#if you want my theory as to who the narrator is: i Do Not Know | Explore Tumblr Posts and Blogs

mostlysignssomeportents · 3 months

Text

My McLuhan lecture on enshittification

IT'S THE LAST DAY for the Kickstarter for the audiobook of The Bezzle, the sequel to Red Team Blues, narrated by @wilwheaton! You can pre-order the audiobook and ebook, DRM free, as well as the hardcover, signed or unsigned. There's also bundles with Red Team Blues in ebook, audio or paperback.

youtube

Last night, I gave the annual Marshall McLuhan lecture at the Transmediale festival in Berlin. The event was sold out and while there's a video that'll be posted soon, they couldn't get a streaming setup installed in the Canadian embassy, where the talk was held:

https://transmediale.de/en/2024/event/mcluhan-2024

The talk went of fabulously, and was followed by commentary from Frederike Kaltheuner (Human Rights Watch) and a discussion moderated by Helen Starr. While you'll have to wait a bit for the video, I thought that I'd post my talk notes from last night for the impatient among you.

I want to thank the festival and the embassy staff for their hard work on an excellent event. And now, on to the talk!

Last year, I coined the term 'enshittification,' to describe the way that platforms decay. That obscene little word did big numbers, it really hit the zeitgeist. I mean, the American Dialect Society made it their Word of the Year for 2023 (which, I suppose, means that now I'm definitely getting a poop emoji on my tombstone).

So what's enshittification and why did it catch fire? It's my theory explaining how the internet was colonized by platforms, and why all those platforms are degrading so quickly and thoroughly, and why it matters – and what we can do about it.

We're all living through the enshittocene, a great enshittening, in which the services that matter to us, that we rely on, are turning into giant piles of shit.

It's frustrating. It's demoralizing. It's even terrifying.

I think that the enshittification framework goes a long way to explaining it, moving us out of the mysterious realm of the 'great forces of history,' and into the material world of specific decisions made by named people – decisions we can reverse and people whose addresses and pitchfork sizes we can learn.

Enshittification names the problem and proposes a solution. It's not just a way to say 'things are getting worse' (though of course, it's fine with me if you want to use it that way. It's an English word. We don't have der Rat für Englisch Rechtschreibung. English is a free for all. Go nuts, meine Kerle).

But in case you want to use enshittification in a more precise, technical way, let's examine how enshittification works.

It's a three stage process: First, platforms are good to their users; then they abuse their users to make things better for their business customers; finally, they abuse those business customers to claw back all the value for themselves. Then, they die.

Let's do a case study. What could be better than Facebook?

Facebook is a company that was founded to nonconsensually rate the fuckability of Harvard undergrads, and it only got worse after that.

When Facebook started off, it was only open to US college and high-school kids with .edu and k-12.us addresses. But in 2006, it opened up to the general public. It told them: “Yes, I know you’re all using Myspace. But Myspace is owned by Rupert Murdoch, an evil, crapulent senescent Australian billionaire, who spies on you with every hour that God sends.

“Sign up with Facebook and we will never spy on you. Come and tell us who matters to you in this world, and we will compose a personal feed consisting solely of what those people post for consumption by those who choose to follow them.”

That was stage one. Facebook had a surplus — its investors’ cash — and it allocated that surplus to its end-users. Those end-users proceeded to lock themselves into FB. FB — like most tech businesses — has network effects on its side. A product or service enjoys network effects when it improves as more people sign up to use it. You joined FB because your friends were there, and then others signed up because you were there.

But FB didn’t just have high network effects, it had high switching costs. Switching costs are everything you have to give up when you leave a product or service. In Facebook’s case, it was all the friends there that you followed and who followed you. In theory, you could have all just left for somewhere else; in practice, you were hamstrung by the collective action problem.

It’s hard to get lots of people to do the same thing at the same time. You and your six friends here are going to struggle to agree on where to get drinks after tonight's lecture. How were you and your 200 Facebook friends ever gonna agree on when it was time to leave Facebook, and where to go?

So FB’s end-users engaged in a mutual hostage-taking that kept them glued to the platform. Then FB exploited that hostage situation, withdrawing the surplus from end-users and allocating it to two groups of business customers: advertisers, and publishers.

To the advertisers, FB said, 'Remember when we told those rubes we wouldn’t spy on them? We lied. We spy on them from asshole to appetite. We will sell you access to that surveillance data in the form of fine-grained ad-targeting, and we will devote substantial engineering resources to thwarting ad-fraud. Your ads are dirt cheap to serve, and we’ll spare no expense to make sure that when you pay for an ad, a real human sees it.'

To the publishers, FB said, 'Remember when we told those rubes we would only show them the things they asked to see? We lied!Upload short excerpts from your website, append a link, and we will nonconsensually cram it into the eyeballs of users who never asked to see it. We are offering you a free traffic funnel that will drive millions of users to your website to monetize as you please, and those users will become stuck to you when they subscribe to your feed.' And so advertisers and publishers became stuck to the platform, too, dependent on those users.

The users held each other hostage, and those hostages took the publishers and advertisers hostage, too, so that everyone was locked in.

Which meant it was time for the third stage of enshittification: withdrawing surplus from everyone and handing it to Facebook’s shareholders.

For the users, that meant dialing down the share of content from accounts you followed to a homeopathic dose, and filling the resulting void with ads and pay-to-boost content from publishers.

For advertisers, that meant jacking up prices and drawing down anti-fraud enforcement, so advertisers paid much more for ads that were far less likely to be seen by a person.

For publishers, this meant algorithmically suppressing the reach of their posts unless they included an ever-larger share of their articles in the excerpt, until anything less than fulltext was likely to be be disqualified from being sent to your subscribers, let alone included in algorithmic suggestion feeds.

And then FB started to punish publishers for including a link back to their own sites, so they were corralled into posting fulltext feeds with no links, meaning they became commodity suppliers to Facebook, entirely dependent on the company both for reach and for monetization, via the increasingly crooked advertising service.

When any of these groups squawked, FB just repeated the lesson that every tech executive learned in the Darth Vader MBA: 'I have altered the deal. Pray I don’t alter it any further.'

Facebook now enters the most dangerous phase of enshittification. It wants to withdraw all available surplus, and leave just enough residual value in the service to keep end users stuck to each other, and business customers stuck to end users, without leaving anything extra on the table, so that every extractable penny is drawn out and returned to its shareholders.

But that’s a very brittle equilibrium, because the difference between “I hate this service but I can’t bring myself to quit it,” and “Jesus Christ, why did I wait so long to quit? Get me the hell out of here!” is razor thin

All it takes is one Cambridge Analytica scandal, one whistleblower, one livestreamed mass-shooting, and users bolt for the exits, and then FB discovers that network effects are a double-edged sword.

If users can’t leave because everyone else is staying, when when everyone starts to leave, there’s no reason not to go, too.

That’s terminal enshittification, the phase when a platform becomes a pile of shit. This phase is usually accompanied by panic, which tech bros euphemistically call 'pivoting.'

Which is how we get pivots like, 'In the future, all internet users will be transformed into legless, sexless, low-polygon, heavily surveilled cartoon characters in a virtual world called "metaverse," that we ripped off from a 25-year-old satirical cyberpunk novel.'

That's the procession of enshittification. If enshittification were a disease, we'd call that enshittification's "natural history." But that doesn't tell you how the enshittification works, nor why everything is enshittifying right now, and without those details, we can't know what to do about it.

What led to the enshittocene? What is it about this moment that led to the Great Enshittening? Was it the end of the Zero Interest Rate Policy? Was it a change in leadership at the tech giants? Is Mercury in retrograde?

None of the above.

The period of free fed money certainly led to tech companies having a lot of surplus to toss around. But Facebook started enshittifying long before ZIRP ended, so did Amazon, Microsoft and Google.

Some of the tech giants got new leaders. But Google's enshittification got worse when the founders came back to oversee the company's AI panic (excuse me, 'AI pivot').

And it can't be Mercury in retrograde, because I'm a cancer, and as everyone knows, cancers don't believe in astrology.

When a whole bunch of independent entities all change in the same way at once, that's a sign that the environment has changed, and that's what happened to tech.

Tech companies, like all companies, have conflicting imperatives. On the one hand, they want to make money. On the other hand, making money involves hiring and motivating competent staff, and making products that customers want to buy. The more value a company permits its employees and customers to carve off, the less value it can give to its shareholders.

The equilibrium in which companies produce things we like in honorable ways at a fair price is one in which charging more, worsening quality, and harming workers costs more than the company would make by playing dirty.

There are four forces that discipline companies, serving as constraints on their enshittificatory impulses.

First: competition. Companies that fear you will take your business elsewhere are cautious about worsening quality or raising prices.

Second: regulation. Companies that fear a regulator will fine them more than they expect to make from cheating, will cheat less.

These two forces affect all industries, but the next two are far more tech-specific.

Third: self-help. Computers are extremely flexible, and so are the digital products and services we make from them. The only computer we know how to make is the Turing-complete Von Neumann machine, a computer that can run every valid program.

That means that users can always avail themselves of programs that undo the anti-features that shift value from them to a company's shareholders. Think of a board-room table where someone says, 'I've calculated that making our ads 20% more invasive will net us 2% more revenue per user.'

In a digital world, someone else might well say 'Yes, but if we do that, 20% of our users will install ad-blockers, and our revenue from those users will drop to zero, forever.'

This means that digital companies are constrained by the fear that some enshittificatory maneuver will prompt their users to google, 'How do I disenshittify this?'

Fourth and finally: workers. Tech workers have very low union density, but that doesn't mean that tech workers don't have labor power. The historical "talent shortage" of the tech sector meant that workers enjoyed a lot of leverage over their bosses. Workers who disagreed with their bosses could quit and walk across the street and get another job – a better job.

They knew it, and their bosses knew it. Ironically, this made tech workers highly exploitable. Tech workers overwhelmingly saw themselves as founders in waiting, entrepreneurs who were temporarily drawing a salary, heroic figures of the tech mission.

That's why mottoes like Google's 'don't be evil' and Facebook's 'make the world more open and connected' mattered: they instilled a sense of mission in workers. It's what Fobazi Ettarh calls 'vocational awe, 'or Elon Musk calls being 'extremely hardcore.'

Tech workers had lots of bargaining power, but they didn't flex it when their bosses demanded that they sacrifice their health, their families, their sleep to meet arbitrary deadlines.

So long as their bosses transformed their workplaces into whimsical 'campuses,' with gyms, gourmet cafeterias, laundry service, massages and egg-freezing, workers could tell themselves that they were being pampered – rather than being made to work like government mules.

But for bosses, there's a downside to motivating your workers with appeals to a sense of mission, namely: your workers will feel a sense of mission. So when you ask them to enshittify the products they ruined their health to ship, workers will experience a sense of profound moral injury, respond with outrage, and threaten to quit.

Thus tech workers themselves were the final bulwark against enshittification,

The pre-enshittification era wasn't a time of better leadership. The executives weren't better. They were constrained. Their worst impulses were checked by competition, regulation, self-help and worker power.

So what happened?

One by one, each of these constraints was eroded until it dissolved, leaving the enshittificatory impulse unchecked, ushering in the enshittoscene.

It started with competition. From the Gilded Age until the Reagan years, the purpose of competition law was to promote competition. US antitrust law treated corporate power as dangerous and sought to blunt it. European antitrust laws were modeled on US ones, imported by the architects of the Marshall Plan.

But starting in the neoliberal era, competition authorities all over the world adopted a doctrine called 'consumer welfare,' which held that monopolies were evidence of quality. If everyone was shopping at the same store and buying the same product, that meant it was the best store, selling the best product – not that anyone was cheating.

And so all over the world, governments stopped enforcing their competition laws. They just ignored them as companies flouted them. Those companies merged with their major competitors, absorbed small companies before they could grow to be big threats. They held an orgy of consolidation that produced the most inbred industries imaginable, whole sectors grown so incestuous they developed Habsburg jaws, from eyeglasses to sea freight, glass bottles to payment processing, vitamin C to beer.

Most of our global economy is dominated by five or fewer global companies. If smaller companies refuse to sell themselves to these cartels, the giants have free rein to flout competition law further, with 'predatory pricing' that keeps an independent rival from gaining a foothold.

When Diapers.com refused Amazon's acquisition offer, Amazon lit $100m on fire, selling diapers way below cost for months, until diapers.com went bust, and Amazon bought them for pennies on the dollar, and shut them down.

Competition is a distant memory. As Tom Eastman says, the web has devolved into 'five giant websites filled with screenshots of text from the other four,' so these giant companies no longer fear losing our business.

Lily Tomlin used to do a character on the TV show Laugh In, an AT&T telephone operator who'd do commercials for the Bell system. Each one would end with her saying 'We don't care. We don't have to. We're the phone company.'

Today's giants are not constrained by competition.

They don't care. They don't have to. They're Google.

That's the first constraint gone, and as it slipped away, the second constraint – regulation – was also doomed.

When an industry consists of hundreds of small- and medium-sized enterprises, it is a mob, a rabble. Hundreds of companies can't agree on what to tell Parliament or Congress or the Commission. They can't even agree on how to cater a meeting where they'd discuss the matter.

But when a sector dwindles to a bare handful of dominant firms, it ceases to be a rabble and it becomes a cartel.

