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ineffable-endearments · 4 months

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I was rethinking the bookshop meta I wrote a while ago and realized I was not thinking big enough.

The bookshop has always been Aziraphale's version of Crowley's plants (his trauma reenactment), but also, absolutely everything Aziraphale does in Season 2 is a re-creation of Heaven's role. Crowley's behavior also encompasses everything, not just his plants.

I've seen it suggested that centering Aziraphale and Crowley's trauma histories is reducing their characters to behaving like just reactive victims instead of survivors with agency. Or worse, it's "excusing bad behavior." I don't agree with either of these, because I feel that part of Good Omens is about how large, powerful systems affect individuals, and so the context of every character's decisions matters a lot to the overall themes of the story. Everyone starts out working within a system they believe to reflect reality and then has to learn how to break free of it. You cannot really illustrate that without having the characters start out being genuinely trapped with different ways of coping with their reality.

This is an attempt at a pretty big-picture meta. Although it isn't a plot prediction, it's how I think some of the series' themes are going to progress. It starts out perhaps a little grim, but in the long run, it's how Aziraphale's character growth and relationship with Crowley can simultaneously be massive for them as individuals, a crucial part of the overarching narrative message of the series, and symbolic of a change in all of Heaven and Hell, all while allowing the themes to continue to prioritize human free will.

In short, it's about Aziraphale's problems, but it's also meant to be an Aziraphale love post.

All of the below exists in tandem with Good Omens as a comedy of errors. Just because there are heavy ideas does not mean they will not also be funny. Look back on how much of Season 2 seemed silly until we started to pick it apart! One of the amazing things about Good Omens is how it manages to do both silly and serious at once! (I feel like that's maybe a little Terry Pratchett DNA showing through. "Laughter can get through the keyhole while seriousness is still hammering on the door," as Terry himself said.)

Aziraphale has really embraced his connection to Crowley in Season 2, and he has also become considerably more assertive toward Heaven and Hell. These are both major growth points compared to the beginning of Season 1.

However, again, we have the concept of growing pains...Aziraphale is starting to re-create Heaven's role in his relationship with Crowley and humanity. It's really obvious with the Gabriel argument and the I Was Wrong Dance, but I think we see it all over the place: he seems to feel any serious dissent is a betrayal. He also seems to assume there's a dominance hierarchy and he, of course, is on top. Now that he's decided to take control of his own future, then surely that does mean he's the one in control, right?

With all that said, he still seems to have trouble being direct about the feelings that make him most vulnerable. He manipulates people and engineers situations in which he can try to get his emotional needs met rather than saying things outright (case in point: the Ball).

Like I pointed out in the bookshop meta: subconsciously, he's playing the role of God, modified with what God would be if She were everything he wants Her to be. He's generous, almost infinitely sweet, always does what's best for people...or, at least, what he believes is best for people. During the Ball, Aziraphale influences the people around him to be comfortable and happy even when they're not supposed to be, and he limits their ability to talk about things he thinks are too rude or improper for happy, formal occasions.

Doesn't this pattern sort of make sense for an angel who's just discovering free will? Like, at the end of Season 1, he made an enormous choice to stand against Heaven and realized he could survive it. Now he's gone a bit overboard with exerting his own will. Unfortunately, while he's learned to question upper management, he's still operating on a fundamental framework of the universe where there have to be two sides and there has to be a hierarchy. Also, since Aziraphale is on the Good side, he of course has to gear his desires into what's Good rather than just what he wants, so he sometimes thinks he's doing things for others when really he's doing things for himself. (For example, matchmaking Maggie and Nina started out as something he wanted to use to lie to Heaven, but by the time he was commenting "Maggie and Nina are counting on me," he seemed sincere, like he had genuinely convinced himself this was for them and not for himself.)

Aziraphale knows Heaven interferes in human affairs, ostensibly on God's behalf. He thinks She should be intervening in ways that are beneficial. What I believe the narrative wants him to learn is that God and Heaven shouldn't be manipulating people at all, not even for Good, and in fact there is no real meaningful hierarchy.

Anyway, a top-down, totally unquestioned hierarchy is the primary social relationship Aziraphale has known, and it's certainly been the dominant one for most of his existence: you're either the boss or the underling, and if someone seriously questions you, they don't have faith in you - they don't respect you.

No, his relationship with Crowley has not always been like that, but they've been creating their relationship from whole cloth, so how would he know it shouldn't become that way, now that it's "real" and out in the open?

No, human relationships aren't like that, but Aziraphale clearly does not see himself or Crowley as human. As the relationship approached something that seemed like it must be "legitimate," Aziraphale would naturally look for a framework to fit it to. And again, the only one he has is the shape of "intimacy," or what passes for it, in Heaven. What has "trust" always meant in all his "legitimate" relationships? It has always meant unquestioning obedience, of course. What have the warm fuzzies felt like in Heaven? Well, praise from the angels above him is nice, so that must be it, right?

Aziraphale even describes being in love as "what humans do," separating out that relationship style. Someday, I think he'll realize he favors the shape of love on Earth, something that's more inherently equal, more give-and-take. Look at how he idealizes it from afar at the Ball. But I think that, like Crowley before Nina pointed it out, Aziraphale maybe hasn't 100% grokked that it can and in fact should work that way for him and Crowley, too. Just like people can desperately want to dance without knowing how to dance, or can desperately want to speak a language without knowing the language, Aziraphale does not instinctively know how to have the kind of relationship where he can be truly vulnerable and handle Crowley's vulnerability as well.

Aziraphale is downright obsessed with French, known as the "language of love." He's trying to learn it the Earthly way. He's not very good at it, but he wants to be.

This pattern is still present during the Final Fifteen even if we assume Aziraphale is asking Crowley to become an angel again out of fear (and I find it very hard to believe that fear doesn't factor in at all). He's still building his interactions off of that Heaven-like framework: he asks Crowley to trust him blindly, he tries to assume a leadership role with a plan Crowley never agreed to and couldn't follow anyway, and he tries very hard not to leave room for an ounce of doubt. He also suggests making Crowley his second-in-command and obviously does not register that this could possibly be offensive. Again, I think this is because for Aziraphale, there has always been a hierarchy in Heaven, it's started to transfer to his relationship with Crowley, and breaking out of that assumption about relationships is going to take more processing than a single argument can do.

As I mentioned in another post, I don't believe Aziraphale had a real choice about whether he accepted the Supreme Archangel position. I think he could sense that he was not getting out of it and chose to look on the bright side, to see it as an opportunity. And instead of looking realistically at how that would feel to Crowley, he tried to sweep Crowley up to Heaven with him using toxic positivity, appeals to morality, and appeals to their relationship itself. Again, mimicking what Heaven has done to him.

To me, "they're not talking" is a big clue that Aziraphale's approach with Crowley is going to be the mistake the narrative really wants him to face. "Not talking" has, thus far, been presented as the central conflict of Season 3! After losing the structure and feedback Heaven gave him, Aziraphale started creating Heaven-like patterns in his relationship with Crowley, and breaking out of those patterns is what he needs to do. Discovering first-hand that Heaven's entire modus operandi is bad no matter who's in charge is how he can do it.

Look, either you're sympathetic to Aziraphale's control issues or you're not. Personally, I am. He's trying so, so hard to be good. I think trying to figure yourself out (which Aziraphale is clearly doing) is hard enough, and when you start balancing what you want for yourself, what you think are your responsibilities, and what other people are actively asking of you, you're bound to fall into the patterns that have been enforced for your whole life or for millions of years, whichever came first.

It is very easy to assume that people should Just Be Better, but it's not actually that simple to be a thinking, feeling person. My anxiety tends to move in a very inward direction and Aziraphale's moves outward. But I'd imagine the desperation and exhaustion are the same.

Unlike Nina, Aziraphale became a rebound mess. I don't think it occurred to either him or to Crowley that there could be any soul-searching, anything but carrying on with the new normal after their stalemate with Heaven and Hell.

Now, instead of getting rejected by Heaven and surviving it, Aziraphale needs to be the one to reject Heaven. It needs to be a choice. And that choice is going to come from realizing that Heaven isn't just poorly managed but also represents a bad framework for all relationships.

How could this happen? Good question. We're obviously not supposed to know yet, although I think picking at existing themes within the narrative could possibly give us hints.

It's possible Aziraphale's character development trajectory will be akin to Adam Young's in Season 1. Please see this stellar post by eidetictelekinetic for more thoughts about it, but basically, in Season 1, Adam saw that the world was not what he wanted it to be and decided his vision was better; as he ascended to power, he took complete control over all his friends and then soon realized that's not what he wants because there's no point in trying to have relationships with people who can't choose you. It's that realization that leads Adam to conclude he doesn't want to take over the world and to reject the role he's expected to play as the Antichrist. Maybe Aziraphale's trip to Heaven is an attempt at a control move during which he'll realize he's defeating his own point.

Aziraphale clearly wants to be chosen. From the very beginning, he's wanted to be special and cared for - just like Crowley has.

Incidentally, I think Aziraphale and Crowley are going to represent pieces of the bigger picture here, and this - first imitating and then rejecting Heaven's relationship style - can both symbolize Heaven's transformation and directly start it (probably in an amusing, somewhat indirect way, like when he handed off the flaming sword to Adam).

If I'm right - which I may very well not be - I think this would all be so, SO cool. Like, "An angel who is subconsciously trying to be a better God" is a concept with so much potential for both tender kindness and incredible darkness. Add to that the comedy-of-errors aspect of "...but even deeper down, he'd much rather just be super gay on Earth" and you have, in my opinion, a perfect character.

I think this could work for Crowley as well. It's obvious that in the Good Omens universe, at least so far, Hell is all about detesting humans and punishing them; Satan seems to genuinely hate humans (unlike in some of NG's other works). Our perspective on this could change, but it potentially puts Crowley in a complementary position to Aziraphale, as a demon who is trying to be "better" than Satan. But this isn't about being "morally better." It's about things having a point. Crowley's exploits usually have a point: they test people. And you can pass his tests! He sincerely likes making trouble, but Crowley doesn't live to punish.

But, once again, the above paragraph would describe a transient phase for this infinitely charming character. Because, again, I think the point will be that in the end, Crowley's deeper-down desire, moreso than testing Creation, is watching it grow with a glass of wine in hand.

#go3 speculation

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insightfulllama · 11 months

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ANYWAY HERE’S A MASSIVE LIST OF OBSERVATIONS AND THOUGHTS FROM REWATCHING THE CABIN VOD AHAHAHAHA

(Spoilers)

The first thing Ranboo clearly says is, “It wasn’t supposed to…be like this…” They are very disoriented and confused, verging on distress.

When the mask turns on, they panic and yell “no” several times, before standing and going, “Where am I?” and “This place sure looks weird!” in the NPC voice. I believe he knew something was wrong and was able to scream, but not anything more before they took full control.

The NPC behavior isn't as obvious as it is in "Warehouse", but I definitely see it now that I'm looking for it. Pretty unsettling.

Ranboo checks locations they had already looked at before the mask turned on. (The door, the bookshelf, the ashes, etc)

Ranboo can see us, but with the masks influence we appear as a “weird painting”.

When he is flipping through the magazines and waiting for chat to decide where they go, he says, “These are just old pajamas.” I think that’s what they say, I have no idea what it means.

When Ranboo first goes to look at the window, he bends out of frame and messes with something (I think the VHS’s) and says, “Those don’t seem too important.” Pretty interesting considering he later uses a VHS to communicate with the one trying to get him out. (Showfalls influence?)

He’s complained about his head hurting twice now, I think this may become a pattern

They find a set of teeth in the drawer

The red key is IN the red bat- mirroring how the key is in Slimecicle later? Did he have to dig into a dead animal to get it here as well and we just didn’t see it because of the mask?

Ranboo’s spacial awareness seems impaired. He doesn’t know where Slime went because he can’t directly see him. This happens again later with Sneeg, Ranboo looking the entirely wrong way when Sneeg calls out. Both Slime and Sneeg call attention to this- “It’s a house, there’s door frames! How did you get inside if you do not know what a door is?” and “How do you not hear me?...How did you look over there, man?”

JUST realized the key colors match the “characters” we’ve been introduced to. (The Savior, The Taken, The Villain) I don’t know if there’s further symbolism connected to where the keys are found and stuff but it’s pretty neat.

When Slime does the pinkie swear promising that Ranboo can leave after he does the cooking challenge, they have their fingers crossed behind their back.

Slimy Guts is one of the available ingredients, bit sus considering our new knowledge. Also chinese leftovers got 0% of the votes LOL

The random cutaways are kinda strange. Don’t know what to make of them.

Ranboo uses a pretty big knife to open a little package of slime, is instructed to “beat up” the food and call it names, and later he offers to cut Slime off the floor when he gets stuck. I think there’s a good chance ranboo stabbed someone and made a meal with their guts. Or something in that vein. (Several times Ranboo points out that these aren’t REAL ingredients and he doesn’t know how someone could eat it. What’s happening is probably so horrifying that he can’t imagine it as something normal like chicken, so his brain is substituting with stuff that’s weird but TECHNICALLY not morally reprehensible.)

Fridge says “BEHIND YOU” on it

Gummy worm was in the freezer, body parts can be kept in freezers, idk

Someone really likes mayo, cause they stopped it when it was on the turntable and gave the camera a thumbs up

Slime tries the meal but he’s really reluctant and needs specific circumstances to do it. If the theory of the meal being human guts it true, the hesitation probably didn’t have anything to do with airplane noises…

What is in the backgrounds of these cutaways? It’s so blurry idk, I can’t tell. It’s sort of purply.

The dish in the end turns to slime with all the possible ingredients mixed in, even the ones we didn’t pick. In universe it reinforces that our choices don’t really matter, from a meta perspective it’s probably so they only had to make one slime prop.

The timing of the marshmallow string stretching as slime tries to feed ranboo is HYSTERICAL, golden comedic timing

The mask starts blinking when ranboo gets the tape message.

The person on tape instructs Ranboo “not to resist”. I believe this is said in the second message as well. Perhaps they don’t want Ranboo drawing attention to themself

Like in the room they woke up in, Ranboo checks areas multiple times, seemingly with no memory of the first time he checks. He does the exact same “flashlight in the eyes” gag each time he picks it up. It really enforces that in this moment he is a puppet, not making his own choices.

“What’s over here?” NPC!Ranboo back in full swing with this dialogue.

Ranboo did the cooking game, Sneeg didn’t. Sneeg refused to kill? Maybe cause he didn’t have a mask? Hmmm idk

The baby skull on a background shelf has a MASSIVE forehead

Light starts flickering when slime appears

What does the fight between evil sneeg and ranboo mean? Maybe they were both trapped and had a fight?? What does it mean without the obscuring mask?

Ranboo is able to get sneeg out of slimes influence, and sneeg says a few times afterward that he’s immune now. Ranboo can help people get out of Showfalls influence? (The gooey hat does bring Sneeg out of the influence later, extension of that Ranboo effect?)

