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skrunksthatwunk · 10 months

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ok so. kiwami 2. rooftop scene. the ending. it's a bit of a clusterfuck but i wanna talk about one detail, a problem they bring to your attention by Fucking. Talking About Her.

haruka is watching all of this unfold.

[this post is like 4.5k words long + pretty critical + has spoilers for kiwami and kiwami 2, and really minor/vague ones for a couple others. they're not that bad though, trust me (and i added a warning in the one place it is major)]

ALSO CONTENT WARNING i'm gonna talk about kiryu's passive suicidality a good amount in this one, so stay away from this if you think that might affect you negatively/you'd be better off skipping it. i'll also make a tl;dr (which i will highlight in red) at the very end if you really wanna know what my point is that will exclude those elements <3. i am also going to use a lot of choice-based language in regards to kiryu's contemplation of suicide because i think it's the lens through which the games treat the topic, but i personally don't find it a productive or realistic way to look at suicide or suicidal ideation at all. someone dying by suicide absolutely does not mean they don't care about their loved ones enough to fight on or whatever. i love you, and proceed with caution on this one.

(also i'm using the kiwamis as my point of reference because i uh. don't have a ps2? those are the games that i played, and though the differences are likely slight, i wanna be clear about that. also,, ignore the watermark on these screenshots,, i didn't notice them and i'm not retaking them. we're all gonna have to settle for youtube cutscene comps for now xoxo)

first, we have to talk about the ending of the first game.

[note: i am Really Really Confident kiryu has a conversation earlier in the game about his going to jail in nishiki's stead being him running away and choosing not to resist his two options (go to jail or let nishiki go to jail) and define his own path, fighting his way against fate to make it happen. part of why i'm so confident it exists is because it made such an impression on me at the time. it's pretty important to my interpretation of things but i also can't find it for the life of me, so uh. sorry ✌️ i really tried. this post's takes/analysis will be dependent on this scene existing, so keep that in mind. if anyone knows where to find the scene/screenshots of it, lmk and i'll add a follow-up with it]

kiwami stuff

so as she's dying, yumi tells haruka this:

that she may be dying (painfully, and right as she's getting everything she wanted), but she doesn't regret it, because at least she did something rather than running away from it all. that you shouldn't run away, ever.

shortly thereafter, when the police find kiryu and haruka, this exchange happens between him and date. here's the play by play:

date tells kiryu he can get him out of trouble with this, and that if he doesn't, he'll get life in prison; kiryu declines his help:

kiryu is so devastated (understandably) by the back to back losses of the three people closest to him that he resigns himself to life in prison, and the death-in-effect that would be. he would prefer to waste away rather than struggle through a life without them. prison was monotonous and isolating, but coming back after a decade was overwhelming, and coming back to everything being so warped and twisted, and then losing the corrupted scraps he had anyway, well. he wants to go back to sleep. he doesn't want to be in a world where everything's the same except he's on his own. better to return to safety, to die slowly in a hell he knows well than weather a new one where he has control and agency, and thus one where he has the ability to fail and to lose anything at any time. he explains to date that that loss is why he can accept his death:

date shakes him and asks him if there's really nothing left for him, no reason to keep living at all:

then echoes yumi's advice to haruka:

which makes an impression on kiryu:

date gives him a reason to live in the form of haruka, saying she'll be on her own again if he goes to jail. he hijacks kiryu's tragic protector complex to keep him alive, because she needs him, and because she's someone precious to him:

after the dust has cleared,

kiryu and date also have this exchange, where date tells him to stay away from the cops (and presumably arrest and a return to prison, the aforementioned fate akin to death), and kiryu cites haruka as his reason to stay away, one he holds to with no uncertainty (showing again that he's accepted date's logic, that his reason to keep living even when it's incredibly difficult is to care for the more vulnerable haruka). given the weight of the consequences, to me, it feels like date's telling him not to be alone with his thoughts or something. it's almost frightening:

so, what's our takeaway from kiwami?

kiryu lost everything and hit rock bottom, but he chose to fight, and to live life on his own terms, even when it got difficult. that's the narrative life lesson he had to learn to avoid repeating the events of 1995. he made that choice for haruka's sake. it's seen as growth.

and without him, haruka would've just returned to the orphanage (assuming she could make it back to sunflower at all) with no one who knew or understood what she had been through, no one to mourn with her, and no one to give her the attention, care, and protection she needs. kiryu knows what it's like to be an orphan with a limited parental figure who only checks in every so often (kazama, "aunt" yumi), and what someone will do for attention/affection from that person (via both himself and nishiki swearing up, climbing the ranks, etc. arguably haruka coming to kamurocho by herself to find "mizuki" is similar), and what it's like to lose them anyway (again, kazama, yumi). their situations parallel each others' somewhat, and that binds them further. and after losing everyone (which he blames himself for to some extent, as one can probably assume from this and 2, and something key to his arc in later games), he chooses to protect her. and this time, he won't fail. at least partially because failing would hurt him, too. he'd have nothing left again.

okay. now we get to kiwami 2.