Five companies, or four, or three, or two, or just one company finds it easy to converge on a single message for their regulators, and without "wasteful competition" eroding their profits, they have plenty of cash to spread around.

Like Facebook, handing former UK deputy PM Nick Clegg millions every year to sleaze around Europe, telling his former colleagues that Facebook is the only thing standing between 'European Cyberspace' and the Chinese Communist Party.

Tech's regulatory capture allows it to flout the rules that constrain less concentrated sectors. They can pretend that violating labor, consumer and privacy laws is fine, because they violate them with an app.

This is why competition matters: it's not just because competition makes companies work harder and share value with customers and workers, it's because competition keeps companies from becoming too big to fail, and too big to jail.

Now, there's plenty of things we don't want improved through competition, like privacy invasions. After the EU passed its landmark privacy law, the GDPR, there was a mass-extinction event for small EU ad-tech companies. These companies disappeared en masse, and that's fine.

They were even more invasive and reckless than US-based Big Tech companies. After all, they had less to lose. We don't want competition in commercial surveillance. We don't want to produce increasing efficiency in violating our human rights.

But: Google and Facebook – who pretend they are called Alphabet and Meta – have been unscathed by European privacy law. That's not because they don't violate the GDPR (they do!). It's because they pretend they are headquartered in Ireland, one of the EU's most notorious corporate crime-havens.

And Ireland competes with the EU other crime havens – Malta, Luxembourg, Cyprus and sometimes the Netherlands – to see which country can offer the most hospitable environment for all sorts of crimes. Because the kind of company that can fly an Irish flag of convenience is mobile enough to change to a Maltese flag if the Irish start enforcing EU laws.

Which is how you get an Irish Data Protection Commission that processes fewer than 20 major cases per year, while Germany's data commissioner handles more than 500 major cases, even though Ireland is nominal home to the most privacy-invasive companies on the continent.

So Google and Facebook get to act as though they are immune to privacy law, because they violate the law with an app; just like Uber can violate labor law and claim it doesn't count because they do it with an app.

Uber's labor-pricing algorithm offers different drivers different payments for the same job, something Veena Dubal calls 'algorithmic wage discrimination.' If you're more selective about which jobs you'll take, Uber will pay you more for every ride.

But if you take those higher payouts and ditch whatever side-hustle let you cover your bills which being picky about your Uber drives, Uber will incrementally reduce the payment, toggling up and down as you grow more or less selective, playing you like a fish on a line until you eventually – inevitably – lose to the tireless pricing robot, and end up stuck with low wages and all your side-hustles gone.

Then there's Amazon, which violates consumer protection laws, but says it doesn't matter, because they do it with an app. Amazon makes $38b/year from its 'advertising' system. 'Advertising' in quotes because they're not selling ads, they're selling placements in search results.

The companies that spend the most on 'ads' go to the top, even if they're offering worse products at higher prices. If you click the first link in an Amazon search result, on average you will pay a 29% premium over the best price on the service. Click one of the first four items and you'll pay a 25% premium. On average you have to go seventeen items down to find the best deal on Amazon.

Any merchant that did this to you in a physical storefront would be fined into oblivion. But Amazon has captured its regulators, so it can violate your rights, and say, "it doesn't count, we did it with an app"

This is where that third constraint, self-help, would sure come in handy. If you don't want your privacy violated, you don't need to wait for the Irish privacy regulator to act, you can just install an ad-blocker.

More than half of all web users are blocking ads. But the web is an open platform, developed in the age when tech was hundreds of companies at each others' throats, unable to capture their regulators.

Today, the web is being devoured by apps, and apps are ripe for enshittification. Regulatory capture isn't just the ability to flout regulation, it's also the ability to co-opt regulation, to wield regulation against your adversaries.

Today's tech giants got big by exploiting self-help measures. When Facebook was telling Myspace users they needed to escape Rupert Murdoch’s evil crapulent Australian social media panopticon, it didn’t just say to those Myspacers, 'Screw your friends, come to Facebook and just hang out looking at the cool privacy policy until they get here'

It gave them a bot. You fed the bot your Myspace username and password, and it would login to Myspace and pretend to be you, and scrape everything waiting in your inbox, copying it to your FB inbox, and you could reply to it and it would autopilot your replies back to Myspace.

When Microsoft was choking off Apple's market oxygen by refusing to ship a functional version of Microsoft Office for the Mac – so that offices were throwing away their designers' Macs and giving them PCs with upgraded graphics cards and Windows versions of Photoshop and Illustrator – Steve Jobs didn't beg Bill Gates to update Mac Office.

He got his technologists to reverse-engineer Microsoft Office, and make a compatible suite, the iWork Suite, whose apps, Pages, Numbers and Keynote could perfectly read and write Microsoft's Word, Excel and Powerpoint files.

When Google entered the market, it sent its crawler to every web server on Earth, where it presented itself as a web-user: 'Hi! Hello! Do you have any web pages? Thanks! How about some more? How about more?'

But every pirate wants to be an admiral. When Facebook, Apple and Google were doing this adversarial interoperability, that was progress. If you try to do it to them, that's piracy.

Try to make an alternative client for Facebook and they'll say you violated US laws like the Digital Millennium Copyright Act and EU laws like Article 6 of the EUCD.

Try to make an Android program that can run iPhone apps and play back the data from Apple's media stores and they'd bomb you until the rubble bounced.

Try to scrape all of Google and they'll nuke you until you glowed.

Tech's regulatory capture is mind-boggling. Take that law I mentioned earlier, Section 1201 of the Digital Millennium Copyright Act or DMCA. Bill Clinton signed it in 1998, and the EU imported it as Article 6 of the EUCD in 2001

It is a blanket prohibition on removing any kind of encryption that restricts access to a copyrighted work – things like ripping DVDs or jailbreaking a phone – with penalties of a five-year prison sentence and a $500k fine for a first offense.

This law has been so broadened that it can be used to imprison creators for granting access to their own creations

Here's how that works: In 2008, Amazon bought Audible, an audiobook platform, in an anticompetitive acquisition. Today, Audible is a monopolist with more than 90% of the audiobook market. Audible requires that all creators on their platform sell with Amazon's "digital rights management," which locks it to Amazon's apps.

So say I write a book, then I read it into a mic, then I pay a director and an engineer thousands of dollars to turn that into an audiobook, and sell it to you on the monopoly platform, Audible, that controls more than 90% of the market.

If I later decide to leave Amazon and want to let you come with me to a rival platform, I am out of luck. If I supply you with a tool to remove Amazon's encryption from my audiobook, so you can play it in another app, I commit a felony, punishable by a 5-year sentence and a half-million-dollar fine, for a first offense.

That's a stiffer penalty than you would face if you simply pirated the audiobook from a torrent site. But it's also harsher than the punishment you'd get for shoplifting the audiobook on CD from a truck-stop. It's harsher than the sentence you'd get for hijacking the truck that delivered the CD.

So think of our ad-blockers again. 50% of web users are running ad-blockers. 0% of app users are running ad-blockers, because adding a blocker to an app requires that you first remove its encryption, and that's a felony (Jay Freeman calls this 'felony contempt of business-model').

So when someone in a board-room says, 'let's make our ads 20% more obnoxious and get a 2% revenue increase,' no one objects that this might prompt users to google, 'how do I block ads?' After all, the answer is, 'you can't.'

Indeed, it's more likely that someone in that board room will say, 'let's make our ads 100% more obnoxious and get a 10% revenue increase' (this is why every company wants you to install an app instead of using its website).

There's no reason that gig workers who are facing algorithmic wage discrimination couldn't install a counter-app that coordinated among all the Uber drivers to reject all jobs unless they reach a certain pay threshold.

No reason except felony contempt of business model, the threat that the toolsmiths who built that counter-app would go broke or land in prison, for violating DMCA 1201, the Computer Fraud and Abuse Act, trademark, copyright, patent, contract, trade secrecy, nondisclosure and noncompete, or in other words: 'IP law.'

'IP' is just a euphemism for 'a law that lets me reach beyond the walls of my company and control the conduct of my critics, competitors and customers.' And 'app' is just a euphemism for 'a web-page wrapped enough IP to make it a felony to mod it to protect the labor, consumer and privacy rights of its user.'

We don't care. We don't have to. We're the phone company.

But what about that fourth constraint: workers?

For decades, tech workers' high degrees of bargaining power and vocational awe put a ceiling on enshittification. Even after the tech sector shrank to a handful of giants. Even after they captured their regulators so they could violate our consumer, privacy and labor rights. Even after they created 'felony contempt of business model' and extinguished self-help for tech users. Tech was still constrained by their workers' sense of moral injury in the face of the imperative to enshittify.

Remember when tech workers dreamed of working for a big company for a few years, before striking out on their own to start their own company that would knock that tech giant over?

Then that dream shrank to: work for a giant for a few years, quit, do a fake startup, get acqui-hired by your old employer, as a complicated way of getting a bonus and a promotion.

Then the dream shrank further: work for a tech giant for your whole life, get free kombucha and massages on Wednesdays.

And now, the dream is over. All that’s left is: work for a tech giant until they fire your ass, like those 12,000 Googlers who got fired last year six months after a stock buyback that would have paid their salaries for the next 27 years.

Workers are no longer a check on their bosses' worst impulses

Today, the response to 'I refuse to make this product worse' is, 'turn in your badge and don't let the door hit you in the ass on the way out.'

I get that this is all a little depressing

OK, really depressing.

But hear me out! We've identified the disease. We've traced its natural history. We've identified its underlying mechanism. Now we can get to work on a cure.

There are four constraints that prevent enshittification: competition, regulation, self-help and labor.

To reverse enshittification and guard against its reemergence, we must restore and strengthen each of these.

On competition, it's actually looking pretty good. The EU, the UK, the US, Canada, Australia, Japan and China are all doing more on competition than they have in two generations. They're blocking mergers, unwinding existing ones, taking action on predatory pricing and other sleazy tactics.

Remember, in the US and Europe, we already have the laws to do this – we just stopped enforcing them in the Helmut Kohl era.

I've been fighting these fights with the Electronic Frontier Foundation for 22 years now, and I've never seen a more hopeful moment for sound, informed tech policy.

Now, the enshittifiers aren't taking this laying down. The business press can't stop talking about how stupid and old-fashioned all this stuff is. They call people like me 'hipster antitrust,' and they hate any regulator who actually does their job.

Take Lina Khan, the brilliant head of the US Federal Trade Commission, who has done more in three years on antitrust than the combined efforts of all her predecessors over the past 40 years. Rupert Murdoch's Wall Street Journal has run more than 80 editorials trashing Khan, insisting that she's an ineffectual ideologue who can't get anything done.

Sure, Rupert, that's why you ran 80 editorials about her.

Because she can't get anything done.

Even Canada is stepping up on competition. Canada! Land of the evil billionaire! From Ted Rogers, who owns the country's telecoms; to Galen Weston, who owns the country's grocery stores; to the Irvings, who basically own the entire province of New Brunswick.

Even Canada is doing something about this. Last autumn, Trudeau's government promised to update Canada's creaking competition law to finally ban 'abuse of dominance.'

I mean, wow. I guess when Galen Weston decided to engage in a criminal conspiracy to fix the price of bread – the most Les Miz-ass crime imaginable – it finally got someone's attention, eh?

Competition has a long way to go, but all over the world, competition law is seeing a massive revitalization. Ronald Reagan and Margaret Thatcher put antitrust law in a coma in the 80s – but it's awake, it's back, and it's pissed.

What about regulation? How will we get tech companies to stop doing that one weird trick of adding 'with an app' to their crimes and escaping enforcement?

Well, here in the EU, they're starting to figure it out. This year, the Digital Markets Act and the Digital Services Act went into effect, and they let people who get screwed by tech companies go straight to the federal European courts, bypassing the toothless watchdogs in Europe's notorious corporate crime havens like Ireland.

In America, they might finally get a digital privacy law. You people have no idea how backwards US privacy law is. The last time the US Congress enacted a broadly applicable privacy law was in 1988.

The Video Privacy Protection Act makes it a crime for video-store clerks to leak your video-rental history. It was passed after a right-wing judge who was up for the Supreme Court had his rentals published in a DC newspaper. The rentals weren't even all that embarrassing!

Sure, that judge, Robert Bork, wasn't confirmed for the Supreme Court, but that was because he was a virulently racist loudmouth and a crook who served as Nixon's Solicitor General.

But Congress got the idea that their video records might be next, freaked out, and passed the VPPA.

That was the last time Americans got a big, national privacy law. Nineteen. Eighty. Eight.

It's been a minute.

And the thing is, there's a lot of people who are angry about stuff that has some nexus with America's piss-poor privacy landscape. Worried that Facebook turned Grampy into a Qanon? That Insta made your teen anorexic? That TikTok is brainwashing millennials into quoting Osama Bin Laden?

Or that cops are rolling up the identities of everyone at a Black Lives Matter protest or the Jan 6 riots by getting location data from Google?

Or that Red State Attorneys General are tracking teen girls to out-of-state abortion clinics?

Or that Black people are being discriminated against by online lending or hiring platforms?

Or that someone is making AI deepfake porn of you?

Having a federal privacy law with a private right of action – which means that individuals can sue companies that violate their privacy – would go a long way to rectifying all of these problems. There's a big coalition for that kind of privacy law.