When Sneeg looks to see if Slime is in the box, there is a “shhhh” sound effect

Sneeg says Frank is his eyes and ears- was Frank a whistleblower, feeding information about Showfall to the outside? Unsure

Goo chest- possibly full of human bits? Corpse in a trunk is a pretty common trope

Jello on the shelves of Slime’s room

Same picture that was on the fridge is in a frame on the table

Ranboo looks at the mirror the same way twice, reinforcing the NPC vibes

Another false choice- the story only progresses if you go to sleep. Talking to Sneeg only gets some more NPC dialogue. Most of sneeg’s other dialogue sounds genuine, so this is strange.

Sneeg seems unable to move or act while ranboo is asleep

Could the eight hours that passed be literal? If things are obstructed by the mask it very well could be

“You would have known had you been awake!” Before the reveal of the mask making things look different I thought the streams were going to be revealed to be a dream. Clearly it’s not entirely a dream, but this dialogue is still fun.

SHARK PICKLE LOBSTER TIME!! What would this be in real life? An actual human experiment? Security dogs? Full on hallucination?

This is a pretty funny way to promote the merch honestly lol (referring to ranboo using his merch to trick the thing into cage)

Ranboo seems baffled by his idle fighting animation for a second. He says, “Why am I just standing here? What’s going…” and when the camera pulls back the mask is flickering.

When Slime sends his ghouls to grab Ranboo I believe he tries to move out of the way. They kind of jerk a bit, like they're trying to move their feet, before saying, “Why can’t I just- get out of here? I just need to get out of here-” The mask is once again flickering during this

After the fight the mask starts flickering a LOT, plus the other lights in the cabin. Tv comes back on.

The TV man is named Hetch? He says, “My name is-” I think he says Hetch? Unsure

Mans gets drugged up at the end, rip

#I was thrown off and not really vibing with genloss cause i went in expecting horror from the start #but now the reveal has happened and my brain is INFECTED with OBSESSION WORMS #generation loss #genlosscabin #generation loss cabin #generation loss warehouse #genlosswarehouse #genloss spoilers #generation loss spoilers #crying and shaking over sneeg actually #ranboo says the ending has the option of being sort of happy please i am BEGGING ya'll to choose good options #might do another of these tomorrow for now i must sleep #I've stayed up way too late already

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let-us-cultivate-our-garden · 17 days

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I don't know if you were asked this before or already addressed it before, but what do you think of the argument that Belos' death was supposed to be anticlimatic

See, the problem with these arguments is that it assumes that people who were disappointed with Belos' death wanted a grand, epic battle when in reality, everyone that I've spoken to wanted him to suffer more. We wanted him to go out screaming, realizing that all he did for centuries was for nothing, since that was what the previous episodes were building up to. That's not grandiose, that's even more pathetic than what we got in canon.

Belos' death is anti-climactic because for two episodes, the show was expanding on his background, making him see ghosts or hallucinations, lashing out at the idea of being wrong when he sees "Caleb," all of this suggested that this would play into his ultimate undoing. Instead, we get Luz-With-Anime-Powers yank him off the Titan heart and then he melts in the rain. Cool.

What was the point of the previous episodes then?

Anti-climaxes can work if there is a point to them, be it comedic or tragic. But there was no point to how Belos died. Luz didn't need to learn anything about herself in order to earn the Titan powers, she didn't use anything she learned about the Wittebanes against Belos in the final battle, all that happened is that the Titan told her she's a good witch and to stop comparing herself to someone Obviously Evil like Belos. Great character moment there.

Hell, nothing about Belos played in his death. Not his backstory. None of his lies. Nothing. It just happens. Giving a megalomaniac an undignified death or defeat can work though. Just look at Ozai. He built himself as the Supreme Ruler of the World, as the Phoenix King. He sees himself superior to all others and uses everyone--even his own children as pawns. So to have him be defeated by the Avatar, by an Air Nomad child, who doesn't even give him the dignity of killing him in battle but by taking away the ultimate symbol of his power, his bending, works because it's the antithesis of everything Ozai believes in.

But Belos' death has nothing to do with him as a character or his beliefs. The idea that he needs an undignified death to bring down the megalomaniac doesn't work because Belos has suffered nothing but indignities since he got slammed into a wall. He's been dying for several episodes, lost his human form and the world he knew and loved is long gone and none of this is used against him in the final episode.

In fact, Belos' death actually supports his ideology: for centuries, he's believed that witches are evil and inferior to humans. And he justified all the evil he's done in the name of the greater good: of defeating what he saw as evil. So, picture the scene, you have a rapidly dying man who is no longer a threat to anyone, who is trying to reach out to the one person he thinks is moral by virtue of her species, only to be stomped on by beings who proudly proclaim that they are in fact, immoral.

Congrats gang. You just let the evil bigot die with his feelings justified.

Even how he died doesn't make narrative sense because we've seen him rebuild himself from a droplet and King even mentions some being stuck between his toes. How is it this fight is what finishes him off for good? He's both progressively weaker in each episode and yet is able to outrun (or out crawl) both the Hexsquad after entering the portal and Raine in the castle and possess the Titan heart. Plus, despite having possessed the literal Titan's heart, that equated to having just enough power to transform into his younger self and then get melted by the rain. Ok then.

So let's say that Belos' death works for meta reasons; that evil and bigotry should be given anticlimactic deaths. Ok fine, but it's still disappointing and boring af to watch. Giving a bigoted villain a gruesome, over the top, and entertaining death doesn't mean you suddenly validate the villain's ideals, just look at Raiders of the Lost Ark and its melting Nazis.

Also, unpopular opinion, but The Owl House is not about bigotry; it doesn't say anything about where it comes from, what perpetuates it, how people fall into it, how it can be stopped, etc. The writing is too inconsistent and the world building is too flat for any kind of deep or compelling themes. Instead, it has the grotesquely simplistic idea that "Bad Man Cause Bad Things. Get Rid of Bad Man and Bad Things Go Away."

And that's ultimately why Belos' death doesn't work; because The Owl House never had anything deep to say. It's a fun, escapist fantasy that wants to have deeper themes but can't commit to them. Anything "real" a person might interpret is largely projection because the show is too ineffectual in exploring its own world building and characterization beyond surface level meanings.

#the owl house #toh critical #toh criticism #emperor belos #philip wittebane #asks #long post #belosfanstakeover

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indigovigilance · 7 months

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Why Crowley Rescues Aziraphale

Okay, yes: it's flirtatious, it's cute, it's Anthony J. "Acts of Service" Crowley showing love in the only way he knows how because God forbid he use his words.

But what if there's more to it than that? What if there is a much darker explanation that portends major events in S3?

Allow me to convince you below the cut:

Evidence of Repetition Compulsion

But before we talk about the rescue motif, let's examine a more transparent aspect of Crowley's behavior that will provide a scaffold for the discussion of his Princess Peach obsession.

The Plants

Sure, Crowley is a hobby horticulturalist, but he doesn't do it because he loves plants. He does it because the plants are a representation of himself, and how he treats the plants tells us how he feels about himself. Importantly, how he treats the plants changes over time.

Season 1

He puts the fear of Crowley into them, destroying any specimen with a blemish and making an example out of it to threaten those that remain.

You know, just like God did to him.

This scene is jam-packed with symbolism, and we can simmer on whether his punishment of the plants is simply externalized self-flagellation, or reflects internalized standards of perfectionism, or if he feels so powerless that he creates a new relationship in which he is the one that has the power... We could simmer, but that's not the point of this meta, so let's keep going.

Season 2

In 2023, Crowley is no longer a domineering monarch, ruling over his houseplants with an iron fist; of all the memorabilia he has in his flat (the statue from the church, the original Mona Lisa), the only things he brings with him are his plants.

And for someone living in his car, he's taking pretty good care of them:

Someone else even noted that one of the plants appears to have spots, and clearly he hasn't thrown it in the garbage disposal for its transgressions. I wasn't able to see it myself, but I headcanon it because it fits with the observation that:

Crowley's attitude towards himself is changing.

He is evolving from internalized guilt and sense of inferiority to believing that he deserves care, even if he is a little blemished. It is this shift that brings it within the realm of possibility that he can admit his feelings to Aziraphale.

In both seasons, the unifying theme is that Crowley is reliving his trauma over and over, and then reliving his healing over and over. This cyclical behavior is, to my knowledge, incredibly characteristic of PTSD and CPTSD. In a phenomenon clinically referred to as Repetition Compulsion, the subject recreates and relives events of a traumatic past over and over in their present life, seeking resolution for something that has already happened, where the opportunity for true, satisfying closure is forever lost to the past. A huge part of therapeutic treatment is breaking these maladaptive cycles [citations]. But to our knowledge, Crowley doesn't have a therapist.

If this is how Crowley's CPTSD manifests in his relationship with inanimate objects semi-sentient dependents, how might it manifest in his relationship with his angel?

The Rescue Motif

The cycle of Aziraphale's self-endangerment and Crowley's nick-of-time rescues might look like just a cute part of their flirtationship, a necessary cover for their continued association, but I argue that it something much darker.

Crowley rescues Aziraphale over and over throughout history to try to absolve himself for the one time he couldn't.

But clearly, Aziraphale doesn't know that.

It only took one rescue for Aziraphale to realize that this kind of behavior brings them closer together - and he desperately wants to get close to Crowley. Please forgive the crudeness of the metaphor, but: when you need to drive a screw into a board and all you have is a hammer, you're gonna smack that thing on the head over and over with the only tool you've got. The problem is, this is really bad for the screw.

Aziraphale, by leveraging the damsel-in-distress motif, over and over again, is inadvertently triggering a trauma response from Crowley because he likes what he gets out of it, which is spending time with the demon he loves and growing intimacy. If he knew that this is what he was doing, it would be sick and twisted and go against everything he believes about himself as an angel, let alone being mortified that he was hurting Crowley.

So the only possible conclusion (given we take the above conjectures as fact (see @queerfables, I listen to you <3)) is that:

Aziraphale Doesn't Know About His Own Jimmification

What is it that Crowley could have failed to rescue Aziraphale from that Aziraphale himself is unaware of? Well, at the least, it would have to involve a mind-wipe.

We know, canonically, that the Metatron can and will mind-wipe angels without actually casting them out of Heaven. Just because Aziraphale is an angel does not mean we can assume that this ability was never leveraged against him.

If Crowley knew that they were going to do this to his friend, he would have tried to stop it. The repeating damsel-rescue motif (in context of the existing, plant-based evidence of Repetition Compulsion) is a strong indicator that his mission to protect Aziraphale from the memory-wipe failed, and he is living in an endless loop of rescue behavior to try to resolve his guilt about that.

So why wouldn't Crowley tell Aziraphale that his mind was erased?

To properly address that I will need time to write a part 2. But others are welcome to use this as a jumping-off point, please just cite the inspo; it's a little thing that brings me joy ^_^

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In the meantime, if you enjoyed this, you may also like:

Why Crowley is Blind to his Yellow Eyes

A Nightingale Sang in 1941

Baraqiel and Azazel

The Erasure of Human!Metatron

#good omens #good omens 2 #good omens meta #crowley #aziraphale #ineffable husbands #repetition compulsion #trauma #ptsd #complex ptsd #good omens memory #ivoc #erasure theory

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monstersinthecosmos · 7 months

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🔥 + kink in VC

(also thinking like in comparison to Anne's other books like CoSB and realizing VC is so fucking mild and antis have no business being in Anne Rice fandom)

Dsjgkalsdg comrade why are you asking me this you know I’m about to launch into a TED Talk.

So like, if we compare Anne’s Sleeping Beauty books to VC, I feel like the kink is meta in two completely different ways, like opposite ends of the spectrum. In SB, the BDSM is meta in the sense that it’s built into the universe. They are not books ABOUT BDSM, they are books about fantasy and the kinks just get to exist. It’s an immersive fantasy that takes all the ways people play IRL and makes it canon. And a lot of people who dislike them (based on like bad GoodReads reviews LOL) ONLY see them as rape books and don’t really understand the way it’s giving BDSM a space to breathe.

What vanilla folks don’t understand is that IRL BDSM is also fiction a lot of the time. Even tame shit like spanking and talking dirty—do these people actually want their partners to hit them in their day-to-day lives? Do they want to be catcalled and lewded outside of the scene? Probably not! And even going to more in depth scenes like, do you actually think you’re someone’s kitty? Do you actually want an assailant to tie you up? Do you actually want to be trafficked?

No! You dont’! You want to play pretend with your partner, with whom you’ve consented.

And I think this attitude in the bad reviews is also the attitude that fanfic writers get from conservatives/radfems/swerfs/fancops in fandom, that somehow writing noncon fic or darkfic in general is somehow making these atrocious things literal, when in fact THEIR EXISTENCE WITHIN A WORK OF FICTION AUTOMATICALLY MAKES THEM NOT LITERAL. And people need to understand that the consent for stories like this is not about the fictional people involved who do not exist and therefore cannot consent, but between the reader and the author when you open the book.

Anyway I bring that up because these books tell me a lot about Anne’s sensibility for kink. SHE GETS IT MAN. She wasn’t shy about it. So I think it speaks very broadly to the way power dynamics and monsterfuckery are expressed within VC, as well, even though these are two very opposite ends of the spectrum with her writing, I think that same confidence and kink positivity still exists. There's also a foreward to the copy of SB that I read, I think she added in 2012, and it was SO insightful about her process and her intention writing the kink & porn the way she did and I just think she really fucking understood what she was doing. And it's so telling to me because like, she mentions she used the pen name when she first wrote them because her father was alive and she was embarrassed, and one of the first scenes in SB is Beauty being stripped naked and paraded around IN FRONT OF HER FATHER LOL. So like WITHOUT GOING OFF ON A SIDE TANGENT something else vanilla folks don't understand is that so often kink is about the thing being transgressive and gross and uncomfortable; IT'S HOT BECAUSE IT'S UNCOMFORTABLE. It's not something that anyone literally wants, it's just hot because it's WRONG. And I think often about how this is like, the sex equivalent of trying not to laugh at an off-color joke, and how it's not that the joke is funny but that it's so off-putting that you laugh at the absurdity of it.

I feel like the kink in VC is meta in an opposite way, in the way it’s so symbolic and understated. Also because the vampires are asexual it gives a whole layer of like non-sexual BDSM dynamics are it’s SO GOOD.

So I think coming from an author was not squeamish about writing immersive BDSM, a lot of those themes are in VC and I wonder if they come from the same place, even if it’s subliminal on her part. Like the power dynamics, consent around biting, THE CONSTANT MONSTERFUCKING & FLIRTING WITH DEATH AKA “THE SWOON”. And even later in TVA with the introduction of the whipping scene and all Armand’s comments about getting tied up and having his fuckin, pit hair tugged on or whatever.

