them is a school shooter who sexually assaults the other’s mum, and that’s a hurdle that I think most couples might struggle to get over irl. That being said, it was the season that started it all and showcased some of the most innovative writing and directing on TV, and it opened up a spot for horror on primetime television which as far as I know was kind of unheard of before then. Back when I first watched it, I had no idea what to expect not only because I’d never seen horror in a serial format but also because it seemed to be able to get away with the kind of storylines you’d expect network executives to fire people over. It introduced us to Jessica Lange and Sarah Paulson and Evan Peters and Denis O’Hare who would go on to make the show what it is today and more importantly, through Jessica’s glorious portrayal of Constance Langdon, provide us with an endlessly versatile meme format for this trying time.

Asylum: ‘60s Lana Winters, ‘70s Lana Winters, and Sister Mary Eunice McKee

-afghan coat from louisemarcella on Depop, red AA skater dress from julietramage, pink gingham co-ord from zshamim-

I think we can all agree: Asylum would’ve been a perfect series of television if it wasn’t for the completely unnecessary alien storyline. Like, I get that they fit in with the whole good vs. evil theme as a kind of non-biblical alternative to the idea of a higher, all-powerful being but there was already so much going on that it just wasn’t needed. Aside from that, I think the general consensus amongst watchers of the show is that Asylum has the best writing of any season and I think I’d tend to agree. It’s not my favourite because it’s too depressing to rewatch but if we’re talking the first time round, this is the series that had me hooked. Lana Winters?

Iconic.

Sister Mary Eunice? Iconic. The Name Game? Iconic. Remember when you couldn’t go a day on Facebook without seeing that one photo of Naomi Grossman as Pepper used as the go to “what I really look like” photo in one of those “expectation vs. reality” style posts on your newsfeed? Those were simpler times.

Because this season was mostly situated within the hospital, we didn’t get that many proper outfits but when we did, they were stunning; if I had to state my absolute favourite AHS character of the entire show I’d probably go with Lana Winters and the part her wardrobe played in her characterisation would 100% play a part in that. The late 60s/early 70s was such a wonderful period for fashion and through her character we get to see both of those explored a little. Of course there’s also *that* Sister Mary Eunice scene with the red slip dress and suspenders too which yes, could be a perfect halloween costume, but I also strongly believe should be a perfectly acceptable outfit for any day of the year.

Coven: Misty Day, Madison Montgomery, and Zoe Benson

-chiffon dress from rags_to_riches on Depop, pinstripe corset from hanpiercey, and tennis skirt from mollie_morton-

I hate to be a basic bitch but I have to say it: Coven is my favourite season of American Horror Story. Once you get over the complete waste of Evan Peters’ acting capabilities that resulted from the *choice* to have him play Kyle, the unnecessary rehash of the Evan/Taissa pairing from season 1 in what I can only assume was an attempt to capitalise on the popularity of the questionable Tate/Violet relationship, and the subsequent sacrifice of any interesting character arc we could’ve foreseen for Zoe Benson beyond her obsessing over a resurrected, non-verbal frat boy, it’s a perfect season. A supreme (heh) balance of horror, humour, and character drama, as well as the stunning aesthetics and forever quotable dialogue, make it my go-to season if I’m ever considering a rewatch. And if you disagree, let me jog your memory with the most mainstream (not to get all “normal people scare me” and suggest AHS is not a mainstream show, I literally just mean in the sense that even those who have never watched the show will have seen this) reaction GIF set any FX show has even spawned:

Buzzfeed employees had a field day, Emma Roberts enthusiasts (I mean me) finally saw her cemented as the pop culture icon Scream Queens has since showed us she deserves to be (because not enough people have seen Unfabulous, Nancy Drew or Scream 4) and the gays everywhere rejoiced at the year’s worth of meme fodder they’d been provided with. It was Madison Montgomery’s world and we were truly just living in it.

