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greysfall · 3 years

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My 4444-word review of NEO TWEWY (with personal illustration + heavy spoilers)

My overall critical score for the game is 7.5/10, while my personal enjoyment score is 8.5/10. This review is posted as I have 80% completed the game, got the secret ending and achieved the Angel psychic rank. I’ll first start with the main pros and cons as follows.

PROS:

- Enjoyable as a whole, still upholding the first game’s spirit in world building and sharing the same backbone - which was mostly revealed in the Secret Reports, it’s impossible to grasp the story without reading them.

- The new cast and new game is charming in their own way

- The old cast’s return is one of the biggest highlights for sure, it was fun and impactful. Everyone stays true to themselves and also had their own stories wrapped up nicely.

- Boss designs are cool, new pins are fun to use and collect

- The connection between the old and new cast is well written and executed, including but are not limited to the tension between the old and new protagonist, the weird but fun interaction between the 2 Composers, the new friendships revealed and formed

- Sho being in the main cast is something so uniquely TWEWY and uniquely Sho

- Still good music

- Still many fun side quests, some of them really uphold the same quirky spirit of the old game and some are surprisingly touching

- Many new nice stores and yummy looking foods to explore

- The map is really easy to memorize for me, it’s fun to travel around the “current” Shibuya to see all the differences compared to the past

- The social network is crazy and interesting to read through

- Has an anti-frustration system to help 100% complete the game more easily and earn money faster, so post-game is relatively managable.

- Overall, I really feel the efforts the team poured into making this as their passion project, not just during the development process but for all the last 14 years. They showed the vision of what they wanted to make, at the same time giving something to both the old as well as new fans.

CONS:

- The biggest problem with the game is scenario writing. The story is so heavily back-loaded. The director himself thought it would be better to balance out the tension flow by adding more at the beginning but gave in to the scenario writer in the end, probably due to time pressure. This results in an underwhelming execution of characterization and lots of wasted potentials for the first half of the game.

- I struggle to view it as a stand-alone game, since the backstory and the old cast both play such an important role in the core of the game. If someone plays this game without having played the OG, they can only enjoy it on surface value at best.

- The new cast is nice but most of them aren’t quite as intriguing as the old cast, maybe it’s cuz they’re all too nice deep down that they lack a little bit of an edge, of that batshit craziness that everyone in the OG used to have? I think some characters (Fret, Nagi) ended up weaker in terms of characterization because the writer is too afraid of making them unlikeable – which kind of backlashed cuz they only became likable in the most expectable way to cater for a specific group of fans. I would have wished for the other team leaders to be more crazy too, had they not suffered 30+ loops of the Game…

- The CAMERAWORK IS HELL.

- Gameplay does get tedious at certain points with all the time travels.

- Shiba is so badly written as a villain, some Shinjuku characters should be given more screentime cutting into Shiba’s– like Hishima or Kaie or even, Hazuki (though his limited presence also solidified his importance).

- Some of the main character designs, for example Beat’s hairstyle and his food reactions are hilariously bad. What’s the point of covering up most of his unique facial features?

- Some of the minor/side characters’ design are too cool for them to have such a small role (eg: Ayano, Eiru). Ryoji did get much screentime but is nowhere as fun as Makoto was.

- Overall the scope of this game is made a little too big for the team to handle as perfectly as the last game that was very compact, it felt somewhat rushed in development too so the missing pieces are clearly there in the final picture

The entry fee versus paying for it all in the end

An important difference between the Neo game and the original Shibuya game was that the Shibuya rule asked for an entry fee that is the Player’s most important asset, stated as a chance the Composer gives them to reexamine themselves. Meanwhile, the Shinjuku rule neither encourages nor allows personal growth and ultimately aims to erase as many Players as possible. It’s a pity we were never introduced to the full Shinjuku rulebook, as it seems like the system there focuses more on building up power and a grand government to compare with the individuality-driven system of Shibuya.

When you have to compare the new game and the original game (OG), this is an important factor to consider. Also, the OG has a serious storyline running through and through, locked with a different partner/GM creating unique atmosphere for each week and you don’t get to see your old partners again until the end. NEO’s team system does not allow such deep insight and communication between the Players. All of your teammates are always there throughout, the dynamic does change with each new addition but it is not as prominent as a partner change.

Another important factor is how the OG was built from scratch for a new platform as “something no one has ever seen before”, while Neo recycled a lot of old unused ideas from the previous development (check out this interview for more details). The development team for NEO lacks 2 key members and had a change of writer so the final product is not as strongly bound together as the last game.

The new cast is definitely inspired by today’s teenagers (from the view of creators), compared to the old cast they’re more sociable and always seem to take whatever works for them despite feeling unstable inside. They are all innocent and genuinely nice kids, avoiding to hurt each other to a degree that they end up keeping some sort of distance. They’re also unable to communicate at deeper levels, always stagnant at this half-baked stage of equilibrium without any motivation to get to the core of things. That is the cost of entering the game without an entry fee, without even dying or having a reason to be there/to fight seriously. These kids were stolen from the RG into a Game that was decidedly the worst environment for them to change or develop, just wandering around cluelessly to find a way “out” until tragedies started to unfold one by one and they ended up being charged the total sum of the price for their actions – ultimately losing everything in the end.

That is, I believe, a story arc which can resonate more to the youth of today rather than of my generation. If the message of the old game was to “listen”, enjoy life to the fullest and accept to trust others, the message of the new game is to “speak up” from the inside, trying to understand yourself and take actions instead of just going with the flow and finally, to take responsibility for such actions.

If Neku was handpicked by the Composer for being the special one with an all-dense soul to ensure victory of the game then Rindo was just a normal kid chosen out of random by Kubo to be his back-up plan, who just happened to have a high enough imagination to awaken the incredible power from his pin. Rindo was then officially chosen by the Composer as Josh picked up and handed the pin to him again, this time not as Josh’s personal Proxy – but as the Proxy to represent the normal people of Shibuya and via whom he could gamble if humans can fight for their own fate.

The underworld heroine and the hero with little of his own

Shoka is for me a refreshing and layered heroine. She’s the kind of character that took at least 3 trials of creators to form as a complete individual – that included Nomura who gave her the base design and Reaper background, Gen who gave a more cunning touch and the writers who made her English dialogues more punchy. Dishonesty equals “tsundere” is such a cliché, so the English writers tried really hard to avoid that trope in my opinion, while still letting her good intention come through.

She serves as the character who is informed of everything the players should have known, and there was almost nothing she could do about it. Almost. Until she met Rindo.

They were drawn to each other by sharing a state of “not having anything of their own”. They both started out with not being able to truly know themselves, Shoka even hated her RG life but also managed to mature from that stage before Rindo. She must have vibed with Shiki’s love and passion in the Gatto Nero threads, initiating her connection with Shibuya and understanding herself more. With Shoka as Swallow, they were able to open up to each other and offer mental support… but was still not getting to the centre of their problems because for all this time, Shoka could not tell Rindo the most important things about herself.

How did Shoka feel when she met Rindo at the UG? She probably didn’t want to hope that he would live the day until she witnessed the Twisters’ potentials. From the very beginning, they were both incredibly conscious of each other and also constantly frustrated that the person they happened to “notice” was such a condescending bitch/a clueless loser. The Shinjuku Reapers are overall quite drunk in power and uncompassionate to Players, Shoka included. She is also a master of dissociation, which results in her constant boredom, tone swings, haughtiness and subconsciously distancing herself from the friend – the boy she cares about – from false hope, as she judged from facts that it was a hopeless situation where nothing could ever be. Maybe she is naturally a bit of a chameleon just like her name suggests (Shoka 紫陽花 = hydrangea, the color-changing flower), so putting on an act and always dissociating herself from what’s important was easy, while hiding her contradiction was impossible. It was the ex-Reaper Beat who broke it out to her, that she should decide whether she really cared and wanted to do something for a change. He knew how it felt like to cross that line, and knew she wanted to too.

Shoka is endeared by many of the Shinjuku Reapers and has shown independent acts of kindness (the Shinjuku ghost), proving that her kind and truthful side is as real as her harsh and dishonest side – which makes her a nice mirror to the previous heroine Shiki, who also embraced a dichotomy of self-complex and self-love within her character. In the end, she was the first of the new cast to ultimately accept all that is important to her and independently made the decision to help save Shibuya despite all costs.

She was jealous at Rindo’s interaction with Tsugumi and Kanon but remained silent cuz she wasn’t at a place to have any say about it. She also didn’t reveal about Swallow because that would only add an awkward irrelevance to their current situation, as she was too ready to face erasure at the end of the Game. She only wished to “play a game” with him, be it FanGo or the Reapers’ Game. The tension that the team could only feel at the end, she’s felt it the entire time. The song “DIVIDE” is applicable to not just one bond in the game, but it always makes me think of theirs. There is always a “divide” between her and Rindo throughout the course of their journey, as the living and the dead, as a Player and Reaper, as someone who has a place to return to and someone who doesn’t, someone who knows little but wields too much power and someone who knows a lot despite not being able to do much.

“If only I had the chance to connect with you on the other side

But time goes on, and without us realizing it

The battle is getting heated

Time goes on, and without us realiazing it

Divided again”

To be honest, maybe I didn’t grow any affection for the new main cast from Rindo’s perspective but from Shoka’s. Since I started to sympathize with Shoka, I started to see the boy in a more “real” way. The real Rindo, behind his peaceful façade with others, would lash out on Shoka for her unfairly harsh attitude while none of the others cared. He could also subtly feel that mantle of unspoken secrets from her, her own contradictions, the unresolved chemistry between themselves – and not knowing what to do with it rather than to feel angry with all the unfairness he could not process. (As a Libra too, he’s triggered the most by unfairness!)

It is actually a positive development as he’s at least “reacting” to something strongly now rather than to keep evading his problems. During my replay, I clearly saw the difficult situation Shoka was in, her remaining harshness after the Motoi incident was due to her internal struggle with a mission to save her own life, versus a chance to really be with the team. Her decision was to do both at the risk of losing favour from both sides. Rindo started to accept her layer by layer, as the person who resonated the most to her contradicting nature from the start and knew that via learning her resolve, he has learnt his too.

Later into the game, she even got too much of his attention. Maybe even without knowing she’s Swallow, he’s familiar with her thinking direction and Swallow had always been closer to him than any other friend. It was only after she had to betray her important ones twice that she could start being truly honest. The scene when she died a 2nd time left a strong impression in me, the little reveal let Rindo know that he is also losing Swallow as he’s losing Shoka – and that only death could drive the last secret out of her. Her final “Later, loser” echoed through Rindo as it was the final truth, with only him remaining to hear it: they had actually, already lost everything.

Rindo was the boy who never dared to face all that matters to him until he lost it all, fighting an unfair battle in the faith that they would somehow still win. Shoka was the girl who always knew what was dear to her, but never dared to think she could be together with them ever after and still threw her all into a battle she knew was losing. I think they stir each other on naturally to fill out their gaps, similar to what the Shibuya game partner systerm would have aimed for. The end reward was a little divine intervention to help close up the divide between them once and for all.

During the game there was not enough space to process anything personal so at the ending when they officially became “friends”, it was an important affirmation of their bond. Some people complained it was friendzoning but it’s not, they just have arrived at the perfect place to start something more. “From now on, we will truly be together” – I read it as that kind of message.

The heroine from a lost battle, with her story taken away

After reading the secret reports and playing the game to be surprised of how small a role Tsugumi had in the main game despite being the “Hype-chan” thought to be a major character of the next TWEWY installment, many fans would feel sad at a missed opportunity to see the Shinjuku arc in full depiction.

It was shown clearly that, a Shinjuku arc was very carefully planned out and is a vital part of the whole story, yet it could not be made due to various circumstances behind the development scene. I would assume, that the team were not able to make a TWEWY game that ended on a despairing note, but it already happened in their mind, thus becoming a mental burden that forced them to break away from it and started the game anew with NEO. A significant part of NEO became the healing arc for the Shinjuku characters, especially for Tsugumi though I really wished more emphasis should have been placed on her rather than Shiba. We didn’t even get to see her brother – Shinjuku’s Conductor who had a vital role and instead was given the clueless Shiba, who had absolutely no idea what’s going on all the way until the last day in NEO. It’s as if Tsugumi has had her story stolen away from her, because her own battle ended with a saddening loss.

I think every time the game creators look at Tsugumi, they would feel that sadness too. Maybe to them, she is a bigger character than what is seen by the fans, as despite their failed effort to depict her story, she’s lived in their mind for all these years through periods of destruction, healing and rebuild. Though it is a pity we could not get to experience the full scope of the Shinjuku story, the creators was clear about the place they wished for it to arrive at.

Individuality, connection and the social network

The team system adapted from Shinjuku rulebook does not allow much room for personal development, as the team dynamic is closer to a work relationship forced to bear results, than a spiritual bond to max out all corners of understanding as found in the partnership system. The old Shibuya system allowed only 1 winner and 1 week limit per game, while the new rule declares for a 1 winning team and only the team at last place will be erased – the other teams will enter another loop. Furthermore, whichever team to challenge the unwinnable Ruinbringers will face the risk of ending up dead last followed by erasure. As a result, the longest-standing teams are most likely not the strongest ever recorded, but the ones who have figured out a strategy to simply survive until something changes, enjoying their newly found social constructs while they are at it. Basically, it is a system to hypnotise players into the illusion that they are still “living”.

Therefore, we as players would not get to the core of each Player individually as fast and directly as we did in the last game. The Twisters were able to stand out not because they’re powerful, they only started to have a real chance after growing enough to each form a meaningful and personal connection to another teammate. It did not come as a team, nor did it intiate from the existing friendship between Rindo and Fret. In fact, I did not find much solidity or anything truly note-worthy about the main team and new characters within themselves until they started clashing with other team members, Reapers and new recruits from week 2 onwards. Rindo found his personal development with Shoka (via a clash with Motoi and pretty much a mini dating sim between them), then via the confrontation of his role with Neku; Fret found his with Kanon then Nagi, the team learned about the real Neku via Beat, Neku entered the UG via Coco’s wish to save Tsugumi… it was not the team but their personal links that empowered them to fight and solve each of their problems.

The other team leaders may have failed because they did not form such personal links, after 30+ hopeless loops Fuya’s team all fell apart to pursue their own interest even at the cost of erasure, Motoi quit his KOL façade to work like a dog for the Reapers (probably to save just his own ass not his team), while Kanon dropped her tricks to find changes via honest cooperation in acceptance of a fair loss. The despairing note in that is huge without making much of a scene because their failure didn’t happen at their best effort to “win”, but in their last attempt to find a way “out”. Even Shiba got his way “out” in the end thanked to his personal friendship with Hishima and Tsugumi.

Something has shifted in the mindset of the game creators in the last 14 years, as both games are about “connection vs individuality” but the last game focuses more on connection between just individuals and this one on the overall network that is formed out of those individual connections.

The introduction of Beat into the main cast was truly the bridge between old and new, they helped each other out in several turns before officially recruiting him. Beat is a character whom a lot of fans including myself have felt somewhat concerned about after Neku disappeared from the RG, so when the new kids welcomed Beat with warm and organic interaction and Beat seemed happy, I started to feel like I wanted to help them out too! I think the overall team chemistry is enjoyable enough for new players, but I could warm up to the new kids more from the pov of a returning character – whom I’m glad to be Beat, as the older brother figure who is genuinely kind, fun, serious and upbeat at the same time; who is needed and needs the kids in return.

The social network is a fun and refreshing feature. You can read all of the crazy tidbits about Shibuya and the links each character have formed with the town people, it’s also fun to visualize how the characters act off screen. Characters’ profiles provide extra insight into their background too, like how it reveals Tsugumi has been friend with Coco during her time in the RG. During the game when not all characters have showed up, you can sometimes guess which empty spot will belong to whom. For example there is a 1 character linking to Neky that is not linked to anyone else, so I could guess that was Joshua, and that another character linking only to Joshua was probably Hazuki, hinting that the 2 Composers are related before either of them even showed up.

Hazuki only showed up for 5 minutes, but his presence is so vital and true to the game that I think he is the most memorable out of the new cast. The two Composers have such an intriguing bond, with their yin/yang or phoenix/dragon themes, opposite color design, the sempai/kouhai tone and the way they keep some sort of distance/work relationship as if it’s mandatory between Higher beings, yet at the same time they can talk so casually because they are truly equal – and different from one another. I have written a separate meta on them here.

Some people pointed out, that all Shinjuku characters’ names and themes are based off Hanafuda cards and the Phoenix in Hanafuda belongs to the Paulownia suit – which is Joshua’s name flower. This is so interesting because it feels like the creators somehow saw it as a sign to interweave the Shibuya and Shinjuku storylines together. Though it doesn’t come out much on the surface, it’s fascinating nonetheless considering both Josh and Haz had at some point interfered with the other town’s affairs.

“Shibuya tour with Haz” was such a special scene, as it happened between 2 characters who do not/no longer have a reason to care about Shibuya, on the subject of what is worth saving about Shibuya. Hazuki carried out the purification of Shinjuku and stepped in to restore Shibuya just as part of his job and unlike Hanekoma or Joshua who both possess profound understanding of humanity, he really didn’t know humans at all. Rindo’s irrational wish invoked in him a sense of curiosity, to try gambling on something irrationally and learning a bit of what his senior have experienced. With all the pieces put together, it provides an overview on Higher beings as a whole, and that Joshua and Hanekoma are really the odd ones out with Hazuki being somewhere in between them and the rest.

The old friends

It’s easy to have returning characters overshadow the new cast as they have already matured out of their personal story arc and stayed in our hearts for all this time. In the end, I have managed to enjoy both the old and new cast separately and altogether, and they will both find their own place in our memory of this game for the long term.

Sho is truly as crazy as ever, the game wouldn’t be the same if Sho is any less of what he is. Sometimes it doesn’t feel like Neky or Beat is younger than Nagi at all, with moments when it seems like Neky has aged 14 years instead of 3 years. His friendship with Coco surprised me pleasantly, and their interaction together with Beat was fun to watch. Rhyme’s found a new dream and her friendship with Kaie is precious too, especially considering that she can still talk to him online after the game ended. Josh and Neku’s interaction suggested that they have resolved the past and are on equal terms now, they even parted ways in good spirit and I don’t feel any worry about them like I did before.

Neku and Shiki’s reunion scene was beautiful, theirs is such a special bond that it has grown and supported them even without being able to see each other. I am so happy to see them all again and that they stay true to who they are, albeit looking more grown up, cooler and happier than ever before.

Overall, NEO can’t become a classic on par with the OG, but is definitely a good sequel and a good game in its own rights. I’m happy with whether or not there will be a 3rd game to complete the 3 monkeys theme, but if there will be – I hope the creators can really find the time to learn from the last 2 games and start over with a fresh mindset and strong core.

#neotwewy #neotwewyspoilers #ntwewy #ntwewy spoilers #neo the world ends with you #twewy #review #meta #neo twewy #shoka sakurane #rindo kanade #tsugumi matsunae

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autisticsupervillain · 3 years

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An interesting point to make is how Vlad Masters nearly qualifies as both a Magnificent Bastard and a Complete Monster, but he just narrowly misses both marks.