And it has some of those like sort of dubcon romance tropes that I think we can’t discard; being TAKEN! Being OVERPOWERED! It ties into vampire fiction in general with like, vampires historically being a symbol of sexuality, going back to like Dracula comin in ur window and everything.

But VC never makes it “about” kink, it’s just like SB, just baked into the themes. And like a lot of the more obvious BDSM themes in VC are also not consensual, they’re just built into the universe. Like Armand stalking/abusing Daniel, like Marius whipping Armand without negotiating first, like Akasha’s femdom murder bender. And even how often biting gets used as a symbol for sex, and how often noncon biting gets called rape! And the characters know it! And they do it anyway! (Also I cannot neglect to mention obvious tropes like Marius/Armand just being a teacher/student trope. IT'S A PORN TROPE! Or what about Gabrielle as Mommy!Dom? PORN TROPE! Quinn/Goblin twincest? PORN TROPE! The exhibitionism/public humiliation on the TDV stage hello???? That's like an Upper Floor party come on LOL. [this type of dynamic is also SO SO prevalent in SB.])

I’m not really sure what my conclusion here is because like, I just think this is all here in the books and it’s really excellent fodder to talk about kink and character dynamics. Power dynamics is so huge in BDSM and it’s so so huge in VC, not just like, vampires being old and powerful and having that as a status symbol over one another, but even emotionally speaking like. TELL ME THAT ARMAND & LESTAT AREN’T ABSOLTUELY SOAKED IN HUMILIATION AND BEGGING. Taking inventory of VC ships like there’s ALWAYS a dominant and a submissive, it’s so rare that people are just equals with each other, and it’s always part of the appeal!

There’s this psychologist Esther Perel, I think she’s brilliant and she’s very kink positive and has a bunch of podcasts and stuff. I read her book Mating in Captivity and she brought up this whole thing about kink and power dynamics and how like, it’s not always clear who’s in charge, and you can’t judge relationships based on who’s older, who makes more money, who’s larger, etc, because power dynamics are so much more complicated than that. She uses the example that if you’ve ever been in public with a screaming toddler, which of you is really the dominant? I think about this constantly!

And like speaking about real life kink being so deeply about CONSENT means so much to me with this conversation about VC, too, because like even looking at a relationship like Marius & Human!Armand or Armand and Human!Daniel, it doesn’t matter that one is a powerful vampire if they also feel so tenderly towards their fragile little human. TVA was very explicit about this when they have that conversation about which one of them is the other’s slave. So in BDSM even though we look at the dom as being the one in control, the consent is the thing in control and ultimately the SUB is in control by permitting all of it!

So I just feel very strongly about all of this, it’s all over VC, and even when it’s less obvious (relationships like Loustat, like Lestat/Armand, even Louis/Claudia) there are so many of these power elements to examine. Even if it’s not written TO BE KINKY they’re still there and I think it’s all connected, because I’m kink positive and I love unpacking this stuff.

AND ALSO LIKE ON THE ASEXUAL FRONT, I love it so much because like as a kinky ace, and knowing as many kinky aces as I know, there’s SO MUCH KINK out there that is NOT SEXUAL so I think it just translates so nicely to VC vampires being asexual, like it all makes so much fucking sense to me and it’s so fun and I adore it so much!!!

THIS WAS PURE STREAM OF CONSCIOUSNESS IM GONNA POST IT BEFORE I GET WORRIED THAT IM NOT COHESIVE, ENJOY!!!

#asexual vc #KINK META #deep ass thoughts about vampires

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hazelnut-u-out · 4 months

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Just coincidentally, I was talking to @dirty-bear-rick-sanchez, and he mentioned the fact that Evil Morty had a ‘Chekov’s Gun’. As soon as I saw the words, my brain immediately made some connections based on the events of ‘Rickmurai Jack’, ‘Full Meta Jackrick’, and ‘Unmortricken.’

First of all, I remembered making this post about the metaverse goggles in ‘Full Meta Jackrick.’ In the post, I was talking more about the device labeled ‘Foreshadowing’, which I thought could potentially show up in the future and make the glimpse we get of it in that episode a fun easter egg. Now, my focus is on how the devices and their labels coincide with the events of ‘Unmortricken.’

Let’s look at the Devices pictured:

We have Checkov’s Guns, Foreshadowing, Ticking Clock, and Action Enhancer. (There are other devices that can be seen in the scene that are difficult to read. The one in the corner is labeled ‘Gratuitous Violence’.) Thinking about the events that took place in the Prime fight, these things may have come into play. While we didn’t see the exact Foreshadowing device pictured used in the fight, it did pique my interest that the device seems to be pointed at the Chekov’s Guns display. The Ticking Clock being placed above the Foreshadowing device also made me realize just how much that parallels the use of the Omega Device as it’s shown in ‘Unmortricken’. Think about it… The reveal of the Omega Device is already being used as a method of Foreshadowing, Slow Mobius was lowered into the Omega Device from above while using his powers to slow the moment down (hence, Ticking Clock being a device used to create suspense), and at the end– when handed over to Evil Morty– the schematics become a Chekov’s Gun with a promise to return. Their placements parallel the events of the fight scene, even down to the blatant Gratuitous Violence! (I’ll admit, I don’t have an obvious placement for Action Enhancer yet, unless you count the Kill Bot drones/giant Diane Bots… I guess Evil Morty does ride one like a motorcycle!)

You don't show an Omega Device without erasing someone important to the audience from infinity, if you know what I mean.

I was having a lot of thoughts, and some of these branched off into different connections about Evil Morty and his exit, especially with the previous assumption/symbolism in mind. He looks at Rick and says the following:

2 things I thought of:

1.) This feels like a threat, not just an exit. It makes a lot of sense to interpret this as a future promise of betrayal. The fact that Evil Morty has to remind Morty Prime that they’re not friends makes me think he could come back to specifically stab Morty Prime (or Mortys) in the back, especially since he tends to dislike ‘sellout’ Mortys. Saying he could ‘use’ Rick for being ‘different’ makes me wonder if ‘ending the Rick Experiment’ could be synonymous with putting himself or another Morty in the Omega Device and eliminating the toxic relationship between Ricks and Mortys for good. Does acknowledging Rick is ‘different’ and useful imply that Evil Morty could use another life for leverage using the Omega Device in the future to get C-137 to do what he wants? (Not sure he’d erase himself since he references the vengeful Summers thing, but who knows?)

The events of ‘Full Meta Jackrick’ support this sub-theory, as well. Another post I made after the airing of ‘Full Meta Jackrick’ (here) talked about how I suspected Mr. Twist’s interaction with Morty (where he acknowledges Morty is the plot twist) might have actual weight to it.

If you remember, one of the BIG moments of ‘Full Meta Jackrick’ was this one right here:

I think Rick emphasizing the importance of Morty’s existence is major foreshadowing. Not to mention, Rick tries to ban Morty from accompanying him to the Prime fight. More acknowledgment that Morty is very important to Rick. Being able to tie all of these elements back to a single episode AND Evil Morty’s arc would work quite well in terms of storytelling.

2.) What is the ‘Rick Experiment’? I think that the Rick Experiment might just be Morty’s existence. Especially since we know our Rick was a founding father of the Citadel/Curve, it seems plausible that Mortys would be the central ‘Rick Experiment’ (created to be the perfect sidekick; obey them; keep them company; hide their brain waves; prove they could create life across infinity when the Omega Device can destroy it; and– for C-137 and others– there’s the added benefit in the search for Prime). I’ve even wondered who Ricks are trying to hide their brainwaves from while on the CFC, and I think that who might’ve been Prime. This theory would explain why Rick is holding Morty so triumphantly in that photo in Birdperson’s house in ‘Get Schwifty’ AND how Rick knew a Morty baby in general.

We have to keep in mind that Evil Morty not only told our Morty about the Morty Trade in the first place, but also that he's probably the most knowledgeable (outside of C-137 or what's left of the Council) about the Morty Trade/ Rick Experiment in general, whatever that turns out to be.

This was essentially me throwing theories at a wall to see what sticks, so all of this could be nothing! Just some big food for thought, lol.

#rick and morty #rick sanchez #morty smith #full meta jackrick #unmortricken #rickmurai jack #sorry if this is all over the place- i'm literally writing this while on lunch break for my chronic illness course lmao

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feverdreamsandlucidnightmares · 3 months

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I’m having too many thoughts about about Trigun Stampede and it’s probably nothing, but here we go (beware some very heavy handed religious comparisons/symbolism)

This is somewhere between actual meta/character analysis and fanfic, but whatever:

Nai

You are a child and to the best of your knowledge you are one of the only two beings like you in existence. You are a child and you are told that your creation was miraculous, that you are perfect and the future itself. You are neither Human nor Alien, you are simply Other. You are better than either. Unflawed. You are a child and you see the species from which you were created, a species that was artificially created as a means to an end, live out their entire lives in captivity, in servitude. You are taught they are non-sapient, perhaps even non-sentient, and without free will. You exist to serve too, but you resent this. You resent that you are meant to be like the humans, to pretend that you are one of them. You find humanity contemptible and resent their endless wars and conquest and enslavements and pain (you have had a relatively painless childhood). And you read their scriptures and feel confident in your knowledge of humanity’s failures and inherent depravity. Their religious histories are teeming with injustice, with pain, and war and famine. You are a child, but you are intelligent. If this is what they believe in, what can you do? What Good can they really do? You begin to Doubt.

You discover another of your kind, a third, and she has been taken apart and studied by these humans. You are being raised to love them. You don’t. They love you like a dog loves a bone. You can only destroy them before they destroy you. You are intelligent and full of what can only be righteous fury, and you make them Fall. Your brother resents you, resents the deaths, is terrified and hurt and you have to Save Both of You.

Some of the humans survive. You twist them into their own downfall. You take their scriptures and turn words to weapons. It is an honor to serve you, you are an angel, a god, salvation and creation at your fingertips. Death, too. You are owed this for the depravity you and your kind have been subjected to. (You don’t realize, or maybe you no longer care, what you are subjecting them to.) If your brother will not join you on your mission he will die for it. For the greater good. (Who will survive your greater good?)

Wolfwood

You are a child and you aren’t raised to be nice, but you try to be kind. You protect your little brother. You are smart and strong and independent and you care too much. You are raised to believe in a very present god. No one tells you if he is a loving god or not. His angels and priests take you away and it is an honor to be chosen, to be god’s child of blessing. (It is a relief to be taken so no one else will be.)

You go through hell, you live in purgatory. Maybe it is still hell, your skin no longer feels like your own and your hands are bloodstained and fit only around the grip of a gun. You are not allowed to die. You find out your little brother isn’t either. He’s in hell too, but not with you. The god you serve is not a loving god, nor are his angels kind. You are god’s righteous man and you bear a cross and all of the weight of the blood spilled on it, by it.

You are a weapon and any morals you might have grown into are collateral damage. You would do anything for your family. You have done Everything for your family. They don’t mourn or look for you, the blessed chosen one.

You have free will. There is also a gun to your and everyone you’ve ever loved’s heads.

You aren’t sure if you’re a person anymore. (What greater good requires monsters like you? What god would create demons?)

You follow orders. You don’t believe in anything. You could fill oceans with the blood you have spilled. You are told if you follow this last order you will be free and your family will be safe. You aren’t even supposed to kill him, just lead him to his death. You’ve done so many horrible things, this pales in comparison. And you’re already in hell.

You find him. He’s the kindest person you’ve ever met and he doesn’t want to hurt anyone. He takes on as much hurt as he can, sometimes more. He saves your family without even knowing, and he saves them again when you sell him out. He doesn’t hold it against you.

The first thing you do as a free man is try to save someone. You have decided you care enough to try, just this once. The world still ends. And you still aren’t allowed to die. Better people have already died for you. For your sins.

Vash

You are a child and you love your family very much. You aren’t as special as your brother, as useful, but you love learning and exploring and people. You see the good in everyone. You are terrified when you discover another being like you and your brother, terrified by how she has been treated, by her being a secret, by what else the person you see as a parent might be hiding from you. But you trust her and love her and inevitably mourn her. You are taught to love and serve humans and it is your life’s work.

Your brother makes your world end and says you helped. Everyone you’ve ever cared about except him is dead. You are terrified and you spend the next century atoning for not knowing better. For loving, to continue loving. You are not loved in return.

You do your best to help everyone you can regardless of species. You are special too, it turns out, and bring hope and peace to your people and to the humans, at least for a little while. And you try not to be dangerous. You want to be harmless and you never quite pull it off. You don’t tell anyone the whole truth, but the secrets aren’t enough to keep you safe forever.

You make friends and you don’t have long together. You think you must be bad luck, and you forgive your friend for leading you to your biggest fear. You have to confront it anyways, it’s not his fault. He’s cares about you, but it’s not his job to protect you.

You confront your brother. He destroys everything again and he uses you to hurt people. Again. Your people, humans, what could survive his greater good? You fight back, you win. Kind of. Maybe. A Pyrrhic victory. You are alone and the world hates you for the destruction you tried to prevent. They always do. Why are you the devil when you just want to help?