if you forgot, the context is basically:

everybody's fighting on the roof of a building which i'm sure will not be a running theme or anything as the series goes on

there's a bomb that's about to go off and they don't know how to/can't defuse it

ryuji shot the twist villain to death, but took fatal hits to do so

sayama's like hey!! let's get out of here!!! and kiryu and ryuji are like nooo we have to settle this oughh it's punchin time and they stick her on an elevator and send her down so she doesn't have to watch

ryuji loses. sayama returns, they have a cute sibling heart to heart, and ryuji dies in her arms. sad

kiryu is in rough shape as well, and there's like 2 minutes left on the bomb's timer

here's the scene itself:

sayama tells kiryu they have to run, and kiryu says he can't. the gist is "let's run!" "you go without me" "i'm not leaving you!" "i'm in no condition to run" "i'll carry you then!!" sayama: *sees how fucked up kiryu is, realizes he's Going To Die Anyway* "ok, then i'm staying with you!" and then further bickering about that, before they give up and make out (as one does i guess)

date (he's here now) yells this at them from a helicopter:

before someone else in the helicopter tells date this:

we get this shot of haruka calling out to kiryu as the helicopter swerves away:

and kiryu and sayama have this exchange about haruka where they say they let her down, but that she'll understand:

then they hug and the bomb ticks to zero right when the credits hit. in post credits it's revealed that the twist villain defused the bomb when they weren't looking, betraying his co-villain for reasons i truthfully do not remember and am unwilling to look up. it's not about that right now.

so, how does this scene interact with the ending of the previous game?

the short answer is "badly <3" but here's the long answer:

it's about choices.

the thing about fiction is that anything you want to have happen, as a writer, can happen. it may not be effective, internally consistent, or logical, but you can write it regardless. audiences suspend their disbelief for the sake of engaging fully with your fiction, but everyone has a threshold past which they will stop being engaged in a story and either become uninvested or annoyed. writers usually have lines they're unwilling to cross as well. but in almost every story, there's at least a couple of places where they stretch reality a little to make the narrative they want happen. this is not a bad thing at all. that's how stories get told.

now, i'm gonna be real with you. i don't care about how feasible plots are like 95% of the time. it's not something i think about much, nor is it something i prioritize. i am a very character-centric media consumer, so if world building and/or plot are a bit stale or contrived, that doesn't really bother me much so long as i'm invested in the characters involved. some people can't stand plot holes or the ways musicals burst into song or whatever, and that's fine for them. but it's not something i tend to find that all that important.

this is all to say that i have a sorta affection for rgg's flavor of bullshit pulling. and it is a powerful flavor, maybe even an acquired taste, but i can and do rock with it so long as it doesn't damage the characters too much. this is why i'm not making a lengthy post howling into the void about joji kazama or the second joon-gi han or how many secret relatives there are. those things are silly and endearing and a clumsy yet heartfelt part of a series i care about very deeply. i'll joke about it, but i don't consider it much of a flaw. it's more like personality. flaws are texture, and they help a piece's identity. point is i am very, very willing and able to suspend my disbelief for these games in exchange for a good time, particularly via good characters.

(if you want another example of where i draw the line from within rgg, the answer's the YAKUZA 4 SPOILERS INCOMING rubber bullets twist, because i think 1) it's actively horrifically stupid (especially retconning a scene we SAW HAPPEN. WE SAW BLOOD ON EACH IMPACT, AND RUBBER BULLETS DON'T OFTEN BREAK SKIN THAT DEEPLY (THEIR DAMAGE IS MORE PERCUSSIVE THAN PENETRATIVE). THESE EVENTS HAPPEN IN THE SAME GAME YOU DON'T HAVE TO RETCON IT JUST REWRITE IT. OR DON'T SHOW THE HIT AT ALL SO THERE'S MORE PLAUSIBLE DENIABILITY. DON'T DO THIS JUST TO HYPE UP YOUR SHITTY VILLAIN NO ONE CARES ABOUT. and 2) (a bit more importantly) i think it actively removes saejima's primary internal conflict for that game, that being his intense guilt over the 18 murders he thinks he committed, one i was invested and interested in. but this isn't a rubber bullets post.)

characters in this series walk off a lot of life threatening injuries. they survive miraculously, they escape in the nick of time, and they pull through in the end. kiryu still somehow hasn't killed anyone. almost every game in his saga ends with an "is kiryu gonna make it out this time?!?" shortly followed by a "yeah lol. lmao" postcredits reveal. kiryu fucking punches a marble statue into dust in the first game. having a story that asks you to suspend your disbelief so much and so often means that when a decision is made, it's not the writers saying, "well, this would have to happen so we are obligated/forced to write it happening" so much as "we wanted this to happen for some reason(s)," because you already know that they're not guided solely by logic. again, this is true of all writers, it's just amplified in stories like these because they've already given you so many hard mode suspension of disbelief moments (they've broken you in like leather, yeah? or like how obvious internet scams allow for self selection by being so obvious that only the most vulnerable people would fall for them. they curate an audience willing to play along with their bullshit flavor so they can tell a story that's more likely to satisfy that audience. in a good way, in a fun way! mass appeal is overrated). there is not much limit to what this series is willing to try and sell you.

so when ryuji takes lethal damage taking out the big bad, that's a choice. when he doesn't die immediately, that's a choice. when ryuji and kiryu send sayama away in the soon-to-be-forgotten elevator so they can settle this like men or whatever despite the literal actual bomb about to go off, that's a choice. when sayama comes back, that's a choice. when ryuji does die, that's a choice. when kiryu determines that he can't escape in time, that's a choice. when sayama is unwilling to leave him, that's a choice. when she says she'll carry him out and there's an elevator right fucking there and then she's like never mind i guess i won't anymore we're dying together right now kiryu like they're not gonna even try?? wouldn't distancing themselves from the blast give themselves a better shot, something that's super possible given the 2 minutes they have with that elevator??? sayama you met him like a week and a half ago why are you ready to die with him that's not a plot hole i just think that's kinda strange whatever anyway, that's a choice. when kiryu stops arguing with her so they can kiss (next to her brother's corpse), that's a choice. when date shows up, that's a choice. when the helicopter can't save them because the bomb was going to go off too soon, that's a choice. when they put haruka in that helicopter and take her away, let her only impact be reminding kiryu and sayama that they can't help her, that's a choice. when they spend their last moments talking as if they're already dead, then simply waiting, that's a choice.