And the fashion! I mean, Stevie Nicks meets 21st century teenage witches! Come on!

Freakshow: Dandy Mott, Maggie Esmerelda and Elsa Mars

-olive green satin skirt from morganogle on Depop, headscarf from tonijordan, platform sandals from elliefewt, PVC skirt from bethpin_, corset top from sadieflinter, beret from house_of_erotique, flame detail platform boots from mad_rags_vintage-

When people talk about the declining quality of AHS, they usually point to Freakshow as the beginning of the end, but I have to completely disagree. I wasn’t a fan the first time round but on rewatch it’s probably the most emotional season of them all; no, there aren’t as many “horrifying” moments as in other seasons and Elsa is probably Jessica’s worst performance (which is still an incredible one by anybody else’s standards), however it makes up for it with the most sympathetic bunch of characters yet, and on the flip side, also one of the most amusingly depraved with Finn Wittrock’s Dandy Mott. Fans usually argue that the season went downhill once *SPOILER* Twisty the Clown was killed off but for me, he really primarily served as the catalyst for the far more interesting devolution of Dandy, who, imo, is the show’s strongest villain to date, rivalled only by Bloody Face. Then there was the episode Orphans too which made me cry buckets, the sole AHS episode to do so.

We got a lot of great fashion content in this season too: the theatrical opulence of Elsa Mars’ wardrobe, “Maggie”’s nomadic fortune teller costumes, and all those twee suits we saw Finn Wittrock in. Highly underrated if you ask me. It seems an odd choice for me to use Elsa’s Dominatrix look as an inspiration for one of my looks here when we have that Life on Mars performance outfit and all the extravagant robes Jessica got to waltz around in for reference buuuut I didn’t really have anything to do the vibrancy of either of those justice so I went with the black leather option which is much more me. Am I saying I moonlight as a dominatrix? Maybe. Lol, no. I wish. It’s not for lack of trying. WHERE ARE ALL THE GENUINE TWITTER PAYPIGS AT!? Your girl wants to insult creepy men and get some new clothes out of it xoxo

Hotel: Hypodermic Sally, Liz Taylor, and The Countess

-silk white bralet from xlibby_maix on Depop-

Hotel is another season that I liked a lottttt more upon rewatch, once I knew I was okay to tune out the (completely predictable and utterly nonsensical) Ten Commandments Killer storyline that so much of the season initially seems to hinge on. I love Chloë Sevigny but the fact that her and Wes Bentley’s wooden John and Alex Lowe are positioned as the protagonists at the expense of the far more interesting Liz Taylor, James March and Hypodermic Sally really does a disservice to what is an otherwise great season upon initial viewing.

The visuals this season are magnificent and I think if I had to pick one character’s wardrobe to steal from the entire cast of AHS characters, it would be The Countess (a toss up between her and Misty Day tbh, so I kinda just settle for low-key channelling both). No fucking idea where I'd wear any of her clothes to but I’d make it work. Liz Taylor and Hypodermic Sally have some amazing looks too-there’s just honestly so much to choose from; that being said, this post wouldn’t be complete without a specific ode to the vampire goddess Elizabeth Bathory, who is everything I want to be in life minus the murderous qualities:

Everything. EVER-Y-THING. LOOK AT HER!

Lady Gaga is really a fucking goddess isn’t she. And people were claiming before they’d even seen it that she couldn’t act? A patriarchal society doesn’t like women that can do it all. Just saying.

Anyways!

That’s it for now! I hope you enjoyed the post if you did read til the end! Sorry I couldn’t get this out before Halloween, I was typing and Picmonkey-ing madly from 2 in the afternoon on the 31st but I taking fucking forever to get ready and had to abandon all hope of getting it out on the day by 4PM. I’ve got so much content planned and it sucks because a couple of them are lookbooks which now feel completely redundant given we’re heading into a second lockdown, but maybe I should just do it anyway? The grunge inspired moodboard I just did seemed to get a good reception too so I’ve got some more of them planned.