#trigun stampede #tristamp #trigun stampede character analysis #trigun meta #kind of #trigun stampede meta #trigun #vash the stampede #nicholas d. wolfwood #millions knives #this is very specifically trigun stampede #not the ‘98 anime or the manga #trigun stampede spoilers #trigun rambles #feverdreamsandlucidnightmares

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vidavalor · 8 months

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hey I just came upon your meta about crowley's oh moment after talking to nina and I'm intrigued but don't quite understand. I always thought it was about realizing he's in love because he literally mouths 'love' to himself. so could you expand a little? like what scenes do you think wouldn't make sense if he wasn't aware it was love he was feeling? thanks :)

hi! :) thanks for the ask. hope you're having a great day so far today!

to me, the "oh"-looking moments in the series-- 1941's books moment for aziraphale and this scene with crowley & nina that we're talking about-- aren't "oh... i'm in love with him"... they're "oh... *he's* in love with *me*..."

this matters b/c crowley & aziraphale have always had reasons to try to pretend that what they felt wasn't love and they've been pretending for a long time. they mainly do because they are afraid of losing one another or getting one another hurt. but they also have a lot of conflict around whether one another is capable of loving them. crowley knows that aziraphale is an angel so he's a being of love and loves all god's creations, right, but that's very different from loving someone romantically and even if aziraphale can do that... could he love a demon? a literal fallen angel? meanwhile, aziraphale has proof for days that crowley isn't evil but he's a demon so, by nature, can't really totally be *good* and what would it say about him (aziraphale) if he, an angel, was in love with a demon-- a being that is literally the opposite of what angels are supposed to be? this is all while not even yet getting into the idea that angels and demons alike have been socialized to believe that they are above humans and different from them when it comes to things they consider pedestrian and human-- love, sex, sleeping... food is the one that is used as an example the most in the series. The show subtly suggests that while angels and demons are different in the sense that they're magic-- that they don't expressly need to breathe, sleep, eat, etc.. to stay alive-- that they do *need* these things the way that humans do. (I want to emphasize here that I mean "the way humans do" in the sense that not all humans needs sex or need a romantic relationship. They do need to sleep and eat but mah point is dolphins mah point is lol that there is plenty of room here for asexual and/or aromantic interpretations of Crowley & Aziraphale if that's the way you want to go. I, personally, don't see it but I can see where there is room for it. The canon/Gaiman has angels and demons as asexual but it's asexual unless they wish to make an Effort-- which is to say that there are those who do. Crowley & Aziraphale strike me as those who do wish to but that's my opinion and my interpretation of the show, which comes from a lot of the parallels and symbolism they've set up.)

so then ok say they both want to do as the humans do and the things they feel are things they identify as being like what humans feel... they're still pushing up against conflicts here to being together. it's too dangerous, for once. they could get each other hurt. they're each other's only friends so what if it all goes wrong? one of them could end up alone. are they each other's type? these idiots are honestly worried about that lol. aziraphale is insecure about crowley's penchant for the beautiful-- lucifer, stars, gabriel-- and thinks for a long time that he doesn't catch crowley's eyes as much. (he's an idiot lol.) crowley can sense lust but he can't sense love and how could a pure of heart being like aziraphale ever really love a demon like him like that? befriend him, love him in that generalized angel way, sure. want him, ok, yeah. but be *in love* with him? crowley's never been totally sure. he thinks they are. he's almost sure aziraphale loves him but there's then yet another issue, which is will aziraphale *allow* himself to love him? because aziraphale's an angel and this would go against everything he is and crowley isn't sure that aziraphale would.

the scene with crowley and nina is off of nina seeing crowley and aziraphale together for the second time and it's really the first time there's been a human that crowley likes and respects who has been able to see them interact openly in public together... and what that human-- who is smart and observant-- thinks is that he and aziraphale are lovers. while crowley knows he's utterly besotted with the angel and has been for millennia and while he knows that, deep down, aziraphale is in love with him, the idea that aziraphale is now in a place of just acting like that in front of the humans, of not trying to hide what they are, of being more open about it... that's new. that's an 'oh' for crowley because now he's thinking, like...

...the human saw him speaking French at the restaurant and telling me about how he took the lessons the human way. Why is he insisting on speaking the language of love-- oh. He's... trying to woo me. Me. Aziraphale is trying to court me...

Notice how after the conversation with Nina, where Crowley wound back up? He got a table at the French restaurant and ordered a bottle of red and waited for Aziraphale to come back around from his meeting plans. This is a lovely place-- a place for romance. All the ivy and the roses and the little lights and the French menu and Crowley is heavily flirting. He knows the past tense of 'smite'-- this is an excuse to say 'smut' and 'smitten'. Aziraphale does love it (that look on his face when he says "smitten, I believe"-- he knows exactly what Crowley is up to and is into it)... but Aziraphale is distracted by the fact that he's trying to arrange this whole Jane Austen ball so he can dance with Crowley (and get Maggie & Nina to fall in love, yes, also that lol). He misses Crowley clueing in to what he's doing because he's too busy trying to do more of it.

Just as Aziraphale's "oh" in 1941 in the moment when Crowley saves his books is the realization that Crowley isn't just not evil, isn't just more good than he'll admit, isn't just his friend, but is in love with him-- is *capable* of being in love with him and *is*-- Crowley's "oh" in the moment with Nina is that Aziraphale-- pure of heart angel Aziraphale, just enough of a bastard to be worth knowing-- is in a place where he's capable now of letting himself be in love with Crowley. He always has been-- just like how Crowley always had been before 1941-- but now he's saying he wants the romance Crowley has been trying to give him, more overtly, since the 1800s. He hasn't yet said as much but he's steering towards it and when Nina said "other people's love lives always seem so much simpler than your own", Crowley realizes how she sees them and that she's *not wrong about it*-- he mouths "love", thinking like... "love"... he's really in love with me? Did I not notice because I'm just so... oh yeah, ok great apparently I'm so used to seeing Aziraphale being in love with me that I didn't notice he's decided he's *openly* in love with me now. We look like a couple to the humans and we were just acting like ourselves in public, for once. Nina looks at us and she doesn't know we're supernatural entities, sure, but maybe what she sees isn't too far off from the truth: two older gay guys, used to hiding and secrets, a little unused to being together openly but working on it, who are in love with each other. A couple. With a lot of chemistry, which only happens if *both* people are interested in one another. Aziraphale is trying to romance me. That's what the French and the wanting to drive the car and all of this is. If we can just get rid of this Gabriel mess, we can have more us time and pursue that and...

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tomwambsgans · 2 months

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i'm ngl it's because i recently read fight club, But i'm thinking a lot lately about castration and the true/deepest implications of it irt nero and sporus and tom and greg. obviously we've got tom's line about greg being "castrated on pay" and some pretty solid analysis on that being a matter of tom keeping greg dependent on him, but tbh even with said meta posts...

like, i'm sorry, but it's a weak line. it feels just as strangely on the nose as shiv falling down the stairs, and in fact like a line that exists specifically to match shiv falling. it almost even seems like a last-minute rush to complete Following Up The Nero And Sporus Thing, like they did the first part and managed to get all the way to the last episode before realizing they'd forgotten to do the second thing, so they had to reach for anything they could relate castration to without having to film a new scene. this feels especially evident/likely in the fact that there is NO way greg's salary is actually getting docked to the degree that tom implied. it's markedly disappointing, too, in the way that setting it up with shiv literally falling down stairs had the audience looking forward to how the rest of the overt symbolism would play out. castration on pay was the most mundane and least expected possible conclusion, lol. and not at all on par with the literal fall. like if that is the castration we were actually waiting for the whole time...

it's also all overkill, for that matter, considering that the s3 finale fit "pushed his wife down the stairs and married sporus" thing perfectly fine and a perfect amount of vague. like tom ALREADY betrayed shiv, symbolically "killing" her, and had an ancient-roman-wedding-handshake agreement with greg about his soul. even tom and greg's initial dynamic in the final season often feels like that of a married couple. which begs the question: why have the stuff in s4 on top of that? it may very well be simply one of the many marks of s4's drop in quality, caused by a myriad of irl factors. or it could possibly be on purpose to specifically bring home something else about the nero and sporus story. maybe it's to reinforce the tomshiv divorce and also tom and greg's marriage after all the rapid shifts in dynamic. who knows.

but what i DO know is that i wanna get to the bottom (lol) of the castration symbolism/motif. so i'm gonna go through everything that could possibly inform the audience's interpretation.

i'll start with the least significant, which i believe is the reality of castration in ancient rome and in the circumstances around the irl nero and sporus. part of why this falls on the bottom rung is the fact that historical accounts of nero especially with sporus are hotly contested. another reason is that the story tom tells is one that not only omits many details in a technically misleading/recontextualizing way, but also adds details that are present in no known accounts.

so: WHY was sporus castrated? there are 2 main possibilities/reasons.

to maintain his youthful [and therefore feminine] beauty. the real sporus was most likely around 16 when nero had him castrated. and the practice of castration to preserve youth had precedence. basically, twinks were REALLY in. it's alleged that sporus may have already been more effeminate (and sexually attractive) than average. but it's also said that sporus bore an uncanny resemblance to poppaea, which nero chose him for specifically and wanted to maintain.

in order to marry him with legal/social sanction. ancient roman society, rather than being built upon the heterosexual, was more built upon the Top/generally masculine. Eunuch was a gender class/category essentially equivalent with Woman, which allowed sporus to specifically be nero's wife. this didn't mean that his marriage to sporus was necessarily seen as good and normal, only technically acceptable.

and i have a ways more to go with the analysis but i'm gonna say right here that i do not think the first reason bears any significance to tom and greg. firstly due to that there is no textual evidence that tom wants greg to be explicitly feminine, even compared to himself, and a LOT to the contrary. tom consistently invites greg to join him in performing masculinity and gaining power through it, case in point the "let's fight like chickens" scene that directly follows the nero and sporus story. secondly, sporus's possible resemblance to poppaea does not track to greg and shiv more than incidentally; greg being shiv's cousin doesn't directly earn tom anything. but more importantly, imo, is the fact that what would have made nero want sporus to look like poppaea is in direct contrast with both the story tom tells AND the way their arc plays out.

so NOW, to demonstrate this, let's look at the irl poppaea's death/murder, which happened during her second pregnancy. different historians (even those alive at the time) have different theories for how it went down. who knows how much truth they're based in, bc there's a clear heavy bias against nero, but they're all we have anyway and therefore all tom would have had. here they are:

nero kicked her in the stomach in a fit of rage, while she was fighting with him about how much time he spent at the races (main theory/rumor)

nero kicked her in the stomach in a casual outburst

nero "leapt upon her belly" either accidentally or on purpose

nero poisoned her (uncommon rumor, most likely bs)

she died through no fault of nero's at all, simply bc of complications with her pregnancy (this has the most evidence, and is believed by many modern historians)

you'll notice a complete lack of stairs-related death theories, and in fact a near total lack of Nero Purposefully Murdered Poppaea theories. the general idea is that nero deeply mourned poppaea's death (and was remorseful, if it was his own fault), and proceeded to replace her with sporus, even calling him by her name.

which feels like a good segue into the more significant story of nero and sporus to analyze: the one that TOM told.

Sporus was a young slave boy. He was Nero's favorite. And, uh... you know what Nero did to him? Well, Nero... pushed his wife... down the stairs. And then he had Sporus castrated and he married him instead. And he gave him a ring. And he made him dress up like his dead wife. ...I'd castrate you and marry you in a heartbeat.

without looking into the actual story, this would sound like nero murdering his wife in order to marry sporus. with bringing up sporus first, it even sounds like nero met sporus and started favoring him prior to killing poppaea. which is also overtly analogous to tom and greg's relationship arc.

despite what tom must have read in his book, and what one could very easily imagine him, a Wife Guy, latching onto in that book... tom isn't telling greg about the tragedy of an emperor who accidentally killed his wife and then had to replace her with a young boy. tom literally invents a method of death that there is NO preexisting source for. furthermore he chooses one that does not sound remotely unintentional. at best he keeps in line with themes that suggest a violent miscarriage. but he removes all notions of an accident. he turns it into an unambiguous, purposeful uxorcide.

so, since all notions of trying to keep sporus looking like poppaea are not only unfitting as potential parallels, but also utterly irrelevant to the version of events that tom tells, and since we know tom twists and omits many other details (like what happens just a year into their marriage) anyway... what reasons DOES tom have for bringing up castration in this story? here's the possibilities i can come up with:

to make it sound less overtly romantic through means of the bizarre. classic diversionary tactic. literally without the castration it would sound undeniably like he's just saying "i read about this ancient roman gay marriage. an emperor murdered his wife so that he could marry a boy. i would like to do that with you also :)"

to make it sound less gay, specifically, because of nero's power in the situation. this of course calls back to that second reason for the actual sporus to be castrated. it's not gay if i've made you a eunuch, greg.

to emphasize the cruelty on nero's end. tom often puts himself in the role of a villain, especially irt his behavior with greg. considering also that this whole scene follows tom talking about how he's going to prison (AND that the next time he calls greg sporus it's in the scripts before the diner scene, where he agrees to sacrifice himself and go down for greg), it would make sense for him to buffer this confession with the caveat of what a bad person he is, like express in SOME way how insane his feelings are and how terrible he knows it is that he feels this way about greg. tom is notoriously unable to make normal apologies either, so. it tracks.

i think all of these are true, and i'm sure most would agree. i'm also sure most who've read this far are in full agreement that tom fixated on the story of nero and sporus in particular because it was a gay relationship with just enough ambiguity that he's able to relate to it without panicking. hell, the "he gave him a ring" line alone doesn't even evoke an ancient roman marriage nearly as much as a modern american one. i can't find even any sources that specifically mention a ring from nero to sporus, so i imagine tom invented that as well.

BUT while i'm here i do still want to mention a couple other queer things about nero to drive home that it's not just incidental gayness but overt homosexual desire being portrayed, as well as to emphasize that second reason that the irl nero may have had to castrate sporus:

prior to knowing sporus, nero had a mock-wedding as part of festive role-reversals during saturnalia. in this wedding he took the role of a bride, marrying a different freedman.

this is apocryphal and practically historical fiction, and may also specifically be due to perceived deviancy in nero, but it's old enough (like 13th century) that it's lowkey in the nero "canon" that he had womb envy and was obsessed with being the one to get pregnant

okay so NOW... how does all this translate into the actual events demanded/foreshadowed/symbolized by this story? if pushing shiv down the stairs is the betrayal that keeps her from being able to block the gojo deal (but also shiv is shown to fall down a couple real stairs)... and marrying sporus is making the "deal with the devil" (AND the sticker on the forehead)... then what's the castration? what was the first, less on-the-nose-and-simultaneously-meaningless castration, at least?

my best answer is that it's tom getting greg to drop his brightstar buffalo plans and follow him instead. because if death is just corporate death, then your testicles/manhood is your independence. tom says you're a joke, you can't function on your own, you need me (i need you). he's insecure that greg will leave if he has the option to do so. fair enough.

......and yet i come back to my initial disappointment, because that is barely different than the pay castration. and it's redefining greg's symbolic testes to something that tom gave him in the first place, thus practically retconning the first castration. but if that's it, does shiv's literal fall also replace her kick out of the company? that would sure be stupid! is the point of rehashing the symbolism to be stupid? to have meaningless stuff follow up the more significant events? even if that was the case, wouldn't you at least be doing it to give a visual element to the symbols? if shiv gets actual stairs, WHERE are greg's actual balls? or ANY balls!!!! greg even started wearing grey suits which he hadn't done before (but shiv had), and got a "ring" in his final scene. where's the FUCKING balls, huh?????

(anyway)

occam's razor, i think, may be that the meaninglessness of the castration specifically is the point. tom's insecurity that greg will leave if he has the option to (that greg would never actually want him but only need him), has been present for basically the duration of the show. it's just a character trait, and thus doesn't even work as foreshadowing when that just means "he's gonna keep doing what he's been doing." then, take that second reason--the purely pragmatic, not based in heterosexual-adjacent desire reason--for nero to castrate sporus. aka the only reason that makes sense for the way tom spins the story.