What about self-help? That's a lot farther away, alas.

The EU's DMA will force tech companies to open up their walled gardens for interoperation. You'll be able to use Whatsapp to message people on iMessage, or quit Facebook and move to Mastodon, but still send messages to the people left behind.

But if you want to reverse-engineer one of those Big Tech products and mod it to work for you, not them, the EU's got nothing for you.

This is an area ripe for improvement, and I think the US might be the first ones to open this up.

It's certainly on-brand for the EU to be forcing tech companies to do things a certain way, while the US simply takes away tech companies' abilities to prevent others from changing how their stuff works.

My big hope here is that Stein's Law will take hold: 'Anything that can't go on forever will eventually stop'

Letting companies decide how their customers must use their products is simply too tempting an invitation to mischief. HP has a whole building full of engineers thinking of new ways to lock your printer to its official ink cartridges, forcing you to spend $10,000/gallon on ink to print your boarding passes and shopping lists.

It's offensive. The only people who don't agree are the people running the monopolies in all the other industries, like the med-tech monopolists who are locking their insulin pumps to their glucose monitors, turning people with diabetes into walking inkjet printers.

Finally, there's labor. Here in Europe, there's much higher union density than in the US, which American tech barons are learning the hard way. There is nothing more satisfying in the daily news than the latest salvo by Nordic unions against that Tesla guy (Musk is the most Edison-ass Tesla guy imaginable).

But even in the USA, there's a massive surge in tech unions. Tech workers are realizing that they aren't founders in waiting. The days of free massages and facial piercings and getting to wear black tee shirts that say things your boss doesn't understand are coming to an end.

In Seattle, Amazon's tech workers walked out in sympathy with Amazon's warehouse workers, because they're all workers.

The only reason the tech workers aren't monitored by AI that notifies their managers if they visit the toilet during working hours is their rapidly dwindling bargaining power. The way things are going, Amazon programmers are going to be pissing in bottles next to their workstations (for a guy who built a penis-shaped rocket, Jeff Bezos really hates our kidneys).

We're seeing bold, muscular, global action on competition, regulation and labor, with self-help bringing up the rear. It's not a moment too soon, because the bad news is, enshittification is coming to every industry.

If it's got a networked computer in it, the people who made it can run the Darth Vader MBA playbook on it, changing the rules from moment to moment, violating your rights and then saying 'It's OK, we did it with an app.'

From Mercedes renting you your accelerator pedal by the month to Internet of Things dishwashers that lock you into proprietary dishsoap, enshittification is metastasizing into every corner of our lives.

Software doesn't eat the world, it enshittifies it

But there's a bright side to all this: if everyone is threatened by enshittification, then everyone has a stake in disenshittification.

Just as with privacy law in the US, the potential anti-enshittification coalition is massive, it's unstoppable.

The cynics among you might be skeptical that this will make a difference. After all, isn't "enshittification" the same as "capitalism"?

Well, no.

Look, I'm not going to cape for capitalism here. I'm hardly a true believer in markets as the most efficient allocators of resources and arbiters of policy – if there was ever any doubt, capitalism's total failure to grapple with the climate emergency surely erases it.

But the capitalism of 20 years ago made space for a wild and wooly internet, a space where people with disfavored views could find each other, offer mutual aid, and organize.

The capitalism of today has produced a global, digital ghost mall, filled with botshit, crapgadgets from companies with consonant-heavy brand-names, and cryptocurrency scams.

The internet isn't more important than the climate emergency, nor gender justice, racial justice, genocide, or inequality.

But the internet is the terrain we'll fight those fights on. Without a free, fair and open internet, the fight is lost before it's joined.

We can reverse the enshittification of the internet. We can halt the creeping enshittification of every digital device.

We can build a better, enshittification-resistant digital nervous system, one that is fit to coordinate the mass movements we will need to fight fascism, end genocide, and save our planet and our species.

Martin Luther King said 'It may be true that the law cannot make a man love me, but it can stop him from lynching me, and I think that's pretty important.'

And it may be true that the law can't force corporate sociopaths to conceive of you as a human being entitled to dignity and fair treatment, and not just an ambulatory wallet, a supply of gut-bacteria for the immortal colony organism that is a limited liability corporation.

But it can make that exec fear you enough to treat you fairly and afford you dignity, even if he doesn't think you deserve it.

And I think that's pretty important.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/01/30/go-nuts-meine-kerle#ich-bin-ein-bratapfel/a>

Back the Kickstarter for the audiobook of The Bezzle here!

Image: Drahtlos (modified) https://commons.wikimedia.org/wiki/File:Motherboard_Intel_386.jpg

CC BY-SA 4.0 https://creativecommons.org/licenses/by-sa/4.0/deed.en

cdessums (modified) https://commons.wikimedia.org/wiki/File:Monsoon_Season_Flagstaff_AZ_clouds_storm.jpg

CC BY-SA 2.0 https://creativecommons.org/licenses/by-sa/2.0/deed.en

#pluralistic #transmediale #lectures #enshittification #big tech #berlin #mcluhan lecture #Youtube

401 notes · View notes

frevandrest · 1 month

Note

more on jamgate?

i read charlotte’s memoirs years ago but i dont remember the details

Sorry for my late reply! I love to call it "The Great Jamgate of 1793", but in truth I am unsure when it happened. Does anyone know when Charlotte persuaded Robespierre to come live with her, but then he got sick and Mme Duplay brought him back to Duplays? The jamgate happens after that. (So it could be the Great Jamgate of 1791 or 1792, lol).

Charlotte tells us how she loved making jams for her brother, who had a taste for sweets and fruits. She would send her maid to Duplays to deliver jams, and, according to Charlotte, Mme Duplay always had a snarky comment on that.

The worst happend one time when Mme Duplay sent the maid back, refusing to accept jams, saying something along the lines of "Bring that back, I don't want her to poison Robespierre".

Naturally and understandably, Charlotte was shocked and hurt. It was inded a shitty thing to say, even as a "joke". In line with the narrative Charlotte built about herself in the memoirs, she claims that she "swallowed her sadness" and said nothing to Mme Duplay or Maximilien (as to not cause him pain).

Of course, we have to remember that this is Charlotte's version of the story (we don't have one from Duplays), and Charlotte is not always the most reliable of the narrators. Still, the anecdote seems too specific to just be made up, so I am willing to believe that there was indeed a Great Jamgate of some sorts. We do know that Mme Duplay didn't like Charlotte much, and it's possible that she ridiculed her cooking skills. (Those two women seemed to fight over who would pamper Maximilien). Mme Duplay obviously saw herself as superior, and tbh, she probably was, but I doubt that she really thought that Charlotte wanted to bring harm to her brother (?)

Still, I can see Mme Duplay saying something snarky about Charlotte's cooking. But I can't guess anything more than that.

The way Charlotte described the Jemgate, it has all the typical story points of her narrative: there is always a harpy woman who hates her and tries to take her away from her brothers. The harpy is horrible, but she (Charlotte) never says anything because she is good and non-confrontational, and she doesn't want to hurt her brothers or cause any problems.

Needless to say, this goes against everything that we know of her character from other sources. Charlotte comes off as too outspoken and stubborn for this meek and obedient image she paints of herself, not to mention that she did get into fights with her brothers.

So it's difficult for me to trust her version of the Jamgate, even though I do believe that there was a Jamgate in some form. In my opinion, it reflected the two women's fight over pampering Robespierre - a fight he seemed to ignore (probably as a woman's thing, as if it wasn't happening because of him). As a sister to an unmarried man, Charlotte absolutely had all the rights to be the one to care for Robespierre and his household - it was an important duty that an unmarried sister would do for her brother. In that sense, Duplays overstepped the social boundaries, even if Charlotte was indeed bad at household duties (my theory is that she was too busy with the revolution but I don't have a concrete proof, except my wishful thinking).

Still, it was Robespierre's fault for not saying anything, and for not recognizing the social mistake of the situation. I believe he really felt pampered and cared for at Duplays in a way Charlotte could not provide (if anything, she was one person and Duplays had 4 women ready to pamper him). A different sister might not have cared, but Charlotte was obviously feeling rejected. Couple this with the Northerner vs Paris anymosity and you have a recipe for disaster. Robespierre not solving the situation is not surprising, given his character (I wonder if he noticed anything/knew/understood what's going on), but it's not an excuse, because it was on him to mediate between Charlotte and Mme Duplay, since the whole mess was about him.

#ask #frev #charlotte robespierre #robespierre

89 notes · View notes

anthroposeen · 6 days

Text

tmagp 12 relisten notes

Celia:

- requests tea, not coffee, the OIAR custom. points to her being from the TMA universe + bonus thing! there was no tea in the OIAR and sam lended her some. potentially a demonstration of their relationship dynamic lore-wise (celia representing other-wordly things and sam's insistence on interacting w them. this is definitely a reach, though, since im very much a 'the curtains are never just blue' person)

- she agrees to go out with sam but needs to "sort some things out" maybe related to jack, georgie, or her individual research

Sam:

- he asked her out! oh my god (alice's father)!

- is trying to distance himself from the magnus institute (TMI) but is still unable to break his curiosity about it

Alice:

- watched sam ask out celia (we can assume it was with the manner of a deer in the headlights)

- "its rude to have no game" i love you maam

- no glitch after she says "i cant believe im missing out on all of this- devastating" but could be because it comes off as more sarcastic than a blunt lie

- "we dont always get what we want, do we?" potentially a hint at her feeling about sam

- "i go by alice, now, actually" important only because i adore you miss dyer

- seems to genuinely care about gwen, lending to the idea that shes protecting her coworkers

- "i dont wonder. i know" no glitch followed this statement. it could be because it was meant as a joke and not to deceive gwen, but who is to say

Gwen:

- she's trying to discuss the morality of their roles and seems to be unhappy to participate in mascot strip club murder

- "you dont wonder what the point is? who benefits from all this awfulness?"

Glitches/lies:

- "dont worry about it, it wasnt that bad" alice, referencing TMI

- "no." sam, lying about not being interested in information about TMI

Incident:

- this is the result of gwen giving mr bonzo the hit, and it seems to have been read at her computer (once again implying theres a consciousness within FR3D1 or jmj)

- incident made by jordan bennett -> maybe related to this universe's bennett family (connection to barnabas bennett) but i doubt its lore relevant

- no obvious alchemic ties in this incident

- this case is narrated by norris/martin, but goes against the regular theme of his incidents (lonliness, loss of a loved one)

- the robotic sound of the narration seems to be diminishing, with very little of the beginning and end of the incidents being read in a monotone and robotic voice

- i want to voice my deepest appreciation for the title being "getting off", along with mr bonzo initiating a hit for the uk government in a strip club. incredible. absolute cinema from the minds of AJN and johhny sims truly

The target:

- before this episode, my theory was that klaus, colin, and teddy were the most likely to be the hit

- based on this list, if the target is the groom, it makes the most sense for it to be klaus, since there has been no mention of colin or teddy being engaged, and thats a clue i dont think the writers would leave out. however, the groom is called "baz" by his friends, which is a nickname i dont recognize (but its potentially on the rpg somewhere?)

- im not very convinced that klaus was the groom in this incident. i think the hit may have been obvious to lena, but gwen has yet to connect all the dots, leaving the audience a bit in the dark as well

#tmagp #the magnus protocol #tmagp 12 #tmagp theory #tmagp spoilers #alice dyer #mr bonzo #sam khalid #celia ripley #gwen bouchard

70 notes · View notes

enmasae · 2 months

Text

Desire of the fittest - Part 2

Self Aware Genshin Alternate Universe - Guide AU (my own take on sagau)

Previous - Next

Warnings :

Adult content (such as violence, bullying, toxic relationships, cursing, angst, nsfw, and others) and yandere behavior (such as obsessive and possessive display)

Theories and lore informations

Since this is my take on an alternate version of Genshin Impact, I've taken the liberty to include elements that may not align with the game's lore but will make sense in this particular story.

Content : And they were roommates, Totally not illegal business meeting, Casual conversation between a pigeon and a dog, How to deal with your partner's ex

"-and that concludes our coverage of the catastrophic disasters currently happening around the globe. On a brighter note, it was recently announced that the renowned game Genshin Impact will explore new horizons to celebrate its 20th anniversary. Today, we have the co-creator and current CEO of Hoyoverse, Mr. Wei, to discuss this highly anticipated event."

The small crowd attending the live show applauds as the CEO makes his entrance. Despite being in his fifties, the man retains a well-preserved appearance under the studio lights, his bright and confident smile illuminating the room. He nods in acknowledgment to the camera and extends a handshake to the TV host, who accepts it. Gesturing for his guest to do the same, they both proceed to take a seat on comfortable sofas.

"Thank you for having me."

The host eagerly clasps her hands together and leans forward, keen to gather more information about the plans for one of the most popular games in its genre. Even with the passage of time, Genshin Impact continues to serve as a source of inspiration for many and boasts a substantial player base worldwide.

"Mr. Wei, we're delighted to have you here with us."

The company's CEO offers a gentle smile, his composed demeanor standing in stark contrast to the energetic TV presenter.

"The feeling is mutual."

Immediately delving into the topic, the host follows the interview script he was given, narrating the current situation for his viewers and initiating a conversation with his guest.