As always, hope everyone is keeping well, and feel free to inbox me with any suggestions, queries or even just to say hi if you need someone to talk to! I check here quite a lot so I should see it. Lots of love to everyone in this time!

Lauren x

67 notes · View notes

throughscreendoors · 3 years

Text

i may destroy you 2.4

I’ve just been reminded of how great things can be. Was watching some Fran Lebowitz interviews on YouTube and she was commenting about how little great art there is, and how expecting masterpieces from artists is insane. If an artist creates one masterpiece, that’s an exceptional achievement—and many artists get worse over time, not better. Also many artists and writers never make a single masterpiece, let alone a single good or great thing. By extending her thinking there’s very little great anything, which is harsh but true—but I May Destroy You was great.

America teaches us to measure ourselves by what we consume. The high schooler who likes the obscure band tells everyone about it until it isn’t obscure anymore, and he has to find another one to brandish. Digital media disrupted that, because there’s no consensus or mainstream taste to snipe at from the fringes.

Algorithms have deconstructed the taste pyramid into a horizontally organized structure of some kind. We’re all ensconced in our own permeable bubbles, sure, but we don’t really make those bubbles anymore. Spotify or Netflix suggests things to us based on limited data points, we select those things and think we’ve chosen them. I thought for a while that irony died in the early 2000s, but it actually just got sharper; now you can ironically and unironically like obscure and popular art at once from a kind of superposition. Carly Rae Jepsen comes to mind here—she’s simultaneously recognizable pop icon and marginalized indie darling, authentic new voice and post-ironic pastiche.

There is no irony or sincerity anymore. They’ve welded together in an atom-wide scalpel that slices everything all the time in our words and preferences and values, so subtle we don’t even feel it. We recombine before we slide apart into a pile of flesh cubes.

That flattening of tastes has meant every created thing—whether widely recognizable or obscure—must fit into some algorithmically imagined category (or be made to fit one). Perhaps subconsciously fighting that trend, endless new meme formats have risen in response (a kind of organic algorithm, perhaps). A VSCO girl wears these shoes and takes photos from these angles; this is the lonely divorced dad starter pack; here is stock market boyfriend explaining GME and AMC to his astrology girlfriend using images created on 4chan for incels.

As algorithms slice us more and more precisely into bits and we reassemble those bits more and more astutely into formats we can understand, something strange is happening. New categories and dominant values are springing up that seem unassailable, protected by these two alternating currents—particularly around the messiest subjects. People who overcome trauma are heroes; the world can be divided into abusers and victims, oppressors and the oppressed. Implicit is that nobody really disagrees with these statements anymore, they just wield them as truths for different ends. The positions can be inverted, in other words, but those are the positions.

Part of what makes I May Destroy You so great is that it tears those unassailable categories down. On trauma and sexual assault, those in-the-know understand that trauma constitutes a reorganization of the brain. Memories can disappear and suddenly reappear. Our emotions can fluctuate wildly. People can pursue dangerous situations they wouldn’t otherwise; they can reverse on things they knew to be true for years instantaneously.

On the other side are people who don’t understand or refuse to learn these facts, people who trot out the same debunked arguments (why wouldn’t you report right away..., how is it you now conveniently remember..., why did you go along with it for so long..., etc). The beauty of the show is it uses that idea of the unassailable category against the viewer, in case they are skeptical. We follow Arabella’s consciousness; it behaves like it behaves. It’s our job to follow its oscillations and make sense of it.

By taking that simple stance, the show paints every character as both hero and villain, victim and abuser. It is nearly overwhelming how interconnected and interdependent everything in the show is—swallowing it all threatens to destroy the characters, as it does our own minds. It’s not a coincidence that the bar where much of the worst that happens in the show is called Ego Death.