(it's also a motivation that leaves room for not even actually doing it. sporus wasn't going through rapid masculinization or anything. and they only lived another year. you could get away with just claiming that you did it for a while, probably.)

i should say there IS technically a third reason, postulated by modern scholars, for sporus's castration: to intentionally humiliate a potential rival for the throne. imagine if tom had told greg about nero and sporus upon first meeting. obviously things changed very quickly, but if all castration is here is tom keeping greg on a tight leash, then it works. and if the castration is nothing, then greg nearly tanking tom's plan out of naivety can be a nothing version of sporus wanting revenge. and shiv falling down real stairs can, instead of actually intending to set up a meaningful castration, be a red herring in that regard and simply foreshadow her pregnancy.

and that could be it. but... i've got One More Thing. maybe the most significant of all. lightning round:

who or what, in modern day where tom and greg live, actually IS castrated?

animals

specifically dogs

hmmmmmm

and why are DOGS castrated?

to reduce sexual and territorial aggression

reduce other unwanted behaviors

to keep them from breeding

okay. think greg's newfound sexual confidence in s4 and tom's distaste for it. tom's continued anxiety that greg's independence might lead him to leave him. think greg being tom's attack dog and how that nearly backfires at the very end. greg approaching tom at the end like a begging puppy.

think full circle: who's the rescue pup, i'll take care of you, i've got you...

i feel justified in recontextualizing all of this, and i come back to fight club:

Valley of the Dogs. Where even if they don't kill you, if someone loves you enough to take you home, they still castrate you.

#tomgreg #lion in the meadow #with open eyes #meta #mine

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vacationship · 4 months

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Why does Carmy draw?

Why is it important to his characterization that he draws?

Is it because his true passion is being a visual artist? I don't discount this theory, but it does prompt me to try to understand why he turns toward drawing, and to consider his subjects.

The impression I get is that he draws to realize or manifest something that he wants. He draws to dream, create, become, and maybe just exist.

He drew the restaurant that he wanted to start with his brother, because he wanted to be closer to him and carry on the family legacy together. He drew the Bear right on that building: a reimagining of their family legacy of pain and trauma into what in Donna's words is "this good thing": something good and solid enough to become a physical emblem on the restaurant, a mark in the world.

He drew the girl that he wanted to connect with, who he wished talked to him more. Maybe she was a dream, a fantasy to him, because they never really connected. Yet in his hyper-masculine environment, drawing Claire may have been a way to connect with his own smart, nerdy, "feminine," sensitive self: a counterpart or mirror to him. (Isn't this what the MPDG is about?) But drawing her, her face so accurately on paper, was maybe what allowed him to imagine being gazed back at, to be really loved. Really looking at someone is how Carmy expresses love, Molly Gordon said so herself. It's all about the gaze for Carmy, and the way he looks at both Claire and Sydney has been talked about a lot.

He drew the short wool pants that he wanted to fashion, which is kinda odd-ball and could just be a bit of comedy? But the fact that he drew those short pants, which he found out that a designer had already made, may have proved to him that he was capable of greatness even if it had already been done. And that being odd-ball is ok and interesting and marketable. The odd one in the family could actually dream up something that could be made and exist out there in the real world. (Also pants are a symbolic thing for Carmy, the jeans in the oven, too.)

When he met that pants designer in his restaurant, it was such a full circle moment for him, as he tells Syd. The only image we have gotten so far is him on expo and constructing the plates before they go out, with the EC breathing down his neck and abusing him. We know at that point his cooking was perfectionistic and the environment was rigid, but he is still proud of it.

Which brings me to, he drew the menu he wanted to create with and for Syd. Sistine Chapel level drawings! Syd is a crack up but her joke is not random. She references one of if not the most well-known Renaissance masterpiece there is to refer to Carmy's work, not to mention this is where the Creation of Adam is depicted. Renaissance=Rebirth, ReCreation. This may be the stretchiest I'm stretching here. But I like that Syd is the one who makes sure we all pause with Carmy's drawings and consider this aspect of himself.

(He also had to draw their menu since there was no heat and I need to think about that some more. It's probably a whole seperate meta.)

I do think Carmy is interested in visual arts/fine arts. He hates the painting Nat chose because it doesn't represent him. The painting says Mother but Father is crossed out. Every human birth must have a biological male and female for that Creation to happen.

Maybe he needs to paint his own painting to go in that spot, a means for him to accuratey represent himself, to father himself and be the father in his life, to create himself into an existence that will bring him joy. That's art!

There is a function and a means-to-end in showing us Carmy's drawings. They perhaps tells us a story of his innermost dreams and how he is in the process of Rebirth.

This was fun to write, who knows if any of this theme will bear out, but theories theories, eh?

Thank you @thoughtfulchaos773 and @currymanganese for asking to see this in a post!

#sydcarmy #i tag everything sydcarmy

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madhogthymaster · 4 months

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This is Not a Review of In Stars and Time

Let us set the stage.

An entity known as The King has cast a horrible curse upon the land, freezing people in time. It's up to the Chosen One and her friends to save the day. After a long journey, the party arrives at the final town right before the final battle with the final boss. He awaits the heroes at the final castle which was once the house of worship to Change Themselves.

You, the player, are the second to last party member (who joined right before the cute mascot character) and you find yourself "blessed" with the symbolically relevant ability to loop in time - which you discovered after being suddenly crushed to death by a big rock with a sense for dramatic irony. Now, admittedly, the prospect of dealing with Groundhog Day related shenanigans might seem daunting, at first. Dare I say, it might even be emotionally and psychologically taxing, in the long run. However, do not panic! A volunteering social worker has already been sent to "assist" you with your predicament. You can trust them completely.

Now that we have dispensed with the formalities, let's get down to business to defeat The King. Use your newfound powers to help your friends navigate the castle, climb the floors, overcome the obstacles. Be ready to repeat all that several more times. You know the drill. Perhaps, if you do everything right, your buff boyfriend will finally confess his feelings to you.

Wouldn't that be swell?

Wouldn't it?

It would be nice.

It sure would.

...

There will be no additional plot synopsis, at this time.

As I type these few words of appetizing anticipation, I find myself in a predicament of my own: I played In Stars and Time and now I have to talk about it. I have many emotions swirling, dancing incoherently within the very fabric of my being. Feelings that I must convey to you before The Moment passes, you see. I'm not sure I can, though. I'm not sure I can steel my trembling hands for long enough to wax poetically about this being, without hyperbole, one of the best games I played in the past decade. A masterpiece with many juicy layers waiting to be peeled back, one by one. I don't have the energy to write the monstrous essay it deserves for all I want to do is sit in a corner and weep quietly for a few hours, trying to process it all. I'm sad not because it's over but because I can't experience it for the first time ever again. Which is an ironic statement considering the nature of this game, I realize. Allow me to try this again.

Let us set the stage.

In Stars and Time is is a cleverly designed title. The time loop structure works both as a gameplay and thematic device, a means to (purposefully) emphasize the monotonous nature of the RPG grind in relation to the protagonist's deteriorating state, cycle after cycle, play after play. You have your classic meta-textual musings about video games as well as a legitimately gripping tale filled with many twists and turns, good use of symbolism, salient points to make about Trauma and its effect on one's memory, the Fear of Change versus the necessity of it, and Depression. It all comes together by the end in a subjectively satisfying manner and...

...

And...

...

...I have to stop myself.

I'm reducing this deeply personal experience to a mere "review" and that's not what I'm here to do.

I don't know what I'm here to do.

Frankly, there are themes in this game I am not equipped to discuss, such as its intensely felt (and horrifyingly topical) commentary about Diaspora, the shared trauma of cultural displacement, a people fading away from memory like stars in the sky. That kind of analysis would be too much for a simple "review." if this were to be one, I would praise the game for being the best possible version of itself, the best version of a Time Loop story. One that perfectly applies the narrative tropes of the genre to its gameplay, narrative, all that jazz. I would also state that it didn't reinvent the wheel of "Indie Gaming" and I could feel inclined to make obligatory comparisons to That One Game because that's the unfair standard by which everything MUST abide! No, I shall not do that. I need to rethink my approach. I am going to take a small break. In the meantime, please enjoy these unrelated GIF files of Christopher Lloyd from Toonstruck that I have lying around on the floor.

I had dinner with the family. It was a small, daily reminder that I am loved unconditionally. That I deserve it. Something that is immensely easy to forget. The meal was tastier than usual.

...

Back to it.

This is the brutally simple truth of the matter: there is a lot to love about In Stars and Time, with its writing, design choices, characters, nuances, big feelings. It has the potential to be a massive crowd pleaser and it would be well-deserved. It's got explicitly gay lore, as well! In case I didn't make it abundantly clear, this game is 100% queer. Every aspect of it, from the characters and the world they inhabit to the culture and its history, is built from the ground up as a queer utopia. You might recall, all the way to the first paragraph of this long-winded, amorphous ramble, I mentioned something about Change with a capital C. That is because the very concept of Change has been deified, becoming the base of a whole religion: an extremely inclusive, open-minded, progressive community that celebrates life in all its multi-faceted forms. A significant portion of its foundation is the magical technique of "Body Craft" which allows the user to literally transform their physical appearance into their preferred shape, one that better reflects who they are. Children are given many names, both male and female, for the purpose of facilitating their own change, should it occur. Literal and figurative transience lies at the heart of this belief system, meaning that about half the population is trans/non-binary, and queerness is normalcy. As a side note, I want to live in this world. Change is viewed as positive, in other words. In light of that, the arrival of a hostile entity with the power to simply stop all of existence from ever progressing by freezing everyone in place might seem like an easy metaphor to read. I assure you, the game is eager for you to make that assumption.

As I mentioned earlier, this story tackles Depression and it doesn't pull its punches when it comes to portray the more "inconvenient" aspects of living with crippling self-esteem issues. That's when the game became a masterpiece to me. I resonated with Siffrin (He/They), the protagonist. That's you!

Their struggle to navigate the constant torment of the loop is paralleled with their increasing mental and emotional instability. Intrusive thoughts overpowering their head, saying he will never be loved, that he's toxic and manipulative. There's the all too familiar frustration of not being understood by others despite not having tried to explain how you really feel to them, trapped as you are in your own head. Big issues are equated to "small" issues. I relate with most of this. Through the Time Loop allegory, In Stars and Time captures the Kafkian Horror of existing as a neurodivergent person who gets in the way of their own happiness. It's isolating, drives a barrier between your loved ones, makes you lose touch with reality. Sometimes you have good days, sometimes you have bad days. Everything eventually blends together in a sickening routine until you either drown or you start swimming furiously.

Then the cycle repeats.

It's too much.

You cannot do it alone.

You are not alone.

Let them in.

Let yourself be loved.

That is, in essence, the reason why I think so highly of this title. I related with the story and characters. Yes, it all comes down to the most obvious thesis statement in the universe. Yes, I probably didn't need to write so much about it but, regardless, I'm glad I did. I poured my feelings towards an Object D'Art onto figurative paper as I was processing them, doing away with any pseudo-intellectual vernacular in order to get to the soul of the matter. I expressed my emotions and I feel better for having done so. Now, I can move on. All that is left to do is to recommend the game.

...

Go play In Stars and Time, I recommend it. It's good.

...

That's about it.

...

You're still here.

...

......

..............

Go away, stupid!

---

A/N:

Thank you for reading this rather personal piece. The article was extrapolated from a thread I wrote down on the subject. You can read that here. I also typed about the official prologue to the game, Start Again, which you can view here.

As a reminder, I have a YouTube channel.

In Stars and Time was developed by Adrienne Bazir. Follow them on Twitter, Tumblr and Itch.io.

Tell the people in your life how much they mean to you, and have a good day.

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nelliebachesneg · 6 months

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Hey, uh.

We need to talk about Recovery One, and more specifically South (and Wash but that's a given for me).

Here are the relevant facts:

1. The AI were all supposed to be pulled after the Epsilon incident and put into storage.

2. There is a deleted scene that shows North carrying South to safety after their battle on the MoI.

3. Wash did not know that North still had Theta.

4. South and North were together when Wash showed up to recover Theta.

5. South got North killed, even if it was Meta that struck the blow.

6. Wash assumes South being left alive was bait to slow Wash down, because Wash had Delta, and the Meta wants the AI.

7. Wash: “In the past month I’ve been ordered to the sites of five different dying Freelancers in an effort to recover their intelligence programs.” This might have been retconned; before seasons nine and ten it was implied if not outright stated that many agents had AI fragments, not just those on the leaderboard, but after seasons nine and ten it seems like there were only a few AI that were then given to only some of the top agents. Of them, only North and York had their equipment recovered by Wash.

8. South was in the recovery force before and during her time with Wash. Her mission was to draw the enemy out, without Wash catching on that she was working for the Recovery Force, so that a new strategy could be devised to take the Meta down.

9. Command’s profile of Wash indicated that he would not kill South despite being ordered to. Wash says he kept South alive because he knows he can’t take down the Meta by himself. Delta confirms that Wash’s “battle rating” is too low, according to Freelancer’s records.

10. Taking Wash out was not in South's mission statement, nor was taking Delta and running. South chose to do those things on her own.

Conclusions:

Both South and North stayed with the program even after the “attack on Command” (the crash).

It would make sense for PFL to want to keep close tabs on North since he had an AI, and if he refused to give up Theta, they probably wouldn’t have tried to force him for fear of scaring him off. If anything, they would have used South against him to make him stay, because North obviously stayed for South. He saw the writing on the wall and loved his sister enough to first fight her instead of leaving her to Tex, then continued working at the organization he knew was off (even if he never figured out why) to keep an eye on her.

South stayed because she wanted an AI. South wanted to be acknowledged as her own person, as good enough on her own. To her, an AI was a symbol of her independent success (ironically enough), and as short sighted as she was she really didn’t think much beyond that. PFL took advantage of that. Additionally, South likely resented North for having saved her from Tex. (Side note, South got North killed in an effort to save herself, but I believe that it was a heat of the moment decision. Still shows how her love for him had cooled.) South also resented the program for blue-balling her, not to mention still pairing her with North after everything. And she probably realized that they were lying again about giving her an AI. She had no evidence that she could trust Wash, either, and so shot him in the back and took Delta.

It’s possible that North and South were both part of the Recovery Force, and Wash showed up to the aftermath of a mission gone wrong - the same mission of drawing out the Meta. If that’s true, Wash was kept completely in the dark not only about South and any other Recovery agents, but also about PFL’s knowledge of the Meta. He figured out on his own that something was hunting down Freelancers; no one told him that, even if they put him in a position to figure it out. This actually brings up some interesting implications for why Wash was chosen for the Recovery Force. Wash himself says that it’s because they knew he would never steal an AI for his own purposes, but you know who else would know that? Maine, because seemingly every Freelancer knew what happened to Wash:

South: “Epsilon went insane and killed itself inside his head! And from what I heard from the other recruits, he went nuts himself. Weren’t you certified Article 12 after that? Unfit for duty.”

Wash: “The people who certified me were the same people that uncertified me. Which, once they needed me, they did. Funny how the system works.”

Delta: “In either case, he is the logical choice. It is highly unlikely Wash would attempt to steal an AI for his own purposes.”

“Once they needed me”. Why would they need Wash for this job? I think it's because their agents, Recovery Force or not, were being killed for their AI. Wash probably recovered some of them himself. They needed someone who not only wouldn’t steal an AI, but would never even consider implanting one under any circumstances. Ideally it would also be someone Maine would be hesitant to kill, someone he knew. Wash was the most likely person to survive in the Recovery Force.

In conclusion, Agent South Dakota was an agent of chaos and had she succeeded in killing Wash or if she had lived the entire plot past season 5 would have turned out differently and we were kinda robbed of her and Felix interacting.