On the Complete Monster side of things, Vlad is honestly the vilest recurring villain on the show by a pretty wide margin. For starters, he hurts Danny on a personal level to an extent unmatched by everyone other than Dark Danny. His longstanding goal is to kill Danny's father and steal his family, simply because Jack "stole" is college crush from him, for starters. To that end, he's willing to: manipulate the teenaged Valerie into becoming a ghost hunter, putting both her life and Danny's at stake. Create expendable clones of Danny, none of which he has any problems with abusing or disposing of despite their love for and loyalty to him. He even brutally tortures Danny so as to extract the data he needs to create the "perfect" clone of him, even attempting to callously risk Dani's life to that end. And even in his first appearance, he possesses Jack in an attempt to ruin his relationship with Maddie.

Of course, when he isn't trying to seduce Maddie and kill Jack, he's fighting Danny for incredibly petty reasons. His crimes under this banner include but aren't limited to: leaving Sam, Danny, and Tucker at the mercy of Salem witch hunters so he can steal their scroll and take over the world, take over Danny's town and ruin his life to win a prank war, forces the ghosts of animals he's killed to serve him, and even poisons Danny's friends, happy to let them die along with him if he isn't saved.

Then, of course, there's his final and most heinous outing. After finally getting his arch-enemy to retire, he openly threatens the world with obliteration unless they elect him as their absolute leader, jeopardizing billions of lives in his quest to take over the world and humiliate Jack.

Vlad is perfectly willing to attempt a body count far exceeding even the most ambitious of the show's villains. His only real rival in either area is Dark Danny, who at least had the excuse of his family dying and having to maintain his own existence. Vlad's excuse is his crush married someone else because of an accident. That quickly falls apart when Masters of All Time reveals just how horribly Vlad would've treated her if things had gone his way to begin with.

However, as monsterous as Vlad, he's ultimately shown to be redeemable. He shows that he had slivers of humanity within him, as he sympathizes with Danny when he loses his family and tries his best to numb the boy's pain. That alone is enough to disqualify him from this, nevermind his guilt induced redemption when things fail.

On the Magnificent Bastard end of the scale, Vlad shows he's Danny's arch enemy for a reason on multiple occasions.

In Reign Storm, Vlad attempts to steal the Ghost King's ring and crown, only for that to backfire when the King wakes up. What follows is Vlad masterfully improvising by manipulating everyone he interacts with, ultimately culminating in him stealing both the Ecto-Skeleton and the Crown of Fire, all while turning the Fright Knight to his side and repairing his relationship with Maddie. He wins on all fronts and never loses his cool throughout the episode, even when he faces down opponents miles out of his league.

When Danny and Co get their hands on a scroll that allows them to traverse time itself, Vlad catches up with them and steals it by playing the time period against them, coming up with multiple back up plans along the way. When one time period doesn't work out, he just travels to another and adjusts his strategy accordingly, only losing when the scroll itself turns against him.

Even at the start of Season 3, Vlad proves his savy by effortlessly taking over the town from undeg Danny's nose, before using his position to turn everyone against Danny Fenton. When Danny regains the public vote, Vlad turns the effort against him by handily defeating him in front of everyone before allowing his human half to "save the day". Only a last minute gambit on Danny's part prevents Vlad's absolute victory and, even then, the episode ends in a stalemate with Vlad as mayor.

The problem arises when you realize how inconsistent this level of hyper competence is for Vlad.

When Jack Fenton alone arrives to stop Vlad from stealing his portal, Vlad gloats about having the perfect opportunity to kill him. He then proceeds to get his ass kicked, whining indignantly about how impossible his defeat is as he's tossed into the portal.

When Jazz shows up at his front doorstep claiming she wants to live with him, Vlad ignores all the obvious red flags she gives him simply because she keeps insulting Jack and praising his ego. Jazz would've gotten in and out without raising a blip on Vlad's radar if Danny hadn't gotten caotured.

Then, of course, there's the time he succeeded in getting himself alone with Danny and Maddie. Does he try to slowly seduce her whilst planting doubts in her mind about Jack? Nope. He spills his guts about hating Jack and expects her to just drop Jack in a heartbeat to be with him. She storms out. Nevermind Vlad ends the episode by getting chased into the woods by his own minions.

Of course, none of this is a knock against Vlad as a character. Complete Monster and Magnificent Bastard aren't the be-all and end-all of villainy. It's just funny to note that Vlad comes close to hitting the two big villain tropes on TV Tropes, only to miss both by inches. Vlad is Danny's arch enemy because he's the most personal of all his foes. Not because he's the most brilliant or most monsterous. If anything, this zig zagging makes Vlad all the more dangerous. He's pitiful and easily humiliated one day, monsterous and magnificent the next. For all his shortcomings, Danny still better watch his back. "Funny, joke around Vlad isn't here today!"

#danny phantom #danny fenton #vlad masters #vlad plasmius #magnificent bastard #complete monster

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froggysoup · 3 years

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wowee

Alrighty I’m just gonna ramble on about my thoughts on the new quest (and things in general because I talk too much) and pray that at least some of it ends up coherent. Spoilers, by the way.

I’ve had this first theory since the last archon quest but got nervous and didn’t share, so here it is now. Maybe it’s an obvious thing that I’m just in the dark about, but I’m fairly sure that Dainsleif’s “Boughkeeper” title has a large part in explaining why he knows so much about things he really shouldn’t. From the newest quest, we learn that he is actually cursed with immortality, which could explain some it, but the guy still knows too much for it to simply be chalked up to his age. He’s literally the designated narrator for half of the official videos and knows a lot about what and who he talks about.

I suspect that the ley lines serve as an information network of some sort, and that Dainsleif’s position as Boughkeeper allows him access to it in one way or another. The only other places we really see the whole tree/branch thing is with the ley line branches, Irminsul trees, the Frostbearing Tree, and the tree who once had roots that spanned the whole continent (which we know the ley line branches were once directly a part of), all of which are connected in a way that I haven’t quite figured out yet.

Now, from those screens that come up while the game is loading, we know that supposedly, the intertwined roots of the Irminsul trees far beneath the earth determine the pattern of the ley lines above, and we also know that ley lines are a “mysterious network that links the whole world together” and that they are said to remember everything that happens in the world. From this, I don’t think it’d be that much of a reach to say that Dainsleif can access that somehow.

Next. I do think there’s a pretty good chance that the Archons were involved in the destruction of Khaenri’ah. The Viridescent Venerer set actually tells us how the former Dendro Archon died during the cataclysm while in Khaenri’ah, which. Uh. That’s kind of really incriminating.

However! Obviously, we’ve only heard this from Dainsleif’s point of view and he’s pretty biased considering his whole thing. We don’t know how much control Celestia has over the Archons’ actions, either, and I’m about 98% sure that some of them weren’t into it, and likely didn't even have a choice. Like, look at the Tsaritsa. Her whole thing is that sometime during the cataclysm, she witnessed something so view-shattering and unjust that her whole thing now is to “burn away the old world” and overthrow Celestia.

I also can’t see Venti and Zhongli going along with the destruction of an entire nation with no hesitation. Like, obviously, again, Dainsleif is going to be biased, but from what we’ve been told Khaenri’ah didn’t even do anything divine-retribution-worthy. Celestia just seems be into dropping skyscraper-sized pillars and other things onto nations who get too good at being independent, for whatever reason. The new quest is definitely supposed to make us question the current systems of this world but I don’t think we’re meant to hate Venti or Zhongli, at least yet. I think they’re even kind of meant to be seen as the “best” out of the Archons, so to speak. (Not that I think they’re perfect, by any means.)

Like, just look at the way they’ve been presented to us, versus how some of the other Archons have been introduced (Storyline Trailer, my beloved).

Raiden Shogun is made out to be some self-absorbed divine ass-kisser who doesn’t have humanity’s best interests at heart (which we know is supposed to be a thing you do as an Archon). She’s doing her whole confiscating visions and oppressive rule thing in an effort to be seen as more divine, but, as Dainsleif puts it, “what do mortals see of the eternity chased after by their god?”

The Dendro Archon/God of Wisdom is implied to not actually be as smart as somebody with that title is supposed to be, one way or another, and either has turned a blind eye to or blatantly encourages the “push for folly” in Sumeru. Can’t tell exactly what that would mean or entail (thanks, Dainsleif), but obviously. Doesn’t sound good.

Dainsleif says of the Hydro Archon that she “lives for the spectacle of the courtroom, seeking to judge all other gods. But even she knows not to make an enemy of the divine.” While the not making an enemy of the divine thing I get (I guess, coward), the whole “seeking to judge all other gods” bit seems very “remove the log from your own eye”-y. Like, you’re an Archon, too, what are you trying to prove here?

The Tsaritsa is- well, the Tsaritsa, as we know. While I do think we are meant to sympathize and agree with at least part of her core ideals and motives, she still is the one behind the Fatui and is, by extension, a war criminal. She also apparently has “no love left for her people”. It’s a bit of a complicated relationship that we have with her.

The only ones who Dainsleif does not directly slander in the trailer are Venti, Zhongli, and Murata. While I don’t think we have enough on her to come to any conclusions about her character yet, Venti does say of her that she is a “wayward, war-mongering wretch”. Now, he does also jab at Rex Lapis during this voiceline, but unlike with Murata we know that those two are buddy-buddy and it was very likely that it was “buffoon (affectionate)”.

Venti and Zhongli are also the first two Archons we encounter, which is important for multiple reasons.

Gonna derail for a bit because I don’t know where to start. But. The game very likely will (or at least should) end with no Archons.

Obviously, especially in light of the new quest (although this stuff has been floating around since the Dragonspine update and even before that), Celestia Bad. Like, cataclysmically bad (lmao). In fact, I’m highly certain that you could trace basically every problem in this game back to them, some way or another.

Even our main “villain” groups all seem to be gunning for Celestia. The Fatui obviously work for the Tsaritsa, who’s made it very clear that she plans to rebel against the divine. The Abyss Order, too, has their Deeply Upsetting plan of creating a mechanized god with the power to “topple the divine thrones of Celestia”.

Evidence points to an overthrow of Celestia at some point in the game, and considering how being an Archon or even a god is directly tied to Celestia, yeah. No more Celestia means no more Archons.

But even besides that, there’s a lot there to suggest that that’s where things are going.

I find it interesting how Mondstadt’s our prologue chapter, or that there’s even a prologue chapter of the game at all. Prologues are meant to set up ideas that will be present throughout the rest of the story, and Mondstadt does exactly that. Venti’s let the people of Mondstadt govern themselves and has almost completely been out of the equation for millennia, even if that means he is significantly weaker than his godly peers. When asked why he chose to do that instead of remain in charge and just give them freedom, Venti responds that “freedom, if demanded of you by an archon, is really no freedom at all.” This sentiment is also brought up in the Mondstadt portion of the storyline trailer, and the traveler even has a whole voiceline debating what Venti really meant when he said that.

This idea of freedom and that humanity is capable on its own is further reinforced in Chapter 1, in which Liyue learns to move on from the death of its Archon. Zhongli set up his plan with the intention of testing if his people could stand on their own legs without him there to guide them, and they do. He even expresses how pleasantly surprised he is that the Qixing were able to take advantage of the situation and seize control like they did. Keqing gives us this whole speech when we first meet her about how the adepti and gods underestimate humanity’s capability and how Liyue’s future is meant to be a godless one. This, in a way, extends to the rest of the continent as well.

In the storyline trailer (which I quote too often, I’m sorry. My favorite and only party trick is that I got bored one day and memorized the whole thing), Dainsleif spends the entire Khaenri’ah section musing about something similar.

“In the perpetual meantime of a sheltered eternity, most are content to live and not to dream. But in the hidden corner where the gods’ gaze does not fall, there are those who dream of dreaming,” is obviously about the people of Teyvat vs. those in Khaenri’ah. While a future under the care of the Archons is a safe and reliable one, is it one that allows humanity to chase its potential to the fullest? Khaenri’ah was destroyed for flourishing like it did without gods, both as a punishment and a warning to everybody else.

“Some say a few are chosen and the rest are dregs, but I say we humans have our humanity.” This is in reference to visions. Throughout the game, this idea that, at least in the eyes of the gods, vision holders are more important than those without them, is constantly brought up.

In the commission “Leaves on the Wind”, Dr. Edith expresses how it often seems as if vision holders are the main characters of this world. From the notebooks we receive during the “Time and Wind” world quest, we learn that the Sumeru Academia actually discourages non-vision holders from conducting outdoor surveys, and how “these days... trying to be an academic when you don't have a Vision, it's really restricting...” Dainsleif even just straight up asks us what we think the gods think of vision holders and people in general during question time in that one quest.

In Lisa’s stories, we learn that the reason for her laziness is that a part of her is afraid of learning or doing too much, after witnessing what “uninhibited erudition” can do to people during her time in Sumeru. She also senses that something beneath the surface is happening regarding the distribution of visions. “For whatever reasons, the gods gave humans the key to changing everything, but they did not explain the cost involved. Lisa grew fearful of the truth.”

I forgot exactly where I was going with that last paragraph, but yeah. There’s definitely sketchy shit going on behind the scenes in regards to visions, possibly to keep people either quiet or complacent. I suspect it may even be to restrict access to certain knowledges or even the elements themselves. Anyways.

I lose track of my thoughts too often. Fuck. Right. Mondstadt and Liyue served as good examples of society under the rule of the Archons, and in Chapter 2 we will encounter our first bad example, showing us the pros and cons of the current situation. However, despite Zhongli and Venti seeming to genuinely care for their people, humanity’s wellbeing shouldn’t be reliant on how their god is feeling that day, and they shouldn’t have to look to the gods for a chance to become something greater than themselves, either.

Um. All that’s to say I’m just very excited to see where the story will go, and if Zhongli’s contract with the Tsaritsa is any indication then it’s gonna go somewhere good. Celestia bad, Archons bad but also not bad but also bad, I don’t know if what I just wrote actually even counts as understandable, thank you and good night.

#i talk too much without saying anything substantial i'm so sorry #genshin impact #genshin impact theory #does this count as dainsleifposting?#i'll tag it anyway #dainsleifposting

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vickyvicarious · 3 years

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Leverage Redemption Pros/Cons List

Okay! Now that I've finally finished watching the first half of Leverage: Redemption, I thought I'd kind of sum up my overall impression. Sort of a pro/con list, except a little more just loosely structured rambles on each bullet point rather than a simple list.

This got way out of hand from what I expected so I'm going to put it all under a cut. If you want the actual bulletpoint list, here it is:

PROS

References

Continuity

Nate

Representation

Themes

New Characters

General Vibe

CONS

'Maker and Fixer'

Episode Twins

Sophie's Stagefright

Thiefsome

You might notice the pros list is longer, and that's because I do love the show! I really like most of what it does, and my gripes are fewer in number and mostly smaller in size. But they do exist and I felt like talking about them as well as the stuff I loved.

PROS

References

There is clearly so much love and respect for the original show here. Quite aside from the general situation, there's a lot of references to individual episodes or character traits from the first show. For example, Parker's comments on disliking clowns, liking puppets, disliking horses, stabbing vs. tasing people. The tasing was an ongoing thing in the original, the stabbing happened once (S1) but was referenced later in the original show, the clown thing only had a few mentions scattered across the entire original show. The puppet thing was mentioned once in S5, and the horses thing in particular was only brought up in S1 once. But they didn't miss the chance to put the nod to it in there; in fact with those alone we see a good mix of common/ongoing jokes and smaller details.

We got "dammit Hardison" and "it's a very distinctive..." but also Eliot and Parker arguing about him catering a mob wedding, and Eliot being delighted by lemon as a secret ingredient in a dish in that same episode (another reference to the mob episode). Hardison and Eliot banter about "plan M", an ongoing joke starting from the very first episode of the original show. We see Sophie bring up Hardison's accent in the Ice Job, Parker also makes reference to an early episode when describing "backlash effect" to Breanna, in an episode that also references her brother slightly if you look for it.

Heck, the last episode of these first eight makes a big deal out of nearly reproducing the iconic opening lines of the original show with Fake Nate's "we provide... an advantage." And I mean, all the "let's go steal a ___" with Harry being confused about how to use them.

Some of the lines are more obviously references to the original show, but they strike a decent balance with smaller or unspoken stuff as well, and also mix in some references between the team to events we the audience have never seen. If someone was coming into this show for the first time, they wouldn't get all the easter egg joy but most of the references would stand on their own as dialogue anyway. In general, I think they struck a good balance of restating needed context for new viewers while still having enough standalone good lines and more-fun-if-you-get-it callbacks.

Continuity

Similar to the last point, but slightly different. The characters' development from the original to now is shown so well. I'm not going to go on about this too long, but the writers clearly didn't want to let the original characters stagnate during the offscreen years. There was a lot of real thought put into how they would change or not.

It's really written well. We can see just how cohesive a team Parker, Hardison, and Eliot became. We get a sense of how they've spent their time, and there's plenty of evidence that they remained incredibly close with Sophie and Nate until this past year. The way everyone defers to Parker is different from the original show and clearly demonstrates how she's been well established as the leader for years now - they show this well even as Parker is stepping back to let Sophie take point in these episodes. Eventually that is actually called out by Sophie in the eighth episode, so we might see more mastermind Parker in the back half of the show, maybe. But even with her leading, it's clear how collaborative the team has become, with everyone bouncing ideas off one another and adding their input freely. Sometimes they even get so caught up they leave the newbies completely in the dust. But for the most part we get a good sense of how the Parker/Hardison/Eliot team worked with her having final say on plans but the others discussing everything together. A little bit more collaborative than it was with Nate at the helm.

Meanwhile Sophie has built a home and is deeply attached to it. She and Nate really did retire, at least for the most part, and she was living her happy ending until he died. She's out of practice but still as skilled as ever, and we're shown how much her grief has changed her and how concerned the others are for her.

There's a lot of emphasis on how they all look after one another and the found family is clearer than ever. Sophie even calls Hardison "his father's son" - clearly referring to Nate.

Nate

Speaking of Nate! They handled his loss so, so well. His story was the most complete at the end of the last show, and just from a narrative point, losing him makes the most sense of all the characters. But the way he dies and his impact on the show and the characters continues. It's very respectful to who he was - who he truly was.

Nate was someone they all loved, but he was a deeply flawed individual. Sophie talks about how he burned too hot, but at least he burned - possibly implying to me that his drinking was related to his death. In any case, there's no mystery to it. We don't know how he died but that's not what's most important about his death. This isn't a quest for revenge or anything... it's just a study of grief and trying to heal.

Back to who he really was real quick - the show doesn't eulogize him as better than he was. They're honest about him. From the first episode's toast they raise in his memory, to the final episode where Sophie and Eliot are deeply confused by Fake Nate singing his praises, the team knows who he was. They don't erase his flaws... but at the same time he was so clearly theirs. He was family, he was the man they trusted and loved and followed into incredibly dangerous situations, and whose loss they all still feel deeply.

That said, the show doesn't harp on this point. They reference him, but they don't overwhelm new viewers with a constant barrage of Nate talk. It always serves a purpose, primarily for Sophie's storyline of moving through her grief. Anyway, @robinasnyder said all of this way better than me here, so go read that as well.

Representation

Or should I say, Jewish Hardison, Autistic Parker, Queer Breanna!