There’s a new-age positivity that has seeped into the culture lately that we can heal from anything, we can infinitely grow and expand beautifully into ourselves and into the future. The show skewers that point astutely. In truth, you don’t heal from trauma—it’s a rupture in our consciousness, in the very structure we use to interface with reality. We don’t “heal” from these things, we die to the old version of ourselves. We reach forward and backward at the same time, experiencing joy and agony at once as we’re sliced into millions of pieces and recombined into a new structure. As we scan over that inner structure in our minds, we’re liable to come across pieces that don’t belong next to one another. That’s what we mean by “processing” something, be it a memory or ourselves. We may cry and laugh in the same breath.

It’s a real challenge to use art to deconstruct the entire cultural moment, while also offering a deep and rich representation of inner and outer worlds that aren’t seen very often on TV. It reminds me of the horror in the futuristic surrealism of Random Acts of Flyness, but more optimistic. It’s more generous in spirit than that, and it reaches into dangerous areas. The conclusion of the show threatens to infuriate the primary fan base the show is made for (in one of the truest artistic risks I’ve seen on television in some time). It has nuanced takes on feminism, veganism, consumerism, social media, consent, race and modern alienation, and it does it all in consistently experimental way with an amazing soundtrack and a huge heart.

It’s interesting to watch a British show as an American with all this in mind, as I think the majority of Americans don’t leave that phase of consumption. It’s tempting to hail a show like I May Destroy You as a way to call attention to yourself; it’s challenging, nuanced, empathetic and so on (and because I like it, I must also be those things, etc). I think watching the show is more of a wake-up call than that, and it feels false to use it that way.

Artists have such a privileged place in society. They are the most interesting and the most inspiring, and now everyone wants to be one. But there’s a difference between being creative and being a good artist. I don’t think being a good artist is an intrinsic thing in the way racists allege that race is intrinsic. Still, I do think good art has to come from some kind of novel experience of the world—and even that isn’t enough. It must be matched with virtuosity of some kind. Possessing both of those qualities is exceptionally rare.

Michaela Coel made something that feels entirely for her with this, and it’s incredible that she managed to. The pressure to give in to outside influence, to make things more digestible, to accept money for a lack of control is nearly overwhelming in my own experience; I assume it must be for others as well. I think maybe this is another mark of real artistry—when your desire to say something so outweighs the social pressure to stop you from saying it (obviously, this isn’t the only mark, just one of them).

What inspired me most about this is it’s a show that makes good on its promise. It makes you think about the darkest, most shameful parts of yourself that you would least like to share with the world and challenges you to start sharing them. It encourages the kind of self-examination that truly might destroy you—even if you’re not a victim of sexual assault. It’s a terrifying feeling, but the grace note of it all is that "you” are always being destroyed by outside forces, and you are also always recombining. What “you” means always contains its opposite, it seems to argue, and for that reason, we ought to be dangerously kind.

#I may destroy you #michaela coel #artists #tv review #artistry #fran lebowitz

27 notes · View notes

max1461 · 3 years

Text

Just read Scott Alexander’s post on “conflict theorists” vs. “mistake theorists” and, hmm. I have several thoughts. First, to summarize the concept for anyone who hasn’t seen it before: Alexander links to a reddit post by user u/no_bear_so_low, who originated the idea, saying

There is a way of carving up politics in which there are two basic political meta-theories, that is to say theories about why different political ideologies and political conflict exist. The first theory is that political disagreements exist because politics is complex and people make mistakes, if we all understood the evidence better, we’d agree on a great deal more. We’ll call this the mistake theory of politics. For the mistake theorist, politics is not a zero-sum game, but a matter of growing the pie so there is more for everyone. The second theory is that political disagreements reflect differences in interests which are largely irreconcilable. We’ll call this the conflict theory of politics. According to the conflict theory of politics, politics is full of zero-sum games.

u/no_bear_so_low claims that both the far left and far right are more amenable to conflict theory than liberals are, who lean more towards mistake theory. Alexander seems to agree, though in his own post he’s speaking mainly about Marxists in particular. He summarizes the concept as follows:

To massively oversimplify:

Mistake theorists treat politics as science, engineering, or medicine. The State is diseased. We’re all doctors, standing around arguing over the best diagnosis and cure. Some of us have good ideas, others have bad ideas that wouldn’t help, or that would cause too many side effects.