they're all choices that the writers made for the characters, and we are asked to believe them for the sake of achieving the writers' vision, as with any story. the only problem is that the writers' vision here fucking blows.

i'm not saying it would be realistic for kiryu and sayama (and even ryuji) to make it out alive, but it wouldn't be out of character for the series in the slightest. kiryu is suddenly unable to power through here, and that's a choice. so, what is their vision?

put simply, i think they wanted a romantic last stand for kiryu and sayama, a tragic scene of doomed, devoted lovers. and i think they wanted an edge-of-your-seat fake out death. they wanted spectacle.

here's how some specific choices they made undermine all that shit we talked about earlier from the first game.

once again, kiryu is called by date to live, to pick himself up and keep going, no matter how impossible the odds are. he's even reminded by haruka's presence, his one anchor in keeping himself going. the growth he had in the parallel scene in the previous game is challenged, and he fails.

it's not enough this time. and that's a choice.

it's also one i can't think of a good reason for, and that's the real kicker.

characters can have developmental backslide just like people do, and if they're given good reason for it, it can be just as, if not far more compelling that purely linear growth (i am a chimera ant arc enjoyer, and that's all i'll say. sorry if you haven't seen hunter x hunter. uhh. i am also a zuko avatar enjoyer if that helps). but i can't think of anything that happened in that game that would cause this from a character perspective. if anything, kiryu should be less likely to do this intentionally. he's spent around a year raising haruka, and a year has passed since he lost his loved ones. at the very least, the pain should be more dull, though it is established through an early nightmare sequence that his ass is (justifiably) not over it yet. given that their deaths were the initial motivation for his willingness to rot forever, theoretically, he should be more motivated to stay alive than before now that he's got more investment and stability in his life outside of them, particularly when it comes to haruka, his reason for surviving. and if the ongoing nature of the trauma was the motivator for this, then they should've had it affect him more past that nightmare scene (it really serves more as a recap of the last game than anything else) so it didn't come out of nowhere. so the reminder of the lesson that saved his life and then guided it for at least a year afterwards, one that the whole resolution of the previous game relied on heavily falls flat for... some reason.

i think this is a good time to mention that, generally speaking, you don't write arbitrary choices into characters. sure, people in real life are often sporadic, but when analyzing fictional characters, every choice is filed into a portfolio of characterization that can and should be analyzed. going for pure realism can obfuscate their development, motivations, themes, etc. their choices and reactions may be unorthodox, but they must be internally consistent. this is very related to how i view plot contrivance as well. characters drive the plot, not the other way around. stories are about the ways characters affect their worlds/lives and vice versa, and they're the human face to the themes and ideas the writers are trying to explore and express. maybe my stance on this seems hypocritical. i don't know if it is. but to me, plot issues are usually a matter of engagement and investment, while character issues are a matter of substance.

i hope this doesn't feel patronizing explaining all of this, but i want you guys to know where i'm coming from in my analysis. starting at my base philosophy on writing is the easiest way to do that, i feel. defining the terms of the debate, and all that. anyway

and i mean, look. they survive because "it was defused the whole time we just didn't see it happen", so it's not like narrative tension or realism or whatever was THAT big of a priority overall. if it was gonna be a cop-out anyway, they should'nt have ruined kiryu's development too, yeah?. and sayama fucks off to america after this game anyway, so it's not like the doomed lovers thing had much payoff or meaning after this one (though you could argue that's more an issue with yakuza 3 than yk2, which has some merit to it). which means that they chose to sacrifice kiryu's prior development and internal logic for the sake of cheap tension for their finale that was both kinda illogical in and of itself (the elevator!! the elevator!!!) and a romantic climax that neither required nor really benefitted from this staging. (like. you coulda had them make out and then get saved by date, or kiss on the elevator in a "it's moving, but will we make it in time??" way or whatever. look i'm not saying those are great options either but they're SOMETHING okay. it would remove/reduce the amount of time wasted on characters sitting around with their thumbs up their asses for no reason in this finale).

instead the message of this finale is that, actually, sometimes it is impossible to change your circumstances and fight for your own way out of an awful situation. and what should you do about this unfortunate truth? uh. die! i guess. it's the exact opposite of the encouraging, optimistic message of the last game. zetsubou chou pride my ass.

note: i feel i should mention that when suicidality is brought up within the series (particularly in substories), it is always something someone has to overcome themselves through wanting it badly enough. they simply need the inspiration and the motivation to keep going. it's arguably treated as a moral obligation. frankly, the series is broadly very meritocratic (<- bad) when it comes to this topic (and others, but that's a Whole Other Thing. see akiyama's weird loan shark tests as well). sheer will and resolve is enough to conquer any problem, be it physical or mental/emotional, and it's irresponsible to act/feel otherwise. this is the logic the games operating under, and kiryu is often the mouthpiece for this bootstrap-pulling "tough love" sentiment. so when kiryu "chooses" to die, yet faces no emotional fallout from date, haruka, or anyone else, it feels very out of place. it's not just an odd choice; it's specifically, once again, an odd choice to make in context of the game/series/character it appears in.