#red vs blue #rvb #agent washington #agent south dakota #theories #ramblings

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steve0discusses · 7 months

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Episode 47 S5: Mana Runs too Slow and it Kills 2 People

Tumblr decided to change the way it does image posts so this is going to be my hell. I can only have max 30 "blocks" of images (yikes) and uploading all your images at once and then just adding text in between is actually not possible! (least it's a nightmare on browser. I have not figured out how to drag my text in between images, so I'm just uploading every image one by one and hoping I don't forget one)

thanks, I hate it!

Peeking up at us over the horizon, our end of the world apocalypse has reached the next step of his rampage: which is to shoot glowing missiles out of it's Dragon crotch until Egypt is destroyed.

Seto is doing his best to look productive, but unfortunately this is Sad Seto, who is still buffering.

Just uh...give him a minute. He has to remember how to be Seto.

(read more under the cut)

I'm pretty sure Kissara told him straight up to call her whenever, and considering how few words they've ever said to each other, you'd think he'd remember the words she said like half an hour ago. Then again, he was kind of...sleeping when that happened. Or hallucinating, or dreaming, or all three.

Bakura and Yami are watching this pan out from the Shadow Game Zone, Bakura kind of nodding slowly while Yami becomes overwhelmed with embarrassment over how much everyone around him is screwing it. This is not meant to be funny, but it was very funny to me.

I have brought this up before, but Bakura does bring up a good point, that this entire arc was kind of against the grain of who Yami became over the course of the last 4 seasons.

+++++STAND BACK I'M GONNA RANT, FEEL FREE TO SKIP++++

Don't get me wrong, Yami LOVES to make bad choices that end the world. But why would he continue to go back here and destroy the world of the future he knows and loves so much? Especially since it already went SO south with Dartz the last time he opened pandora's box?

He has a new identity now, he has so many friends, last arc was just so many women throwing themselves at Yugi. His life is really good! I think they could have developed more of a line of logic between last arc and this arc, but like with a lot of things in this arc, it was rushed.

So him giving up his newfound modern identity that he made all himself through hard work and friendship first off feels kinda bad. Like I'm OK with him being a new guy, he worked hard for that! Lets not go backward now.

And then him coming here to regain his old identity is sort of like the show knew what it must do, but the characters were like "nah." and then went and did it anyway seemingly at gunpoint.

And I kind of wish there was any contrast between who Yami's new identity is in the future and who Yami was in the past. It would be fascinating to dive into the fact he's now two people yet again, even though Yugi is no longer in that bean. but eh save it for the fanfiction, because they needed to end Yugioh in a certain number of episodes.

And that happens sometimes. Stories are character driven, and when you try and drive the characters, they become less like people and more like iconic symbols. Here's our hero. He must do this because he's the hero. That's it, that's the reason. Welcome to Shonen Jump.

+++++++END RANT AKA THIS ARC HAS COOL IDEAS AND I WISH IT HAD ENOUGH TIME TO DO THEM BETTER++++++++

Problem is, Yami isn't that meta. He's dumb though, so in a way it does make a little sense why he had to open the box. He dummy thin.

Dummy thin and still can't read.

And like in case you've jumped in here after my accidental hiatus (hello!) and not realized this, I had to binge watch the rest of the season before we cancelled our Hulu subscription. There was the option of watching it for free on the Yugioh website, but I didn't want to change my Photoshop actions.

So get ready for me to talk about how the ending of this show bothered me, for like 8 episodes. I'll try to keep it in, so we can get there when we get there.

But you can't say lines like "We were meant to be together." in the context of this arc, you can't DO that, show.

Apparently the creator of Yugioh got hospitalized while he wrote this arc, hence the dick king demon. But also it got....messy. We have like 3 seasons of development in like 8 episodes, buckle up. They did the best that they could do with the resource's given, and we'll even get to meet my favorite character a few times before it's over (the Storyboarding God that occasionally guest stars on Yugioh, love that guy)

Back on the playing field, Yami is running out of options, when Isis informs us we can just go to McDonald's and get more McGuffins.

Out of basically no where, Mana zips onto the screen because she's ready to have at least one girl's night before the end of the world. The contrasting energy from both Mana and Isis is peak goth babysitter vs the parrot that hides behind the couch and bites your feet.

Back near Pharaoh's tomb, Yugi is still dueling over a deathpit with the child who these kids think is Ryou bakura.

This is not however, Ryou Bakura. It's sideways adjacent evil Bakura.

And it didn't really matter that this plot point ever happened because it's not like Yugi, Joey, or Tea ever catch on that this isn't Ryou anyway. But at least I, the audience can feel a little bit better about the weird twist by the dub there.

Ryou is still passed out on some stone steps. He's fine.

You might be wondering "Oh so what asinine thing is Isis going to have to do to get the items back?" and uh, you're wrong actually.

Turns out we could have just picked up the items in the desert at any time but I guess we forgot. I'll blame it on Shadi.

Joey Wheeler, who can punch out probably anything but a ghost, chooses to hide behind Tea because he knows she can punch a ghost and I believe it, too.

Back on the surface, is a scene that would have been emotional if it hadn't been 3 minutes. it was NOT enough time to give a proper send off to our girl Isis here, and they tried, but if you imagine the Yakety Sax song playing under this death here, that's about the speed at which this girl biffed it.

speaking of Yakety Sax theme, this is what was happening while Mana was crying her eyes out.,

And you may ask, was it really that goofy? and yes, yes it was.

and like I get it, animation and pacing are really, really hard. Parts of me wonder if maybe on paper this seemed OK. If maybe even as a storyboard this seemed OK. But something you learn quickly when doing any sort of narrative art, is that you need like 2x as much space as you think you do. Pause is an underrated godlike skill that takes a lifetime to master.

However, it still had good stills going on, it still had some lovely direction just...I mean they dropped Isis from top to bottom of that frame so freakin fast it was like she was a dropped banana hahaha.

They still have to carry these items physically to the Pharaoh, and so becuase Mana is a slow runner, 2 people freakin died this episode distracting Zorc. Which is also the title of this episode because I want to send home howfreakin funny that is to me.

Ah, back to Episode 1.

So how breathtaking and epic is the Kaiju fight you ask? Well good thing for you, I capped it.

The look on Seto and Yami's faces about sum it up.

And as quickly as he showed up to do a few silly punches, the great Exodia was cut exactly in half. Don't ask me how the card logic works for that, I have forgotten how this game works already.

Mana finally makes it to Yami, cursed puzzle in hand, and that ends this episode.

Can you imagine adding 7 characters to a story knowing you have to kill all of them individually before the anime arc is over? Breakneck deaths going on here.

Sorry for all you people that were so deeply attached to Shimon, the guy who isn't even Grandpa, by the way. A moment of silence for all 4 of you.

And we get back this thing. This horrible thing made out of thousands of dead people's souls. The thing that trapped him for 5000 years and launched him into the future. The only thing that can save mankind.

(If I have used this Mokuba joke like this before forgive me it was like a different lifetime before I caught covid, and I will not be able to regain those memories because I cannot curse myself with a rude ass puzzle.)

The abusive relationship with the Millennium Puzzle is a whole anime college essay I would write if I had half a brain, but alas I have the immune system and fatigue of a sickly gerbil or a goldfish that feels a little bit chilly. So I will not be writing that in depth episode but like...

Think about how far we've come with this jackass puzzle. And yet, I'm supposed to forgive it? Nah I don't think I have yet. Go to hell, puzzle.

This puzzle can go straight to hell.

Anyway, if you just got here you can read these recaps in chrono order at the link here:

https://steve0discusses.tumblr.com/tagged/yugioh/chrono

PS I had to do so much assholery to get that to go to my chrono link and not my main link. They would just. Change my link. They would just change my link every time I pasted it. Tumblr you have GOT to give me my old post editor back omg.

#yugioh #YGO #yu gi oh #photo recap #yugi muto #joey wheeler #tea gardener #seto kaiba #priest seto #demon king bakura #bakura #yami muto #shimon #mana #isis #exodia #S5

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strawberryayumiyt · 2 years

Text

🇧🇷 eer... oi? ok, primeiramente eu so queria pedir desculpas de todas as maneiras possíveis, eu realmente não lembro por quanto tempo eu sumi e nem mesmo me dei conta de avisar vocês... me desculpem! eu peço perdão a todos vocês! :((

uma outra coisa que gostaria de mencionar para vocês e que..... EU BATI 7K!!!! sério, mesmo com todo esse sumiço meu vocês ainda continuaram curtindo meus posts e me seguindo! eu so tenho gratidão a vocês! eu devo tudo a vocês! muito obrigada gente, eu NUNCA imaginaria bater essa meta.. nunca, eu agradeço de coração a todos que ainda seguem meus posts e dão like e reblogam... muito obrigada a todos vocês! amo vocês todos! 💗💗💗💖💖❤❤💚💛🧡💙💙🤎💜🧡🧡💛💛💜💚💚💗💞💕❣️💘💝

outra coisa, o motivo pelo meu sumiço... bem aconteceu várias coisas da minha vida.. coisas boas, ruins e outras horríveis... mas enfim o motivo disso tudo e por preguiça, falta de conteúdo e tals, eu sei podem me xingar, eu deixo -w-"

mas eu prometo! PROMETO deixar todo meu tempo livre(ou quase. . .) para vocês! eu estou também pensando em criar conteúdos para Youtube de Gacha!! vocês gostam disso?? espero que sim, porque quando cria eu irei avisar vocês <3 💞

amanhã e feriado então postarei um monte de coisas! mais uma vez.. obrigada a todos <D 💗💕 Agora sem mais delongas... fiquem com os símbolos! ^^

🇺🇸 eh... hi? ok, first I just wanted to apologize for all the possible mistakes, I really don't remember how long I disappeared and I didn't even realize to let you guys know... I'm sorry! I apologize to all of you! :((

one other thing I would like to mention to you and that..... I HIT 7K!!!! seriously, even with all this disappearance of mine, you guys still continued liking my posts and following me! I just have gratitude to you! I owe you everything! thank you guys, I would NEVER imagine hitting this goal.. never, I sincerely thank everyone who still follows my posts and likes and reblogs... thank you all so much! I love you all! 💗💗💗💖💖❤❤💚💛🧡💙💙 💜🧡🧡💛💛💜💚💚💗💞💕❣️💘💝

another thing, the reason for my disappearance... well, several things happened in my life.. good, bad and other horrible things... but anyway, the reason for all this is due to laziness, lack of content and such, I know you can tell me swear, I let -w-"

but i promise! I PROMISE to leave all my free time (or almost . . .) for you! I'm also thinking about creating content for Youtube of Gacha!! do you like it?? I hope so, because when it creates I will let you know <3 💞

tomorrow is a holiday so I'll post a bunch of stuff! once again.. thank you all <D 💗💕 Now without further ado... keep the symbols! ^^

🇪🇸 eh... hola? ok, primero solo quería disculparme por todos los posibles errores, realmente no recuerdo cuánto tiempo estuve desaparecida y ni siquiera me di cuenta de avisarles... ¡Lo siento! ¡Me disculpo con todos ustedes! :((

Otra cosa que me gustaría mencionarte y es que... ¡LLEGÉ A 7K! en serio, incluso con toda esta desaparición mía, ¡ustedes seguían dándole me gusta a mis publicaciones y siguiéndome! ¡Solo tengo gratitud contigo! ¡Te lo debo todo! gracias chicos, NUNCA me hubiera imaginado alcanzar esta meta... nunca, agradezco sinceramente a todos los que aún siguen mis publicaciones, me gusta y rebloguean... ¡muchas gracias a todos! ¡Los amo a todos! 💗💗💗💖💖❤❤💚💛🧡💙💙 💜🧡🧡💛💛💜💚💚💗💞💕❣️💘💝

otra cosa, la razon de mi desaparicion... bueno, varias cosas pasaron en mi vida.. buenas, malas y otras cosas horribles... pero en fin, la razon de todo esto es por vagancia, falta de contenido y tal, Sé que puedes decirme juramentos, te dejo -w-"

pero lo prometo! ¡PROMETO dejar todo mi tiempo libre (o casi...) para ti! También estoy pensando en crear contenido para Youtube de Gacha!! ¿¿Te gusta?? Eso espero, porque cuando se cree les aviso <3 💞

Mañana es feriado, así que publicaré un montón de cosas. una vez más.. gracias a todos <D 💗💕 Ahora sin más preámbulos... quédense con los símbolos! ^^

𓂃⋆ 𝘀ᨗ1⃭𝕞ᩴ𝗯ᨘ0lᦅͅ𝚜 𝚁̸ᨘ𐐼rᨗ𐐫𝘴ͅ🍟 𓈃

ⵌ ˙ᗜ˙ ▦ ✿ ⺌◂ ⿴ ★ ﹏﹗。☰﹙﹚◯ `﹏` ➜﹐⩇⩇ 𓈃 ⭔〞 ʬʬ

✶⭓﹒◖◗﹒𓊔！＞︿ ⨳ 、★ 𓂅 ヽ︰﹔ ▨ ᐢᗜᐢ ◎ ꈍᴗꈍ ◒ ヾ❍ ⩇⩇

ヾ(・Δ・)ﾉ ⿻ ⌗ 〹ゞ ᗢ ≧▽≦ ❀﹙ᝬ ('ᗜ')ﾉ 𑁯ᰍ﹒ ﹢＃＞＜ 𓈈 ╰ Δ 𖦹﹐▹

⨯﹕▹ ﾉ ᗢ ˘ᗜ˘ ♯罒 ✿ ﹒▦ ▨ ⿴ ﹢＃＞＜﹗ ﹑◎ ░ ❀ ⟡ 〣ꔠ 𓂅 ꈍᴗꈍ ʬʬ﹙﹚✶﹗？ᗢ﹏ 𓈃 ៹

⩇⩇ ⺌﹏⭔៹ ﹙⿻﹕❏ ❀﹒➜ ✰﹒＞﹏ 𖥦﹐ ⭔ (✿｡˃ ᵕ ˂ ) ⿴﹒✿﹏ ♡﹒ ‶ ﹒⿴ ⭔ﾉ▹ⵌ ˙ ▦ ✿ ⺌◂ ⿴ ★ ﹏﹗☰﹙﹚◯ ﹏ ➜﹐⩇⩇ ⭔〞 ʬʬ ✶⭓◖◗﹒！＞︿ ⨳ ★ヽ︰﹔ ▨ ◎ ᴗ ◒❍ ヾ(・Δ・) ⿻ ⌗ ゞ ≧▽≦ ❀﹙ᝬ ( ' ) 𑁯ᰍ﹒ ﹢＃＜ ╰ Δ 𖦹﹐▹