Conflict theorists treat politics as war. Different blocs with different interests are forever fighting to determine whether the State exists to enrich the Elites or to help the People.

In addition, Alexander subdivides the categories further into “hard” and “soft” versions:

Consider a further distinction between easy and hard mistake theorists. Easy mistake theorists think that all our problems come from very stupid people making very simple mistakes; dumb people deny the evidence about global warming; smart people don’t. Hard mistake theorists think that the questions involved are really complicated and require more evidence than we’ve been able to collect so far [...]

Maybe there’s a further distinction between easy and hard conflict theorists. Easy conflict theorists think that all our problems come from cartoon-villain caricatures wanting very evil things; bad people want to kill brown people and steal their oil, good people want world peace and tolerance. Hard conflict theorists think that our problems come from clashes between differing but comprehensible worldviews.

So what do I think about all this?

Well, it seems to me that this framework is (a) a fairly reasonable descriptive dichotomy, in the sense that, yes, a lot of people do genuinely seem to fall into one of these two camps, and (b) a horrible dichotomy on which to base any prescriptions about political meta-theory, in that these are both awful (and obviously wrong) ways to think about the world. Now, Alexander doesn’t explicitly give any such prescriptions, but he does describe SCC as “hard mistake theorist central”, and generally speaks of mistake theory in approving terms, while speaking of conflict theory in disapproving ones. I think this is bad.

At a base level, my problem with both these “theories” is that they’re, in some sense, just too optimistic.

I agree, for example, with the hard mistake theorist sentiment that the world is full of extremely challenging technical problems, that these problems can be the source of real human suffering, and that the only way to address these problems is through data collection and empirical analysis and hard technical work. And I agree that this will often produce unintuitive conclusions, that run against people’s gut sense of what the right policy might look like. I agree that the state is diseased. I do not agree that “[w]e’re all doctors, standing around arguing over the best diagnosis and cure.” People, it turns out, often do have genuinely different and irreconcilable values, and genuinely do envision different ideal worlds. In addition to that fairly mundane observation, there genuinely are a lot of bad actors, who are just in the game for their own benefit. The world is full of grifters, schemers, and petty (or not so petty) tyrants; on an empirical level that’s just not something you can deny.

On the other hand, I agree with the easy conflict theorist sentiment that, e.g., “bad people want to kill brown people and steal their oil.” There’s plenty of pretty immediate proof of that to be found if you look into the history of colonialism¹, or the slave trade, or US foreign election interference in the twentieth century. Actually, just so I’m not pissing anybody off by only mentioning “western” examples, I’ll include the Khmer Rouge and the Holodomor and comfort women and uh, you get the picture. For god’s sake, the Nazis really existed, and yeah, they really believed all that Nazi shit. In retrospect they may seem like implausibly evil cartoon villains, but in fact they were real flesh and blood humans, just like the rest of us. You think that was just a one-off?

And on a much more mundane note, sometimes (actually, very very often), ordinary people just have incompatible ethical axioms. Sometimes people have genuinely different values, and there are no rational means to sort out which value-set to choose. I suspect this is at least part of the reason for the rationalist community’s skew towards mistake theorizers, in that their favored intellectual tool has more-or-less nothing to offer when it comes to selecting your values (=ethical axioms, =terminal goals, etc). I mean, of course rationality is good for diagnosing contradictions in your value set, but it can’t tell you how to resolve those contradictions. That’s the domain of intuition, empathy, and aesthetics, were data cannot light your way.