Granted, Hardison's religion isn't quite explicitly stated to be Jewish so much as he mentions that his "Nana runs a multi-denominational household", but nonetheless. He gets the shows big thesis statement moment, he gets a beautiful speech about redemption that is the emotional cornerstone of that episode and probably Harry's entire arc throughout the show. And while I'm not Jewish myself, most of what I've seen from Jewish fans is saying that Hardison's words here were excellent representation of their beliefs. (@featherquillpen does a great job in that meta of contextualizing this with his depiction in the original show as well.)

Autistic Parker, however, is shown pretty dang blatantly. She already was very much coded as autistic in the original show, but the reboot has if anything gone further. She sees a child psychologist because she likes using puppets to represent emotions, she stims, she uses cue cards and pre-written scripts for social interactions, there's mention of possible texture sensitivity and her clothes are generally more loose and comfortable. She's gotten better at performing empathy and understanding how people typically work, but it's specifically described as something she learned how to do and she views her brain as being different from ones that work that way (same link). Again, not autistic myself but from what I've seen autistic fans find a lot to relate to in her portrayal. And best of all, this well-rounded and respectful depiction does not show any of these qualities as a lack on her part. There's no more of those kinda ableist comments or "what's wrong with you" jokes that were in the original show. Parker is the way she is, and that allows her to do things differently. She's loved for who she is, and any effort made to fit in is more just to know how so that she can use it to her advantage when she wants to on the job - for her convenience, not others' comfort.

Speaking of loved for who you are.... okay, again, queer Breanna isn't confirmed onscreen yet, and I don't count Word of God as true canon. But I can definitely believe we're building there. Breanna dresses in a very GNC way, and just her dialogue and, I dunno, vibes seem very queer to me. She has a beautiful speech in the Card Game Job about not belonging or being accepted and specifically mentions "the way they love" as one of those things that made her feel like she didn't belong. And that scene is given so much weight and respect. (Not to mention other hints throughout the episode about how much finding her own space meant to her.) Also, the whole theme of feeling rejected and the key for her to begin really flourishing is acceptance for who she is, not any desire for her to be anyone else, is made into another big moment. Yeah, textually that moment is about her feeling like she has to fill Hardison's shoes and worrying about her past, but the themes are there, man.

Themes

I talked a bit about this yesterday, so I'm mostly just going to link to that post, but... this series so far is doing a really good job in my opinion of giving people arcs and having some good themes. Namely the redemption one, from Hardison's speech (which I'm gonna talk a little more about in the next point), and this overall theme of growing up and looking to the future (from above the linked post).

New Characters

Harry and Breanna are fantastic characters. I was kind of worried about Harry being a replacement Nate, but... he really isn't. Sure, he's the older white guy who has an angsty past but it's in a very different way and his personality and relationships with the rest of the crew are correspondingly different. I think the dynamic of a very friendly, cheerful, kind, but still bad guy (as @soundsfaebutokay points out) is a great one to show, and he's got a really cool arc I think of learning to be a better person, and truly understanding Hardison's point about redemption being a process not a goal. His role on the team also has some interesting applications and drawbacks, as @allegorymetaphor talked about. I've kind of grown to think that the show is gradually building up to an eventual Sophie/Harry romance a ways down the line, and I'm actually here for it. Regardless, his relationships with everyone are really interesting.

As for Breanna, first of all and most importantly I love her. Secondly, I think she's got a really interesting story. She's a link to Hardison's past, and provides a really interesting perspective for us as someone younger who has grown up a) looking up to Leverage and b) in a bleaker and more hopeless world. Breanna's not an optimist, and she's not someone who was self-sufficient and unconcerned with the rest of the world at the start, like everyone else. She believes that the world sucks and she wants it to be better, but she doesn't know how to make that happen. She outright says she's desperate and that's why she's working with Leverage. At the same time, Breanna is pretty down on herself and wants to prove herself but gets easily shaken by mistakes or being scolded, which is a stark contrast to Hardison's general self-confidence. There are several times when she starts to have an idea then hesitates to share it, or expects her emotions to be dismissed, or gets really disheartened when she's corrected or rejected, or dwells on her mistakes, or when she is accepted or praised she usually takes a surprised beat and is shy about it (she almost always looks down and away from the person, and her smile is often small or startled). Breanna looks up to the team so much (Parker especially, then probably Eliot) and she wants to prove herself. It's going to be so good to see her grow.

General Vibe

A brief note, but it seems a fitting one to end on. The show keeps it's overall tone and feeling from the original show. The fun, the competency porn, the bad guys and clever plans and happy endings. It's got differences for sure, but the characters are recognizably themselves and the show as a whole is recognizably still Leverage. For the most part they just got the feeling right, and it's really nice.

CONS (no, not that kind)

'Maker and Fixer'

So when I started writing this meta earlier today, I was actually a lot more annoyed by the lack of unique 'maker' skills being shown by Breanna. Basically the only time she tries to use a drone, the very thing she introduced herself as being good at, it breaks instantly. I was concerned about her being relegated into just doing what Hardison did, instead of bringing her own stuff to the table. But the seventh episode eased some of those fears, and the meta I just wrote for someone else asking about Breanna's 'maker' skills as shown this season made me realize there's more nuance than that. I'd still like to have seen more of that from her, but for now the fact that we don't see a lot of 'maker' from her so far seems more like a character decision based in Breanna's insecurities.

Harry definitely gets more 'inside man' usage. His knowledge as a 'fixer' comes in handy several times. Nonetheless, I'm really curious if there are any bigger ways to use it, aside from him just adding in some exposition/insight from time to time. I'm not even entirely sure how much more they can pull from this premise in terms of relevant skills, but I hope there's more and I'd like to see it. Maybe a con built more around him playing a longer role playing his old self, like they tried in the Tower Job? Maybe it's more a matter of him needed distance from that part of his past, being unable to face it without lashing out - in that case it could be a good character growth moment possibly for him to succeed in being Scummy Lawyer again down the line? I dunno.

Episode Twins

This was something small that kind of bothered me a little earlier in the season. It's kind of the negative side to the references, I guess? And I'm not even sure how much it annoys me really, but I just kinda noticed and felt sort of weird about it.

Rollin' on the River has a lot of references/callbacks to the The Wedding Job.

The Tower Job has a lot of references/callbacks to The White Rabbit Job.

The Paranormal Hacktivity Job has a lot of references/callbacks to the Future Job.

I guess I was getting a little concerned that there would be a 'match this episode' situation where almost every new Redemption episode is very reminiscent of an old one. I love the callbacks, but I don't want to see a lack of creativity in this new show, and this worried me for a minute. Especially when it was combined with all three of those episodes dealing with housing issues of some kind. Now, that's a huge concern for a lot of people, and each episode has its own take on a different problem within that huge umbrella, but it still got me worried about a lack of variety in topics/cases.

The rest of the episodes failing to line up so neatly in my head with older episodes helped a lot to ease this one, though. Still, this is my complaining section so I figured I'd express my concerns as they were at the time. Even if I no longer really worry about it much.

Sophie's Stagefright

Yeah, I know this is just a small moment in a single episode, but it annoyed me! Eliot made a bit of a face at Sophie going onstage, but I thought it was just him being annoyed at the general situation. However, they started out with her being awful up there until she realized the poem was relevant to the con - at which point her reading got so much better.

This felt like a complete betrayal of Sophie's beautiful moment at the end of the original show where she got over her trouble with regular acting and played Lady Macbeth beautifully in front of a full theater of audience members. This was part of the con, but only in the sense that it gave her an alibi/place to hide, and I always interpreted it as her genuinely getting over her stagefright problems. It felt like such a beautiful place to end her arc for that show, especially after all her time spent directing.

Now, her difficulty onstage in the Card Game Job was brief and at the very beginning of being up on stage. @rinahale suggested to me that maybe it was a deliberate tactic to draw the guy's attention, and the later skill was simply her shifting focus to make the sonnet easier for Breanna to listen to and interpret, but he seemed more enraptured when she was doing well than otherwise in my opinion and it just doesn't quite sit well with me. My other theory was that maybe she just hasn't been up on stage in a long time, and much like she complaining about being rusty at grifting before the team pushed her into trying, she got nervous for a moment at the very beginning. The problem there is that I think she'd definitely still get involved in theater even when she and Nate were retired. I guess she could've quit after he died, and a year might be long enough to make her doubt herself again, but... still.

I just resent that they even left it ambiguous at all. Sophie's skills should be solid on stage at this point in my opinion.

Thiefsome

...And now we come to my main complaint. This is, by far, the biggest issue I have with the show.

I feel like I should put a disclaimer here that I had my doubts from the beginning about the thiefsome becoming canon onscreen. I thought the famous "the OT3 is safe" tweet could easily just mean that they are all still alive and well, or all still working together, without giving us confirmation of a romantic relationship. Despite this, the general fandom expectations/hopes really got to me, especially with the whole "lock/pick/key" thing. I tried to temper my expectations again when the character descriptions came out and only mentioned Hardison loving Parker, not Eliot, but I still got my hopes up.

The thing is, I was disappointed pretty quickly.

The very first episode told me that in all likelihood we would never see Hardison and Parker and Eliot together in a romantic sense. Oh, there was so much coding. So much hinting. So much in the way of conversations that were about Parker/Hardison's relationship but then Eliot kept getting brought into them. They were portrayed as a unit of three.

But then there was this.

I love all of those scenes of Parker and Hardison being intimate and loving and comfortable with one another and their relationship. I really do. But it didn't escape my notice that there's nothing of the sort with Eliot. If they wanted a canon onscreen thiefsome, it would by far make the most sense to just have it established from the start. But there aren't any scenes where Eliot shares the same kind of physical closeness with either of them like they do each other. Parker and Hardison kiss; he doesn't kiss anyone. They have several clearly romantic conversations when alone; he gets important conversations with both but the sense of it being romantic isn't there.

Establishing Eliot as part of the relationship after Hardison is gone just... doesn't make any sense. It would be more likely to confuse new viewers, to make them wonder if Parker is cheating on Hardison with Eliot, or if they have a Y shaped relationship rather that a triangle. It would be so much clumsier.

Still, up until the Double-Edged-Sword Job I believed the writers might keep it at this level of 'plausible hinting but not quite saying'. There's a lot of great stuff with all of them, and I never expecting making out or whatever anyway; a cheek-kiss was about the height of my hopes to be honest. I mostly just hoped for outright confirmation and, failing that, I was happy enough to have the many hints and implications.

But then Marshal Maria Shipp came along. And I don't really have anything against her as a character - in fact, I think she has interesting story potential and will definitely come back. But the episode framed her fight with Eliot as a sexyfight TM, much like his fight with Mikel back in the day. And then his flirting with her rode the line a little of "he's playing her for the con" and "he's genuinely flirting." The scene where he tells her his real name is particularly iffy, but actually was the one that convinced me he was playing her. Because he seems to be watching her really closely, and to be very concerned about her figuring out who he really is. I am very aware though that I'm doing a lot of work to interpret it the way I want. On surface appearance, Eliot's just flirting with an attractive woman, like he did on the last show. And that's probably the intention, too.

But the real nail in the coffin for me was when Sophie compared herself and Nate to Eliot and Maria. That was a genuine scene, not the continuation of the teasing from before. And Sophie is the one whose insight into people is always, always trustworthy. She is family to the thiefsome. For this to make any sense, either Eliot/Parker/Hardison isn't a thing, or they are and Sophie doesn't know - and I can't imagine why in the hell she wouldn't know.

Any argument to make them still canon leaves me unsatisfied. If she knows and they haven't admitted it to her - why wouldn't they, after all this time? Why would she not have picked up on it even without an outright announcement? Some people suggested they wouldn't admit it because they thought Nate would be weird about it, but that doesn't seem any more in character to me than the other possibilities. In fact, the only option that doesn't go against my understanding of these people and their observational abilities/the close relationship they share.... is that the thiefsome is not a thing.

And furthermore, the implication of this conversation - especially the way it ended, with Eliot stomping off looking embarrassed while Sophie smiled knowingly - is that Eliot will get into another relationship onscreen. Maybe not a full-blown romantic relationship. But the Maria Shipp tension is going to be resolved somehow, and at this point I'm half-expecting a hook-up simply because of Sophie's reaction and how much I trust her judgement of such things. Even if she's letting her grief cloud her usual perceptiveness... it feels iffy.

It just kinda feels like I wasn't even allowed to keep my "interpret these hints/maybe they are" thiefsome that I expected after the first couple episodes convinced me we wouldn't get outright confirmation. (I mean, I will anyway, and I love the hints and allusions regardless.) And while I'm definitely not the kind of fan who is dependent on canon for my ships, and still enjoy all their interactions/will keep right on headcanoning them all in a relationship, it's just.... a bummer.

Feels like a real cop-out. Like the hints of Breanna being queer are enough to meet their quota and they won't try anything 'risky' like a poly relationship. I dunno. It's annoying.

That's the end of the list! Again, overall I love the new show a lot and have few complaints.

#leverage #leverage redemption #leverage spoilers #leverage meta #my meta #this turned into a BIG ol ramble #i planned to write like a couple of sentences for each point but noooo

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snowlily95 · 3 years

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Aerith in light of healthcare provider

So, I've wanted to write an analysis about Aerith in light of her medical viewpoint for quite a long time but only recently got the chance to complete it. It is well known in the game that Aerith is the healer of the story. She possesses a great MP with a limit break to heal and buff people which greatly affects your gameplay. Of course, you can equip others with Healing and Prayer materias to render them useful for healing as well. But story-wise, no one can take away Aerith's status as the healer. We know in canon that Aerith provided herbs to the Sector 5 slums doctor to create medicine. And if you finished the Corneo Stash side quest in Chapter 14, you can return to the church and see a couple of elderly sitting on the pew praying. And when you come closer to them you'll hear them talking about how they didn't see Aerith around and they're sure she's alright and probably be around healing people. You know, since the Sector 7 plate just fell. (Even though Aerith is not alright actually coz she was kidnapped by Shinra by this time) Point is, we are fed by the NPCs on how much Aerith had helped around as a healer. She had been doing this for years.

While being in denial about who she actually is, being a healer had always been implanted in her. She is used to it. When you're used to being a healer, there's a certain level when you have a different reaction compared to others. The way you think is different. Apart from that, she's also a Cetra. And we knew for a fact Cetra had a certain affinity towards souls who are returning to the Planet. Meaning, as much as she is used to healing others, she's also used to sensing death.

My whole point is that being a Cardiac Anaesthesiologist and Intensivist as I am, I can totally relate my position with Aerith, as we both have constantly helped people and encounter death on daily basis. While I'm pretty confident that the majority of these might be coincidences (because I'm pretty sure there are no doctors in the SE team), I thought the coincidences are pretty cool to ponder upon and I'm amazed at how the subtle differences between Aerith's reaction to events from other characters.

I'm gonna ignore the meta part of Aerith, mainly because I'm not discussing how much Aerith knew, and if there was anything in jeopardy of what she knew whatsoever. So we're gonna focus on the fact that she is used to healing and feeling people's death. People who are used to death on daily basis had a certain unique view on life and death. And that affects how we act upon facing them too. While this is evident throughout Remake, I'm gonna focus on the plate drop event to be more concise. I will also use Tifa as a comparison to make it easier to see the difference between the reaction of the two. Let’s start!

1) Aerith is quick in emergency situations.

When you are used to people dying, you developed a certain immunity and you are able to have a sound mind and composure at the sudden change of event. As healthcare providers, we face stable situations turning into critical real fast. And we have a switch in our minds that turns us from standby mode to rescue mode. This is exactly what happened to Aerith when Don Corneo revealed Shinra's plan to blow up Sector 7's support pillar. Tifa is part of Sector 7. It is her home. Which is why her reaction showed how she was super devastated, she slowly stood up and muttered "They wouldn't..." because she couldn't believe it. Aerith? She had that switch in her mind, and she immediately turned and say "Come on, guys! We gotta go!". She switched into that critical mode in a second. It helps that she's also not personally connected to Sector 7, and thus her judgment was not as impaired. Of course, they both switched into the critical mode in the sewer, but it was at the moment of revelation that made it different. Just like how healthcare providers switched at the moment of revelation that their patients are at the brink of death—you immediately jumped into rescue mode.

2) She plans for the worst.

Remember after they defeated Abzu and Tifa started to question Corneo's information? She didn't want to believe it, because it didn't make sense to destroy your years of efforts building the plate just to get back to a small group like AVALANCHE. Think about the money they put in to build it, they're gonna have to put them all again. In fact, along their way out of the sewer, Tifa voiced out multiple times how this had been bothering her. But I'm intrigued with Aerith's reply "If he's telling the truth, then we should go. And if it turns out he was lying, then so what?". This here is exactly what doctors do. We plan and prepare for the worst. And if the worst didn't happen, then so what? If you ever had life-saving surgery, your doctors would tell you "You need this surgery coz you might die. But if you do the surgery, there's a high chance you'll survive, but there's a small chance you'll die too". And we prepare for that small chance that our patients die. No, we don't let our preparations lacking because we hope they'll survive. We prepare for the worst outcome possible and get all the equipment ready in case they'll die. If they didn't, then so what? It doesn't mean our preparations were futile efforts. It only means we were prepared. And that line of Aerith seriously hits home to me.

3) She hopes for the best.

Before they crossed the water sewer, Tifa once again voiced out how she couldn't stop thinking about what Corneo said, and she was still hoping that he was lying. And then Aerith said, "The future isn't set in stone". (Again, I'm gonna ignore the meta part of Aerith) And then she proceeded to set up that small date with Tifa. Believe it or not, this is actually what we do during bad calls. We'd talk about what we would do after all this ends; we'd go out dining, or playing games/darts, or go drinking, or whatever it is that makes us happy. Just to keep our minds calm and to allow us to hope for the future, even if it's just a few hours away. It gives us hope and courage to go on. We plan for the worst, but we hope for the best. The more critical the situation is, the more you need to be level-headed. And needless to say, after this point onwards, Tifa is much more calmed down from her struggle to keep herself focus.

4) She follows orders.

This might sound weird to some, but the ability to cast away your worry and focus on what you can do, instead of what you should do, is important in emergency situations. You need to know what you don't know. You don't get in the way of your comrades. If you're not good at intubating, you don't insist to intubate in emergency situations just because you wanna help. Seriously, you'll just make things worse. When Cloud, Tifa, and Aerith were attacked before climbing up and out of the sewer, Cloud asked both Tifa and Aerith to keep going. Aerith immediately answers "Okay" and left—without a single but. This is significant because it shows that Aerith knew she'd be better off leaving. She doesn't need to offer help, coz her help was not needed. This is not the place where she could help. The ability to recognize this is very important for healthcare professionals. Tifa was a bit more reluctant to leave, but that's probably because she is a martial artist in-game. Also, the fact that Aerith could still joke "We're not delicious" is just so real lol! Yup, we joke sometimes when we're facing deaths—doesn't mean we lose focus in saving the dying person in front of us, don't worry. And then it happens again when they reached Sector 7 when Cloud asked them to stay with Wedge as he goes up, Aerith immediately answered "sure"—because she can "patch" Wedge up, it's where her abilities lie. This is even more accentuated when an injured Wedge argued that he can still fight when he clearly can't—making this point even more obvious. Aerith is someone with a healthcare mind, Wedge was not.