kiryu's just like eh, haruka'll watch her only family die right as she gets some sense of tentative stability and lets her guard down after a devastating month the year prior (and a relatively dismal upbringing before that) that we trauma bonded over. sure, she likely came to view me as the one who would stay no matter what, who was too strong to be taken out, who she could always rely on, and so i know that dying would hurt her immensely, but she's smart enough to know it'd happen eventually. her eventual recovery means it's okay for me to do this (somehow, in a way it wasn't in the first game). it's an excuse within the narrative's logic, and one it is uncritical of simply because it's kiryu. he gets a pass.

and i think with the previously mentioned passive suicidality and general series-long mental health issues kiryu displays (i mean. yakuza 5's literally his depression arc), this could be retroactively seen as an interesting choice, like a piece in that particular narrative. i don't even dislike that viewing, especially in terms of fan approach. but (assuming this went down the same in yakuza 2), they likely didn't have that in mind. all they had then was the first game and the movie. and they took the first game's Entire Message and contradicted it for nothing but a scene they wanted to have happen because it'd be suspenseful and/or emotional (without actually doing the work to earn it). and they're not fans trying to analyze his character, they're the ones making choices for him. and they chose to massacre my boy. and if the subject of kiryu's mental health was a priority of theirs, why didn't they explore that? haruka and date's feelings on him not resisting and their words not being enough (whether that blame is justified by the narrative or not (it shouldn't be btw)), the uncomfortable drifting that resigning yourself to death and living afterwards anyway often brings, literally any conversation about it besides the minimal shit we get post credits of date being like "did you know about the bomb not having a fuse?" which like. bad answer either way (which is why they weren't straightforward about it, the cowards). you can't just be like "oh uh. idk he just gave up this time. yeah he was gonna die on purpose for some reason. good thing the bomb was fake lol" and then pack up and go home!! that's stupid!! any merit the idea of kiryu dying by suicide in this scene and in this way could have had from a character-based perspective loses its weight because 1. it didn't happen (for kinda stupid reasons), which makes it fall flat and 2. no one is really affected by the fact that it almost did, including him. they sacrificed his ass and replaced it with nothing, even when there could have been interesting outcomes to it.

so the narrative effectively chose to kill him by making the situation impossible, and this impossibility is ultimately arbitrary, given the series' usual approach to miraculous, illogical escapes. that, or the choice to stay was up to kiryu and sayama, one that 1. doesn't make sense and is actively regressive in context of kiryu's arc in the only other game in the series (as well as his whole saga in retrospect) and 2. one that contradicts how the series sees/treats resignation to death/death by suicide in all other contexts without being addressed, challenged, or condemned in ways it would in all other contexts. because they don't want you to think about it like that. they want you to think he (and the narrative) had no choice, that it made sense to do that. but it didn't. it doesn't.

and look, honestly? if i was bleeding out and had like 2 minutes to live, there's a non zero chance i'd say fuck it and kiss a girl too. i get it. but i am (and this is crucial) not a fucking yakuza character. and i'm certainly not kiryu kazuma.

tl;dr (basically just rephrasing the second to last main paragraph)

there are not sufficient character reasons for kiryu and sayama not trying to escape. additionally, because the narrative regularly facilitates even less likely escapes, it's not so constrained to logic and reality that it couldn't pull this one off. the choice to let their situation be impossible this one time was a cheap and arbitrary way of forcing a scene they thought would be cool and dramatic, and in doing so they chose to cannibalize a key emotional note of the previous finale (namely kiryu's mission to dedicate his life to protecting haruka) for hollow last minute stakes-upping in this one. it is then completely disregarded anyway. god damn.

#got so into this post that i used tumblr on my laptop for the first time to surpass mobile's image limit #i also added transcriptions in the alt text (which i should do more often)#actually thinking about it in the movie kiryu teaches haruka that lesson about stumbling on.. and she's the one to ask to follow him... hm.#just interesting given that the movie came out before 2. i don't think it makes much of a difference to the post it's just neat to me #one of my favorite parts of writing this was skimming through a bunch of yk1/yk2 cutscenes and noticing how often kiryu pats haruka's head #it happens a lot more than i remembered and it's very sweet to me. get bonked little one <3 #another good thing was realizing you can edit tags when you're not on mobile.... fucking life changing. i have lost hours to mobile tag #editing and i'm not even kidding about that #speaking of editing this one took like 6 hours.. my brother used “yakuza autism” (verb) for me earlier and it's so true. source: this post #i did have a short break to get food bc i hadn't eaten all day but that's mostly because i woke up at 3pm. anyway #also if you like kiwami 2's ending you're not even remotely alone. i looked at the comment sections of the scene comps and ppl love it #and more power to you!! i like it when people enjoy things. and tbh i DO have feelings that i'm supposed to about that ending #i just also have feelings you're not supposed to. like. anger. i guess.#rgg #ryu ga gotoku #skrunk meta #aww yeah it's a new tag babeyy #yakuza kiwami 2 #kiwami 2 #yakuza #like a dragon #yk2 #kiryu kazuma #sawamura haruka #sayama kaoru #maybe my thoughts'll change after replaying the games...? it's been like a year and a half since i beat yk2 so i am a bit fuzzy on it #yakuza kiwami spoilers #yakuza kiwami 2 spoilers

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thedeadthree · 1 year

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what is lineage, if not a silver thread of pride and guilt?