However, I do not agree with the conflict theorists’ underlying sentiment that if “the good people” were just in charge, everything would be better. After all, there are all those pesky technical problems with unintuitive solutions getting in the way, requiring all kinds of expertise and thorough empirical study and uh, plenty of them might not even be solvable.² This is a huge deal. It’s incredibly easy to have the best of intentions and still make horrible mistakes by virtue of just... happening to have the facts wrong. Not through malice, or self-interest, or even some nicely-explainable sociological bias like white fragility or whatever. Just because problems are hard, and sometime you will fail to solve them. Even when people’s lives and livelihoods are at stake.

Here’s a handy latex-formatted table for your comprehending pleasure:

lol, we live there.

So this all sounds a bit pessimistic and, well, I suppose it is. I think we have a responsibility to acknowledge the gravity of our situation. We could, conceivably, live in a world that was structured according to either the conflict theorist’s vision or the mistake theorist’s vision, but we don’t. We live in a much scarier world, and if we don’t face that terrifying reality head-on, we’re not going to be able to overcome it.

Now, in general, I’d say I spend a lot of my internet-argument-energy-allowance trying to persuade [what I perceive to be] overly conflict-theorizing leftists in the direction of a greater recognition of the genuine technical difficulty of the problems we face. It's probably worth making a separate post about why I think a “denial of unintuitive solutions” is so common on the left, but I’ll just mention here that I think it relates to what I once jokingly called the “Humanistic gaze”. That is, the bias to view everything quite narrowly through the lens of the humanities, and to view all problems as fundamentally sociological in nature. When the world is constructed entirely by humans and human social relations, there’s a level at which nothing can be unintuitive. After all, an intersubjective world must ultimately be grounded in subjective experience, and subjective experience is literally made of intuition.

I usually don’t spend much time pursuing the dual activity (trying to argue liberals out of [what I perceive to be] an overly mistake-theorizing perspective). This is largely because, well, I think the optimistic assumption that mistake theorists make —that most people have basically compatible goals, and that relatively few people are working out of abject self-interest or hatred or whatever— is so obviously false that it doesn’t warrant as much genuine critique as it warrants responding with memes about US war crimes. The principal of charity is best extended to ideas, not people or institutions. You can take the neocons’ arguments seriously without extending charity to the neocons as agents.

The post concludes with Alexander writing

But overall I’m less sure of myself than before and think this deserves more treatment as a hard case that needs to be argued in more specific situations. Certainly “everyone in government is already a good person, and just has to be convinced of the right facts” is looking less plausible these days.

And uh, yeah. Indeed.

So, in conclusion: is politics medicine, or is it war? No, it’s politics.

There are disagreements, and conflicts of interest, and coalition building, and policy-wonkery, and logistics. There is, as with anything involving the state, the implicit threat of violence. (That’s where the state’s power comes from, remember? Whether it’s their power to tax, or their power to enforce individual property rights to begin with. Their power to regulate or build infrastructure or legally construct corporate personhood or whatever. There’s more than a bit of game theory involved, sure, but the rules of the game are set through the armory.) Every scholarly technocrat with double-blind peer reviewed policy suggestions still ultimately just decides who the guns get pointed at, if at several layers of abstraction. Every righteous people’s vanguard is still bound by the mathematics of production and the dynamics of a chaotic world. There are no easy solution, not conceptually easy nor practically easy. And unless we recognize that on a very deep level, we have no chance of fixing anything.

[1] I’d quote my go-to example here, of the truly ghastly stories relayed to linguist R. M. Dixon by the Dyirbal people of Australia about their subjugation at the hands of white settlers, but unfortunately I don’t have his book with me at the moment. Also this post would require several additional trigger warnings.

[2] I mean, after all, there are only countably many Turing machines, and the set of all languages with finitely many symbols has cardinality 2^(aleph_0)!

#society #for posterity

35 notes · View notes