5) She supports her comrades emotionally even when she’s worried too.

When they reached the surface, they spotted a Shinra helicopter. Cloud assured them they're only on patrol. Aerith turned to Tifa and said, "Don't worry, we'll make it in time". This moment is also very iconic to me. As I mentioned, I'm an anaesthesiologist. We are the support doctors to surgeons and physicians. Those moments when we're operating on AAA surgeries and the patient is losing liters of blood and literally dying, we're pumping bloods in with our hands and get those Level 1 machines operating, and the surgeons would be panicking because it keeps bleeding? Yep, I did say it before. "We'll make it. Just concentrate on the surgery and don't worry about the bleeding", even though I'm sweating and dying here trying to keep the patient alive. But I pretended to be calm in front of my team and cheered them on. Because the whole team needs to keep calm. If one of the team loses hope, then bid your chance farewell. As an anaesthesiologist, we're almost like the anchor in the room. People look at us to know if everything's alright. I need to tell them it's alright, so they need not worry. Aerith knew Tifa is worried. And she tried to keep Tifa calm with reassurance. Even if she probably freaked out herself.

6) She doesn’t discriminate.

After they defeated the ghost at the haunted maintenance facility, Cloud tried to kill it, and Aerith didn't let him. When Cloud said that thing was dangerous, Aerith said she knows and added "but even so..." she didn't feel right about killing it. (Let's ignore the fact that the Ghoul was a lonely creature for now) It then goes to drop the train wreck which almost killed them had it not been for Cloud. Now this would have been avoided had Aerith let Cloud killed it—maybe. But here's the thing. When you're hyper-aware that people are dying left and right, you value life more. No one deserves to die, even the worst criminal in the world. You're a law-abiding citizen? You're a criminal? It doesn't make a difference to us. I know this is something super hard to comprehend. But technically only when the law subjects the criminal to the death sentence that a person should be left to die. I've been a doctor for eleven years, I was a prison doctor for two. I had the first-hand experience of dealing with criminals. It's not my job to determine whether they deserve to die or not. It's not my call whether they will turn a new leaf had they lived. I know this is something others find difficult to relate to and agree with—happens to my non-medical family and friends. The verdict to us is simple. It's a life. It's worth saving. Period. (Technically the ghosts are dead though but my point still stands)

7) She tries to her best abilities and lets go of what is out of her control.

Tifa's emotions are tampered with again when they confirmed Shinra was going to drop the plate when they overheard the Turks conversation. Her voice shook, we can literally hear it. Aerith's response was "all we can do now is keep moving". And she's right. When they reached Sector 7 and the Whispers were preventing them, she said "we have to get past whatever it takes". And later on, Tifa left to help Cloud and Barret, and Aerith agreed to get to Seventh Heaven to ensure Marlene's safety. Wedge had a short mental breakdown when he realized he was no good to anyone up or down the crime scene. And Aerith told him "We can still save a lot of lives", "That's no excuse to give up", "I need to know I did everything I could". Her encouragement helped Wedge save more people. Some argued, did she not care about the lives that already died? Now here's my point; no, we don't. Sorry if this sounds harsh, but really. What can we do for people who are already dead? Nothing. What can we do for people who are still alive? Everything. And this is the core of being a healthcare provider—we prioritize. Yes, we're also humans. We can get emotional when our own friends and relatives die. (Aerith might not be as calm had it happened at Sector 5) But when we put the healthcare provider cap on, we mean business. That is why when disasters happened, and we triage people with a black tag? That's when we know we couldn't do anything for them. We don't mourn at the black tags. We move on to the other tags instead. So that we know we already did everything in our power to help. And yes, it doesn't matter even if we lost more lives than we saved. It's worth it, even if we only saved one person out of thousands of deaths. Just like how Aerith saved Betty in Sector 7. That one life is worth it.

#Aerith Gainsborough #Aeris Gainsborough #ff7 aerith #aerith #aeris #FF7 Remake #final fantasy 7 remake #final fantasy vii remake #ffvii remake #ff7remake #final fantasy vii: remake #final fantasy vii #Final Fantasy 7 #FFVII #ff7

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drawlfoy · 3 years

Text

Wonders of Ohio P.10

masterlist request guidelines

pairing: draco x reader

request: no way

summary: american high school senior y/n y/l/n is in for a surprise when her british exchange student is a little...odd.

warnings (AYO please pay attention to these this time it’s not just swearing): swearing, underage drinking (no i do not condone this ig), beginning elements of smut but def not too explicit, i think you can consider it dubcon ?? if both people are drunk bc i don’t think you can actually consent if youre drunk (plz rest assured tho they are both 18 hehe)

a/n: “hey where did this come from” yeah so hey yall ive never written such an intense scene before but i’ve spent so much time w these characters that i decided i kind of had to. there’s no like...real sex in this and i don’t imagine that i’d describe it in this much detail if i ever decided to write it but um.. anyways. i hope y’all enjoy. thanks for suffering for this long ! i hope i’ve made it worth it

word count: 4k

music recs:

cloud 9 -- beach bunny

the adults are talking -- the strokes

anything from the strokes tbh

tags ! :) @gruffle1 @missmulti @cleopatera @hahaboop @accio-rogers @geeksareunique @eltanin-malfoy @war-sword @cams-lynn @itsivyberry @ayo-cowbelly @nerd-domland @yesnerdsblog @shizarianathania @evanstanfanatic @strawberriesonsummer @hariosborn @night-ving @straightzoinked @imintoodeeptostop @naiomimoonshard @jejegu @ophelia-enthusiast @alwaysbeanunknownfan @nearly-memories @litty-dumb @callieclearwater @malfoy-wife15 @charlenasaxen @belladaises @fiantomartell @writeandtranslate @erisdogwood @loveissupernatural @sycathorn-slush @big-galaxy-chaos

“Thank fucking god for the generator,” said Y/N as she flew around the kitchen, banging pots and pans together in her quest to make New Year’s Eve breakfast. Draco was sitting, unamused and completely silent, at the table. They’d been snowed in for a few days now with her parents nowhere near able to make it to the suburbs. For some reason, the entire city of Cincinnati had decided that the day before Christmas was the best time to schedule maintenance on literally every single one of their plows. “Can you imagine living here without heat? Or power? I’d die.”

Draco hummed in response. A glance over confirmed that he was deep in thought, a scarlet colored letter clutched firmly in his hand (hello, Nathaniel Hawthorne). Jealousy curdled inside of her as her thoughts turned to a dark place--it was Pansy, that Pansy Parkinson.

Knowing her intuition, she was probably his grandmother or something. Why else would she have written so many letters?

After she finished plating all of the pancakes, she allowed herself to sneak a peek at the envelope.

Astoria Greengrass

She frowned. Astoria? She’d never seen that name before.

“What is this?” asked Draco as he picked up his fork to poke at the pancake on his plate.

Y/N’s jaw dropped. “Have you never had a pancake before?”

“A pancake?” He gave his plate a stern look. “It looks...like a soggy pastry.”

“Fuck you, I made that,” responded Y/N. “Try it with butter and maple syrup. And then tell me it’s a soggy pastry.”

She took out her fork and knife, demonstrating very clearly what she meant as she spread butter over the top of her pancake. She’d learned that Draco was too proud to ask what she meant when she introduced him to American/muggle foods--the last time he tried to deduce something himself, he ended up pouring ketchup over the top of his hamburger bun instead of actually putting it on the patty.

A sense of satisfaction flowed into her as she saw him follow suit, spreading the warmed butter and dipping a cut piece in syrup. He raised it to his lips, taking a delicate bite.

“Americans really have this for breakfast?”

“Yeah…is something wrong?”

“Nothing. It’s just…” He grimaced. “This isn’t breakfast. This is dessert food.”

“God, your life must be so sad back home,” said Y/N. “What does your family make you eat--just straight unbuttered bread under the guise of it being a real breakfast food? Do they let you dip it in your unsweetened, weak tea if you’re good?”

He scoffed. “You have no idea how I live back at home.”

“And, judging from this conversation, I don’t have any desire to know any more.”

They ate in silence for the next few minutes. Y/N smiled when she saw Draco reach for a second pancake.

“Two desserts? Draco, I know it’s New Year’s, but don’t get too off the hinges,” she teased.

He rolled his eyes, but she could tell her was fighting back a smile. “Speaking of which, how do you celebrate New Year’s?”

Draco looked up and met her eyes. “Sorry?”

“How do you celebrate tonight? With your family or your friends, or your...whatever.” The cold reality of the fact that she did not really know if he was dating someone back home set in.

“Oh, I don’t usually. It’s not really a big thing in the magical community,” he mused, unaware of her sudden panic.

“Well,” she said. “I always celebrate New Year’s with my friends. I didn’t tell you this sooner because I didn’t think that you were going to be here, but I’m kind of hosting a party here tonight. With anyone who can walk here.”

“Oh.” He took a sip of his tea. “Will it be like the Halloween party at Sylvia’s?”

“What do you mean?” She smiled. “Do you mean, will there be drinking?”

He shrugged in response, avoiding eye contact.

“There definitely can be,” she continued, her smile widening. “Last year we played this dumb drinking game over this card game--if you lost, you took a shot. It was fun. We could do that again.”

She settled down to eat, digging into two of the pancakes. They were really good--she wasn’t Gordon Ramsay by any means, but she did breakfast food pretty well. But at the mention of her friends, a realization hit her. “Oh. Draco?”

He raised an eyebrow and met her eyes.

“Um, can I tell you something?”

He dipped his head in recognition while Y/N cleared her throat.

“So, um, I forgot about this,” she began, “but while you were gone, I kind of had to scramble to figure out what to tell everyone about why we were avoiding each other before you left. And why you left so suddenly and why I didn’t know.”

He was still watching her in curious silence.

“So, I really didn’t want to slip up or say anything about...you.” Y/N paused to take a sip of her tea, deciding to not try to look at Draco again. “So I decided to tell Sylvia and Lizzy that I told you my feelings for you and you didn’t return them.”

A clang startled her enough to look up. Draco was staring, completely frozen. His fork had fallen into the syrup on his plate, handle and all.

Fuck. Fuck, fuck, fuck, fuck, fuck.

“I mean, oh, fuck. Um.” She smiled at him, hoping it was going to distract from her audible stumble. “Obviously, I made it all up. I mean, both sides! But what’s important is that they bought it, and now they’re probably going to give you a little shit for not liking me ‘back’. So I’m sorry about that.”

“Made it all up, huh?” His voice had a surprisingly teasing lilt.

“Yes, that is in fact what I said,” she responded, hoping that her cheeks weren’t as red as they felt hot.

“Is it really now?”

“Draco!”

He rolled his eyes. “I’ll be back. I need a new fork.”

“Just wipe off the handle of the one you have now--Draco, why are you getting up? Stop!”

To her disappointment, none of her friends were able to show. Sylvia and Lizzy made a concerted effort to try and convince their family to let them brave the walk, but once another flurry started up outside, it was hopeless. Her face turned pink whenever she thought about the fact that she hadn’t even needed to tell Draco the thing that made her slip up in the first place.

Y/N, disappointed but not surprised, told Draco that she still wanted to celebrate, even if it was just with him. He’d snorted at this--asking her why she made it seem like such a burden--but once she produced a yellow glass bottle and a deck of cards and told him she bet that she was going to beat his sorry ass, he caved.

She started with a heavy lead, but once Draco learned the rules and strategies of the slightly convoluted Go Fish game, he proved to be a worthy match. They played until around 11:45 when the bottle was about 3/4 full and Y/N was feeling the pleasant warmth of being slightly intoxicated. Once she noticed the time, she threw her cards on the table.

“Let’s watch the ball drop,” Y/N said with no further explanation, even when Draco looked to her for one. She grabbed the bottle and his hand, pulling him up the stairs to her room. The remote control for her TV was a struggle to find--it was all the way tucked back in her nightstand drawer--but thankfully the channel was already set.

“You forgot the cups,” Draco said, staring down at the opened bottle held in his hand.

“You can get them if you want,” she managed.

“You should! You forgot them.”

“Too far,” she whined, flopping to lean back on her pillows while Draco followed suit. His hair smelled like peppermint. Without much more thought, she moved close enough that their shoulders were touching. He didn’t move away--instead, he lifted the bottle to his lips and took a drink directly.

“Your New Year’s traditions are weird as fuck,” he murmured as he watched Savannah Guthrie on the screen. He didn’t have to speak very loud for her to hear him, and it seemed like he knew this.

“Oh, you haven’t even heard it all yet,” said Y/N. “We’ve got a tradition to kiss someone going into the New Year. New Year’s kiss, I guess. I’m sure you can imagine the kind of drama that creates.”

“What d’you mean?”

“You don’t have to be dating to kiss someone, sometimes people just...do it. As friends.” Y/N reached over to the bottle and took a swig herself, feeling the warmth trickle down her throat.

“Take it easy,” he tutted, pulling the bottle away from her before taking another drink himself.

“Hey! Says you!”

“Because I can actually hold my liquor well,” he teased, giving her a shove.

“The fuck are you talking about?”

“You just kept getting worse and worse at whatever that game was,” he told her matter-of-factly.

“Give it here,” she said, reaching across his chest to where he was holding the bottle, out and above his head. She hoped he couldn’t tell how much this side of him filled her with glee. “That’s not fair!”

“Not fair, huh?” He raised an eyebrow and met her eyes as he held it up even further into the air. His voice was startlingly low. “So what are you gonna do about it?”

Before she could muster up a response, the TV began playing the audio for the New Year’s Countdown.

10!

Y/N wasn’t sure if she was supposed to answer--or if he was just...flirting?

He managed to set the bottle on her nightstand without taking his eyes off of her.

The hand she had used to reach across him with was now pressed into his side of the bed, supporting her as she hovered over him.

Without moving any part of her body, she dared to glance at his parted lips.

Maybe telling him about the kiss tradition was a stupid idea.

His hand, warm and soft, reached up to brush a piece of hair away from her cheekbone.

His fingers lingered on the outline of her jaw.

He was kissing her before the cheers from the TV even had the chance to bounce around the room, both hands cupping her face and pulling her in so desperately that it took her breath away.

Her hands found his shoulders, then the back of his neck, and then, eventually his hair. It was just as soft as she imagined it to be. They started out innocently enough--closed mouth kisses and only their hands touching each other above the shoulders--but once she tugged on his hair (mostly by accident) something...shifted.

Suddenly he was on top of her, and suddenly her leg was wrapped around him as he tilted his head, deepening the kiss. It occurred to her that this was no longer just a New Year’s kiss. He tasted of lemon and sugar--and was notably better at what he was doing than any of the people she’d kissed before. Or maybe it was the alcohol clouding her judgement. Regardless, she liked whatever was going on. His hands had drifted from her face to her neck to her hair to her shoulder, gently tracing the outline of her bra strap. She brushed her hand down his chest, pulling gently at the collar on his shirt. Only when his leg pressed up into her and her breath hitched did she realize the weight of their situation.

The way he pulled away to hover over her signaled that he’d had the same revelation, his eyes wide as he stared down at her. “Um…”

“Yeah?” Dread crept into her despite the pleasant haze she was in.

He swallowed, hard. “I can’t believe I did that.”

Draco was on the other side of the bed in seconds, wringing his hands and keeping his eyes fixed on her floor. “Oh, my god, I can’t believe I did that. I’m sorry. I’m drunk and I’m not thinking straight. I’m so sorry.”

“Is something wrong?” She didn’t know if he wanted her to touch him, but she wanted so badly to place a steadying hand on his shoulder. “Did you not want...it?”

He scoffed and turned his gaze up to the ceiling. “I had too much to drink. I’m sorry.”

“Oh.” Y/N felt the blood drain from her face as she fell back on the bed.

That’s all it was. A drunken mistake.

Tears pricked at her eyes as she surveyed her options. Despite the fact that she was drunk off her ass, she knew she couldn’t just tell him to leave without making her feelings clear. She never explicitly told him that she wanted him and it wasn’t like she moaned his name or anything--thank god--but what other option did she have? She didn’t want to cry in front of him, and if he stayed in her room any longer he would without a doubt witness her alcohol induced cry fest.

NBC finally switched to ads, and Y/N granted herself permission to mourn the fact that Flo from Progressive would forever be ruined for her.

It was dark enough for her to quickly reach up and wipe her eyes undetected, granting her enough confidence to sit up and look at him directly. “You don’t get to just...kiss me like that. I hope you know that.”

“I know,” he said. His hands were clasped tightly together and rested on his nose. “Fuck. Of course I know.”

“But you can tell me you meant it to be just as friends,” she told him, hoping he couldn’t see how hard she was fighting back a new wave of tears.

“As friends,” he repeated, his tone flat.

“As friends,” she said.

“I don’t think either of us are daft enough to believe that.”

Her stomach twisted. “What do you mean?”

“Maybe things are different in America, but I don’t see you doing that sort of thing with Lizzy.”

“We can forget about this. It’s fine. I know you regret it.”

He exhaled, his breath long and shaky. “I didn’t stop because I regretted it.”

“Then why did you?”

“Because…”

“Is it because I’m a muggle?” His silence was everything she needed for an answer. “Okay. I had a feeling.”

“Y/N, it’s not like...I don’t know how to explain it.” He still wouldn’t make eye contact with her. “I just don’t know what to do.”

“About what?”

“About this!” he said, dramatically gesturing to her. “About everything!”

“I don’t understand.” The tears began pricking in the corners of her eyes again despite her best efforts.

Draco finally looked at her. She was shocked by how genuinely distressed he looked--the last time he looked at her like this, she’d been laying on the ground outside of the antique sore. “I don’t expect you to.”

His tone was low, careful. He was holding back.

“Can you just tell me how you feel about me, then? Just so I know?”

“It’s not that--” He stopped himself, sucking in another breath before he continued. “I shouldn’t. It’s not right of me.” He groaned, flopping onto his back and covering his face. “This wasn’t supposed to happen.”

“Hey,” Y/N said, reaching out to awkwardly pat his shoulder. “I meant it when I said that we could just forget about it. We’re friends, Draco. Just friends. I know you didn’t mean it. Let’s just pretend this never happened, ok?”

He was quiet for a bit before responding. “Did you...want me to kiss you? Did I make you uncomfortable?”

“Uncomfortable?”

“As in, did you want me to stop?”

“Oh.” Y/N cracked her knuckles. “You didn’t violate me if you’re asking to gauge how guilty you should be.”

“I’m glad to hear that, but that’s not why I’m asking.”

“Okay,” she said simply. He was still laying in her bed, and she hated the fact that her bed was going to smell like him until she washed everything.

“So?” He raised an eyebrow. “You didn’t answer.”

“We’re friends, Draco.” She sent him a weak smile as she repeated her previous sentiment. “I trust you, so you didn’t make me uncomfortable.”

She was aware of the fact that her sentence didn’t exactly track, but she wasn’t particularly concerned with the literary quality of her speech.

“That still doesn’t answer my other question.”

“I…” She felt her throat dry up. “I want--I wanted you to kiss me. I’ve wanted you to kiss me for a while now.”