PRINCESS ELAENAERA OF HOUSE TARGARYEN

(x)

#oc: elaenaera targaryen #tv: house of the dragon #hotd oc #hotd ocs #asoiaf oc #asoiaf ocs #leg.edit #leg.ocs #hotd spoilers #she and her beloved got the edit treatment this fine day/evening! here’s the baby girlie!#also! if y’all would like to be tagged in things let me know ✨🥺 i forgot who wished to be tagged and y’all are always so sweet 🤍🥺#i am forever grateful to my hotd ocs for bringing me out of my months long creative DRAUGHT ✨🥺❄️#me? making content regular(ish)? unreal! and they have me writing too which like I’m so excited about ✨😖#her dragon is named after the valyrian moon god! and the god of other things as well! and one of those is the moon! my lunar babies! 🌙🤍#and nocticula bc pathfinder still has a VICE grip on me and i thought it was lovely akjzjxjx🖤🖤#what isn’t mentioned in the edit that should also be noted is that she was in winterfell for about? a year to less than? maybe 8 months?#whirlwind romance between her and yoren! and then with her dads health progressing she was asked to return to kings landing!#it was only supposed to be for six months but then things got caught up for her and that turned into six years ✨😵‍💫#so there will be a LOT to unpack and a lot of resentment to work past for her when he comes back into her life!#i am actually thinking that he shows up to dragon stone and she’s caught OFF guard ajzjjxhx #and he has a dragon to boot! the dragon found him fascinating and they were bonded :)#he may have valyrian ancestry though his mom who’s from lys? before the doom from one of the other families likely im thinking?#or it could have been from a ritual like una and iovanna or just from merit i haven’t figured that part out yet skxjhxhx #she wishes things didn’t have to be like this between the other side of the family!#she didn’t particularly care for court? (she did but it was like there was little to hope for that she would ascend the throne u know?)#GOD THIS TURNED LOVELY ✨🥺 the coloring that was already included was so pretty and worked so well for her 🤍🌫🥺#*ocedit #HOTD SOUNDTRACK IS FINALLY OUT BESTIES 🤍🤍😌 it’s so good it’s so good i love it #these got LONG again so if you read that you made my day honestly 🥀❣️🥺 ty ty!

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sylhea-raemi · 2 years

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🎋2️⃣📚 shuffle team is SURPRISINGLY the least chaotic out of every group

#gonna do the tags tomorrow #edit: like okay they feel so different than i initially thought #why do they feel cold #not so very cold but somehow this is the most 'we're only sticking with each other this one time and be done with it'#it's literally what fling posse was like when they first formed but colder #i mean yeah they did have a funny moment at first #sasara: oh god both of them wanted to go on a different shop and decided to split up this isn't how it's supposed to go #gentarou: *tries to trick jiro*#jiro: ANYWAYS about that vocal training sasara #not gentarou getting bamboozled LMAAAOOOOOO #SASARA AND GENTAROU NOT HAVING THEIR WAYS THIS IS SO FUNNY ACTUALLY #i thought it was jiro who's gonna be screwed and this team would be the most confusingly chaotic #but NO nothing just ever goes their way lmfao #the ACTUAL chaotic group is- as expected- kuko/jyuto/dice #KUKO FUCKING LOCKED UP SHAKKU LMAAAAAAAAAAOOOOOOO WHAT THE FUCK #his mc name really does suit him #and then dice wonders..... how did shakku got out #THEN AND THEN THAT KUUDICE BIT............ kuko likes a man who can eat much #or something along the lines #instantly flashbacked to any memory of my grandmas saying i should eat more #but like how kuko phrased that............ never thought about kuudaisu but it's great

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a-sleepy-ginger · 18 days

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8/4/24

✿❈✿❈✿

Baby potato

Got some studying done

Finished 16bit sensation another layer

Tried a new tea flavour

#happiness diary #happiness diary: april 2024 #saw some seagulls fighting when i was walking my dog #and was like huh not seen seagulls fighting before #so as you can tell my day was exciting #got the otherdentist tomorrow :(#cus i popped my retainer on toast on the first day of the holiday #also since the weather is supposed to be bad ill have to go up early to make sure i can actually go to the appointment #cus trains #ill just wander about for a bit before the appointment i guess #anyway i should sleep nught #sure nught will do #on mobile so cant edit the tags

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ftmob · 30 days

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portraits!

(picrew)

#ftmob op #lan #ehir #garus #zara #hettie #<- all those just cause. i feel like this should be in their Big Tags.#also these aren't perfect ehir's hair is supposed to be curlier. but idk how to do that.#or. correction. i could probably definitely do that. but it would be really annoying. sorry ehir #also sorry ehir's nose noses confuse me so bad. you all have no idea how many times i tried to draw that nose it's embarrassing.#anyway these are edited also. which the picrew creator said was ok.#this is. mostly correct? some things are like :T but alas i'm not an artist.#some fun facts! hettie gary and ehir are from a much more similar geographic area. so they look more similar than the other 2.#lan is from. much farther away but still uh. this is spoilers i don't want to give away. yeah #zara on the other hand is from allllllllllllll the way at the opposite edge of the continent from the first three i mentioned. on the coast #if i had the energy i would do some of the palace arc crew bc some of them are like. Really Important. and reoccuring. but #well. actually maybe i will do lan's. soldier crew. some day.#the biggest chunk of the book happens in zara's palace and also. suddenly i really want to do sybil. and if i do her i should do the others #anyway! yay. picrews are fun.#ehir's is just really so fucked up bc that's the first one i did. the more i look at it the more i'm like. sorry ehir. lmaooo #zara's is my favorite her crown was so fun. also lan my scrunkly. ok anyway. aaaaand post.