"Several years have passed since Genshin Impact's main storyline came to a close, leaving fans eager to uncover the reasons behind the event announced on social media. While virtual reality has been, indeed, quite the talk in the gaming community since the release of the new AETHERAL&LUMINUS technology, we're curious to know why Hoyoverse decided to enter the world of cyber technology. What led to such decision ?"

Aligning with the host's expectations, the man in his fifties softened his features, conveying a sense of sadness to emphazise his point.

"You may call it nostalgia but the team and I wanted to provide players with the opportunity to immerse themselves in the world of Teyvat one last time before the server's shutdown-"

"Boring..."

As the television screen dims, the ceo's voice fades into silence. Setting aside the remote, you find yourself drawn back into the embrace of your current companion, reveling in the affection he showers upon you. His lips delicately trace a path from your collarbone towards your throat, eventually meeting your own. As your eyes lock with his, you feel him whisper against your breath, anger kindled by your earlier statement.

"I allowed you to have fun with that descender, isn't that enough ?"

Maintaining eye contact, you seize his shoulder and skillfully shift positions, placing yourself atop him. Taking control, you lift his hands from your waist and secure them above his head. Aroused by the demeanor you display, he decides to let you to enjoy yourself and refrains from attempting to escape your hold. Savoring the moment, you slowly bring your face closer to his, allowing your lips to meet once more in a gentle union. As his lips moves forward to taste yours again, you assertively seize his jaw and unhinge it.

"Since when do I need your approval ?"

He escapes your grasp, emitting a painful cry. Clutching his jaw, he quickly realigns it with an audible crack and assesses its movement. Surprisingly, he doesn't appear overly shocked by your swift anger. He has to admit that he provoked it when he brought up your vessel. Well, former vessel, much to his satisfaction. He never held much fondness for the boy, believing he consumed too much of your time. He sighs while reclining on the couch, bringing you into a tight embrace. His gentle hand runs through your hair as he relish in the scent of your cosmetic products. While he remains unfazed by your unpredictable behavior, he doesn't hesitate to flatter you for forgiveness.

"You don't, but I appreciate when you consider it."

You dismiss his sweet words, recognizing them as mere attempts to please you, yet you accept them despite knowing him. He's an adept at manipulating others, appearing to have their best interests at heart while exploiting them. He creates an illusion of comfort and understanding, yet beneath it all, he harbors disdain for emotional displays. Even while knowing that, you prefer to believe in the distinctiveness of your relationship. You hope that he genuinely cares, even though your own feelings are uncertain. While you're not exactly friends, there's a sense of comfort in being your authentic self with him. Though not lovers, you find solace in holding each other during chilly nights, making the mutual loneliness less impactful.

Neither of you can define what you are in each other's eyes. That's why treating him the way you do comes more naturally, it spares you from overthinking.

"I'll play along, but only if you give me a little favor."

He notices the quiet sadness in your eyes but decides not to mention it. Smiling against your lips, he offers a gentle peck, silently seeking permission to go further. Forehead touching yours, he inhales your essence as you part your lips. Confident yet respectful, he explores your mouth at a measured pace, allowing brief breaks between the playful twirls of your tongues.

"Name it, and it'll be yours."

As you gradually pull back, you notice the man pouting, clearly yearning for the warmth you bestowed upon him. Although his clinginess strokes your ego and you enjoy feeling desired, it occasionally becomes irksome. The aftermath of the previous night speaks volume of how long it has been since both of you engaged in such passionate activities. Given your shared affinity for dominance games, perhaps it would have been wise to dial it down a notch.

"I want to be part of your project."

Instantly, the dark-haired man rejects the idea with disdain, his pout transforming into a disapproving snarl, and his nose scrunching in distaste at the mere thought.

"Out of the question."

Even if you saw coming this outcome, it doesn't prevent the surge of anger rising in your chest when he dismisses your request. In a swift motion, he seizes your forearm right before you could reach for the nearest empty alcohol bottle. While his hold lacks strenght, it effectively hinders you from shattering the glass against his head. Closing his eyes, he delicately brings your hand to his lips, placing a tender kiss on it.

"Losing you would drive me mad."

He might have intertwined his own existence with yours, yet, sometimes, it doesn't seem enough to keep you by his side. The intensity of your fascination for his domain unnerves him. While he had hoped for you to hold a similar affection for the present world you both inhabit, he acknowledges that these dying lands can never exude the radiance of Teyvat. Perhaps it was his error to entrust you with its care in his absence. He should have foreseen it. Even if you claim otherwise, he can only witness how your need for excitement is akin to theirs.

However, the issue resides within him, as he cannot bear witnessing the disappointment reflected on your face. With a sigh, the one who calls himself primordial release your arm and speak in a subdued tone, avoiding direct eye contact.

"Hypothetically speaking, if I were to allow you to blend in among them, what's in it for you ?"

In response to your silence, the man peeks in your direction, observing your bewildered, crunched-up face. Baffled, he lacks the time to react as you seize the hem of his partially unbuttoned shirt, propelling both of you upward. Guiding him to the rolling chair behind his desk, you swiftly pull him into it. Vaulting over the desk, you perch on its surface, placing your feet on either side of the chair's armrests, leaving him nowhere to run.

"You're joking right ?"

Seizing a knife lodged in the table, you extract it with a resounding crunch of the desk's wood. Positioning it beneath your partner's chin, his shaved face provides no shield against the blade. The man chuckles dryly, raising his hand leisurely to grasp the weapon's tip, casually creating some distance between it and his neck.

"Sadly, i don't do jokes."

Releasing the knife, you allow him to toss it aside, observing its slide on the floor and joining your collection of 'toys'. He rises from the chair and gently guides your back against the desk. His hands trace the contours of your body, scarcely concealed by the remaining clothes he didn't ripped apart. His touch eventually lands on your hands, leading them to his face. His colorless eyes delve into yours, restraining unspoken feelings in the air, akin to words on the verge of being uttered. Relinquishing your gaze, his lips caress your ears, whispering his anguish.

"Tell me why you're so eager to go there when you can stay here with me."

Running your fingers through his lengthy ebony hair, lazily gathered in a disheveled bun, you pull his head in front of yours. Removing the hairpin securing his hair, you let it cascade down, framing both of your faces.

"Freedom, Attention, Love, Entertainment... All guides are driven by their desires."

Your thumb glides down his lips, parting them and revealing the piercing on his tongue.

"I'm no exception, Phanes."

The ancient being chuckles softly, his laughter resonating deeply. He allows you to lead him towards your lips, his own already parted and eager to savor the taste of yours once again.

"We both know you're more than that."

While it's true that at times you remind him of those bastards, he can't fault you for it as it's in your nature to act this way. He just needs to make sure you never consider returning to your roots. Despite being the divine one of both, he'll gladly worship your entirety to ensure you remain by his side.

"My sweet partner in crime~, why won't you let me take care of you ?"

You know that if he was given the chance, Phanes would drive you to the brink of insanity day and night, ensuring you forget everything else but him. Unfortunately for the man, you're not interested in such fate. He won't be the one to stop you from pursuing what you want.

"If you truly cared for me, you'll let me go."

At your words, the primordial one rolls his eyes and deliberately collapses on top of you, relying on you to carry his weight. Despite his slender build, you struggle to pry him off from yourself as his arms hugs you close. Unfortunately, all you manage to achieve is getting his hair out of your face. As he rests his head in the crook of your neck, he examines the hickeys he bestowed upon you as gifts from the previous night. Relishing in the fact he has matching ones on his own neck, he yelps in surprise when you tug on his hair and push him to your right. He grunts and sighs, his palm massaging his scalp, irritated with your behavior.

"Oh, yes. Why didn't I think of that earlier ? Allowing you to dive headfirst into an unfair game specifically designed to trap and torture your kind will truly show how much I value you."

You chuckle at his sarcasm, then hop off the desk to head towards your belongings.

"And here I thought you couldn't be funny."

The gentle sound of your laughter coaxes a shift in his grumpy demeanor, replaced with a heartfelt smile. He takes pleasure in the melodic tones and reciprocates with a contented hum. If he were to pick a favorite sound, it would undoubtedly be your laughter, closely followed by the lovely way you scream his name in ecstasy. Yet, his grin quickly vanishes when he realizes what you're holding. Closing the distance in the blink of an eye, he tries to snatch the small device from your grip. You skillfully dodge his attempts, refusing to let him have his way. Seizing his hand, you twist it with a resounding crack, forcing him to drop to his knees.

"Isn't this fascinating ? That such itty-bitty trinket supposedly holds all the rights you wield over Teyvat. Must be so tiny because, you know, there's not much to brag about."

Having an idea of how you got it, he mentally scolds his shades for being too lenient with you. While you marvel at the tear-sized pearl, you remain oblivious to Phanes breaking into a nervous sweat. You might not grasp its usage yet, but he harbors no doubt that if he doesn't reclaim it soon, you'll figure it out eventually.

"I am the sole reason for Teyvat's current state. It's only thanks to me that those fools can enjoy their meaningless life."

He frees himself from your grasp, swiftly snatching back in place his wrist. Glancing up at you, he watches as you casually toy with the device, spinning it around with the chain and frame-like ornement keeping it secure.

"Says the one who prefers to live in isolation while 'his' world steadily erodes itself after each little 'cycles' you make it goes through."

Before Phanes can respond, a loud whistle pierces the air, catching both your attention and his.

"Man, they got you there."

As the primordial one sees one of his shades making himself comfortable on the couch, munching on some junk food he found somewhere, he groans in annoyance.

"Ugh, Istaroth, don't you have better things to do ?"

The man appears to ponder for a moment as he reaches the bottom of his snack bag. Upon realizing the absence of treats, he deftly snaps his fingers, causing the bag to replenish itself as if it had never been touched. Propping his cheek on his fist, he grabs a handful of snacks, shoving them into his mouth and chewing audibly. Observing the snack bag mysteriously being propelled toward the trash can, he hastily gulps down the remaining food, sighing in disappointment. Nonchalantly inspecting his nails, he brushes off the snack's crumbs, seemingly unfazed by the threatening glare from his boss.

"Apart from watching the two of you acting like animals in heat ? Not really."

While you prefer to remain clueless about how long he's been lurking unnoticed, you see that Phanes doesn't share your point of view. Gesturing angrily at his subordinate, his eyes betray a poorly concealed anger as his lips curls in disdain.

"First off, how dare you disrespect our privacy. Secondly, get your mind out of the gutter, we're not fucking, it's just-"

Phanes comes to a sudden stop, taking in the situation before him. With him on his knees, perfectly positioned to reach your pelvis, one could easily think he's about to give you a head job. You chuckle at the sight of him swiftly rising to his feet and hastily adjusting his partially undone shirt. The shade appears unfazed by his boss's embarrassment, having witnessed and heard far worse.

"Yeah, yeah, whatever. I'm not paid enough to deal with your abandonment issues."

The dark-skinned man reaches for a bottle on the floor but decides against taking a sip of whatever's left after some consideration. While Phanes busies himself searching for the remainder of his clothes, you saunter over to the shade in a seductive manner. As the divine being catches sight of your approach, he curses under his breath and feigns interest in the bottle in his hand. He flinches when you place your hand on his shoulder, while the other begins to caress his cheek.

"Hands off, sweetheart. I've got a keen sense of hygiene, and I know you didn't wash those hands of yours."

He swats your hand away from his cheek and pinches the other as if discarding trash, tossing it aside. You hum and flop onto the couch beside him, eliciting a grunt from the shade.

"Such perfect timing, Istaroth."

"With all due respect, which is none, screw you."

Glancing at the jewel in your hands, a mischievous impulse seizes you. Tossing the pearl towards Phanes, you watch as he dives to the floor to catch it, exhaling with relief upon success. With his head conveniently positioned at the perfect height for you to lift it with your bare foot under his chin, you compel him to look at you.

"Would you mind persuading your boss to let me do as I please ?"

Taking advantage of your momentary distraction, the primordial one signals to his shade to refuse, mimicking a throat-slitting gesture. Despite being molded from Phanes' flesh, he lacks the soft spot his creator seems to have for you, preferring to keep a safe distance from your antics. Even if his boss were to order him to indulge your whims, he would most likely flat-out refuse.

"Hard pass, sweetheart."

You glance at the divine being sprawled at your feet, examining his little trinket for any cracks. You rise to your feet, causing him to lose his head support and bonk his chin on the unforgiving floor. As the pearl slips from his fingers and starts its daring escape, he's on it like a squirrel chasing a nut, scrambling to catch up. Unfortunately for him, you reclaim it before he has the chance.

"And here I was expecting you'll be the first to want me out of here~."

Istaroth tumbles on his fist and then reluctantly straightens up, a smile spreading across his face's features. Rising from the ground, Phanes approaches you. While his arms gently embrace you, his gaze remains fixed on the jewel you're holding.

"Wait a minute... You want to leave ?"

As his gold-like eyes sparkled with excitement, he might sound a tad too pleased to your liking but you'll gladly take whatever enthusiasm you can get. You firmly press your palm against the primordial one's face, preventing him from reclaiming the symbol of his authority. The sound of his nose yielding under your palm reaches your ears, evoking a high-pitched grunt from him, not that you cared. With determined strikes, you approach the shade, affectionately pinching his cheek as one might do with a child.