At this, he finally sat up and looked her in the eyes. She thought she could see the briefest glint of relief pass over his face before he managed to rein it back to a neutral expression.

“Did you want to kiss me?”

“I was the one who kissed you, not the other way around, yeah?”

“That still doesn’t answer my question,” she snipped, hoping he caught on to her mocking. She’d missed sparring with him.

“Yes, I kissed you because I wanted to, not for some weird ulterior motive,” he responded, rolling his eyes despite the fact that his cheeks were clearly very pink, even in her dimly lit room. “Though I agree it’s best if we just stayed friends.”

“Yeah.” She felt her face fall, but she managed to catch it before she looked too devastated. “It’s all water under the bridge. Now we know not to drink together again.”

“That too.” He shifted, clearing his throat before making eye contact with her again with an uncharacteristically soft expression. “But the damage is already done, I suppose?”

“I suppose,” she echoed. “You wanted to kiss me? Actually?”

“Should we really talk about this? After what we just said about staying friends?”

“We’re going to feel regret tomorrow morning no matter what we do now, “ said Y/N. “Might as well.”

He smiled one of his rare smiles--the ones where his eyes went all soft and he dipped his head to hide it. “Yes. I really do. Want to kiss you, that is.”

“I really want you to kiss me,” she blurted out before slapping her hand over her mouth in shock. “Fuck. I’m sorry. I didn’t mean to say that out loud.”

His smile morphed into more of a smirk as he crept closer, his hand resting on top of her knee. “So can I do it again?”

“Draco…” She sighed.

“The damage is already done,” he repeated as he reached his hand up to brush a lock of her hair behind her ear, his fingers dragging down her neck. The smug look that formed on his face after she drew a quick breath in confirmed that he knew what he was doing, that fucker. “You said it yourself--we’re just friends.”

“I’m going to hate myself in the morning if I say yes.”

Draco’s hand drifted over her jaw, his thumb pausing to trace over her bottom lip. “You can hate me instead.”

This time, it didn’t surprise her so much when he leaned in. He was notably less desperate, taking time to draw breaths in between kisses and lacing his fingers through hers, squeezing. Once he seemed satisfied, he lifted her chin and brushed the hair away from her neck, kissing down from her jaw to her collarbone. She shivered, and he drew her closer by wrapping his arms around her until she was sitting on his lap.

“Wow, you’re such a good friend, Draco,” she managed to joke. She could feel the smirk that formed on his lips as it passed over her clavicle.

“Shut up.” His teeth grazed over her delicate skin before he sucked, eliciting a gasp from her. She could feel him smile again.

His hands teased the bottom hemline of her sweater, his fingers tangling in the fabric but not moving it. She sucked in a breath, feeling his hands ghost over her skin.

“Are you okay with…”

“Yes!” The answer came out much quicker than she would’ve liked, but the grin on Draco’s face made it completely worth the momentary embarrassment as he helped her out of the thick cable-knit sweater. “Now is your chance to dote on me and tell me how beautiful I am. As a friend, of course.”

“You stole the words right out of my mouth,” he said. He looked like he was positively glowing as she smiled and leaned in to kiss him, slow and deep. His hands found her back and hesitated over her bra clasp.

Before he had a chance to do anything, Y/N started fiddling with the buttons on his white shirt, successfully undoing the first two before she noticed that Draco had frozen completely.

“Is something wrong?”

“Kind of,” he said. “Maybe...not now, okay?”

“I had a feeling that was too much,” she admitted, reaching for her top before realizing he’d tossed it across her bedroom floor and suddenly feeling very exposed.

“It’s not that…” he said, trailing off. “I just...should probably tell you some things before my shirt comes off. And I don’t think tonight is the best time for that.”

“Oh.” Y/N tried to make herself look like she understood whatever he was on about. “Yeah, of course. Oh! Is it about that tattoo you tried to gaslight me into believing didn’t exist?”

“Y/N!” he exclaimed. “I didn’t gaslight you!”

“Here you go again,” she huffed. “I rest my case.”

“And I am not getting into that now,” he said. “I didn’t want to talk about it for very good reason.”

She reached up to his shoulders, dragging her fingertips over his collarbones and watching as he gazed up at her. “That’s okay. We don’t have to do anything you don’t want to.”

The corners of his lips turned up at this, and she took the opportunity to press a chaste kiss on the edge of his mouth. “I think we should go to sleep. We have enough material to regret for tomorrow at this point. Any more and I think we’ll be getting greedy, so--”

Draco cut her off with one last kiss, his fingers splayed out across her back, pulling her impossibly close before finally releasing her.

“Agreed.” He let out a sigh before sliding her off him and standing up to grab her runaway sweater. “Do you want to sleep in this? Or do you want me to get you something else from your dresser while I’m up?”

“Um…” She was frozen at the prospect of him watching her change clothes. “Probably something else. Top left drawer--just pick whatever.”

He sifted through her piles of random T-shirts before settling on one with the UChicago logo and tossing it to her.

Y/N pulled it over her head, grateful for the fact that he wasn’t staring at her with only a black lace bra that barely did its job.

“So, uh, I think I should probably go then,” he said.

She fought the urge to ask him to stay. “Yeah, that’d be best.”

His mouth opened like he was about to say something, but he closed it and frowned. “So I guess this is goodnight.”

“Goodnight, Draco,” she replied. “I’ll look forward to agonizing over this in the morning.”

Once the sounds of his footsteps heading down the hall faded, she finally allowed herself to flop back onto her now Draco-scented sheets.

What the fuck just happened.

final a/n: hellooooooo ! it finally happened! i hope this didn’t seem rushed or unnatural to you guys but like. it’s been over 30k words and i thought you guys deserved something. yes i am going to be leaning into the whole “we’re just friends” trope while definitely not being just friends. yes i am going to drag astoria into this i’m excited i hope yall enjoyed

#draco x reader #draco malfoy x reader #draco imagine #draco malfoy imagine #draco x you #draco malfoy x you #draco #draco malfoy #draco fic #draco fanfiction #draco x y/n #draco malfoy x y/n #draco x oc #draco malfoy x oc

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a-queer-seminarian · 3 years

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Hello, you seem to be knowledgeable about god. Do you know where to find him and what his weaknesses are? I have dedicated my life to hunting him down and killing him for the indescribable amount of suffering he has directly or indirectly caused.

cw: violent language, including about fighting / killing God; as well as discussion of the Shoah / Holocaust later on in the post

(gonna start this long-ass response by saying that yes, i know this anon is probably joking about dedicating their life to hunting down God, but i’m gonna answer it like they’re serious because that’s the kind of person i am haha)

honestly anon, all power to ya! it sounds like my own understanding of God is quite different from yours (for instance, i would claim that God’s main weakness is actually Their best strength, which is compassion and steadfast solidarity) -- but the question of why God allows suffering is one i come back to all the damn time.

if you do track God down -- if God turns out to be a Being that can be tracked down to one location and time -- please do deliver my regards and my sincerest “WTF??”

you’re not the first to demand God answer for the suffering that’s happened on Their watch --

for if God is truly omnipotent, and truly all-loving, why don’t they do something about all this pain??? Indeed, the Bible is rich with similar demands -- from the psalmists to Job to Jesus himself from the cross (quoting a psalm, he cries, “My God, my God, why have you abandoned me??”).

You might already know all this, but if not, the question of God’s place in suffering is often referred to as theodicy, at least in Christian circles.

That term comes from the Greek for god + justice, so what it literally means is “justifying (or vindicating) God”....which I’m not a huge fan of, because it implies that when we explore this question of where God is in suffering, we already know the result will be that God will be proven innocent (or at least “not guilty”).

But do we know that?? See the bottom of this post for an example of a time people of great faith found God guilty!

Anyway, theodicy describes intellectual efforts “to jerry-rig three mutually exclusive terms into harmony: divine power, goodness, and the experiences of evil.“ - Wendy Farley

If you want to learn more about theodicy and the way some theologians have “made sense” of suffering, check out this introductory post I’ve got.

Or wander through my whole #theodicy tag over on my other blog.

I invite you to explore theodicy not in any attempt to convince you of anything, but so you know some of the arguments you’re up against! Honestly, the more i explore theodicy, the less satisfied i am with any justifications for why God doesn’t intervene in the face of so much suffering...so if you do the reading and still conclude God is guilty, i’m not gonna tell you you’re definitely wrong.

Anyway. Like i said, you’re not alone in wanting answers for why God -- however, i don’t know that i’ve seen anyone else with your determination to find and kill God!

(Except, and i hate that i know this lol, that’s apparently the plot of the final season of Supernatural -- they find out God’s a total ass who not only is guilty of negligence but also directly responsible for a lot of suffering for his own sadistic enjoyment. so. they kill the bastard.)

Still, while i don’t know that i’ve seen too many people who want to take God out, the idea of wrestling God is pervasive -- especially within Judaism, but also among some Christians.

i’m very into wrestling God, myself, finding it far more faithful to the God who gifted us free will and invites us into true, mutual relationship than unquestioning obedience.

i have a whole #wrestling God tag over on my other blog.

For the most intense example of wrestling with God i’ve yet seen, with God put on trial and found guilty, keep reading.

_________

cw: discussion of the Shoah / Holocaust below

You might connect to Elie Wiesel’s play The Trial of God, or the movie that was made based off it. Wiesel survived Nazi concentration camps but ceased to believe in God after what he suffered. His play was inspired by something he witnessed while a teen at Auschwitz:

"I witnessed a strange trial. Three rabbis—all erudite and pious men—decided one winter evening to indict God for allowing his children to be massacred. I remember: I was there, and I felt like crying. But nobody cried."

Robert McAfee Brown wrote more about this trial Wiesel witnessed:

“The trial lasted several nights. Witnesses were heard, evidence was gathered, conclusions were drawn, all of which issued finally in a unanimous verdict: the Lord God Almighty, Creator of Heaven and Earth, was found guilty of crimes against creation and humankind.”

Note that in 2008 when commenting on this event, Wiesel clarified that “At the end of the trial, they used the word chayav, rather than ‘guilty.’ It means ‘He owes us something.’”

In the chapter “No God, Only Auschwitz” of his book Embracing Hopelessness, Miguel A. De La Torre comments on this verdict by explaining that if God wasn’t going to intervene, then God must at the least speak -- but instead, God was silent:

“God must be held accountable for refusing to speak to those yearning for God’s voice. Something. Anything. A note of solidarity. A testament of love, accompaniment. But they hear and receive nothing. The trial...ends with God owing us something.

De La Torre goes on to describe the play Wiesel wrote based on this memory, which actually takes place in a 1649 Ukranian village, rather than at Auschwitz. The Cossacks raid the village and kill all but two of its Jewish residents.

“In Wiesel’s play, he has the inkeeper Berish voice the same questions those sitting in death camps centuries later asked, if not audibly, then silently:

‘To mention God’s mercy in Shamgorod [Auschwitz] is an insult. Speak of his cruelty instead. ...I want to understand why. He is giving strength to the killers and nothing but tears and the shame of helplessness to the victims. ...Either he is responsible or He is not. If He is, let’s judge him; if He is not, let him stop judging us. ...

‘[I] accuse Him of hostility, cruelty and indifference. ...Either He knows what’s happening to us, or He doesn’t wish to know! In both cases He is...guilty! Would a father stand by, quietly, silently, and watch his children being slaughtered?’”

De La Torre continues with his own thoughts on all this:

“The horrors humanity faces indict God as being less loving and attentive than sinful parents. I hesitate to make any pronouncements as to the character of God because in the final analysis, I lack any empirical knowledge upon which to base my study. Still with all my heart and being I want to say: my God is the God of the oppressed who incarnates Godself among the least of these.

I want to make this bold claim based on the testimony of the gospel witness. But in the midst of the dark night, I confess this hopeful belief is at best a tenet accepted by faith, lacking any means of proving the truth or falsehood of the claim. In the shadow of Auschwitz, though I am not Jewish, nonetheless I am left wondering if the precious Deity who notices the fall of a sparrow is blind to God’s children crushed in the winepress. Do I dare wonder if God is the God of the oppressors?

...Or maybe this is a God who really wants to do good, but lacks the power to do anything in the face of inhumanity. ..."

There’s one more piece to this tale of Wiesel’s witness of the trial of God at Auschwitz. And that is that, after declaring God guilty (or chayav)...

...after what Wiesel describes as an "infinity of silence", the Talmudic scholar looked at the sky and said "It's time for evening prayers", and the members of the tribunal recited Maariv, the evening service. (McAfee Brown)

...That ending is the part that astounds and awes me. These Jewish prisoners at Auschwitz find God guilty -- and then proceed to pray as they always do. I am reminded of what my Jewish friends as well as various Jewish scholars have told me: that Judaism is totally compatible with wrestling with God and even with disbelief. Whether these Jewish prisoners believed God even existed, they prayed -- because that tradition of prayer is what unites them to one another, to their people.

As De La Torre closes his telling of Wiesel’s story,

“At the conclusion of the movie God on Trial, based on the events Wiesel described, shortly after the barrack inmates find God guilty, and those chosen are marched to the gas chamber, they cover their heads and pray. ...

Believers and unbelievers who took the audacious act of placing God on trial do what is totally illogical -- in the midst of their hopelessness they demonstrate their faith as they march toward the gas chambers, or they defiantly embrace who they are while still remaining in heated conversation, damning God. It matters not if God still hears their prayers, or if there even is a God to hear; they still pray, they still debate -- not for God’s sake, but for their own.”

And that brings me to the one bit of actual advice I’ll give you, anon:

If you want to spend your life “hunting God down,” as I said, all power to you! But I do suggest you ponder for whose sake you do so -- and whether you do so for justice or just revenge. What good does such a quest do for those who are suffering now? Are their other paths you could follow that would bring more good? What about your own healing? I imagine you’re not interested in repairing any relationship with religion -- would walking away from God rather than hounding God be a more healing and fruitful path for your finite life?

I’ll close with one more quote from De La Torre, from the very end of his chapter:

“As I stroll through what was once the concentration camp of Dachau, I am cognizant that this space witnessed the unspeakable horrors that befell God’s children at the hands of Christians hoping for a better, purer society and future. ...So do not offer me your words of hope; offer me your praxis for justice. ...In the midst of unfathomable suffering, the earth’s marginalized no longer need pious pontifications about rewards in some hereafter. Nor do they need their oppressors providing the answers for their salvation. What is needed is disruption of the norm to push humanity toward an unachievable justice.

When there is nothing to lose, when work does not set you free, not only are multiple possibilities opened up with new opportunities for radical change unimaginable to those playing it safe; but also a venue is provided by which to get real with whatever this God signifies. ...”

#theodicy #god's silence #god's absence #god on trial #wrestling god #...literally #suffering #embracing hopelessness #essays #Anonymous #holocaust /#shoah /#elie wiesel #yes yes i know this is a troll but hey. i like to talk about theodicy SO thanks for the chance to talk about theodicy at its most extreme

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kayr0ss · 4 years

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Sunday Candy

[Diakko, Fluff, Easy going Fic, Grumpy Diana, Established Relationship, Diana POV - Thinking] AO3

Summary: Diana's having a bad day. But Akko lets her know that "I'll be there in twenty!" Everything gets better as she's counting down the minutes.

Today was not a good day.

Diana walked briskly through campus, expression perfectly neutral save for the grip she had along the strap of her shoulder bag. It was the only outward manifestation of her temperament that she would allow, and so she poured out all her frustration into the action—so much so that her knuckles were nearly going white.

A frustrating Anatomy class followed by an equally disastrous practical test in Pharmacology. Splendid combination, if one were on a quest to discover the recipe for a medical student’s bad day.

It felt like there were thorns to her chest.

She glowered at the shrubbery of the open spaces between the buildings, finding them dull under the dreary London weather. She set her jaw while staring right into the backs of freshmen who traveled in packs of five and above, walking at the pace of snails. If only her eyes could shoot lasers beams—oh if only. Was it even legal to talk as loudly as their walking was slow? She didn’t need to hear about whatever film it was their social sciences professor imposed on them to watch.

But she wasn’t as petty as to engage them in conversation (even if it was a reminder to uphold proper student decorum), so instead she had side-stepped along the walkway and walked faster so as to out-pace them. She scanned her eyes along campus, observing students huddled together and playing music along the benches. A dance group went over their routine at the opposite end by the grass. Funnily enough, there was a group of younger students sitting in a circle studying, comically mimicking snapshots from college websites and brochures.

It was kind of annoying. If only because her dour mood was enough to paint any sort of stimulus as unpleasant to absorb. She continued her pace towards the western end of the campus, where she was due to meet Akko for coffee at the library café. It was a passable café at best, she supposed.

Just as she was about to go on mental tirade on how distracting and unnecessary all the campus activities were, her phone vibrated along with a ‘beep.’

16:47 Akko Kagari: ‘I’ll be there in twenty! 😊’

Five words and a smiley.

Five words—looking up at her through the glass screen of her cellular phone—were enough to wash away the weariness that had settled on her shoulders. Her hand relaxed, releasing the leather strap of her bag from her death grip and she only realized after the fact that it was beginning to grow sore.

She took a deep breath, slipping her phone back into her pocket, and continued to walk.

Perhaps she was being a bit mean? She looked over her shoulder, seeing that the group of students who were walking looked lost and weren’t sure where to go. They seemed to find security in their number, excited to deepen what looked like a freshly-blossoming friendship. Perhaps wishing ocular lasers upon them was a bit too much.

Ah but they were so loud!

Diana huffed through her nose, turning back towards the direction of the library. A cup of coffee, a slice of cake, and the presence of her girlfriend were sorely needed if her temper was anything to go by.

Ah. Her girlfriend.

By the time she had crossed through the open spaces along the center of campus it was only fifteen-minutes-to-Akko.

And, okay—maybe she was being overly dramatic about the plants and the weather. While she walked, she put effort into watching the gardens and shrubbery—she noticed they were about to bloom. The milder weather meant their flowers didn’t wilt away, and she fondly recalled many afternoons spent hand-in-hand with the brunette through this very walkway, taking their time to notice how deeply red the petals were.

Like her eyes.

Diana smiled at herself without realizing it. Now that was cheesy.

It was the first smile she had pulled for that entire afternoon and she almost shook her head. “Right.” She mumbled, mostly to herself. “I was in the middle of being grumpy, I believe.”

It would take several minutes to walk from the medical wing to the library. In the journey in-between she had encountered more groups of students practicing in the open spaces. Some danced, like the earlier group, while others had huddled together with their instruments to practice for some sort of performance.

“You gotta slow down to listen to the music!”

Her girlfriend had told her this once. Diana let urgent pace of her footfalls slow into an easier pace. They were singing a song she’d heard Akko sing before—something uplifting that sounded like it had a lot of love to give.

Like Akko.

‘You gotta move slolwy’—they sang.

And then her easy walking fell to a full stop, even for just a minute, and then she smiled. It was from a mixture of the anticipation of seeing Akko, and remembering the sound of her voice.

‘Take in my body like it’s holy’

Perhaps she’d take back what she said about the how unnecessary campus activities were. Especially when they could be as pleasant as this—so effective at pacifying the embers of her temper that were threatening to smother her only minutes before.

Which reminded her—as pleasant as the song was, she had a café library go to.