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your-local-loon · 2 years

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I can’t be numb And sad at the same time, what the fuck is this

#it spoke #it’s f depressed bitch hours babeyyy #and of course it is. because it always is #I am rarely if ever not a depressed bitch sbdhdjcg #mental illness tw #the tags are probably out of order rn but I’m not doing anything about it atm #possibly delete later #at the very least I should edit #what if my csa trauma is actually way overblown and nonexistent and like it only happened once through the clothes and I just imagined the #rest #or even that one was imagined but more vividly #also I’ve been restricting but uh #I gained 2 pounds and honestly #wanted to unalive on the spot #csa tw #suicide tw #don’t worry though I never seem to follow through #just realized I’m adding these tags to the wrong post RIP #they were supposed to go on the one that came after this.#oh well. I’m too tired for this shit

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doing-downtime-hero-shit · 2 years

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more things need text-based options. like phone call texting without frustrating secret rules

need to do stuff that is time sensitive. also not really able to talk atm. emails don't usually work out well also there r Rules to how emails work and like pls I just want to communicate quickly and get shit sorted without talking and taking several hours doing Email Rules and Expectations to achieve less than I need at a higher exertion cost

#being mad mad and frustrated and just want to get a fucking answer without playing phone tag or Social Norms The Written Edition(tm)#because if you dont do the email 100% according to the proper norms even if u are barely at baseline of function #you get delayed and run around games and bs #venting and negativity #dude im qbout to say fuck it and go live in my car i stg #bout to just fucking Neurotypical Advice myself out of having chronic illness and neurodiverse/mental health issues #just go fucking eat kale and take a walk and stop depending on silly things like insulin and medication #not necessarily by choice bc if i cant fucking work or get assistance for meds im not going to be able to get them anyway #tiny angry man made out of fire is stuck inside a robot box because shit isnt set up to be helpful!! and rules arent clear!!#except the rule that i am not allowed to be mad about it!!!!#i am so mad and so tired of only being allowed to be mad at myself!! i am mad at myself that i cannot meet what is expected!#i should also be allowed to be mad when the systems that are supposed to help qre not set up to help!!#or when they are all loud about how good they do and how they do better than they need to and dont even meet the bare minimum actually!!

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olderthannetfic · 3 months

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Genuine question: what's the point of writing fanfic? As in, what's the purpose? No one in the fandom I'm in comments on fics and I even got told off by one person for doing so, as it "encourages bad writers and makes them think they're good". So it seems that it's a lot like book writing, where people work hard and are creative, but instead of getting paid and getting comments on the work, you just sit there silently hoping someone will press the kudos button and make a number go up. I feel like that time and work could be better spent on making something you might get some kind of profit off of. Don't get me wrong, I love doodling fanart, but I don't post it, as I'm aware that there's no point to doing so, and while it's a nice way to fill the time on a commute, it's not something that takes me as much time and effort as fanfic does. So... why do people bother? Sometimes I describe ideas I have and people I know in my fandom will tell me I should write it, but I don't see why. I get more interaction from just saying "imagine if [thing here]" than I would by sitting down, writing for hours, editing and posting [thing here], so what would the point be? I'm not punching down or going "haha women and their fanfic lol!", I genuinely do not get what the point is and this blog feels like it might have someone reading who knows the answer.

Do you make art for profit? Genuine question.

There's nothing inherently wrong with being motivated primarily by external factors, but it's not actually why a lot of people create things, whether it's books or recipes or doodles in a notepad.

I enjoy the actual process of writing.

I think many people lose sight of that aspect in an era where tons of <500-word fics that are mostly outlines and "Imagine if..." posts get disproportionate attention for being easy to consume. But the satisfaction of doing a bigger art piece and doing it right is real and motivates a hell of a lot of creation.

I suppose you might be thinking "Okay, but why not just write it alone and never post?", but I like sharing. Showing off my finished creation is part of the joy, and sharing with other people like me is too. But those aren't quite the same thing as worrying about kudos. It's like dressing nicely when you leave the house because you feel great when you know you look good vs. needing another person to tell you you look good.

To be honest, though, this type of feeling has grown in me the better I've gotten at a craft. The closer my finished projects get to the vision in my head, the easier it is to find them fulfilling and to be excited to share them. When I fall short of my own ambitions, it's discouraging no matter how much attention I might get from others.

I feel like it's time for my regular reblog of Adam Westbrook's video essay series The Long Game.

vimeo

youtube

The third and least known in the series is all about this idea of who you're making art for if you're not getting material rewards in the short term. It talks a lot about autotelicity—being internally driven instead of externally.

But if you really just want clicks, anon, start a blog that accepts anon asks and posts about wanky stuff. Actually tag things, unlike me, so people can find you.

No, writing for attention isn't worth it.

The time investment is too great and your brain will always fixate on the times people didn't respond instead of the times they did.

But that's not actually why most people write.

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mayasaura · 8 months

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sorry if this has been answered before or if there's a post about this, but I've been seeing a lot of posts labeling harrow as schizophrenic and/or having trouble recognizing reality, including the one you just made about crux as harrow's caretaker and reality-indicator.

I realize that these interpretations come from htn, but I'm curious as why people feel that it's always been a trait of harrow's instead of a side effect of the lobotomy?

I was under the impression that she created the reality problems as an excuse to cover the blocks in her memory, especially since we know that wake/the sleeper didn't possess her until after gtn and most of her confusion happens in the river bubble.

even the "hallucinations" of the body don't really impact her perception of reality, and it's actually alecto's soul not a real hallucination. the only questionable moment I can remember is when she sees cytheria under the bed and ianthe says there's nothing there, but we know ianthe is a duplicitous legend so I read it as ianthe lying to harrow lol

long story short, I was wondering if there was scenes in gtn, ntn, or post-realization htn that indicate harrow has had these reality problems pre-lobotomy? or if you know of a post analyzing it further? sorry to throw this at you, I just haven't seen any analysis of it but I saw your post so I was hoping you would have more info :) I really adore all of your tlt analysis posts!