"Exactly ! How clever of you ! Good job on figuring it out !"

You grab his hand and swap positions, flopping onto the couch and sending him stumbling towards the god, who's still inspecting his crooked nose in a mirror after you intentionally crushed it. As Phanes shoots a disapproving glance at his subordinate without even turning his head, the shade doesn't get a chance to speak, only receiving a grunt of warning from his boss.

"Not. A. Chance."

With no further resistance, Istaroth raises his arms in surrender and turns around. Displeased with how quickly he gave in, you shoot him a disappointed stare as he flops back onto the couch next to you. Feeling uneasy under your accusing gaze, his eyes avoid yours, darting away.

"Listen, sweetheart. If he didn't listen to you, he certainly won't give a shit about what I say."

Every gaze converges on the desk when Phanes' phone, emitting a distinctive ringtone, disrupts the room, prompting a weary sigh from you. Despite your expectations that he would have gotten rid of it by now, it becomes evident that the voicemail you recorded for him long ago still remains. A cringe washes over you as you hear your own voice trashtalking Phanes to answer the call. Istaroth appears equally displeased, emitting a grunt and burying his face in one of the couch's pillows.

"-fucking bitch ! You better pick up your goddamn phone if you don't want me to shove it down your throat and making you gag like the slut you are-"

A breath of relief escapes you as the deity declines the call upon checking the caller's identity. Unfortunately, the relief is short-lived as the persistent dialler triggers the ringtone once more, demonstrating a fervent desire to speak with Phanes. Having no intention of talking with this particular individual, he forcefully crushes his own phone, ending the incessant ringing. Tossing the damaged device into a nearby bin, he gestures towards his personal notebook to remind him he will need a replacement. Istaroth grumbles into the pillow, clearly irritated but reluctantly acknowledge the directive.

"Noted."

With a tilt of your head, you silently inquire for more information from the god. Phanes, in response, takes your hand and gently guides you to stand, initiating a comforting embrace. Creating a bit of space between the two of you, he delicately retrieves the jewel from the tips of your fingers, all the while maintaining an unwavering gaze with you.

"Don't you fret about such a thing, [Name]. As for your heart's desire, let me take a little while to think it over, and I promise to return with a delightful response just for you. In the meantime, I must have a talk with Istaroth. Would you be a darling and wait for me outside? It won't be long, I assure you."

Skeptical, you emit a doubtful hum, not entirely swayed by his sickly sweet display. Contrary to his anticipations, you don't put up a fight and merely leave the room with an nonchalant wave of your hand. As the appartment's door closes, Istaroth rolls onto his back, casually inspecting his nails as he typically resorts to when boredom sets in.

"Perhaps, it's time for you to let them go."

Regret floods Istaroth swiftly as his blood begins to congeal within his veins, causing him to gasp for breath and emit painful grunts. Collapsing from the couch, he struggles to lift his gaze towards his creator, his vision blurring with the intensity of his suffering.

"And I think it's about time you remember your place. Don't delude yourself into thinking that I've forgotten how you used to help them sneaking around with their ex vessel while I was looking the other way."

The shade gasps for air, sensing his body liberated from the torturous grip Phanes had on it. Coughing, his fist clenches as he swallows down any words that might further sour the mood of his creator. Over time, he has grown indifferent to such torment, losing the will to care or worry about his condemned immortal existence. While there is no hope left for him, there's still a chance for you to embrace the freedom he yearns for. Unknown to the primordial one, he is determined to help you achieve that.

"On the subject of discussion, I better mention this before it slips my mind."

Kneeling down, Istaroth keeps his head bowed, concealing the faint smile playing on his lips. Don't waste the opportunity he's granting you, because even he recognizes that time is running thin.

"Asmoday got killed."

Upon learning the demise of one of his shades, Phanes seizes his subordinate by the neck, pulling him up to his own eye level. Hindered by the contrast in height, Istaroth struggles to breathe, his feet flailing in the air as his creator seems to blame him for the distressing news.

"And by who ?"

Baring his teeth in response to the pain he endures, Istaroth chuckles drily as he struggles to breath.

"I believe- that the fourth descender- actively searching his lost guide within our quarters- is enough of an answer-."

A heavy silence falls upon the room, the air thick with tension. Istaroth's feeble attempt at breathing gradually fade as his creator's grip tightens around his neck. Shortly after, the only audible sound for the shade becomes the echoing reverberation of his own heartbeat in his ears. With adrenaline coursing through him, he looks in horror at the wide and contemplative eyes of his master, engulfed in anger prompted by memories from a distant era. An abrupt gasp resonates as the shade is released, collapsing at Phanes's feet. His heart pounds wildly, eyes wide with fear as his body trembles under the lingering tension.

"You're fired."

As the apartment door slams shut, Istaroth gradually allows his nerves to settle.

"Hourray... vacations."

˚　　　　✦　　　.　　. 　 ˚　.　　　　　 . ✦　　　　˚　　　　 . ★⋆.

　　　. 　　˚　　　　*　　　　✦　　　.　　.　　　✦　˚ 　　　　 ˚　.˚　　　　　　.　　. 　 ˚　.　　　　　　　　　　 ✦

"Well, look who it is ! The one and only [Name]. Still on a leash, I presume ? I guess some things never change."

Glancing at the dame lounging on your left, flaunting her arms on the rail, she grins with a wickedness that could make gods blush. You emit a dismissive grunt and slump against the fence, both hands shielding your eyes briefly before giving your face a vigorous wipe, as if hoping to erase her existence. Unfortunately for you, she has no intention of leaving you be. Even though you wish you hadn't, you've mastered recognizing her bewitching crimson gaze, no matter the vessel she assumes. Before you stands Valefor, one of your fellow guides fueled by an insatiable thirst for power. It's not that you despise her more than the others, she's simply an unnecessary pain in the ass right now. Given her impatience, you opt to ignore her until she decides to leave on her own. No need to make a fuss over someone undeserving of such attention.

"Come on, lighten up ! That's not how you should treat your best friend~."

After a nudge from her elbow, you grab your drink and navigate the mezzanine alongside the fortunate few selected players. The sight of their camaraderie before the competition sickens you. Guides, by their very nature, don't blend seamlessly. They never have, possessing too much pride for such alliances. True friendships among them are scarce. Typically, collaborations are brief, driven by mutual benefits before one inevitably betrays the other.

As you weave through the crowd, you notice flickers of recognition in the eyes of some attendees, coupled with hushed comments. Despite the revival of unpleasant memories under their scrutinizing gazes, you maintain your pride, holding your head high. You don't hesitate to reciprocate their side glances, forcing them to avert their eyes. As you head toward a more secluded area of the reception room, you notice Valefor trailing after you, engaging in a few greetings with others along the way.

"Wait- Listen, I really need to talk to you, alright ?"

You sigh at her persistence and come to an abrupt stop, causing her to bump into you. Seizing her wrist, you pull her into one of the VIP rooms and throw her inside, making her stumble before finding her balance. Unfolding a small piece of paper, you ignite it, strange symbols manifesting in the air with a golden hue. Running your fingers together, you cast a brief glance back at the frozen crowd before shutting the curtains of the room. Valefor watches in amazement as the curtains defy the laws of physics, their movement ceasing once you release them.

"Time stopping, uh ? Neat. Is it a little trick from one of your newfound friends ?"

Settling onto one of the cushions, you take a sip of your drink and dismissively ignore her comment.

"I was told by Istaroth that you were advised to maintain a low profile. Guess it was too complicated for a meathead like you."

Taking residence on a couch opposite you, she flops onto it like a toddler and begins playing with the electrical device that allows the couch to transition from a sitting position to a reclining one. Despite of the unsettling noise, you only angrily sip on your drink, at least for now. You're confident that someday you'll get the chance to annoy her in return.

"I'm a guide, I do things my way. Anyway, the little birdie didn't say much about what all the fuss is about."

After finishing your drink, you spit out a small gem resembling a pearl but shaped like a tear, retrieving it from your tongue. At this sight, Valefor mutters a quiet "gross" under her breath before recognizing what you're holding. As you place it on the table, the guide shifts position, perching at the edge of the couch with a broad smile on her face.

"Holy. Fucking. Shit. You're fucking nuts, you know that ?"

You're not crazy enough to snatch the real deal from one of the most powerful gods and keep it for yourself. The little act you staged earlier was merely a ruse to make him believe you'd attempted to steal it and coax him into doing what you wanted. Unfortunately for him, you knew he'd never give in to your demands. That's why you had Istaroth retrieve it for you, but from a far away future. And this is the one you're showcasing now, although she doesn't need to be privy to that detail.

"Phanes expects me to follow his rules, but I couldn't care less about what he wants. So, here's the deal. I'll hand over the little trinket, and in return, you use it to send me to Teyvat."

Doubtful as she should be, or you might have lost all hopes for her, she squints before bringing her face closer to it for a better look. When she glances back up at you, she raises an eyebrow, sensing that something is amiss.

"Why not just use it yourself to get there directly?"

You scornfully scoff and regard the jewel with disdain.

"You think I haven't tried ? It recognizes the one trying to use it, and unfortunately, it only listens to that slut. Even Istaroth couldn't get it to submit to him."

From what she knows, you're more of a whore than he'll ever be, but she refrains from mentioning it.

"And what makes you think I can when not even a shade could ?"

Well, you didn't have much of a choice to begin with. Even though seeking help from one of your kind implies you've hit a low point, you won't allow her to mock you.

"It's a bit of a gamble, but I figured someone with your abilities could tame this little thing. Or is your desire for power nothing more than a joke ?"

As her eyes twitch, you know you've won. There's nothing more effective than challenging a guide to get them to do what you want.

"Deal. But I'd like to ask a question before."

Intrigued about what she might ask, you tilt your head slightly as a silent approval for her to proceed.

"At the very least, was he good in bed ?"

A smirk plays across your face. You hate to admit it, but he's got some skills when it comes to giving pleasure. Not that you'll vocalize it, though.

˚　　　　✦　　　.　　. 　 ˚　.　　　　　 . ✦　　　　˚　　　　 . ★⋆.

　　　. 　At the same time 　　✦　　　.　　.　　　✦　˚ 　　　　 ˚　.˚　　　　　　.　　. 　 ˚　.　　　　　　　　　　 ✦

In one of the storage rooms within the same complex building, an elderly woman joyfully dances to classic hit that was popular in her time. Unfortunately, her little dance session is abruptly interrupted when a star-shaped portal unexpectedly materializes, tearing through the fabric of reality and remaining open long enough for its creator to tumble into the small room, dislodging multiple boxes in the process. Having served as a janitor for the company that owns the building for quite some time, she has grown accustomed to the unusual events that tend to unfold, allowing her to remain unfazed by the recent occurrence. With a frown directed at the spilled cleaning supplies, she removes her large music headset and exhales in mild irritation.

"Really ? This is the end of my shift."

The woman with platinum hair grunts in pain as she slowly rises, her eyes fixed on the prominent wound in her belly, her hand barely covering it. Growing irritated by the raspy voice of the janitor, she flicks her hand, silencing the elderly woman's chatter. The janitor's eyes lose their spark, becoming dull and lifeless, even though she's still breathing.

Limping her way out of the storage room, the injured woman curses under her breath. She loathes the fact that this puny descender caught her off guard, and she vows to ensure it never happens again. But for now, her priority is to get to Phanes. She needs to warn him that a greater threat is looming.

"Asmoday, don't you look terrible."

Disregarding her fellow shade, she attempts to walk past him, only to be halted by a hand on her shoulder. She hisses in pain and bats away Istaroth's hand, her golden eyes cautioning him not to mess with her, even in her weakened state. With an expression of utter disgust, he wipes the blood from his skin, staining his handkerchief, then meticulously inspects his nails for any lingering traces.

"Not that I give a shit, but you might want to consider changing styles. Let's be real here honey, red just ain't your thing."

Not in the mood to get caught up in her colleague's petty quarrel, she limps down the corridor, leaning on the wall for support and leaving gory and bloody marks in her wake. Hearing a snap of fingers, she grunts as she finds herself back next to Istaroth. Noticing the choke marks on his neck and the burnt skin causing his veins to protrude, Asmoday returns the animosity with a venomous retort.

"Have you seen yourself, asshole ? You look like shit that has been stepped on."

The shade dismisses her comment with a shrug as he gazes upward, the corridor lights flickering as if on the verge of fading completely.

"Well, that's what happens when you piss off our big guy upstairs."

Feeling a bit unsettled upon learning their master's sour mood, Asmoday glances at her fellow shade, puzzled about why he's acting like it's the best day of his life. It's been a while since she's seen him so genuinely joyful and carefree, almost seeming out of character. As he looks down at her while she coughs up a little blood, she can feel shivers going down her spine. A cheerful Istaroth is an unpredictable one.

But beyond fear, it unnerves her to see the typically grumpy god sporting such a crappy grin.

"Oh, please. You really thought he'd cut you some slack because you decided to wake up with a dick between your legs ?"

"And yet, you believe that playing the obedient lapdog will save your ass. I wonder who's the delusional one here."

As he peeks at one of the watches on his wrist, his smile tightens slightly. Confused about what he might be expecting, Asmoday's senses sharpen as the building begins to rumble. Glancing at her fellow shade, she realizes it's not just any ordinary earthquake.