At ten-minutes-to-Akko, she had forgotten all about the woes of her earlier Anatomy class.

The weather felt much more agreeable now, a pleasant chill against her skin that encouraged the need to hold or be held. It was overcast. How could she have missed this as she walked out of the medical building earlier? Perhaps, after coffee, she’d invite Akko for a walk. The notion of it excited her, and she was surprised to find a spring in her step that would have felt foreign to Diana of a little less than fifteen minutes ago.

She finally walked up the steps to the library entrance, pushing through the double-doors to find a picturesque scene of students milling about the grand central common area, speaking in hushed tones while they buried their noses in either books or computers. Once again, it looked right out of a brochure—but instead of irritation she found it was… wonderous.

It’s as though she could watch and see the essence of ‘learning’ come to life right in front of her; that mood websites and photobooks tried so hard to convey except… alive.

She checked her watch and saw that Akko should be arriving in about five minutes tops.

And that made her feel alive.

The café was at the back of the library, a relaxed environment that was much quieter than the cafes around and within campus—but it smelled just as lovely. It was tastefully furnished and never crowded, and their coffee and pastries were actually better than most. ‘Passable at best’ suddenly felt like a lapse of judgement, and she bemoaned her past self for ever having thought of this place as such.

There were butterflies her stomach, and they chased away the remnants of frustration Pharmacology had left her.

Three minutes before Akko’s arrival, she was reminded of how pleasant the ambience was—with colors that were vibrant but easy on the eyes. There was a little bit of white noise, a clink of the glass here and there, along with the steady, low rumble of chatter. But somehow it added character.

For all her overthinking, she supposed she was a simple woman. She tried to hold in a smile, sitting in her favorite café, wondering what could have upset her so much earlier?

Diana couldn’t remember anymore, nor could she care.

Five words, a smiley—and the reminder that she was going to be here soon had helped her forget.

The first thing she felt were a pair of hands settling on her shoulders along with the weight of a chin setting on top of her head. It was followed by a voice so familiar that her tense shoulders relaxed the moment she could hear it.

“Hey.”

There was soft kiss to her temple. A hand that reached for hers. The moment they had threaded their fingers together, she realized there were no thorns left to pluck out of her chest.

She saw a smile and flash of dazzling red eyes. Diana smiled back, feeling easy.

“’Hey’ to you, too”

At zero minutes to Akko’s arrival, she realized that everything would be okay.

And that today was a good day.

You gotta move it slowly

Take it in my body like it's holy

I've been waiting for you for the whole week

I've been praying for you, you're my Sunday candy

fin

A/N: I was (and am) in such a good mood because of this song. You guys have no idea - dancing in my room and just vibing kind of good mood. I felt like, for Diana, Akko would be someone who'd have that kind of effect on her. All the bad just kinda... goes away! Anyway this was a silly little idea and I hope it works out.

Gifting it to @shmehua1 who I remember through this song because we both like it, she is awesome, and well, she's one of my best buddies out here in the LWA fandom! Love you bro - you know this to be true!

#Diakko #Diana Cavendish #Akko Kagari #Atsuko Kagari #LWA Diana #lwa au #fanfic #dianakko #LWA #Little Witch Academia

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iturbide · 3 years

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the fact that edelgard is the villain in 3/4 routes and yet intsys STILL glorifies her to no end enrages and annoys me. no other villain has been given that perspective of “well actually maybe they arent so bad” except for the hypocritical tyrant. even when she has *literally become an inhuman monster* intsys is still like “oh no dont worry she was right actually!” and it upsets me deeply

It upsets me, too, friend. IntSys seems to really like glorifying people who don’t deserve it, especially in recent games (Walhart in Awakening, Rudolf in Echoes -- I can’t say if his whole ‘orchestrating a plan to have his son murder him’ thing is carry-over from Gaiden or not, but it definitely exists in the recent remake so I’m including it), but Edelgard actually ends up as a bit of a weird case.

(I have a lot of thoughts about this, so I’m just going to cut preemptively.)

Now, I’m actually not opposed to Edelgard being the protagonist of the fourth route in Three Houses. Anyone who’s been here a while knows that I generally see Grima, a figure that IntSys generally tries to paint as a rote villain, as at least a sympathetic villain (and possibly even a secret hero in the events of Awakening itself); it’s entirely possible for someone that’s a villain in most of their appearances to have legitimate reasons for what they’re doing and why, and revealing that in their personal route could be incredibly powerful if done well.

And here’s the thing: Edelgard really is a compelling character, in large part because of her moral ambiguity. I actually agree with her when she says that the Church of Seiros is corrupt at its core and the system needs to change. She’s right about that! While Seiros might have had decent reasons for establishing things this way, over the past thousand years human societies have changed while the church itself remained stagnant -- something potentially exacerbated by her selfish ambition to restore her mother -- and this has led to a structure that once served an important purpose becoming a toxic and destructive mess for humanity at large. Edelgard has a completely valid point there, and it’s something that I could absolutely get on board with if she had gone about achieving change in some other way, because she does have other methods available to her that she writes off without real reason -- and even that can relate back in part to her deep trauma and difficulty trusting people after the betrayals she faced at the hands of her “uncle” and her own father’s powerlessness to stop the nightmare she and her siblings suffered through.

IntSys probably could have crafted a narrative that showed from her perspective why she believed war against the Church was the only valid option available to her. The issue is that she undercuts her own argument by targeting all of Fodlan, rather than specifically going after the Church: she doesn’t give the Kingdom and Alliance a “stay out of my way or else” warning, she literally turns her sights on the Kingdom as soon as the monastery falls and attempts to fully annex it once Cornelia sets up Dimitri’s fall, leaving the Alliance only because she has her hands full with Faerghus. She didn’t have to take Cornelia up on her offer of making the Kingdom into the Dukedom of Faerghus and sending troops to finish the job: she could have just left the woman to her own devices, forcing the Twisted to utilize their own people to maintain and secure full control of the region while she worked on addressing the systemic issues, which would have had multiple benefits:

The Imperial Army doesn’t get overwhelmed and exhausted fighting in conditions they’re not equipped to deal with, leaving them stronger overall while the Twisted forces are potentially weakened by the same

Hubert is able to better assess the threat they’re dealing with, including learning their capabilities and possibly even where they’re coming from before Merceus

Edelgard actually puts her money where her mouth is and ends up helping the people she claims to be doing this for, rather than just using them as fodder for the war to grind up

Unfortunately, the way she’s written ends up just making her an imperialist. She’s not just going after the corrupt core of the Church, she’s trying to forcibly unite the continent and return Fodlan to some long gone ideal where it was all united under the Imperial banner because she refuses to believe that Adrestia could have split by natural causes.

Crimson Flower ultimately ends up being a particularly egregious example of this glorification phenomenon in action because they give her a personal route that makes no effort to critically examine her actions and make her face consequences for them. This, I think, does her a massive disservice as a character, because that aforementioned moral ambiguity that makes her so interesting could have been utilized to great effect -- and the proof is actually there already, because they do it in Dimitri’s route.

Dimitri is himself another interesting character, and outwardly presents as Edelgard’s polar opposite: he recognizes that he doesn’t have all the answers, struggles to figure out the correct course of action when presented with difficult subjects that have no clear-cut answer -- like the fact that reliance on the Crest system is toxic for noble families, but it’s those very Crest-bearers and their Relics that help keep Faerghus safe from invasion by Sreng -- possesses incredible strength but specifically refrains using it in most cases to avoid harming others, and generally takes everyone’s problems onto himself to his own detriment. He’s also deeply traumatized and was never given a chance to deal with it in a healthy manner, which contributes to how he snaps -- and Azure Moon starts with Dimitri being so far out of reach that you can’t unlock any of his supports and can’t even engage with him in the weekly discussions. He’s lost himself to his survivor’s guilt and need for vengeance, considers himself to be nothing more than a monster, and has no qualms about killing if it helps advance his quest; as the story progresses, he faces a direct consequence for this murderous inclination in the form of Fleche who attempts to exact vengeance for her brother’s sake in the same way that he’s attempting to claim it for his family and friends -- only to lose Rodrigue, and have his dying words be a plea for Dimitri to live for himself rather than those who died before him, at which point Dimitri sets his sights on opposing Edelgard rather than killing her and seeing to atone for the crimes he committed. While I think the game made the change a little too abrupt, it’s handled well overall, and shows a real development arc complete with both actions and their associated consequences that directly relate to Dimitri’s growth as a person.

Contrast this to Edelgard in general and Crimson Flower as a route. Edelgard believes that she has all the answers despite not trying to engage with anyone outside her own House, decisively chooses what she believes to be the right and proper course of action regardless of how difficult the subject matter, possesses great strength (both physically and of sheer will) that she uses to dominate others, and forces others to join her in addressing what she sees as problems -- such as her line about making her own people into “worthy sacrifices” for her “higher cause.” Crimson Flower is the only route where her attack on the monastery fails to capture Rhea, but once Byleth returns she sets her sights on attacking and subjugating a territory that has remained entirely neutral through the past five years, turns on the Twisted while she’s still in a vulnerable position which ultimately causes the deaths of at least a third of the forces she left at Arianrhod once they fire their warning shot, lies to her friends and allies about what happened there, murders her step-brother, and allows a city full of trapped civilians to burn unchecked while she deals with what she considers to be the “real” threat on the opposite side of the Faerghus capital -- and all of this is capped off with her never dealing with the Twisted, and cute little endcards that talk about how everything worked out fine and there were no problems ever, The End. Edelgard doesn’t get a development arc in her route: she’s never challenged, she never faces real consequences (and the one she does face she literally lies about to her friends and then leaves as a problem to deal with later), and she pretty much ends the game exactly where she started it: completely assured that she made the right choices. The moral ambiguity inherent in her character is instead cast as “of course she’s in the right, she’s so great and there’s nothing at all wrong with what she’s doing or how she’s going about it, isn’t she wonderful?”

At least in the main game, Hegemon Husk Edelgard is treated with real gravity, shown as the pinnacle of her drive to see her ambition come to fruition and the tragic consequence of her inability to change course and find another path. The Forging Bonds event just takes the CF brush and paints her actions as the right ones, even though what made her so compelling is that her reasons were right while her methods were horrific. Edelgard really could have been wonderful. The potential is right there in her character. But IntSys completely botched the execution of it, so that her route feels rushed, incomplete, and at best unsatisfying (or, if you’re me, utterly disgusting for how it glorifies imperialistic conquest), and her Heroes appearances only make it worse.

#answered #anonymous #fire emblem: three houses #edelcourse #look i really do find edelgard to be interesting #i just find intsys' execution of her character to be utterly terrible #and fandom at large has kind of made it worse #i'm just going to keep the nuance and explore the real consequences #and write a ton of fanfiction to that effect

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californiannostalgia · 4 years

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Tangled the Series Character Analysis: Childhood Trauma POV

I can't believe Tangled the Series really created two incredible antivillains and threw them in direct contrast with the pre-existing golden couple. I love what the showrunners did with the main quartet, so I made a very subjective analysis post about it from a Childhood Trauma POV. (Spoilers, obviously.)

The Boys

The series' focus is on Rapunzel, and by association her direct opposite, Cassandra, so the boys get comparatively less screen time. But it doesn't take long to figure out that Varian is meant to be a parallel for Eugene—these are two people dealing with the absence of parental guardians, struggling to reconcile the lives they previously had with their changing ideals in relation to a less-than-perfect Father Figure.

They both respond to the helpless state of being young, alone, and powerless by trying to take back power in any way they can. Eugene reinvented himself and buried his desires for a family. Varian throws in everything he has into recovering what he lost, because he's a child and the best solution he can think of is to return to the familiar safety of his father's presence. A significant portion of his desperation is fueled by fear of his father’s disapproval, because as much as Quirin loves Varian, he wasn’t the dependable voice of support. Varian needs approval from outside sources, which was also Flynn Rider’s purpose in life, once upon a time. (Again, parallels.)

Throughout the series, the boys' relationship with each other transforms from exasperated incomprehension to easy understanding. The process is hastened as Eugene lets himself realize he cares a lot about troubled kids who remind him of himself. He becomes aware that children should not be required to survive on their own like he and Lance had. Spurred on by his significant other's love and encouragement, Eugene is able to acknowledge the adverse affects of his childhood on his life and start moving on. His extending a ready hand to Varian is his process of healing. Though Eugene's first priority will always be Rapunzel, he truly wants to save Varian from the uncontrollable volatility of risky decisions because he knows that downward spiral intimately.

Of course, there is a difference between thieving from the rich and planning the destruction of a kingdom. We'll get to that later.

The Girls

Rapunzel and Cassandra are the biggest driving forces of narrative power in the show, and they are survivors of child abuse. Every one of the main quartet has Parent Issues, but Rapunzel takes the crown (figuratively speaking) with this one. She was kidnapped and groomed into a life-giving doll, and she was only able to escape her abusive adoptive mother through incredibly traumatizing means. For Cassandra, it was neglect, and even her loving adoptive father couldn't leviate the scars left on her childhood mind.

They're a classic case of Golden Child vs. Scapegoat, which is a common case seen in siblings raised by Narcissistic parents. When one child is "favored" more than the other, the kids experience vastly different childhoods, resulting in resentment that stems from their inability to understand each other. Rapunzel and Cassandra are both jealous of what the other had—Rapunzel wants Cassandra's casual, practiced ease with freedom and personal agency, while Cassandra wants the attention and respect that Rapunzel is given by the status of her birth. Because they're unwilling to speak candidly about the unique hardships of their childhood, what results is a series of miscommunications that put a strain on their friendship.

Cassandra and Rapunzel both want the other in their lives, but how they attempt to make that connection is very different. Cassandra wants to be a helpful, essential force in Rapunzel's life. Unfortunately, Rapunzel has been raised on the idea that when push comes to shove, no one will help her survive. Cassandra interprets Rapunzel's desire for independence as Rapunzel scorning the connection that Cassandra is attempting to create. Add in some manipulation from an ancient evil, and Cassandra decides she is done exhausting her emotions for Rapunzel.

Rapunzel, on the other hand, wants absolute honesty in her relationships. Gothel raised her on lies, so she spurns deception. But Cassandra knows the merits of protecting herself by holding her opinions in, which is where the misunderstandings occur. Rapunzel cannot trust someone who isn't completely forthright with her. She's tired of dealing with liars, and she grows afraid that Cassandra will cause her the same pain as Gothel did. But the thing is, Cassandra is not Gothel, and Rapunzel loved Gothel. She couldn't save Gothel, but maybe she can save Cassandra. It's not too late.

Rapunzel doesn't know when to give up on Cassandra because she is aware that she and Cassandra are similar people. Giving up on Cassandra would feel too much like giving up on her own hopes for a happy life. Rapunzel can't let Cassandra be unhappy. This princess cares too much, loves too hard. She never learned how to write people off because you can't survive a childhood like hers with that much cheer if you don't hang onto your optimism like a goddamn lifeline.

This is Rapunzel’s method of taking back power for herself: saving others. Rapunzel could have been Cassandra. Rapunzel is trying to believe she herself is worth saving—therefore, Cassandra must be worth saving as well. Rapunzel's significant other is giving her a stable source of love and support, but without a proper resolution to Cassandra's struggles—a final proof that despite Gothel's influence, they can both be happy—Rapunzel would feel incomplete.

The Golden Couple

At the end of the day, Rapunzel and Eugene are fundamentally good people. If it comes down to it, they would be unable to sacrifice the world for their own desires. (Eugene's thievery doesn't count as an expression of true desire because it was literally his method of survival. An expression of true, selfish desire for him might've been something like manipulation and abduction for the purposes of making people stay, but Eugene is not Gothel and he would never do that to anyone in a million years.) (On a side note, Rapunzel's selfish desire might've manifested in the abandonment of all duties and personal connections in favor of eternal exploration, or revenge towards a kingdom that failed to save her, or a thorough destruction of authority figures—but she loves people too much and would never be able to forsake her family.)

Life threw a lot of rocks at them, but these two came through it marginally well-adjusted. They affirmed their love for each other in a violent, unforgettable manner, which makes it easier for them to trust in each other's affection. Eugene would've been okay with never finding his biological father, just as Rapunzel had been okay with her biological parents' inability to protect her. They have no wish to punish the world for what they suffered. They’re content with who they are. They're just glad they made it, that they're finally allowed to love someone without being afraid. They're each other's saving grace.

The Antivillains

This is the difference between Hero and Antivillain: Cassandra and Varian are willing to punish the world for what happened to them. There’s a very faint line between justified retaliation and venting. In their desperation and anger, they cross the line, and they’re unable to stop themselves once they get going. Unlike the Golden Couple, Cassandra and Varian refuse to settle. They want what is owed.

Also, they really, really hate themselves. (This is important.)

Varian believes Quirin is the ultimate source of affirmation. The fact that he lost his father by way of his own dangerous experiment, coupled with the fact that no one prioritizes his call for help in the face of national disaster, is enough to make him feel isolated from the world. Though he is burdened with a growing sense of remorse for his deeds, he doesn’t stop resorting to drastic, harmful measures to get his father back until he is forcefully stopped by betrayal from his allies. He finally makes the full transition from “antagonist” to “protagonist” when Rapunzel risks herself to save Quirin from the rocks. If Quirin could not be saved, there’s a possibility Varian might have stayed an antagonist, unenthusiastic though he may have been in his villainous role. As long as Quirin is trapped in those rocks, Varian remains the villain who put him there.

With Quirin safe, Varian allows himself to take huge steps in healing. He slowly rediscovers his self-worth, one that is separate from Quirin’s approval. Rapunzel—and by extension, Eugene—play the friendly, supportive role to Varian’s ingenuity, helping him along in his quest for self-acceptance. Varian still has trouble working through the heavily ingrained self-hatred, but he recovers enough confidence in his own judgment that he takes Eugene’s warning to heart and is able to install a safety device in his father’s helmet, just in case.

This is the Varian who meets Cassandra in the Tower that once belonged to Gothel. At this point in time, Cassandra has been manipulated into thinking of herself as weak and unimportant in comparison to Rapunzel. Her adoptive father, much like Quirin, was too gruff to be vocal with approvals. Her efforts have not been met with successes. She feels like a failure, and she hates feeling like a failure. This is Cassandra’s method of taking back power: by turning herself into someone unforgettable. If she can make something of herself, she’ll finally be able to prove Gothel wrong. She can be just as special as Rapunzel, if she’s given the chance. She wants that chance.

Similar to Varian, Cassandra doesn’t stop her downward spiral until her supposed ally and mentor betrays her and forcefully takes her power away. Only when there are no options left does she allow herself to admit that she was wrong. She is then rewarded for her honesty with Rapunzel’s love and trust. Armed with a new confidence, the sisters vanquish the evil together in an epic showdown that will long be remembered. Cassandra finally gets her dramatic hero’s tale.

Rapunzel and Eugene have an internal compass that lets them make snap decisions. They don’t have the healthiest self-esteem, but they can at least stand by what they think is right. Comparatively speaking, Cassandra and Varian have terrible self-esteem. They don’t trust their own judgment and are heavily influenced by outside forces. Without the constant barrage of trust and affection from Rapunzel, who is akin to a blazing sun when it comes to personal loyalty, these antivillains might never have reached their redemptive ending. They wouldn’t have been able to let go of their twisted priorities without outside influence. Can’t blame them for it, though.