⨯﹕▹ ˘ ♯▥ ▤ ▦ ▧ ▨ ▩ ░ ▒ ▓ ⿴ ◫⊹ ⭔ ⨯ ➜ ★ ﹏ ₊ ▹ᶻz ⸝ ﹙﹚％◖ ░ ʬʬ ⿴ ⫘ ◎ ⨳ ﹒ ⌕ ﹕ ◓ ⭔ ﹙﹚ ？！ ★ ☆ ⌗﹔ ﹕ ﹒ ﹠ ﹪ ⌯ ﹟ ﹗ ︔︉ ◞ ◟ ◝ ◜ ، ﹒ ⊹ ⭔ ⨯ ➜ ★ ﹏ ₊ ▹ᶻz ⸝ ﹙﹚％◖ ░ ʬʬ ⿴ ⫘ ◎ ⨳ ﹒ ⌕ ﹕ ◓ ⭔ ﹙﹚ ？！ ★ ☆ ⌗◐ ▞ 𓏴⬦ ■ ︿𖣯𐚱 ✗ ▬▭ ꘜ ⌕ ⸝⸝ ◒ ▹ ▢ ▱ ▰ ⬩ 𓈃﹅◖ ◗. ✿❀ ▭ ➜ 𖥻ꗃ ＞︿ ⵌ ˙ᗜ˙ ▦ ✿ ⺌◂ ⿴ ★ ﹏﹗。☰﹙﹚◯ ﹏ ➜﹐⩇⩇ 𓈃 ⭔〞 ʬʬ

✶⭓﹒◖◗﹒𓊔！＞︿ ⨳ 、★ 𓂅 ヽ︰﹔ ▨ ᐢᗜᐢ ◎ ꈍᴗꈍ ◒ ヾ❍ ⩇⩇

ヾ(・Δ・)ﾉ ⿻ ⌗ 〹ゞ ᗢ ≧▽≦ ❀﹙ᝬ ('ᗜ')ﾉ 𑁯ᰍ﹒ ﹢＃＞＜ 𓈈 ╰ Δ 𖦹﹐▹

⨯﹕▹ ﾉ ᗢ ˘ᗜ˘ ♯◍、ᶻz ⊞ ✶ ◐﹑░﹒→﹐リ 𓂃 𓈀 ✩ ᶻzヾ( -∇・) ᝬ ▽ ᐢ..ᐢ ꖛ ✿ ． ♡ ◉ △ ﹗イ⪩⪨⺡ ⌑ ✸ ᝬ ◌ ◎★ ？ ➜ ( ᵔ ▽ ᵔ ) ⭔ 、▢ ␥ ⬚ 𑁍 🀰 ☼ 𒀭࣪ ◈ ⌔ ⌨︎ ⥃ ▢〔〕✽ ⇶ ❀ ᐢᗜᐢ ？🗕 🗗 🗙 𓈈 ◎ 〹 ៹﹢⬦▿ꖛ 口 ☰﹑૪﹗✸ ◓ ◯ 𓈀⨯﹒✿ ꐑ zᶻ ！⺌✶ ২ ♯ ˃ᴗ˂ ゛ꉂ 𓈃 ✱ 〻 ⊂⊃ ★。⿴ ılıl𑁍 ➜ ⿴ ▦ 日 ✿。罒 𓂅ꔠ﹗▹゛＞︿ ◯☆ ꠴ ▨▿◎ ᵔᴗᵔ ᵔ 人 ᵔ

⊞ ◉ 、 ꖛ ﹐﹢✶ ░ ᝬ ᶻz △ 𓈀

◖◉﹕��⊂⊃。〈‹﹐✿◞𓈀⠀﹒╭┄﹒╯➜░︴ᵔ﹙﹚・▽Δ▼¨ ，◐ꞈ𓂋゛、ꕀ𓊔ト→ꔠ﹑コ﹒Ꜣ﹗₍^.ꞈ.^₎⟆/ᐠ｡_｡ᐟ\ ⠀૮(^﹏^ ! （｀Δ´）◖◉﹕口⊂⊃。〈‹﹐✿◞𓈀⠀﹒♡✶╭┄﹒╯➜░▓▨︴ᵔ﹙﹢﹚

・▽Δ！▼¨ ，◐ꞈ𓂋゛、ꕀ𓊔ト→ꔠ﹑コ﹒Ꜣ﹗₍^.ꞈ.^₎⟆

﹏＜（｀Δ´）ᵔᴗᵔン(｡˙ヮ˙) (｡˘﹏˘｡)っ •⌓• ˊᗜˋ＞︿

﹒⌓﹒(・__・︿︰⌟⌜ꖛ白〉⊞˚コイ★☆⺌

✦ . ﹢ . ✦ .﹢ ✦ . ﹢ . ✦ .﹢

✦✧ ꔫ⋆ ୨୧ ⊹┊ ˳⁺ ⸝⸝ ⌗⇐ ❀✿ ↷♡ ．⟶ ʚɞ ︰﹕ ｡ฅ ⋯੭ ╭╮╰╯〈〉꒷꒦︶ -ˏˋ ˊˎ- ⌜⌟ ღ๑ ✎⤹ ×⇣・♡ ﹔꒳ ┆☽ ❝ ❞ 『』꒰꒱◞)ྀ って裕行さんゲス！？⌇➤ ༉➳ ⃗ ↳ ﹌✼ ▹› ﹀ ˚ ༘ ╲❏ ⁞★☆ ◤◥ ❍➯ ⃗ ⃘ ⃙ ⃚ ➚ ⁰ ⁴ ⁵ ⁶ ⁷ ⁸ ⁹ ⁺ ⁻ ⁼ ⁽ ⁾ ⁿ ₀ ₁ ₂ ₃ ₄ ₅ ₆ ₇ ... - ₍ ₎ 〔〕╵+ ⇢❁ ˖❜㇏「」𓂃 ⨯ ᵎ ˚˳ ✃ ◯﹫ 〘〙∅ • ◞ ̑̑ «» ⇘❥ ⌢ _ 〜 ► ◜◝ ◟◞ ꗃ ˎ 𓂅 𓄹 ✄。、＾ω ⊹ ﹆ヾ — ₊˚﹅ ₊˚๑ ୭ ⌑ 卵 ·̩͙ ꜝ ₓ ½ % ノ꒱ೃ .˚˳໑ ⌦ ౨ৎ ࿔:･ﾟ ◛ 【】＜＞⌘ ̼ ˚ ͙۪۪ ꕥ ╱ ¡! ೃ ❃ ➭〻´ ˘ ➽ ˘͈ᵕ˘͈ ೃ⁀➷ ·˚ ༘ く編曲 ෆ ─ ଘ ରୀଓ ଉଦ ➜ ➘ ੈ ꜜꜜ ‧ ₊ヾ!ુ ⩩ ꜛ ⤸ ֞ ↓ ˀˀ ﹉ ˚◞ ៳ ʬʬʬ ⺌〈 ─╯ ⇌ 我爱你 ៹ ⁺ᠻ˽ᠻ▸ ˻ᧁ˿ ⇾ ↝ ◠ ˚ ˚ 回家 ⋱⋰ ℬ ▾ ʕʕ ⑊⑊ ꕤ ៸៸ ˁˁ ˽ . ˽ ˖ ⸃⸃ ﹏ ⊱ 🝮 。˚ ༘ ፧ ⚘ ଽ ഒ ︿ ≦ ↳ ↰ ༉‧₊˚. ೄྀ࿐ ┆ .·˙·. ⍜ ，；↻ ꈍᴗ ⋯⋅﹡⊰〃 ʕᴥʔ ￤⁺◟➢ ▓ ━ﾞ ˙ᵕ꒳ᵕ˙ ‿︵ ❛ ◁ II ▷ ılı ヽーぷ。■ ⇒ イラストのメロン・っ「」⇢ ⇠ (ﾟ ✓ ‹ ›〖〗 ꧖ ⇛ ㍿㍐ ᦔ ᧗ 〔〕 ¸ ═ ‧⁺ ᐢ · ﻌ · ༝ ≧ ゛▽ ︶ ╴ʚĭɞ ミ ◠ ◡ ࿎࿎ Ꮺ ⛧ ᘏ ᕱㅤ༄ ะ ‧₊˚ ⑅ ꗃ ഒ ⮦⌫ ⇡ ೫﹫ ⌞ ⌝ ¡! ૪ ° ｡ ∞ .·. ৻ •°⋆ ：◆ 三 ,, ✰★ ･｡づ # . . . ┄┄┄ ˚₊·͟͟͟➳❥ ꒰꒱ ☻✰✧˖°࿐ •⁀➷ ❏ ꒰ ꒱ ➷｡˚ ೃ࿔₊• ↳ ♡︎♥︎☾ ..⃗. •̩̩͙⁺゜ ⤾·˚ ༘ ◡̈ ┊͙ ୭̥⋆｡𖤐 ☼ ⋒ ⋆ ⋆ ┊͙ ˘͈ᵕ˘͈ ✿ °. ·˚ ༘ ·˚. ༉‧₊˚✧♡⋆.࿐࿔✧˖°࿐࿐ ࿔:･ﾟ

Nush

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♫✞☠︎︎༒☦︎︎✔︎➪♪𒊹︎♲︎☯︎︎⌫☏⌨︎︎♧︎✌︎︎☜︎☝︎︎☞︎☟︎✍︎︎☕︎︎✈︎☮︎︎☃︎︎☂︎︎☔︎︎⚥⚣⚢⚣␈☢︎︎⚠︎︎⚤𖨆

◜﹢﹒ ・✦──・、˃ᴗ˂﹒ ʚɞ ︰〃ゃ＇ ₊⌗੭ ୨ ◌ 𓂅 ꗃ・ˏˋ°•⁀➷⸝⸝ ꒷ ➜ ˎˊ˗ ୨・ ꒷꒦‧₊ ⨯ ‧₊ ꒷꒦ ੭. ɞ✧ ꒷꒦₊ ╭ ⋯ ― • ❏ ↷ #↷44 4 ⋯ ― • ❏ ↷ 𐐪 ⌗ 𐑂 ෆ ↷ ,, +₊ ‧₊ xc・ ‧₊ ⤹ ︶꒷꒦・ ‧₊ ⤹ ︶꒷꒦3 +₊ 3; ⨯ ⁽ ⁾ ୨୧・┈・-ଘ੭ˊᵕˋ੭～✧ʚ︰︶︶꒦︶꒷꒦︶︶꒷︶✧₊˚୨୧ ｡ﾟﾟ･｡･ﾟﾟ｡ﾟ。 . 　ﾟ･｡･ﾟ ✧ . ˖˳ ₊ * ✦ . * ✦˳ ── 3 ๑✦୨୧・ ╰──・──・──・｡ﾟﾟ･｡･ﾟﾟ｡ﾟ — ⸝⸝ ﾟ･｡･ ⨯ ʚ┊ ⨯ — ⊹ — ✦ ₊˚⌇ ₊˚๑ ゛ ×⌑・ ₊˚๑ ✦ ₊˚⌇ ₊˚๑ ︶꒷꒦ ‧₊ ︶꒷꒦︶꒦ ︶x꒦ • ๑‧˚₊4︶︶୨୧︶︶✦‧₊˚⊹ ˖˚₊ ✎ ( ˶ᵔᴗᵔ˶ ) ✧ ⌒⌒ ˚⊹ 「」︰╮ ₊˚๑ ˖˚₊ ୨୧．・୨୧ ︶︶︶꒷꒦꒷︶꒦꒷︶ ✦ ✧ ︶︶꒦︶︶꒷꒦꒷꒦︶ ୨୧． ⌒ ⌒ ⌒ ⌒ ‧₊˚๑ ── ♡ ⊹ ᵎᵎ ──・๑ ₊˚ ꒷꒦ ꒰꒱┇✧． ꒰꒱┇✦． ꒰꒱┇✧． ꒰꒱┇✦． ⁺ ˖˚ ໑ ₊˚ ──・──・・✧ ・・──・── ꒰꒰ ✎ :: ⊹ ── ．． ┄┄ ₊˚๑ ・ ‧ ✎ ₊ ๑ ⋆˚. ⌒⌒ ₊ ๑ ⌒⌒ ₊ ๑ ⌒⌒ ♡₊˚ ❜ ๑ ₊˚ ꒷꒦ ꒰୨୧꒱． ꒰୨୧꒱． ┊ ๑ ˚. ┊ ︰ ┊ ⁀➷ ˖˚₊⠀⠀✧⠀ ♡⠀ ￤⠀✦ ⠀⠀┊ ◞⁺⊹． ⠀⠀꒦ 𖧷 ✦ ┊︰・˚₊ ┊꒰꒰ ꒱꒱ ₊˚๑ ✧ ꒷꒦︶︶꒷꒦꒷︶︶︶꒷꒦︶︶꒦︶︶・꒷꒦‧₊˚ ╭──・───────・3 ╰──・───────・ˊ ・꒷꒦‧₊˚ ︵ ⋆｡˚ 、✕

⌕ ⨯ ❍ ,, ˙˖ ★ ⁺ . ᘏ ✿˖ ✦ ︻デ═一・ ♡︎ 𓂃˖ ˚₊‧ ୨ (:̲̅:̲̅:̲̅[̲̅:☆★:]̲̅:̲̅:̲̅:̲̅) ୧ ‧₊˚ ◜ ✦ 𓂃˖ + ! ・ : ˃ ᵕ ˂ ; ! ; - ◟ : ! ꒱︶꒦︶꒷︶︶꒷꒦︶︶︶꒷꒦‧・☆╯╭︰♡ ★︶꒦ ៸៸ ꩜・╰╮ᓚᘏᗢ ꔫ ╰・︶꒦✿︶꒷꒷︶✿꒦︶ ⌗★◟ ︶꒦୨୧ (｡>﹏<｡) ╭﹒୨୧ ≧▽≦︰╰╮₍﹒ⵌ﹕╰﹒୨୧✦﹕⌗◟ ︶꒦୨୧ ₊˚ฅ ﹒ʚ ﹕ꔫ₊˚ ‧˚₊꒷︶︶꒷꒦⊹‧˚₊꒷︶︶꒷꒦⊹ !・ ⨯ ・◞・ ⨯ ・ ◞ ✧ ₊ ˙ ⊹ . ☆ ⁺ ✧ ୨୧ ⸝⸝╰───► ╬╬═ ʬʬ. ₎₎ ➾ ᓚᘏᗢ ☆★ ・︻デ═一"= ଘ(੭ ｡>﹏<｡)੭・︶︶꒷꒦︶꒷︶꒷꒦︶︶ 𔔀 ≧◡≦・ ⸝⸝ ꒦︶ ◟⌗ ## ⸝⸝ ☆★ 𓂅 ⊹𓂃𑁥꒷꒦︶︶⬩ ︶꒦꒷︶︶꒷꒦︶⬩︶︶꒦꒷𑁥𓂃⊹ 𓍯 𓄳 >_< 𑁥 .⁺ 𓍼︶੭. ⁺꒷✦꒦𓄼 ❛︶⊹︶꒷˖ ⟆ ✦ ◜001. ◝ 002. ◟ 003. !₊𓂃 ◞ ᨓᨓ ৎ୭ ╭ ৲ ꒦꒷⌢⌢ ━☆★ ◞ ★ ꒱꒱ ◜﹢﹒ ・✦──・、˃ᴗ˂﹒ ʚɞ ︰〃ゃ＇ ₊⌗੭ ୨ ◌ 𓂅 ꗃ・ˏˋ°•*⁀➷⸝⸝ ꒷ ➜ ˎˊ˗ ୨・ ꒷꒦‧₊ ⨯ ‧₊ ꒷꒦ ੭. ɞ✧ ꒷꒦₊ ╭ ⋯‹3