"You didn't, you fucking pigeon."

Assuming a fighting stance, Asmoday grits her teeth to push through the pain as more blood seeps from her wound. It's solely due to her powers that she can still draw breath after losing so much fluids. Despite knowing she's not capable of defeating him in her current condition, even with his own bruises, she refuses to meet her end at the hands of a treacherous traitor like him.

"Oh, but I did. Though you're giving me too much credit. I simply distracted the infatuated fool with a threat he couldn't overlook."

The wounded shade struggles to comprehend why he would betray them after all this time. While she understands his disdain for Phanes and anything associated with him, and acknowledges that time holds no significance for him, she still wonders why he would sacrifice everything for you.

"Why go such lenght for them ? They're just a guide."

Istaroth's smile dims slightly as the lights in the corridor begin flickering once more. Glaring down at Asmoday, the shade shows no hesitation as he has already made his decision.

"You see, as for now, Phanes believes you're six feet under. Wouldn't want to disappoint him, now would we?"

With a snap of his fingers, Asmoday collapses to her knees, gradually turning to ashes with a betrayed look in her eyes. Brushing off the remaining dust from his pants, Istaroth hopes that she'll appreciate the scene reminiscent of Hiroshima back in 1945. He hadn't anticipated her survival after what that descender did to her, she's definitely tougher than she appears. Snapping out of his thoughts, he stumbles as the entire building trembles once more. Chuckling, he rejoices in your success.

˚　　　　✦　　　.　　. 　 ˚　.　　　　　 . ✦　　　　˚　　　　 . ★⋆.

　　　. 　　A little earlier　✦　　　.　　.　　　✦　˚ 　　　　 ˚　.˚　　　　　　.　　. 　 ˚　.　　　　　　　　　　 ✦

Inspecting his bloodied weapon, Aether pays no heed to the bodies of the guards who attempted to halt him. Displeased with the fact that the weapon you blessed him with is dirtied by the blood of nobodies, he proceeds to meticulously clean it. Though not entirely satisfied with the results, he glances at the neon loosing their brightness. In the darkness, he assumes a fighting stance, prepared to slay anything in his path.

As the lights flicker back to life, none of the guards' bodies remain to the eye, only the slender figure of the man, seemingly waiting. The cold neons accentuate his thin face and well-nourished black hair flowing along his body. His silver eyes, almost devoid of color, scrutinize him up and down in a judgmental manner.

"You should not be here."

With chills coursing down his spine, Aether takes a step back and tightens his grip on his sword. With just one sentence, Aether realizes that he's facing something far greater than the shade he fought to reach this point. Even if Aether can feel he's at a disadvantage, he's not one to back down. Unfortunately for him, he fails to grasp that this man isn't merely annoyed by his presence in his domain. For he had become the target of all the primordial one's frustrations and anger, he should consider himself lucky he's still able to breathe.

"I wouldn't do that if I were you."

In the midst of preparing to strike, Aether is stunned by the sudden disappearance of his sword. Startled, he lifts his head to find the man's face mere inches from his own. With a defiant tilt of his head, Aether faces the towering man head-on. Swiftly reaching for a spare knife at his belt, he lunges forward with his weapon. Yet, he staggers forward as the blade slices through empty air, the man vanishing in a blink. Surveying his surroundings, Aether notices that all exits have vanished, leaving the room illuminated solely by a solitary neon light above. Alert, Aether startles as a cold whisper brushes against his ear, sending a shiver down the blond boy's spine.

"You could hurt yourself."

Glancing back, Aether takes a close look at the necklace adorned with a small jewel around his neck. Unable to shake the familiar feeling he gets from the man, he scrutinizes his features while searching for any apparent weakness.

"You remind me of someone."

The man scoffs, straightens his back, and puts some distance between him and Aether. While he kows that the descender is simply dragging out the conversation to buy time, Phanes decides to indulge him. Being quite picky about his conversational partners, he isn't normaly the type to engage in small talk with his enemies. However, he supposes he can make an exception for this one.

"Humph, do I ?"

Left with no more weapons to spare, Aether clenches his fists and attempts to think of a way to breach his opponent's defense. Sometimes, nothing works better than a little provocation.

"I know they're here. And I need to talk with them."

"Oh, you won't, not on my watch."

Aether charges towards the man, poised to strike him down. Just as he's about to land a blow, the man dissipates into black sand upon impact, causing the descender to tumble and fall to the floor. Confused as to why the tiles has transformed into the same sand the man turned into, the blond traveler is left in shock as the scenery completely changes. Emerging in a boundless black desert bathed in the light of three moons against a starless sky, he fights to regain his footing.

"How did it feel ?"

As the man's voice echoes through the air, Aether begins to panic, finding himself getting pulled into quicksand. Unfortunately, the more he struggles to escape, the further he sinks. The moons high in the sky appear to mock him, as if he's to blame for his predicament. Taking a final breath before being completely submerged, the descender has no time to react as he suddenly falls into what seems like an endless void. However, it isn't truly limitless as he swiftly touches the bottom, landing on his back.

"To be unwanted."

Gritting his teeth together at the pain, Aether refuses to give up and strengthens himself once again. Observing the new scenery, his eyes widen upon seeing you in the distance. With his first step, a crack forms at his foot and extends towards you. As he starts to run in your direction, shattering the stone-like floor like thin ice, you only move farther away, leaving him alone in this hellish environement.

"Not good, does it ?"

With the temperature rising, the floor finally gives up under his weight, causing him to fall once again. Using his broken wings to somewhat cushion his fall, he manages to land on his feet.

"I get it, you know. Out of all, I might be the one closest to understanding what you're going through."

Observing the fire ravage the lands around him, a strange itch stirs within him as he starts to recognize the scenery. It's an itch he cannot scratch, only indicating that something is wrong. As screams resonate, he remains paralyzed, unable to break down at the sight before him.

"Nowhere to call home."

He witnesses his sister weeping over thousands of corpses, her gut-wrenching screams breaking his heart. Before he can take a step in her direction and call out to her, her head unnaturally snaps 180 degrees. Under Lumine's hateful glare, he begins to notice the clammy sensation on his hands, his horror growing as he realizes they are smeared with blood. He shuts his eyes tightly and pounds his head repeatedly, desperately trying to convince himself that the man is merely toying with his mind.

"You know, it took me a while to discover what was going on."

Upon opening his eyes, Aether discovers that he is now bound to a chair, the furniture itself constricting his hands behind his back. Before him, Phanes lounges in a comfortable seat, casually playing with the shattered intertwining of fate that symbolized the connection between you and the renowned traveler. Upon realizing this, the descender struggles against his restraints. Yet, as he attempts to vocalize his desire to reclaim it, no sound escapes his mouth.

"They hid you well. However, once the secret was out, all they could do was to plead on your behalf, begging me to spare your life."

Seeing that his captive had much to express, Phanes impulsively snaps his fingers, only to regret it instantly as Aether unleashes a furious scream that pierces his ears.

"You're the reason they abandoned me- !!"

The primordial being hastily snaps his fingers once more, brushing his forehead to alleviate the headache induced by just one sentence. Truly, this descender possesses the ability to irritate him like no one ever has, and he considers himself a patient man. Disregarding the claims of the blonde traveler, he dismissively waves his hand, prompting the furnitures to move out of his way as he approaches Aether.

"No, no, no, no, I didn't do anything. You see, I merely allowed them to toy with you. Ultimately, it was solely their choice to discard you."

Watching Aether squinting his eyes, revealing his lack of faith in the god's words, Phanes laughs mockingly at the sight. It's pitiful to see the descender place so much trust in you, as if you could truly be concerned with his well-being. Despite the man's assertions, Aether believes there must be a valid reason why you had to leave him, which is why he is determined to find you. You wouldn't have casted him aside simply out of boredom, would you?

"There's much about guides that you seem unaware of... Quite surprising, considering where you come from."

Feeling the release of his restraints, Aether is abruptly pulled to his feet as the room is swept away by an unknown force. Upon opening his eyes after the wind dies down, he finds himself up in the sky, with floating pillars adorning the scenery. As the setting evokes memories of the place where he first engaged in combat with the sustainer of the heavenly principles, a bad chilling sensation runs down his spine as something seizes his shoulders.

"You're free to believe me or not, but I understand how difficult it is to live in someone's shadow. First, your sister, then, [Name]. Perhaps it's time for you to learn how to be yourself."

As the god takes a melancholic tone towards the end of his words, he snaps out of whatever memory he was recalling. Aether, still unable to move on his own, observes a door materializing out of nowhere before swinging open, emitting a bright flashing light.

"Whatever, who am I kidding ? You never learn from your mistakes."

Stepping aside, Phanes waves with a slight fake smile on his lips.

"Oh and, you might want to start running."

Glancing behind him, Aether witnesses the stone slabs breaking and tumbling down. Rising to his feet, he makes a run for it. With his wings shattered from his previous journey that was intended to be the final one, he can only rely on his legs to reach the door. Leaping through it, his consciousness fades away.

'Resetting complete'

...

{Words : 7387}

Heya, finally i managed to post part 2 ! Sorry to keep you all waiting. I hope you enjoyed this as much as I did while writing this.

Previous - Next

Taglist :

@lilisette24

#genshin impact #genshin sagau #sagau #yandere x reader #yandere genshin #yandere genshin impact #genshin x reader #Istaroth #Phanes #Asmoday #Creator x reader #Aether #Aether x reader #genshin x you #genshin impact x reader #self aware genshin #self aware au

97 notes · View notes

doomedlemur · 5 months

Text

Crowley does not have memory loss.

I very disagree with the Crowley has memory loss from the Fall theory, and I want to enumerate my points.

"He doesn't remember Furfur or Saraqael!" you say. Do you remember everyone you went to high school* with, everyone you ever did group projects with? *or elementary school if you're under 20 He probably worked with a lot of different angels on nebulae, and fought alongside a lot of different demons-to-be in the war. Look at the scene we saw with Aziraphale. You just know she wasn't paying attention to what Aziraphale said his name was and was going to have to ask when they met again. Angel!Crowley has got ADHD hyperfixations and the people around him aren't as interesting. Barely worth acknowledging. Meanwhile, he himself is quite memorable to others. (Not to mention highly-ranked in heaven's hierarchy.) What did Furfur say? "You used to jump on me back, little monkey in the waistcoat." Who's the more memorable being in that encounter? The (literal?) monkey hopping around jumping on people or whatever poor sod he's hopping on? As someone who stood out in school as a weirdo, I myself have more than once had someone hit me up on Facebook years later acting like we'd been friendly in school, and experienced that exact "??? Who are you?"

He remembers creating gravity. Vaguely, you say? Sure, but it was a long time ago. While all told Crowley and Aziraphale have excellent memories, they are not perfect. See them not able to recall who was responsible for the Reign of Terror only ~200 years ago.

"I helped make that nebula" he also recalls.

Crowley easily recognized the Metatron saying he'd last seen him as a floating head. As an angel with a lot of questions for God, he would have talked to the Metatron all the time before the Fall.

Reiterating above point, in Uz, they remember trying to get through to God to ask their questions.

He knows how to sneak into heaven and remembers his passwords.

He remembers going into battle.

He remembers frightening the cherubs with the threat of Extreme Sanctions.

In Eden, Aziraphale didn't know what name they were going by, so had to ask, but note that Crowley neither asked Aziraphale's name nor did Aziraphale introduce himself. "We've been talking for millions of years," he told Maggie and Nina. Perhaps he was being hyperbolic, but perhaps not. Before "the Beginning" when the Earth itself was created there was an untold amount of time where the angels were all getting things ready and then warring amongst themselves. I think it's clear that one scene we saw was not their only encounter before the Fall, and Crowley remembers his prior acquaintance with Aziraphale. Mightn't he have had some hesitation in approaching the Guardian of the Eastern Gate if he didn't already know him? But no, he slithers right up that wall and starts a conversation with a tone of familiarity.

Again, in Uz, they both acknowledge how they knew each other in heaven.

And finally, if you're thinking of Neil Gaiman saying how Crowley is an unreliable narrator regarding the circumstances of his Fall, everything he says that seems contradictory can be just as easily explained by lies, denial, rationalizations, equivocations, half-truths, etc. At no point does he say he doesn't remember falling or even why it happened. He just laments the injustice of it.

#let me know if I missed any arguments and I will rebuke them #for real though why aren't more people talking about how he was a monkey?#good omens #good omens meta #good omens analysis #crowley #anthony j crowley #crowley analysis #good omens 2

125 notes · View notes

swanpyart · 2 months

Text

Prepare For My Most Deranged Slay The Princess Theory That Makes Sense The More You Think About It - The Narrator IS Another Voice

I'm a bit jumbled so bear with me, but I realized a lot of odd things that give me the idea that the Narrator is actually another Voice and another facet of the Long Quiet.

The game goes out of its way to make it clear that the Narrator is different from the Voices; he has a degree of power over the Player that the other Voices initially lack, he has info about the world that the Player does not, and his authoritative nature puts him (and us by default) in opposition with the Princess. Because of this, none of the other Voices treat him as an equal or even as a friend: They are all either opposed to him, treat him as someone who can be listened to but ultimately ignored, or outright dismiss him. In the Thorn Route, Hero even points out that the Narrator "doesn't count" as one of them.