It’s no surprise that Cassandra and Varian are relatable to many people. Who wouldn’t want to reclaim what was taken from them during childhood? (Of course, the problem occurs when you start hurting others to reclaim what you lost.) Their journey is a different kind of vulnerable from Rapunzel and Eugene’s journey, and it’s extraordinary in its detail. This show is essentially a long exploration of the various ways a parent can mess you up and the coping methods of kids who want to become more than their past, which is totally up my alley of expertise. I’m grateful I got to watch them grow taller than their trauma.

Finally, here’s a parting gif of Lance, because I love him and he’s a well-adjusted ray of sunshine. We all wish we could be as mentally stable as Lance—the main quartet included.

#tangled the series #rapunzel #cassandra #varian #eugene fitzherbert #character analysis #my thoughts #child abuse #trauma recovery #when the villain origin story is self-hatred

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ghostietoasty · 4 years

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Why Sherlock Holmes FGO is Sus: Theories and More

Before I begin, I’d like to give thanks to my wonderful friend for all the points, art, and info searching that have been made to produce this piece, I can’t appreciate you enough for the effort you put in. 🥺🙏💕

Alright now on to it!

INTRODUCTION: Humble Beginnings (Identification of the Abnormal)

If you’ve played the app Fate/Grand Order for a while you’d know about the Heroic Spirit we first encounter in a hole within Camelot’s dessert whilst going to the Atlas Institute. Smart, handsome looking, and sharp enough to discern our True Name, this man of mystery has been seen as an oddball by many long time players of the game. There are many aspects about him that raise doubt about his credibility, is he truly what he wants us to think he is? That servant is Sherlock Holmes (Ruler) and there are many theories about him having some secrets, about him either being a Foreigner class, Beast class, or something else entirely. We are attempting to catalogue all this information in one place for maximum clarity.

SECTION 1: Other Character’s Reaction (First Impression is the Best Impression) *WARNING LOSTBELT 1 AND 2 SPOILERS AHEAD*

From the first encounter in Camelot right until the end of Lostbelt 2, there are many instances of characters reacting to his presence in….interesting ways.

Bedivere, when first coming in contact with Holmes in Camelot says that "I suppose I've never really been good with people like him. He reminds me of Merlin."

It could refer to the mysterious manner in which both Holmes and Merlin conduct themselves, but better to keep in mind that Merlin is a Grand Caster, and that he manifests as a servant due to specific circumstances (he is not dead).

In Camelot, Mash assumes that Holmes must be Caster class and that the original novels by Sir Arthur Conan Doyle must have been biographies penned by Dr. Watson under a pen name. Holmes corrects her, saying that: "My true identity, my essence, is slightly different from what you may think. And sad, but that is not the purpose of our gathering here today."

This dilemma is also present in the Sherlock Holmes Trial Quest (which mostly tackles the debate of whether he's a fictional character or someone who actually existed). Holmes has a line where he says:

"Ah, yes. I mentioned I was a Caster. Forgive me, I lied."

This is however immediately followed up by:

"A jest. My apologies. I couldn't help myself."

This sort of backpedalling raises a doubt as to whether he was really Caster class before, so the nature of his former class is still a mystery. He later mentions that his Ruler class is the World telling him that not all illusions and dreams need to be laid bare.

When meeting with Salieri in Lostbelt 1, Holmes introduces himself as such:"I'm Sherlock Holmes, Chaldea's administrative advisor. I became a servant through unusual means, just like you."

Salieri was only summonable as a servant because of his reputation caused by the fact that he killed Mozart. He is under the effect of Innocent Monster. It can also be said that Salieri is a lostbelt servant and is significantly more sane than he would have been in a normal summoning, that was the unusual summoning that Holmes was refering to. Does this mean Holmes is not from Proper Human History?

Sigurd (who's under the control of Surtur), while attacking us in Lostbelt 2 says this: "So, a human and two Heroic Spirits. No, wait. Neither of you are pure Heroic Spirits, are you? You've both got something else mixed in. Hehe, hybrids then. Interesting"

This is in reference to Holmes and Mash, who are alongside the master at this moment. Mash is a demiservant (human+servant) hence the "Hybrid" comment makes sense, but Holmes? What is the "something else" mixed in with Holmes?

Later in LB2, Holmes requests the assistance of Scáthach-Skadi in beating Surtur. Skadi says that normally she would never pay mind to what a mere Heroic Spirit had to say but: "...but in your particular case…I sense wisdom in those beautiful eyes. You remind me of Baldr, god of light." Quite a bit later, she also has this to say:"Perhaps those piercing eyes of yours in fact surpass Odin's? Mystic Eyes, perchance? ….No, that's not it. They merely reflect your wisdom born of human history's cumulative accomplishments."

She says that's not it, but the fact that it was the first thing she thought of shouldn't be ignored.

Baldr is the god of light. Holmes' attacks consist of beams of light, and his cane lights up when he's using it in battle.

In Norse legends, Odin is said to have sacrificed one eye to the spring of Mimir in order to get ancient wisdom, the ability to perceive everything in the world.

SECTION 1.5: More Reactions (From JP Only)

Since it is JP only and there is no official translation for NA yet, this information cannot be 100% confirmed in any way. (Most of this is from Reddit translation done by fans). But as these are also important, it's best to put this information separate section.

Moriarty's interlude involves him finding a micro-singularity in London. At some point the transmission between Chaldea and the master gets cut and Moriarty reveals he created this scenario, made the singularity and everything to get one on one time with the master. He tells us not to trust Holmes. When the time comes, we as master should choose Moriarty over Holmes.

It has to be kept in mind that Moriarty is not a good guy, he is a character created entirely to oppose Holmes so it is natural that he doesn't trust him. For all we know, it is just emotional manipulation.

Moriarty's very nature is tied to being the antithesis of Holmes. Holmes might theoretically go against us for the sake of humanity while also trying to keep us safe (the master is in a way, a Watson replacement to him after all) while Moriarty would gladly let humanity burn for the sake of us but also for the sake of being completely opposite to Holmes and keeping his identity as such.

However he does raise valid points, how was Holmes able to rayshift? This part was never explained, and he also mentions that his hypothesis has a fatal contradiction in the fact that Holmes risked his life to save ours. What can be inferred from this is that Holmes is a good man and is on our side, but there is something very weird about him that should not be ignored.

In Lostselt 5 it is mentioned at one point that Zeus called Holmes dangerous, he mustn't look at Zeus or the other gods and that his eyes are enemies of the world.

It has to be mentioned that this is some heavy emphasis on Holmes' eyes (Skadi mentioned Holmes' eyes twice, and she was a god as well). Is it because of the nature of Holmes that he is the one that reveals all truth? Is that in some way detrimental to gods, magic and the world in general?

Recently, from Holmes' skill upgrade interlude there was a section about Holmes saying that he is always an ally of justice and that while he may be on our side, he is still capable of evil but it doesn't change the fact that he is our ally. Even then it seems he has some secrets that can't be understood by himself.

By now with the presence of Dr. Jekyll and Helena and their recounts on what happened, it is confirmed that Holmes was actually "alive"(?)

Some of the adventures penned by Dr. Watson were actually censored versions of the original happenings, which were magical in nature.

Holmes was traumatised(?) by Helena's death back when they were both alive. He swears he would never let that happen again. (remember what happened in lostbelt 2…)

It seems that Holmes himself is not fully sure of what is secret about him. Since he utterly dislikes talking about something without being 100% sure about it (this tendency of his has gotten us in trouble before) plus his general secretive nature, it can be said that this is why he wouldn't talk about that.

SECTION 2: Weird Things That Holmes Does (And Other Questions)

Heroic Spirits are anything but normal, but there are few servants who break the norm even further, and Holmes is one of them.

Holmes is able to Rayshift (presumably) from London, to Camelot, and then to Shinjuku. There are very few servants who are able to manifest themselves.

Musashi also appears here and there, but it's not a deliberate choice on her part. She is not able to predetermine her next destination.

Arthur travels from a parallel world to this world, but this is due to "chasing after a certain powerful antagonist, evil omen" - so he tells.

Beast class has the skill of Independent Manifestation which would allow the servant to manifest anywhere they'd want. Merlin, Tamamo Vitch and Shiki possess it. However, it has to be noted that Holmes' rayshifts have a significant toll on his saint graph, as he is unable to fight or defend himself by the time we meet him in Camelot. While normal Independent Manifestation shouldn't lead to the depletion of the user's saint graph. Holmes' class is unknown at the time of his rayshifting.

At the time of summoning, Heroic Spirits usually reveal their class and True Name (there also are exceptions to the rule). At the time of his summoning, Holmes doesn't reveal his Class: "Are introductions necessary? I am a detective. If you were expecting a hero, my apologies...But if you wanted a detective or an investigator, you drew the right card."

In the case of EOR Servants whose names haven't been found, they reveal their class.

Who summoned Holmes? The only thing we know regarding his presence was that it was first clearly there when he tampered with information in London.

Holmes' illustrator is Yamanaka Kotetsu, who was also the illustrator of the beasts Tiamat and Goetia

The artists who design and illustrate the characters tend to do it in groups of servants who are related to each other in some way (Pako with Arjuna and Karna Chacha and Nobunaga; Miwa Shiro with Brynhildr and Sigurd). It is strange that Kotetsu designed only Holmes, Tiamat and Goetia.

(NEW ADDITION) It should also be noted that as an illustrator Kotetsu has had previous works in a Lovecraftian Guidebook and is also the artist to the Alien God Preistess, somewhat showing how their work leans more to the outerworldly.

SECTION 3: The Design

It is a very commonly noticed fact that Holmes' coat in his third ascension has a very similar shape to that of the Foreigner card artwork.

The pattern work on the coattails of the foreigner art and the inside (blue) part of Holmes' coattails have a very similar, if not exactly same pattern running down the entire length of it. The sphere summoned in Holmes' Noble Phantasm also has the same pattern on its sides and front.

There is a "fog" around Holmes in his third ascension, which is reminescent of the smoke in the card art. (Also can be the London smog).

The glowing section of the abdomen of the being reminds one of the metallic corset that Holmes wears.

There are 4 notches of smoke on either side of the being (total 8), under their cape. If we stretch our interpretation, then it could mean Holmes' arms and the metal arms that he has is also equal to 8.

In that tangent, the shape of the coat is also similar to that of Saver class Buddha, the fantasy trees from Lostbelt 3 and 4, and the Shadows made by the 6th imaginary element.

The Endless Knot / Shrivatsa symbol on his shoulders is one of the many references of his connection to Tibet (faking his death after the Final Problem). It is an important symbol in both Jainism and Buddhism.

Some of its interpretations include:

The eternal continuum of mind.

The union of wisdom and method.

Since the knot has no beginning or end it also symbolizes the wisdom of the Buddha

the endless cycle of suffering or birth, death and rebirth within Tibetan Buddhism.

The cane that Holmes wields has a pattern on its handle in the shape of a Prayer Wheel.

However, we are not able to find the meaning behind the script on the cane. Both of us attempted to translate it but failed. If anyone can translate the meaning it would be greatly appreciated.

The holographic books in the base of the unidentified sphere have a pattern on their front that greatly resembles a lotus.

In Holmes' third ascension, there are a number of magical circuits on his coat.

The circuits are almost only on his left side, with very few circuits on his right side. It's not like it was woven into it, were that the case the circuits would have been all over his coat in a more even distribution. It's almost like an impact radius.

The circuits are very similar to the ones visible on the title screen of the lostbelts, as well as the patterns seen on the fantasy trees.

CONCLUSION SECTION: Something's Up (It's Big Brain Time)

It's clear that something is very strange about Holmes, from his interactions to his design, it's clear that there is too much effort into throwing these hints that it's not just a red herring.

Is he a Foreigner? Beast? Counter Guardian? Some other unknown extra class? It cannot be said at the moment. Holmes' role as a revealer itself is dangerous to mystery and magic, so it can be anything.

It is also not necessarily true that just because Holmes has all these abnormalities, that he will betray us, or is on the side of evil. When has there been a clear cut side of good or evil anyway? It can be argued that we are the villains in some way, as we bring about the end of these timelines to safeguard our own proper human history.

Holmes has always been on the side of humanity and will continue to be, the question is what the reveal will be, why and how. That, only time and future chapters can answer, all we can do is speculate.

#fate #fate grand order #fgo #Sherlock Holmes #lostbelt spoilers #foreigner theories #fuccyoutumblrfuccyoutumblrfuccy #hope yall enjoyed!! feel free to give yalls thoughts!!#and again thank you soso much fremd🥺🥺🥺🙏🙏

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vg-sanctuary · 3 years

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Bug Fables: The Everlasting Sapling

Moonsprout Games - Switch, PlayStation 4, Xbox One, PC - 2019

I don't like the core gameplay of 99% of all RPGs, but the ones I do like have been some of my favorite games I've ever played. case in point, Bug Fables: The Everlasting Sapling, a modern interpretation of the classic Paper Mario formula and an ideal example of indie developers adding to the legacy of a cult classic. its main feature is turn-based combat with action commands, like old Paper Mario or the Mario & Luigi series, and strategy in its intentional design and small health and damage numbers that goes way beyond "spam damage and heal every third turn, use mana items as needed". (in case you want to be 100% blind for your playthrough, past the Keep Reading link are some very minor spoilers: an item a specific cook can make after a side quest, some basic enemies, environments that are about halfway through the game, and the names of some medals.)

“wow, vg-sanctuary posting about a game that's not even two years old at time of writing? and it's an RPG? are you not a retro/legacy blog anymore? who are you and what have you done with the writer?” I still am a retro/legacy blog, mostly, just this time I thought I'd share something that its developers still get money from, and whose developers aren't mega corporations. and I just beat it, enjoyed it, and really felt like writing about it because it still doesn't have the popularity it deserves even after that puppet guy on YouTube talked about it. not that this post is going to reach any significant number of people, but still. I'll write about some more indie games sometime in the future. (and indeed I am writing about another RPG and you better believe it has a lot to talk about.)

anyway, Bug Fables starts with a brash little bee called Vi and a polite and honorable beetle named Kabbu wandering into an explorer's guild and not having a partner to join the guild with. they reluctantly decide they're going to fight together because companionship is a requirement for this guild, foiling off each other and sometimes off their third friend Leif, a blue moth they find in a cave, for the whole game. every character has a distinct personality and all the party members get some valuable character development through a side quest, which I really liked, but I'm no connoisseur of RPG stories. while I'm on story, people that come here looking for a well-made world will get what they want from the many optional lore books hidden around the world.

the plot becomes more complex and compelling as the game continues, though it generally lets gameplay take the spotlight. which is great, because the gameplay is also mostly great. about a third of it is doing puzzles on the overworld using the abilities of each character to move forward a la the Mario & Luigi series. they generally make use of whatever your newest overworld ability is, and some areas early on have inaccessible things you have to come back to, sort of like a Metroidvania except it isn't required to do this for progression. some puzzles take longer they could because they involve using Kabbu's horn to repeatedly fling an ice block many times over a distance. it's never egregious, but it could have been faster if the guy would use his arms. this is a minor caveat and not a majority of the game.

a lot of people probably don't know how the combat for this or Paper Mario works, and it's really important to Bug Fables, so I'll explain that here. it's turn based, which is typical, but basic attacks and skills need you to time a button press to do as much damage as possible. you can also time a button press when an enemy attacks to take less damage. Paper Mario and Bug Fables also both have medals instead of other equipment that give characters higher max HP or a new skill, for example. you have limited medal points and stronger medals require more points.

this is going to sound like a lot, but any RPG's combat will sound like a lot if you try to detail it in a single paragraph. the game introduces these things slower than I am here. in Bug Fables specifically, the character standing in the front of the group does one extra damage but is more likely to be attacked, and you can pass turns from one character to another in exchange for that character dealing one less damage (which is a lot because basic attacks only deal two damage by default). certain enemies can only be hit by certain attacks; some enemies fly, so Kabbu can't hit them until Vi knocks them down with her beemerang. not a typo, beemerang. and many of Bug Fables' status effects have upsides -- being paralyzed reduces damage taken everything by one, poison has many medals that make it a good thing, and being asleep heals the sleeping character every turn. there are others that are straight up bad things, though, and usually don't come until later. all of this adds up to even small encounters having strategic depth, which is great, and if you don't feel like small encounters you can just avoid them. skills that would typically be relegated to one character, like healing and support skills all going to one, are instead split between party members to make decisions more difficult in a good way. there's also a lovely medal that instantly kills any enemy the game deems too easy for you, sort of like in Earthbound.

I figure I spent more time doing housekeeping like cooking (simple A+B=C or A-becomes-B crafting), buying items, and arranging medals in Bug Fables than in any other RPG, which is because it was designed that way. by the way, cooking recipes start hidden, but a foodie at each restaurant will share some strong ones for free, which is a big help early on. anyone who's played The World Ends with You (i.e. me) will be spoiled by its excellent quality of life: no consumable items and you instantly heal to full after every encounter. it makes items seem like a ridiculous formality that RPGs only still have because they've had them for years, but in Bug Fables any item that isn't simple healing -- a lot of them aren't simple healing -- has great strategic use, and the exact way you spend your medal points can determine whether you win or lose any fight, especially bosses. for example, one character having one extra damage for two turns when they typically only do two is pretty important, especially when they use an attack that does multiple hits, and having it in item form saves valuable medal points and skill points. part of that time was kind of a waste, though, because I generally had one set of medals I use for multiple enemies and one I use for single enemies like bosses. being able to save loadouts would have helped a lot. I would like to compliment Bug Fables on allowing you to restart any boss with different medals without having to repeat cutscenes, and commend it for letting you do-over your level up bonuses late in the game when it starts to matter.

it's not like spending a lot of time on strategizing before fights is strictly mandatory. I was mostly playing on hard mode where enemies have more health and more difficult attacks, and mostly with a medal called Hard Hits that makes all enemies deal one extra damage in exchange for extra money after each fight. it can be less difficult if you'd like, but it's never mindless; even if you're doing a strategy that manages 20 or 30 damage (again, a lot in this game) in a single turn, it takes effort to choose your medals to do so much damage and actually play the strategy out in combat. the combat strategy is the best part of Bug Fables, and it makes each fight almost like a puzzle. I've typed some form of "strategy" six times so far, which is fair because it's the best part of Bug Fables. don't let it put you off, though, it's RPG combat strategy, not chess-like or RTS or something, so if you've enjoyed any other turn-based RPG it should be easy to get used to.

it's also worth mentioning the ample side content. each chapter of the game unlocks a handful of side quests, some about trading, some about combat, and almost as many bonus bosses as main bosses. you're allowed to fight them fairly early on, and a few become available after the final boss that are actually a bit harder than it in classic Paper Mario fashion. basically, if you like Bug Fables, there's a lot of it to play. there's even a trading card minigame because of course there is. it's fairly fleshed out, too, and unlike the one in Chocobo Tales the animations between turns don't take six years. the reward for the whole card side quest isn't something that's important for combat, so you can skip it if you don't like it; I didn't especially like it so I think that was a great decision on the developers' part.

rewards for some of the other side content, though, are so good it's kind of a wonder they can be completely skipped. it doesn't make the game harder to not have those skills or medals, but they are some of the best in the game and undeniably really useful. they make great side quest rewards in that sense, but it's important to know for the people that usually wouldn't do side content. I don't know if that's a common kind of player, but just in case. (this game's 100% achievement has been earned by a sky-high 5.9% of players on Steam. usually it's more like 2% or less. the point is none of the extra content is overly obtuse.)