Hi! Yeah, if you go into my '#harrow's schizophrenia' tag, I've made several posts about it, and other people have added on to a few of them with further elaboration.

But I don't think I've ever laid it out fully like a thesis. And I have several stressful things I should be doing right now, so I can't think of a better time to get into it.

When Harrow's brain is editing Gideon out, there's an effect a little like a record skip. Her memory snags on something, very briefly, and then quickly moves on. Or she'll make an assumption or say something that doesn't actually make sense without Gideon in the picture, but she won't notice. The most prominent example is the details in chapter 3 surrounding her opening of the Tomb:

Just ellipsis "found out" ellipsis to skim over the very large part Gideon had to play in those events. If she were to interrogate the memory, it would be strange that she doesn't remember how her parents found out, but doing so would make her brain bleed. She would black out, and most likely forget what she was trying to remember.

And an example from the same chapter of a statement that doesn't make sense, unless you know about Gideon:

Two things are important about these examples, the first being that they don't upset Harrow. She doesn't think they're strange, because she barely thinks about them, which was sort of the point of the lobotomy in the first place. The second is that they can be immediately explained by plugging Gideon into the Gideon-shaped hole in Harrow's memory. If you know about Gideon, and what Harrow's done, there's no mystery remaining.

In contrast, there are other details in chapter 3 about Harrow's childhood that Harrow did, and does, find strange and upsetting.

Gideon didn't attend services, and she most definitely didn't participate in chants. Putting Gideon back in the picture does nothing to explain the "weird, thuddering beat" Harrow finds disruptive. But it does sound an awful lot like an auditory hallucination, as does hearing doors open and close where no doors were opening and closing.

Maybe we could try to explain the doors by supposing she was hearing Gideon coming and going without remembering the source, but that doesn't really track with how we know her mind processes the missing pieces. If Harrow were papering Gideon over in her memory, it wouldn't be important who was or wasn't opening doors and where. The focus of her memory would quickly shift, just like it did when trying to remember how her parents found out about the Tomb, in order to avoid looking at what she's hidden from herself.

Then there's the next paragraph:

Again, plugging Gideon into this memory does nothing to explain it. Even if Gideon had been in the habit of sneaking up behind Harrow and attempting to choke her out—which, yikes—Harrow has already seamlessly blocked out the memory of one attempted strangulation. Then there are the phantom ropes she sees, her parents' method of suicide haunting her.

The forgetting where she was, losing time, and false memories do seem at first glance like they could be explained by the lobotomy, seeing as that is sort of the whole purpose and effect. But I'm pretty sure even these are real memories. Again, because of the focus of her attention. She's remembering having forgotten, while the lobotomy make her forget to remember.

Then there's Harrow's overall behavior. Her reactions to her hallucinations, especially in the River bubble, which imply that not all of this is new to her. She isn't shocked, or caught off-guard. She has coping mechanisms. She's figured out what evidence she can probably rely on to rule out hallucinations, and what's more likely to be suspect. A lobotomy, even a necromantic lobotomy, doesn't come with built-in tools for coping with its effects. Her memory of her past without Gideon in it is fractured and incomplete, not an entirely new life story with new life lessons.

Finally, from Nona the Ninth, some evidence that Harrow's problems with reality definitely predate the lobotomy:

Crux remembers them.

#the locked tomb #harrow nonagesimus #harrowhark nonagesimus #harrow's schizophrenia #tlt meta #ntn spoilers #harrow the ninth #htn spoilers #long post #such a very long post sorry #op

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ofsappho · 10 months

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Summertime Sadness (part 2)

Simon "Ghost" Riley x reader

Second chance romance, heavy angst, hurt/very little comfort

Ten years ago: the first time you met Simon

Today: the first time Ghost meets you

Tags: mental illness, therapeutic boarding school, self harm, suicide attempt/suicidality, self harm, abuse, parental abandonment, much the same as last chapter. This fic is unedited because I don’t feel like editing it lol. If you see spelling/grammar issues, no you didn’t.

TEN YEARS AGO

Reader POV

It’s intake day.

Intake day happens once a week, always on Wednesday.

You don’t know why they pick Wednesday. It seems pretty arbitrary, doesn’t it?

On intake day, the nurses and counselors make all the current residents of the inpatient program line up to greet the newbies. You actually look forward to intake day. Everyone here is so boring and routine; your roommate never speaks unless spoken to and she always keeps her earbuds in. On intake day, the hope that someone nice will be admitted survives for the few hours of the intake itself.

It usually dies right after. There was one polite girl who smiled when you waved last week, but she was transferred to a different facility that night before you could learn her name.

You’ve been here for three weeks, so that’s three intake days.

You’re not sure why you’ve been here so long. It seems a little excessive; you’d think by now they’d realize your stuff isn’t so bad and maybe you could transition to outpatient appointments?

It’s a little dissociation and some minor depression. Not bad at all.

But your doctors agree, albeit gently, that you should stay for the full five month course.

The program isn’t so bad. The facility sits on a sprawling multi-acre property in the British countryside, where everything is beautiful and verdant and always chilly. It’s lovely. The tea is good. You’re getting used to how they take it here. It’s nothing like the sweet tea you drink back home.

You suppose that’s another reason why they won’t let you go home even though you’re okay; there isn’t a home to go back to. Your dad hasn’t looked you in the eye since Mom left. At least the orderlies here greet you in the morning.