Another difference is that the Narrator never learns new info from previous chapters; we essentially get a new Narrator each one, while literally EVERYONE else remembers what happened before. This alone feels like the game pointing out the disconnect between the Narrator and the rest of the Long Quiet.

Now, for what my theory hinges upon.... the Start Over Ending, where the Princess wipes the Long Quiet's memories and causes the entire game to start over from scratch. The interesting part of this is that both the Long Quiet AND the Princess remark that there's a chance that they'd done this before, possibly countless times, because they were unable to make a permanent decision the previous times.

If this is actually true, and the Long Quiet and the Shifting Mound have been in this perpetual cycle of the Long Quiet finding five vessels, the Narrator's Echo fading away, both gods realizing their true natures but being unable to compromise, and the Princess wiping both of their memories and forcing a restart.... then what becomes of the Narrator? How does he come back for things to restart?

"Well, obviously he's resurrected," You might say, but we're not given any reason to believe that the Long Quiet can resurrect an actual mortal person, right? The entire point of the game is the inevitability of death, and that "even in rebirth, things can't be the same." Not only that, Nary is an Echo, not an actual person, so his presence as a living being is one that's even more precarious than an actual human life; focusing too much on him makes him fade away. The Long Quiet and the Princess can come back from death, but those two are literally GODS.

So, my main theory is this: The Narrator we hear throughout the game is no longer the Narrator the Long Quiet may have originally started with in the VERY first loop with the Shifting Mound, right after the Creator killed himself and split the Gods in half. The original Narrator is actually long dead, along with his original Echos, and now he is merely another Voice of the Long Quiet assuming His role. Perhaps at one point, the Narrator was actually a person who wanted to rid the world of death, and created an Echo of himself to do it, but the Echo of that human has long since faded away, only to be replaced by the Long Quiet to maintain the illusion of the loop.

In this light, it's entirely possible that every version of the Narrator and the Creator we meet is merely an extension of the Long Quiet playing the role of an omniscient storyteller. This could be part of why the Narrator struggles to answer in-depth questions, and why the Creator never goes into detail about his true identity as a human. The Long Quiet doesn't actually know much about the one who created him, and gives the same recycled lines he heard long ago from the voice of a long-dead man.

So, why does the Narrator never remember previous Chapters? That's his role. Every Voice has specific skills and abilities, and the Narrator's role, as a Voice, is to maintain a status quo. With no storyteller, there is no path in the woods, there is no cabin, there is no Pristine Blade, and there is no basement. There's no vehicle through which the Long Quiet and the Shifting Mound can reach an agreement of some kind.

The irony, then, that, if this idea is true, that the Narrator, hellbent on destroying the Shifting Mound, then becomes a vehicle through which her love for the Long Quiet facilitates. It's no wonder that, Like the Voice of the Hero, the Narrator is ALWAYS with us, and if Hero represents our agency, then Nary represents the scenario through which to exercise that agency.

Let me know if I sound like a madman lmao

#slay the princess #slay the princess game #narrator #stp the narrator #stp the long quiet #stp the princess #voice of the hero #the voices #stp voices #theory #slay the princess theory

75 notes · View notes

ghostflowerhotpotch · 7 months

Text

Why I consider Miguel replacing his own self so bad?

Originally this was going to be a response to a post someone else did, but then I feel I was being mean to people just enjoying a character, so I repurposed it. Is funny because before that post I wasn't planning on doing this but that one got the words out of me somehow.

As disclaimer; I don't think there is anything wrong with liking Miguel, or any character of this movie. It doesn't matter what Miguel may or may not had done in this movie, or if your headcanons and ideas align with how he is in canon or not.

I also feel that regardless of what I think it went down in this situation, I can't call Miguel evil; I would have some words about what I think later in this post, but I don't think when he did what he did he was doing it because ~evil~

With all that out of the way, let's start with this:

The way he talks about the ordeal makes me uneasy.

You know why I find this unsettling? That this is about himself.

I understand that Miguel is narrating this story from his perspective, and is about his mistake, so by that, you wouldn't need to bring up anyone else. You can even make the argument it may be too painful for him if you want.

So why I still have a problem?

Because the narration isn't the only problem I have with this, in fact, what I find the most disturbing, is the following part.

Here is my thing...Don't you find odd how quickly he found out about this?

Think about it; it would be weird that he was just looking on the Multiverse, saw a version of himself with a nice, happy family, and just at that moment that person got killed, so he step in.

I had seen someone made the argument that he did what did because he was thinking of Gabby, however, nothing on his demeanour or words makes me think this was about anyone that wasn't himself.

Let's go back to those pics.

Want to know why I posted two that are basically the same? Because what's important is Miguel's face.

He is completely stoic.

We see Miguel seeing the body at the same time the mugger is running away, this makes me believe it was implied he watched at least the guy get away. But when Miguel appears on the screen, it is already watching the image, it doesn't make me think he just popped up the screen and saw it play at the moment he got killed.

Much less because he looks so calm, like he was expecting this to happen.

I don't know how much Miguel can see in future events, I believe there is some capacity because he said to Miles that his dad will die in two days. That may be because is when he becomes a Captain and his words are more speculation than actual confirmation. It could also be that at that moment he didn't have the means to look into it.

But all this footage makes me believe he saw his other self try to do the right thing, get killed, and then came in.

This wasn't about preserving the canon, this is in theory, before he knew how "canon works" (because he affirms the universe collapsed because he try to take the place of someone who was suppose to die. At least that was the impression it gave me.) So is not like there was any reason to not step in and help him.

This is going into speculation territory, so feel free to say this is a reach, but...was there really no way to save the other Miguel?

It gave me the impression the guy used just one bullet, unless is in specific places, normally one bullet wouldn't be enough. More important, Miguel is from the future, his world can make travel to the moon as if it is just going on the highway; are you telling me that if Miguel wanted to help to save this guy's life, was there really nothing he could?

Like sure, he doesn't need to, this isn't this problem and not his story, he shouldn't interfere.

Except that he did, to replace him.

And that's why I consider his initial speech so disturbing.

Let me put all together what Miguel said:

"I found a world where I had a family. Where I was happy. And that version of myself was killed. So I replace him. I thought it was harmless."

This entire discourse is about himself, with no real thought put into how Gabby, or anyone else may feel. Miguel keeps saying "family," which makes me think it was more than just Gabby, since I don't see why he wouldn't just say daughter if it was only her. That being say I am praying that I am wrong.

My heart really breaks for the other Miguel, he just wanted to do the right thing, he didn't have any powers or special abilities but he still try to help this lady that he probably didn't even know.

And what he got?

That his family will not mourn him, that none of his love ones would go to his funeral (I doubt there was one.) That the people who loved him can't even begin to deal with the mourning process.

Because Miguel, wanted a family.

I am sorry, but I can't help to feel this was en egoistic action when literally there is no mention of ever thinking of anyone that wasn't him; you can try to argue that the "harmless" part also included every other person who knew that Miguel, since they now don't need to go through the pain of a funeral.

But Miguel wasn't that Miguel, if there is something the multi-verse has shown us, is that different versions of a character don't need to be the same, in fact is not odd to not be.

I mentioned this in the past, but if I feel my boyfriend was acting odd, and then discover that he got replaced by another version of himself, just because this one wanted to have a partner- It makes my blood boil; I would personally feel outraged.

Because it should be my decision, which is removed completely of the equation because someone decided they knew me better than me, so they could take decisions on my behalf.

And if I heard him talk, and realize all he ever mentioned was about him and what he wanted? Oh that's one easy slap to the face minimum.

I don't think Miguel had nefarious intentions by doing this, the problem is that he does the thing he literally does the rest of the movie: Assume his idea is the right call, no think twice about asking anyone's opinion, and then blame it on something else when things start to go south.

(If you want an easy example: Literally blaming Gwen for the fiasco with Miles, as if the guy didn't literally scared Miles off when Peter was THIS close to making him go with him.)

Hope anyone liked it! If you did, please consider either commissioning me or donating to my ko-fi, and if not please reblog!

Have a good night.

#atsv #across the spiderverse #miguel o' hara #the spider society #gabby o'hara #I am really starting to get close to the wasp nest with a bat #not sure if I should be more afraid or bite the bullet #atsv files

137 notes · View notes

teddyclara · 2 months

Text

Fragaria Memories Red Bouquet Ep 1 Thoughts

I'll be using @kanatajelly-tl's translation of the voice drama. You can find it here!

Everything is under the cut!

So the Strawberry King is missing and then the SEEDS came into Fragaria World. Obviously connected

I mentioned this in a previous post, but the Strawberry King is a real Sanrio Mascot. He looks like this

(Stolen from the wiki) (Tumblr fucking up the quality)

He's the ruler of the Strawberry Kingdom, which, apparently, has 7 other children that dress like him

They're referred to as angels (??), and they debuted in 1975. Interesting how the story is using this guy as a figure and saying "lmao we don't know where he is". Anyways, history lesson over

Kinda interested in how the abilities of the knights are going to play out here. Magic is obviously a factor, but we don't know too much about how they use it. It's a limitation of medium used for the story, though maybe we might see it in the MVs.

Hallritt appears to be the least experienced knight among the cast, although given how he one-shots a SEED despite having never seen one before means he's likely Really Cracked at fighting. He also dodges the ambush of the other knights pretty well.

Merold caught me off guard like, really hard. I actually looked up his introduction because I was like "wait did they say he was Like That?" and yeah, he's just Like That.

Actually, he's so funny. Making himself home in Romarriche's place and eating his candy. He does seem like a massive piece of work, especially given what he says to Hallritt in the preview for the 2nd ep

He seems to just sort of have this condescending attitude to others, which his feats only exacerbate. I can see why Kurode was so upset and ran away.

Now I'm going to talk about the topic that caught my attention first, the SEEDs

Apparently, their main abilities is that they are able to cause things to disappear.

In the Voice Drama, they were making produce and shop items disappear, but the opening narration notes that they do this with people.

Also like how SEED's actually bloom, that's a cool feature

Anyways, I wanted to state my theories about how the story will unfold.

One of the big theories floating around is that this is a Madoka Magica situation, and the story is a time loop. This is based on the music videos that were released prior for each Bouquet. You can find them here, here, and here.

That said, after learning this information about the SEEDs, I don't think there's a time loop at all.

There's absolutely a loop, but I think what's happening is that everyone is forgetting what truly happened in the past as the SEEDs keep making everyone's memories disappear. There's a lot of emphasis on the past, even this Drama mentions it in regards to a legend of the Fragarian Knights of the Red Continent's past, but I think that they are just a different flavor of the main cast. It's just that everyone keeps repeating their choices because they're stuck never knowing or learning the mistakes of their past.

Maybe. This might be debunked hard when the 2nd Voice Drama drops. But who knows.

Anyways, those are my thoughts for the Drama. I hope there's more worldbuilding because the fairy tale-esque setting of the series is just appealing to me.

#Fragaria Memories #Teddy's Talking

57 notes · View notes

gregorovitch-adler · 5 months

Text

My thoughts about The Private Life of Sherlock Holmes:

Let's start by summarising the movie -

No crime-solving happens in the first 34 minutes. The first act is all about Holmes and Watson's dynamic, exploration of the nature of their relationship with each other, etc. If you're the type of person who only watches/reads Sherlock Holmes for the cases, you'd believe this portion is skippable. Only the blink-and-miss detail about the "Midgets' case" is important as far as Holmes' detective work is concerned.

However, if you think exploring Holmes and Watson's interpersonal relationship and their casework are both equally important, like I do, the first act is GOLD. Most of the Tumblr gifs about this movie are from the first 30-35 mins lol.

1.) Holmes enters and they bicker like an old, married couple.

H: Oh, come now, Watson, you must admit that you have a tendency to overromanticize. You have taken my simple exercises in logic and embellished them, embroidered them, exaggerated them ---

W: I deny the accusation.

H: You have described me as six-footfour, whereas I am barely six-footone.

W: A bit of poetic license.

Not only is this whole scene just delightful in general but the theory about Watson being an unreliable narrator in ACD canon is actually being supported throughout the movie, starting right here.

W:It's those little touches that make you colorful...

H: Lurid is more like it. You have painted me as a hopeless dope addict - just because I occasionally take a five per cent solution of cocaine.

W: A seven per cent solution.

H: Five per cent. Don't you think I'm aware you've been diluting it behind my back?

This exchange was lovely. Way to slip in their closeness through a few words.

2.) Watson doesn't think it's odd to barge right in when Holmes is completely naked and taking a bath?

Also, why the hell does Holmes bathe with his bedroom door wide open?

And what's that thing he's taking a bath in called? Does anyone know about this stuff? Was this thing common in that timeline? It doesn't seem to fit a grown man like Holmes.

I have so many questions and I'm speechless at the same time. I'll just drop this here:

3.) Then Watson persuades Holmes to go to The Swan Lake ballet.

Watson enjoys that ballet, a little too much at that, mostly because he's staring at all the women on stage. (We'll get back to this later.)

Holmes on the other hand has dozed off. All he can admire about the most beautiful dancer, Petrova, is her strong arches. Which is... 🏳‍🌈

Then that whole scene about Nicholai and Petrova and Holmes in the dressing room. XD

Petrova offers a Stradivarius violin to Holmes in exchange for sleeping with her for a week, so that her child would be beautiful like her and brilliant like Holmes.