I will complain about the forced stealth sections though. and be astounded that they fixed the main issue with them in the last stealth section. these are minor caveats and take well under an hour total unless you're really, really, really bad at sneaking, but they bothered me when I got to them. I mean, I understand why they're in the game, I understand why Zelda has them, but I didn't really like them. the main issue for all but the last stealth section is that there's no vision cone or other indication that "if you stand here they will see you" or even an opportunity to recover from mistakes which are incredibly important for playable stealth. the last stealth section does have a vision cone and does have an opportunity to recover from mistakes, which is a great step up. I would like to use even more italics to remind you that these sections total less than an hour of gameplay. Zelda: Breath of the Wild's forced-ish stealth was much worse than this.

I don't know where else to put it, so I'll add here that the soundtrack is great and the graphics are perfectly Gamecube-y and the sprites capture the cuteness of Paper Mario really well, even though they're, you know, bugs. each environment is distinct and themed well, and each one’s music matches well. I really wish I knew how to talk about music because there are a lot of different songs in this game that work well for what they go with. boss music sounds intense and boss-y and appropriate for each boss you're fighting, the not-music hits just right, and everything else feels good. some songs use Nintendo 64 MIDI instruments, which I loved. and the bee boss music has a synth that sounds like bees buzzing.

anyone that likes RPGs -- and even some people that don't -- will probably enjoy the story and strategy that make up the excellent Bug Fables. it goes beyond being a homage to Paper Mario and becomes its own thing entirely, though its roots are obvious from the art style. not that this takes away from it -- Paper Mario is a great legacy, and this manages to be even better. for all its little bad things there are a dozen great ones. I admit I haven't played the classic Paper Mario games, but this made me want more -- I guess I'll have to go back while I hope for Moonsprout Games to continue forward.

#bug fables #bug fables the everlasting sapling #my writing #this was also on amazon luna but i didnt figure anyone would care if i omitted it #also screenshots i took myself wow

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sheron-c · 4 years

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XiSang Fic Recs

I haven’t seen any rec lists floating about, so for the XiSang Week 2020 challenge - Day 7 - Free choice, I wanted to create a rec list of my personal favourites for Nie Huaisang/Lan Xichen ship. There’s actually a lot of stories that are great and I don’t want to duplicate the entire ship tag, so these are just the top 10 that I found super enjoyable: 1. My Heart is a Saber by peskyjellyfish (~11k)

Summary: Huaisang is on his way to Xinglu Ridge when he gets sidetracked. Rec: This is the fic that gave me everything I wanted to read about them post-canon. Nie Huaisang is angry and damaged, Lan Xichen is hurt and curious, and they find the kind of hope in despair that can only be found together. 2. come and find me (lying in the bed i made) by ImaginationCake @demonic-cultivar (~22k)

Summary: After Jin Guangyao dies, Nie Huaisang is ready to enjoy his life free from the burden of revenge plots and subterfuge. But his decisions have resulted in a deep guilt that he can't shake, and he struggles to stay afloat with no one left to support him. To top it off, he finds himself tangled up in politics that he really couldn't care less about.What he does care about is Lan Xichen's opinion of him, but Lan Xichen won't even look at him anymore. Nie Huaisang can only hope that his life doesn't get any worse. Rec: The fic that got me into this ship! ♡ I did of course come to AO3 looking for more NHS & LXC content immediately after watching the Untamed. After seeing that ending scene with their conversation on the Temple’s steps I wanted more, but I wasn’t sure it was a romantic ship for me until I read this story. It’s got everything, a kidnapping, a rescue and a bad case of feelings :D 3. A Skilled Tactician is the Jewel of a Kingdom by Hypatia3 (~50k, WIP) Summary: During the Sunshot Campaign, Nie Huaisang wants to help despite his terrible sword skills. But there are other things he's good at, and nobody can say his mind is weak. But nobody has to know.After all, he wants to go back to his life of general uselessness after the war is over, and Nie Mingjue would never allow it if he saw a single sign of competence from him.But this has consequences that he didn't expect. Rec: One of the absolute best stories in this fandom when it comes to Nie Huaisang’s characterization -- he’s clever and yet so very Huaisang, in such a believable way that *hands* I can’t explain how much satisfaction I get out of reading and rereading this story. Honourable mention: A Decisive Victory by Hypatia3 (~24k, WIP) Summary: When Jin Guangyao acts against the Nie Sect a little earlier, Nie Huaisang ends up in over his head as acting sect leader. But he has a responsibility and a duty to his sect. His brother is counting on him until he recovers.Or Nie Huaisang loses his temper, starts a war, and impresses a lot of people along the way. Rec: This is not marked XiSang, and is a divergence from the earlier Tactician story (around chapter 7) but it’s such fun to read and Huaisang’s interactions with Lan Xichen are top notch, so I can’t help mentioning it here.

4. from tomb to tomb by @the-pretzel (~16k)

Summary: It's a lot easier to get truth out of someone, even one with a very good reason to lie, when they're drunk. Or, five times Nie Huaisang was drunk and once it was Lan Xichen's turn instead. Rec: Written to capture moments over the years during the course of the show, as Lan Xichen and Nie Huaisang dance around each other, this story is absolutely beautiful and vivid. I can still see the scenes of the story pop up in my head like drawings, of Lan Xichen walking in on semi-hungover Nie Huaisang and the sheer tension between them enough to keep you breathlessly reading.

Honourable mention: when i'm reborn by @the-pretzel (~1.1k)

Summary: Nie Huaisang's daemon settles the day he finds out what Jin Guangyao has done. (His Dark Materials fusion) Rec: A very short, very lovely daemon AU, which I’m definitely reading as XiSang :)

5. What I had to do by @ibijau (~20k) Summary: After three years in seclusion, Lan Xichen gets an unexpected guest he would rather have avoided. Yet when he learns that Nie Huaisang is dying from a curse, he is forced to confront his guilt toward Jin Guangyao's fate and the people his sworn brother hurt. Rec: I’d say this is a fandom classic, so you’ve probably read it already :D But, one of my favourite things about this story is the way it captures Nie Huaisang running away from emotions, and Lan Xichen being selfless when it comes to those he cares about. 6. gather jewels from graveyards by LuckyDiceKirby (~15k) Summary: Nie Huaisang stole happiness from Lan Xichen. He stole peace. If he could just see him, and see for himself exactly what he’s done, and know—that will be enough. Then he’ll be able to paint again, and his hands won’t shake as he does it, and he’ll remember why he ever in his life bothered to put brush to ink to paper. After all, a man should have to live with his mistakes. There is no other way to learn from them. His brother believed that. Rec: One of the first stories I read for this ship and so well done! This is one where Nie Huaisang feels very guilty, and who doesn’t enjoy reading that? Nie Huaisang comes to the Hanshi to make amends, and doesn’t go away when Lan Xichen won’t see him.

7. When the world is cold (I will feel a glow) by @marsdiogenes (~3k)

Summary: Xichen is trying very hard to get his crush to notice him, but gallery curator Nie Huaisang has a job to do and would appreciate it if Lan Xichen's beautiful face would stop for a moment so he can focus. Mingjue just wants to have a nice, quiet family dinner and for everyone to respect his efforts.

Rec: I don’t normally go for Modern AUs for this ship, but this was so fun and sexy! Also Nie Mingjue’s knowing reaction is :3 8. to embrace doubt by fensandmarshes, Fleetling, idendreams, medievalfantasyqueen, space_enjolras, sxnshot (blasphemyincarnate)

Summary: Five times people thought they understood Nie Huaisang + one time someone admitted they didn’t - a collaborative, semi-chronological character study of Nie Huaisang through other characters’ eyes. Rec: Okay, it’s technically not marked shippy, but you tell me that someone who thinks about Nie Huaisang the way Lan Xichen does in this story, in the chapter that’s from his pov can possibly not love him, and I won’t believe it. The lyrical prose is the best description in a paragraph I’ve ever read of Nie Huaisang.

9. Love of my life, I hate you by Ibijau (~126k) Summary: With Qishan Wen growing ever more powerful and menacing, QInghe Nie and Gusu Lan decide to cement a firm alliance between their sects through a marriage between their children. Lan Xichen and Nie Huaisang are less than thrilled to learn this, but nobody is asking for their opinion anyway Rec: At first, I wasn’t sold on Lan Xichen being so thoughtless in his treatment of Nie Huaisang as a child and mostly wanted to smack him, but damn if the later events don’t make up for it, make him grow up, and turn the tables around. :D This story is utterly satisfying to read, like one of those novels that give your Id everything you want, eventually. I love slow burn and this is that in spades! So much fun, I’ve re-read parts of it multiple times already.

Honourable mention: Ibijau has so many interesting XiSang stories, like the one where Jin Rusong survives and Nie Huaisang ends up raising him (Second Chances For First Time Villains), and the one where Lan Wangji and Nie Huaisang, both in love with someone else, make a marriage match and solve crimes together ( We can light a match and burn it down), the god!LXC AU, and many others. Check them out! And finally,

10. Chapter 95: LXC finds out about JGY and tells NHS, from MDZS short fics by nirejseki ( @robininthelabyrinth) (~1k) Summary: In that AU where LXC pretends to be LWJ and discovers NMJ's head, what if he went on a quest to put the body of his old friend together and along the way accidentally ran into NHS who's on the same mission. And they realize the other knows! Rec: Nirejseki writes a lot of great Nie brothers content, and this is one short story that can arguably turn into XiSang in the future. The possibilities of this AU make it so exciting, I had to include it on the list even though NHS and LXC only talk and nothing else happens. ...Okay, that was more than ten fics here, but can you blame me? 😍 I love these two together. And with the XiSang week running we have so much new stuff!

#xisangweek2020 #xisang #nie huaisang #lan xichen #the untamed #mdzs #fic recs #favourite xisang fic recs #watch tumblr eat this post because external links lol #¯\_(ツ)_/¯

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iaintyourbro · 4 years

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Imo Tifa is Cloud’s real catalyst. Some people say it’s Aerith... yeah sure... she is in some way, but only on soldier Cloud in OG. Like, in the first place he wanted to be someone strong hence why he became soldier, cuz of Tifa. She saved & brought real Cloud back in the lifestream. She vented and knocked some sense into him to bring him out of his misery. Why does everybody sleeps on Tifa’s efforts like 🤷🏻‍♀️

Hey anon.

I honestly have a very difficult time comprehending it myself. Generally when I play these games the first time, I take them at face value. I think most people do that. From a logical standpoint, the first time a person plays OG, they probably do think that Aerith is meant to be the love interest because she’s pink and cute and a white mage type of character.

This is the fun thing with stereotypes... Whether or not there’s any romantic interaction between Cloud and Aerith, people automatically assumed the moment he wakes up in that church that she’s the love interest. I think this was also done on purpose to further the whole illusion thing. It used people’s preconceived ideas about romance against them.

In Remake, they make it much more obvious that Cloud has an issue with his memories and personality, and that his subconscious is heavily attached to Tifa. He stares at her constantly.

Aerith then dies. In real life we do not continue to pursue dead people that we knew for a very short amount of time. That seems... ridiculous. They also don’t really dwell on it in game. After her death, she’s not mentioned again until they’re trying to figure out what to do with meteor. This is well past her death.

You first go snowboarding and through all of the Icicle Area, then up to the Northern Crater where you’re slammed with the line from Cloud that Tifa’s opinion is the only one that matters to him, then Cloud falls into the Lifestream. Then we get Tifa who is very upset about everything, almost gets executed, has to slap a bitch a few times, gets back on the Highwind, and her number one priority is to save Cloud. You get him back and go on some more Huge Materia missions, can do side quests, and then when you actually start to go down the what to do with Meteor path, is when she’s brought up because of Holy.

But for the whole Lifestream thing...

Tifa is mostly selfless throughout the game. She puts others before herself constantly. I honestly thought her turning to what she felt and what she wanted was a good character building moment. I think her one desire to find Cloud was the most selfish thing she did during the entire game, and it was about her feelings. And about Cloud. She knew nobody else was going to look for Cloud - she didn’t want him alone.

When they do find him, she’s done. She’s staying there no matter what. At this point I think she’s already lost everything else, and finding Cloud somewhat alive, the last thing she really has from her past, she’s not letting it go. She sticks by him. She helps him find himself. She continues to stick by him.

She almost dies sticking by him. She saves him from himself by helping him rebuild who he truly is. All is revealed, it’s obvious he has feelings for her that go way back, and that’s that. At this point, I think most people who played the game with no preconceived ideas realize what’s mostly going on. I do think FFVII requires multiple playthroughs to get everything, but the jist of things is there.

So most people don’t question this - Cloud loves Tifa, okay - let’s mosey.

The ending I think is where people start to argue, even though it’s not supposed to be romantic, I don’t think. He says the line “I think I can meet her there” which people take as he’s going to meet Aerith there. Tifa doesn’t react badly to this. This is after the Lifestrem, after the Highwind, and then suddenly he’s just gonna drop her? No. This is about them realizing they’re probably going to die.

Some people couldn’t accept she died, they can’t accept what happens after that, so they shit on Tifa. They know she’s the catalyst for him, she’s the reason he wanted to join SOLDIER (he tells us this himself), she’s the reason he finally snapped at Sephiroth in Nibelheim (after everything else), she’s the reason he comes out of his first bout of severe mako poisoning, and ultimately she’s the reason he survives the second bout.

After all the shit that happened, after almost killing their friend twice, ultimately causing Meteor to get summoned, after it all, she still stuck by him.

Then we get AC. Now AC is interesting because people think Cloud acted like he did in AC the entire two years after FFVII ends. He doesn’t. He’s happy - the devs came out and made sure people knew that he was very happy with Tifa and the children. He runs from Tifa for a week or two. People think he took off for months. He runs off due to getting Geostigma, and can’t bear to have Tifa and the children watch him die. He knows what happens to Tifa when people close to her die - she starts doing really stupid, drastic things. So you have Denzel dying already and now Cloud has the same problem. He ran, but it wasn’t to go find Aerith or get away from Tifa because he didn’t love her - he ran because he did love her, and in his mind.. well... he couldn’t deal with the fact that he was going to ultimately hurt her. Badly.

Cloud realizing Tifa is injured and knocked out in the church shows how much he cares about her. The second Tifa that he yells is fully of emotion. Geostigma also acts up when he has high anxiety or an emotional event. Right after this, he has a major Geostigma episode and passes out. You can’t say he doesn’t care - deeply - about Tifa. He’s scared out of his mind here. He thinks she’s going to die. And he blames himself because she came to the church looking for him.

Cloud sees Tifa is alive in the simulation here.

After he thinks she dies.

A lot of people think that Tifa is attached to Cloud and useless without him, but I think it’s the other way around. Tifa could live a normal life without Cloud. Cloud wouldn’t be able to live a normal life without Tifa with the story of the game. You can’t say what if he didn’t get experimented on, because he does get experimented on, he’s injected with Jenova cells, and has severe mako poisoning. Which she can at least get him out of to function. Tifa was literally created for Cloud so he actually has a shot at life and doesn’t die in the gutter of the Sector 7 train station.

FFVII had a main theme of life and death and learning to live after death.

And that learning to live wasn’t just about Cloud.

It was about Barret who lost his wife, hometown, and ultimately ends up losing his best friend when he thinks he found him. He deals with his loses by channeling his passion for revenge. He vows to care for Dyne’s daughter. He does blame himself partially for the entire thing even happening, since he agreed with Shinra, but ultimately doesn’t let it consume him. He goes back during AC to help rebuilt Corel to make amends.

Tifa also learns to live after heavy loss. Tifa loses her mother as a young child. Her entire hometown is burned down, her father killed, she’s almost killed. In both cases of her parent’s death, she makes very irrational decisions to cope with it. She thinks going up Mt Nibel will allow her to see her mother. She thinks she can take on Sephiroth after he kills her father. She also does this after she thinks Cloud dies. She decides she can go to a brothel and question a crime lord to give her info... Not a good choice. I’m sure at this point, most of the folks reading this have had to deal with somebody they loved dying. The first few days really is bizarre. You’re in a daze. Your decision making skills are shit. You’re tired. Tifa ignores the fact that she’s in a daze and makes decisions anyway to cope with it. But she lives. She rebuilds her life in Midgar, she has a job, has a place to live, and then decides to go the Barret route and get revenge.

Vincent is the most similar to Cloud in how he deals with loss and guilt. He sleeps. For 20 years. Vincent goes from Turk Viincent to Eternal Sin Vincent. He blames himself for all that happened to Lucretcia. He’s alone. Sleeping. For 20 years. This probably would be a good example of what would have happened to Cloud if Tifa wasn’t there. He would have spiraled in to guilt and - ultimately - would have died. Vincent couldn’t die, so sleep it was.

As for Tifa and Cloud, specifically. Cloud probably wouldn’t have joined the military if Tifa never fell down Mt. Nibel. He probably would have stayed in Nibelheim (or followed her wherever she went, he did have it pretty bad for her) and then they all would have perished. It’s to be assumed that Sephiroth would have still come to Nibelheim and burned it down. Cloud and Tifa had nothing to do with him doing that. All of the catalysts for that were from before those two were even born, so nothing was going to stop that.

Without Tifa, Cloud probably would have died at the Sector 7 train station. I think the flashback with Zack in the OG (even though its optional) is to show how bad of shape he was in. The guards say to leave him because he’s pretty much done for. Somehow he does make it to Midgar, but I don’t think he would have lasted much longer. Zack got him 90% of the way back. Tifa did the rest and ultimately brought him back to “human status” even though it wasn’t really him at this point.

People start to shit on Tifa because she doesn’t come out and tell Cloud right away that somethings wrong with him. She doesn’t correct him about the flashback in Kalm. She keeps it going. The thing is, she admits this was wrong. That it’s a character flaw. Literally right after Cloud falls in to the Lifestream after giving Sephiroth the Black Materia, she tells the story of finding Cloud at the Sector 7 train station, and how she’s always been this way... She’s non-confrontational. She didn’t want to upset him. I think she thought that something bad really would have happened to him.

And ultimately, she saves him again.

Nobody else could have helped Cloud rebuild himself. Nobody.

Tifa is the only person in the world at this point that knew Cloud prior to the events of the Nibelheim Incident. She is the only one that could guide him. She’s one of the only survivors from the Nibelheim incident. Nobody else could have done it. Cloud’s subconscious is almost entirely made up of things about Tifa. The Promise, Tifa’s mother’s death and the Mt. Nibel incident, the reactor and how he hid from her because he was ashamed he didn’t make First Class SOLDIER. Every piece of his subconscious has to do with Tifa somehow.

#cloti #cloud x tifa #ff7 advent children #ff7 #final fantasy 7 #final fantasy 7 remake #final fantasy 7 spoilers #ff7 spoilers #cloud strife #tifa lockhart

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