(What Dad doesn’t know is that before she left, she told you she loved you and to wait for her. Soon, she’ll take you away from this place and you’ll never have to see your dad again.)

Before you head to the foyer, you check your hair in the mirror of your room’s suicide-proofed bathroom. A young teenage face stares back at you with cheeks flushed red from the sun. You trace your deep smile lines with the tip of your finger, then practice smiling. You would have feel better about moving to a therapeutic boarding school if you’d been greeted with a smile.

At first, you think the newest crop of poor souls will be uninteresting at best. Listless rich kids detoxing off Mommy’s coke, frightened preteens who’ve never been away from their parents for an extended period of time, and a few teenagers straight from an ER, IV bags and all.

And then you see him get off the bus last.

He’s tall, towering over everyone else. A lanky, almost skeletal build, with a bored, aloof expression on his face. He hides the Zippo lighter he was playing with in his sleeve before the nurses catch and confiscate it.

There’s something horrifically severe about him. He can’t be more than a couple of years older than you, but he carries himself like he’s a blade and the world is filled with monsters.

His eyes are large and dark, rich brown irises rimmed with pale blonde eyelashes. And they’re kind, even though he would probably hate having that pointed out.

You decide then and there that you’ll befriend him. He could use a friend; everyone here does. He’s beautiful in his sharpness and elegant in his abrasiveness. Maybe you can coax more of that hidden kindness out, show him that it’s worth more than his anger. You wouldn’t be able to stay away if you tried.

You both like playing with fire, though you prefer less literal ones.

TODAY

Ghost POV

Your smile fades swiftly as if it was never there to begin with.

There are two ghosts in this room. That’s what you are; a ghost of the girl he knew.

He watches and waits for you to shift uncomfortably and start blabbering to fill the silence like you used to. “Why’d you make them call me?” Ghost asks when it’s clear that you won’t.

As soon as you explain, he’s out of here. Ghost meant it when he said he never wanted to see you again.

You’re the last living reminder of the past he’s tried so hard to kill. The beeping sounds of your heart monitor spell out his mistakes in a grating, irritating rhythm.

Your answer disappoints his expectations. “I didn’t actually think you’d show.” Ghost doesn’t hear any wistfulness or longing in your voice, anything that would tell him that you’re clinging on to the boy you thought he was. Only a bone-dry and hollow statement of facts.

“What do you want?”

You ignore his question. At fifteen, you were good at that. At twenty-five, you’re better. “You got any cigarettes I could bum? You look like you still smoke them,” You say as you fiddle with your torn, bleeding nail beds with the classic anxiety of nicotine withdrawal.

He does that too when a mission stretches too long without a resupply and he finishes his cigarettes early to stave off hunger.

Ghost remembers fighting with you over the pack of smokes he smuggled into the program. He would hold it way above your head and laugh as you struggled to reach them. But you never gave up - they were bad for him, and you liked him too much to see him die of lung cancer.

He remembers the determination in your eyes and your unwavering faith that he could be saved.

“They’re bad for you,” Ghost echoes.

If you remember that moment, you don’t show it. “You know what else is fucking bad for you?” Your tone is so acerbic that it gives him whiplash.

He can’t resist taking a shot. “What, being a prick?” You just… bring out the worst in him. You make him feel as unhinged and unmoored as he was when you first met.

You roll your bloodshot eyes.

“I wasn’t going to call you out on that. I was going to say benzos and vodka. Also throwing yourself headfirst off a bridge.”

“Oh.”

What is he supposed to say to that?

“Why did you come?” You ask after a long moment of quiet interspersed by that fucking heart monitor.

Ghost grinds his teeth into each other as he reflects. He hates doing that; the inside of his skull is a bad place. “…I don’t know,” He admits. Coming here was a mistake; Ghost understands that now.

The foul taste on the back of his tongue is guilt. But why? You did this to yourself. You brought him here to play games and fuck him up, so why is he the one who feels… bad?

You sigh. “Simon-“

“Ghost. It’s Ghost now,” He cuts you off with more violence than necessary.

Your mouth settles into a tight, pained line. “Ghost. Go away.”

“But you called me here.”

That provokes a reaction.

Ghost sees it and immediately wishes it hadn’t.

You stare him straight in the eye, your dilated pupils peel back his mask and see the face underneath. Your skin is tinged gray and your bottom lip blooms red with blood from where you’ve bitten through it.

He wants back the child sobbing for his forgiveness on her knees, who looked at him like he hung the stars in the sky.

“And it was a mistake, and I should never have done it, and I just wanted the satisfaction of knowing you weren’t going to pick up the phone. That I was truly alone.”

So the memory of him is a knife you’re using on yourself. Fucking disturbing.

“Oh.”

You raise an eyebrow as you wave. “Bye.”

Right.

That’s it.

Though your dismissal rankles, Ghost does as you ordered and takes his leave of you.

His work phone vibrates a few times.

Only one person calls that it. “Captain,” Ghost greets.

Captain Price clears his throat on the other side of the line. “Lieutenant. When can we expect you back?”

‘Tomorrow’ is on the tip of Ghost’s tongue.

He’s never taken a day off in his career, which means he’s got at least a year or two in built up vacation time. “I’ll be gone for a while longer, sir. Not sure yet how long,” Ghost answers promptly.

It’s only for a few more days, a week at most. Long enough to make sure you won’t try to kill yourself again, long enough for the guilt freezing his blood and choking his lungs to fade.

“Alright, Lieutenant. Keep us posted.”

“Yes, sir.”

TAGGING: @devcica @igotmajordaddyissues @almightywdm @copiasratscheese @nerdyreaderpapi @schmelscorner

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