Holmes gets out of the situation by lying to both of them; saying he's in a relationship with Watson.

Honestly, that whole bit. Just look at the lines:

N: She has been dancing since she was three years old, and after all, she is now thirty-eight.

H: (gallantly) I must say she doesn't look thirty-eight.

N: That is because she is forty-six.

And:

Nicholai: (about Tolstoy) Too old --- Then we considered the philosopher, Nietzsche --

H: Absolutely first-rate mind ---

N: Too German --

Etc. They're all so funny. This whole scene is something else.

In fairness to Holmes, he did try to get himself out of the situation by lying about having hemophilia in his family, or saying that he's unromantic because he's English, etc but Petrova was having none of it.

Watson coming into the room all of a sudden gives so much clarity and calmness to Holmes. He just knows what to say to help himself because of Watson.

This unforgettable exchange:

N: You mean, you and Dr. Watson - He is your glass of tea?

H: If you want to be picturesque about it.

On a side note, I absolutely loved Nicholai's face journey throughout both scenes - in the dressing room, stuck in the middle of Holmes and Petrova's awkwardness, and later on when he asks about the alleged Holmes-Watson romance to Watson after having spread the rumour in the whole room.

I just loved his reactions a lot.

According to this movie-

Caprice of Mother Nature = Gay.

Half-and-half = Bisexual.

Watson comes to know about the rumour, after having had the time of his life with both men and women in the ballroom. Watson is pissed off, he goes home and confronts about the whole thing to Holmes.

They have a row at Baker Street, in which Watson is being extremely heteronormative again. Thinking too much about his reputation without stopping to question his own feelings and his weird fixation on Holmes' love life.

There's that famous line again:

W: Holmes, let me ask you a question. I hope I'm not being presumptuous -but there have been women in your life?

H: The answer is yes -- you're being presumptuous. Good night.

Awesome.

This marks the end of Act I.

The existence of these 33 minutes of the movie is proof that the writing team in this adaptation knows that exploring Holmes and Watson's characters and what they mean to each other is as important as Holmes' casework. Billy Wilder takes this seriously, even though there are some jokes here and there about it.

The whole of Act I is filled with raising questions about Holmes and Watson's preferences, etc. Does Holmes feel love or is he just a machine? Does Holmes feel love for Watson? Does Watson know about Holmes' feelings for him? Does Watson feel the same way about Holmes?

In my opinion, all the answers to the personal questions about Holmes are as clear as a day. What's really questionable is whether Watson knows and/or feels the same way about Holmes or not. Different viewers might draw different conclusions/inferences after watching this movie.

After this, the movie takes a turn because "Gabrielle" enters the picture, and the actual crime-solving begins from here. The tone becomes a bit more serious in this act.

A young woman, completely wet and in shock enters 221 B. Watson has to pay for her fare to the cabbie before he and Holmes take her upstairs to take care of her.

She can't remember anything at first, then from her wedding ring, Holmes gets to know her name: Gabrielle Valladon. Her husband's name is Emile Valladon.

She appears to have temporary amnesia because of getting hit on the forehead and almost drowning in the Thames.

She reveals info about herself that she's from Belgium, her husband was here in London for a job, they used to write to each other, and after some time, the letters from her husband stopped coming. She'd gone to the London police first after coming to this city. She says the police had advised her to consult Sherlock Holmes.

Now, this should make the viewer skeptical of her. Scotland Yard does consult Sherlock Holmes when they need him, but they aren't going to let him have the whole case if there's a situation like this.

Besides, that woman ending up at Baker Street specifically seems to be planned, anyway. Also, there's always this man who keeps waiting for her or someone else's signals on the outside.

I know what we see on screen comes from Watson's drafts on loose pages, but this movie's narration seems to be Third Person Omniscient POV to me. Where the viewer is privy to more information as compared to the characters.

The three of them keep looking for her husband's whereabouts, and she pretends to be helpless, needy, and fragile (to stroke the ego of the men around her, I believe. I mean that could be one of the reasons...) with temporary amnesia throughout most of the movie. Holmes and Watson don't suspect a thing about her as they keep working for her and she keeps sending cryptic messages to the "Trappists" (German government) with her parasol.

The thing I love about this act:

Ilse von Hofmannsthal aka Gabrielle Valladon is actually a competent character who happens to be a woman. We can see something shady is going on with her even though we don't know her real name, but one of the most brilliant people on the planet doesn't suspect anything. He thinks she's just a woman looking for her husband's whereabouts. He thinks her back story is real.

He keeps on thinking that until Mycroft basically tells him in the third act which is why we're able to see for ourselves that Ilse was genuinely able to outsmart Holmes. We don't have to be told by the narrative voice about Ilse's strengths (*cough* unlike BBC Sherlock and a lot of female characters written by Steven Moffat *cough*).

I, for one, felt respectful of Ilse or "Gabrielle" for real. It was quite refreshing to me after having watched some modern Holmes adaptations.

Holmes, Watson, and "Gabrielle" go looking for the cause of Emile Valladon's death after they've found his coffin in the graveyard, in the guise of having a picnic. Holmes and "Gabrielle" pretend to be a married couple - Mrs and Mr Ashdown, and Watson is their valet. The scenes after this point are delightful mainly because of Watson's reactions (which could be read as his jealousy over Holmes, too).

Also, me when Holmes calls Watson 'John' in an archaic Holmes adaptation:

Because of his sort of stupidity, Holmes takes Ilse, a German spy, right in front of the submersible (which he thinks is a mechanical 'monster' that lives underwater) in a boat, along with Watson.

Ilse was trying to grab as much information as she could about that secret project because she was working for her country. Who knew someone would show her the live version of that model so readily (albeit unknowingly)? :P

The three of them are obviously unable to find anything about Emile Valladon, so they go back to the inn room they're staying in.

That's when one of Mycroft's men comes to pick Holmes up and take him to his elder brother. Here's when the third act begins, I think.

Mycroft had warned Sherlock not to pursue "Gabrielle's" case any further during the second act. But Sherlock didn't listen, because a.) he's an empathetic man, and b.) Mycroft can't just order him to do or drop something just because. Sherlock is not a child anymore.

I know Mycroft was only trying to protect Sherlock, and that he couldn't have told him the real reason to stop him at that time, but still.

Either way, months of planning and testing the submersible have gone to waste because Holmes did not suspect at any point that his client, "Gabrielle Valladon" might have just been lying to him since the start. Can't blame Holmes for that. Ilse was meticulous.

Mycroft shows the model to the queen and she strongly disapproves of the model and curses it a lot. Personally, this seemed to be a shitty decision on her part, and I felt so frustrated and annoyed at her in that scene. She didn't even care to hear about its features. She just rejected it on the spot! :(

Mycroft decides to 'give the submarine' to the German government. It's implied that the Trappists were drowned along with the submarine itself in the deep waters. (That's what I gathered from that scene - correct me if my interpretation was wrong).

In conclusion, while Ilse is genuinely able to outsmart Holmes (unlike some writers forcing us to believe it in their adaptation because they told us so), the German government isn't able to go anywhere with the info they've gathered through Ilse because of Mycroft's last move. Moreover, the English government would have sent her to jail, if Sherlock hadn't suggested Mycroft send her back to her own country.

So, in the end, it's a lose-lose situation for all of them.

1.) Sherlock Holmes didn't know that Ilse was faking her name and her whole identity for a long time, so he unknowingly helped a German spy, thinking he was just helping an ordinary client. Ilse almost had him and the viewers could see for themselves that she'd outsmarted him.

2.) Even after Ilse von Hofmannsthal has got what she wanted for her government, as a spy, they aren't able to make use of that info because of Mycroft. And she has to get out of England anyway.

3.) Mycroft Holmes also fails, to some extent, because ages of effort to plan the submersible, hide the plans, and test the model in secret - all of it has gone to waste. The queen doesn't even want to hear him out in the end.

But even if it was a lose-lose situation, the battle was damn intriguing because of the high intellect on both sides - Holmes brothers and Ilse.

Months later, Holmes receives a letter from Mycroft about Ilse's arrest and execution by the Japanese government. Reading that, he's so moved that he can't even finish his breakfast. He gets up and asks Watson for his cocaine supply. Watson tells him, and then Holmes grabs the bag and goes to his room. Holmes shuts himself in, Watson gets up from the breakfast table too, sits beside the fireplace, and begins to write something on a piece of paper. Probably about the case, but for nobody to see.

End of Act III and the movie.

I loved the background score of this movie. It's quite touching and refreshing to listen to.

A lot of dialogue exchanges in the movie are so deep if you stop to think about them. It's unbelievable how much writers can convey through a few words. Some of them are quite funny too - particularly from Act I. There's a thin line between being funny and mocking, and TPLOSH didn't cross that. It was nice.

I love this portrayal of Sherlock Holmes. It's clear how deeply they've understood him from the original canon. Pretends to be dismissive and closed off but actually cares about everyone way too much.

I also liked Mycroft in this movie, even if he didn't have much screen time.

About Ilse von Hofmannsthal - I loved her. Seriously, this is how you write female characters, modern writers! People say ASIB is a direct adaptation of TPLOSH, which is true, but I'd prefer TPLOSH over that episode any day, and one of the reasons is the way the female lead has been written in the former. Not exactly a fan of how Moffat wrote her in his adaptation. He did her dirty, I'd say.

Characters like Ilse make me think that the writing team of this movie knew what feminism is. I can't say the same for the modern Holmes adaptation that has been heavily inspired by TPLOSH.

I loved the plot of this movie too. The case in itself was also pretty interesting and kept me hooked throughout. Even if it wasn't exactly resolved finally, and the ending was melancholic.

I wasn't expecting the movie to be this good. Which is why it took me so long to sit down and watch it.

I only have one complaint about this movie - Watson's characterisation.

I mean, Watson wasn't half as bad as I'd expected (I thought he was going to be horrible, based on the snippets of the movie I'd seen before), but still. I like how he doesn't fall into the bumbling idiot stereotype. As far as the casework is concerned, Watson is also quite competent and observant in his own right. He can handle the medical work too.

I've got problems with his heteronormativity, and the fact that when it comes to deducing what lies in Holmes' heart, he's dumb as bricks. It's annoying. Like, it's one thing if he doesn't feel the same way about Holmes, but he doesn't have to be so weird and homophobic about it. Also, I think Holmes should've told him about the truth related to Ilse and the 'mechanical monster'. I've had enough of 'keeping Watson in the dark for his own good', damn it! He should be more in the knowledge.

Watson's character was the only element in the movie that didn't receive justice from the writer. As a Watson-centric fan, I need this to stop happening in future Holmes adaptations. People should see more from his POV too, and stop to actually see where he's coming from, and properly understand his character in the next show/movie/whatever they make.

What I gathered from the movie about the characters and their interpersonal relationships-

Holmes is in love with Watson but doesn't admit it... for valid reasons this time. (side eyes at Watson's homophobia).

Watson is deeply attached to Holmes but sees him as a close friend. I wish he felt the same way about Holmes in this movie, but alas! Though if he doesn't feel that way about Holmes, why the hell does he seem so jealous of Ilse in Acts II and III? This is beyond me.

I think what they've tried to show is that Watson is too close-minded to confront his possibly repressed feelings for Holmes, deep within his heart? Maybe. It could very well be my wishful thinking lol.

But as far as Holmes' feelings for Watson are concerned, it's not even wishful thinking. It's just... right there. I wish the subtext about Holmes' pining were spelled out. I know why it couldn't (the Doyle estate was being a pain in the ass at that time), but still. It's quite clear what they wanted to write as far as Holmes' emotional side was concerned, but they dropped it from the scripts after Act I and decided to focus on the case instead.

Holmes is dismissive of 'Gabrielle' at first, but he becomes sympathetic for her after some time. He reaches out to help her with her situation, and as the plot moves forward, he grows affectionate for Gabrielle/Ilse, which is why he doesn't hold a grudge against her when he realises he's been outsmarted by this woman (even though his ego was mildly hurt for a while).

The way they maintained a balance between the plot and the characters is commendable. I love seeing well-written women in fiction and this movie showed me that.

I was surprised to see how good this movie turned out to be, as compared to my preconceived opinions. The Private Life of Sherlock Holmes has officially become my comfort movie now. Miles ahead of BBC Sherlock, in my opinion.

Thanks to my discussions with @jamielovesjam in a previous post about this movie lol. I wouldn't have wanted to watch the movie if not for the long talk I had with them. Also tagging @gaypiningshit and @helloliriels for further discussion.

End of my unnecessarily long rambling.

#sherlock holmes #john watson #holmes/watson #meta #the private life of sherlock holmes #TPLOSH #sherlock meta #my long ass review of a newfound favourite movie #movie review #gregorovitch being passive-aggressive #Ilse von Hofmannsthal #new blorbo acquired #strong female characters #a lovely movie overall #long post

98 notes · View notes

weightedblankettt · 9 months

Text

An Analysis on the Literature Girl Insane MV!

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

Okay, and now, onto the video!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

This is Levi’s, as per the IX.

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

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

Ah, that’s right! In the description!

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

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

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

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

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

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

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

The mastermind, sitting atop their comfortable chair.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

And now, number 19.

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

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

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

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

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

149 notes · View notes