♈︎ ♉︎ ♊︎ ♋︎ ♌︎ ♍︎ ♎︎ ♏︎ ♐︎ ♑︎ ♒︎ ♓︎

𖠚 𖠜 𖠧 𖣂𖡼 𖤣 𖥧 ₆⁶₆ ✽ ꕤ 𖥔 ⺌⺍𖧷 𖤘 ヾ 𖠣 𖠴 𖤠 𖥸 ᵎ ⸙ 。҂ ≛ ⃝

𖧒 𖥲 𖡄 𖥾 𖥨 𖧁 ⵢ ୬ ੭チ𐐪 门┆જ ✾❅ ❀ 𑁍 𖤛 ❊ ✿❀ ❁ ❆ ❂ ❦ ❃ ❆ ‹𝟹 ㆍ﹒╴・：﹕﹢﹐﹗﹠ ﹪﹙﹚︔ ︉？﹔◞ ◟ ◝ ◜﹪﹫『』！〈 〉（）▥ ▤ ▦ ▧ ▨ ▩ ░ ▒ ▓ ⿴ ◫⊹ ⭔ ⨯ ⸝ ％◖ ░ ʬʬ ⿴ ◎ ⨳ ⌕ ◓ ⭔ ⌗ ⌯ ﹟ ♤ ¤ ⭓❍ ✰ ✶ ✷ ✹ ✵ ⤾ ﹆﹅ ✦ ⋆ ︰・ ⌒⌒╭ ╮ ⬙ ˙ · 𓈒 𓏸 𑁍

╱╱ ╲ ╱ ╳

𝖍𝖊𝖆𝖗𝖙𝖘﹔

♡ ❥ ❦ ❧ დ ღ ۵ ლ ও ლ ❥·͜·♡ ♡ ♥︎ ‹♥︎༺ ༘♡◞♡

‹3 <𝟯 =͟͟͞♡‹𝟯𓆩♡𓆪Ɛ♡3 ʚ♡⃛ɞ ⃝♡ ⸜❤︎⸝‍ —̳͟͞💗♡‹𝟹˗ˏˋ ♡ ˎˊ˗

𝖕𝖚𝖓𝖈𝖙𝖚𝖆𝖙𝖎𝖔𝖓 𝖆𝖓𝖉 𝖑𝖎𝖓𝖊𝖘;;

· ‑ ‒ – — ― ‗ ‘ ’ ‚ ‛ “ ” „ ‟ • ‣ ․ ‥ … ‧ ′ ″ ‴ ‵ ‶ ‷ ❛ ❜ ❝ ❞ ʹ ʺ ʻ ʼ ʽ ʾ ʿ ˀ ˁ ˂ ˃ ˄ ˅ ˆ ˇ ˈ ˉ ˊ ˋ ˌ ˍ ˎ ˏ ː ˑ ˒ ˓ ˔ ˕ ˖ ˗ ˘ ˙ ˚ ˛ ˜ ˝ ˠ ˡ ～ ¿ ﹐ ﹒ ﹔ ﹕ ！＃＄％＆＊，．：；？＠、。〃〝〞︰ ─ ━ │ ┃ ┄ ┅ ┆ ┇ ┈ ┉ ┊ ┋ ┌ ┍ ┎ ┏ └ ┕ ┖ ┗ ┐ ┑ ┒ ┓ ┘ ┙ ┚ ┛ ┠ ┡ ┢ ┣ ┤ ┥ ┦ ┧ ┨ ┩ ┪ ┫ ┬ ┭ ┮ ┯ ┴ ┵ ┶ ┷ ┰ ┱ ┲ ┳ ┸ ┹ ┺ ┻ ┼ ┽ ┾ ┿ ╄ ╅ ╆ ╇ ╀ ╁ ╂ ╃ ╈ ╉ ╊ ╋ ╌ ╍ ╎ ╏ ═ ║ ╒ ╓ ╔ ╕ ╖ ╗ ╘ ╙ ╚ ╛ ╜ ╝ ╞ ╟ ╠ ╡ ╢ ╣ ╤ ╥ ╦ ╧ ╨ ╩ ╪ ╫ ╬

╭ ╮ ╯ ╰ ╱ ╲ ╳ ╴ ╵ ╶ ╷ ╸ ╹ ╺ ╻ ╼ ╽ ╾ ╿ ▀ ▁ ▂ ▃ ▄ ▅ ▆ ▇ █▉ ▊ ▋ ▌ ▍ ▎ ▏ ▐ ░ ▒ ▓▔ ▕ ▖ ▗▘ ▙ ▚ ▛ ▜ ▝▞ ▟ ■ □ ▢ ▣ ▤ ▥ ▦ ▧ ▨ ▩ ▬ ▭ ▮ ▯ ▰ ▱ ☰ ☱ ☲ ☳ ☴ ☵ ☶ ☷ ⚊ ⚋ ⚌ ⚍ ⚎ ⚏

𝖙𝖍𝖊𝖘𝖊﹔

π ∞ Σ √ ∛ ∜ ∫ ∬ ∭ ∮ ∯ ∰ ∱ ∲ ∳ ∀ ∁ ∂ ∃ ∄ ∅ ∆ ∇ ∈ ∉ ∊ ∋ ∌ ∍ ∎ ∏ ∐ ∑ − ∓ ∔ ∕ ∖ ∗ ∘ ∙ ∝ ∟ ∠ ∡ ∢ ∣ ∤ ∥ ∦ ∧ ∨ ∩ ∪ ∴ ∵ ∶ ∷ ∸ ∹ ∺ ∻ ∼ ∽ ∾ ∿ ≀ ≁ ≂ ≃ ≄ ≅ ≆ ≇ ≈ ≉ ≊ ≋ ≌ ≍ ≎ ≏ ≐ ≑ ≒ ≓ ≔ ≕ ≖ ≗ ≘ ≙ ≚ ≛ ≜ ≝ ≞ ≟ ≠ ≡ ≢ ≣ ≤ ≥ ≦ ≧ ≨ ≩ ≪ ≫ ≬ ≭ ≮ ≯ ≰ ≱ ≲ ≳ ≴ ≵ ≶ ≷ ≸ ≹ ≺ ≻ ≼ ≽ ≾ ≿ ⊀ ⊁ ⊂ ⊃ ⊄ ⊅ ⊆ ⊇ ⊈ ⊉ ⊊ ⊋ ⊌ ⊍ ⊎ ⊏ ⊐ ⊑ ⊒ ⊓ ⊔ ⊕ ⊖ ⊗ ⊘ ⊙ ⊚ ⊛ ⊜ ⊝ ⊞ ⊟ ⊠ ⊡ ⊢ ⊣ ⊤ ⊥ ⊦ ⊧ ⊨ ⊩ ⊪ ⊫ ⊬ ⊭ ⊮ ⊯ ⊰ ⊱ ⊲ ⊳ ⊴ ⊵ ⊶ ⊷ ⊸ ⊹ ⊺ ⊻ ⊼ ⊽ ⊾ ⊿ ⋀ ⋁ ⋂ ⋃ ⋄ ⋅ ⋆ ⋇ ⋈ ⋉ ⋊ ⋋ ⋌ ⋍ ⋎ ⋏ ⋐ ⋑ ⋒ ⋓ ⋔ ⋕ ⋖ ⋗ ⋘ ⋙ ⋚ ⋛ ⋜ ⋝ ⋞ ⋟ ⋠ ⋡ ⋢ ⋣ ⋤ ⋥ ⋦ ⋧ ⋨ ⋩ ⋪ ⋫ ⋬ ⋭ ⋮ ⋯ ⋰ ⋱ ⁺ ⁻ ⁼ ⁽ ⁾ ⁿ ₊ ₋ ₌ ₍ ₎ ﹢ ﹣ ＋－／＝ ÷ ± ×

𝖓𝖚𝖒𝖇𝖊𝖗𝖘﹔

Ⅰ Ⅱ Ⅲ Ⅳ Ⅴ Ⅵ Ⅶ Ⅷ Ⅸ Ⅹ Ⅺ Ⅻ Ⅼ Ⅽ Ⅾ Ⅿ ⅰ ⅱ ⅲ ⅳ ⅴ ⅵ ⅶ ⅷ ⅸ ⅹ ⅺ ⅻ ⅼ ⅽ ⅾ ⅿ ↀ ↁ ↂ ➀ ➁ ➂ ➃ ➄ ➅ ➆ ➇ ➈ ➉ ➊ ➋ ➌ ➍ ➎ ➏ ➐ ➑ ➒ ➓ ⓵ ⓶ ⓷ ⓸ ⓹ ⓺ ⓻ ⓼ ⓽ ⓾ ⓿ ❶ ❷ ❸ ❹ ❺ ❻ ❼ ❽ ❾ ❿ ⁰ ¹ ² ³ ⁴ ⁵ ⁶ ⁷ ⁸ ⁹ ₀ ₁ ₂ ₃ ₄ ₅ ₆ ₇ ₈ ₉ ⓪ ① ② ③ ④ ⑤ ⑥ ⑦ ⑧ ⑨ ⑩ ⑪ ⑫ ⑬ ⑭ ⑮ ⑯ ⑰ ⑱ ⑲ ⑳ ⑴ ⑵ ⑶ ⑷ ⑸ ⑹ ⑺ ⑻ ⑼ ⑽ ⑾ ⑿ ⒀ ⒁ ⒂ ⒃ ⒄ ⒅ ⒆ ⒇ ⒈ ⒉ ⒊ ⒋ ⒌ ⒍ ⒎ ⒏ ⒐ ⒑ ⒒ ⒓ ⒔ ⒕ ⒖ ⒗ ⒘ ⒙ ⒚ ⒛ ㈠㈡㈢㈣㈤㈥㈦㈧㈨㈩㊀㊁㊂㊃㊄㊅㊆㊇㊈㊉０１２３４５６７８９ ⁱ ₐ ₑ ₒ ₓ ₔ

𝖙𝖍𝖊𝖘𝖊﹔

⌀ ⌂ ⌃ ⌄ ⌅ ⌆ ⌇ ⌈ ⌉ ⌊ ⌋ ⌌ ⌍ ⌎ ⌏ ⌐ ⌑ ⌒ ⌓ ⌔ ⌕ ⌖ ⌗ ⌘ ⌙ ⌜ ⌝ ⌞ ⌟ ⌠ ⌡ ⌢ ⌣ ⌤ ⌥ ⌦ ⌧ ⌫ ⌬ ⌭ ⌮ ⌯ ⌰ ⌱ ⌲ ⌳ ⌴ ⌵ ⌶ ⌷ ⌸ ⌹ ⌺ ⌻

﹫『』！〈 〉﹅ ⧉〈〉《》「」『』【】〔〕︵︶︷︸︹︺︻︼︽︾︿﹀﹁﹂﹃﹄ ﹙ ﹚ ﹛ ﹜ ﹝ ﹞ ﹤ ﹥ （）＜＞｛｝〖〗〘〙〚〛 « » ‹ › 〈 〉 〱

𝕭𝖔𝖗𝖉𝖊𝖗𝖘﹔

─── ･｡ﾟ☆: .☽ . :☆ﾟ. ───

▸ 🎕 ┈┈┈┈ 🎕 ┈┈┈┈ 🎕 ◂

᠃ ⚘᠂ ⚘ ˚ ⚘ ᠂ ⚘ ᠃

˱ 𓈒 𓈊 ┈ 𓈒 ┈ 𓈉 ┈ 𓈒 ┈ 𓈊 𓈒 ˲

✺ ┅ ⑅ ┅ ⑅ ┅ ⑅ ┅ ⑅ ┅ ⑅ ┅ ✺

✧༝┉┉┉┉┉˚❋ ❋ ❋˚┉┉┉┉┉༝✧

তততততততততততত

✲꘏ ꘏ ꘏ ꘏ ꘏ ꘏ ꘏✲

⳾⑅❀⑅❀⑅❀⑅❀⑅❀⑅⳾

⭑•̩̩͙⊱••••✩••••̩̩͙⊰•⭑

⋆⛧┈┈┈┈﹤୨♡୧﹥ ┈┈┈┈*⛧⋆

✧○ꊞ○ꊞ○ꊞ○ꊞ○ꊞ○ꊞ○ꊞ○ꊞ○ꊞ○✧

✼　 ҉ 　✼　 ҉ 　✼　 ҉ 　✼　 ҉ 　✼　 ҉ 　✼

✼　 ҉　 ҉　 ҉　 ҉　 ҉　 ҉　 ҉　✼

　♡　　♡　　♡　

°。°。°。°。°。°。°。゜。°。°。°。

⭒☆━━━━━━━━━━━━━━━☆⭒

꘎♡━━━━━━━━━━━━━━━♡꘎

🙤 · ┈┈┈┈┈┈ · ꕥ · ┈┈┈┈┈┈ · 🙦

· • —– ٠ ✤ ٠ —– • ·

»»————-　　————-««

̶̶̶ ̶«̶ ̶̶̶ ̶ ̶ ̶̶̶ ̶«̶ ̶̶̶ ̶　　　　　　 ̶»̶ ̶̶̶ ̶ ̶ ̶̶̶ ̶»̶ ̶̶̶ ̶ ̶

͙ ͙۪۪ ͙ ♡𐡘 𐡘♡𐡘 𐡘 ֎ 𐡘 𐡘♡𐡘 𐡘♡ ͙ ͙۪۪ ͙

●○●○●○●○●○●○●○●○

▓▓▓▓▓▓▓▓▓▓▓▓

▼△▼△▼△▼△▼△▼△▼

●～●～●～●～●～●～●～●～

●・○・●・○・●・○・●・○・●

៚ ⋯⋯⋯ ˁᱸᲲᱸˀ ⋯⋯⋯⋯ ༄

◇─◇──◇─────◇──◇─◇

─── ･｡ﾟ☆: .☽ . :☆ﾟ. ───

⊱ ──────ஓ๑♡๑ஓ ────── ⊰

≫ ──── ≪•◦ ❈ ◦•≫ ──── ≪

⊱ ────── {⋆⌘⋆} ────── ⊰

-------- ≪ °✾° ≫ --------

════ ⋆★⋆ ════

⋘ ──── ∗ ⋅◈⋅ ∗ ──── ⋙

●○●○●○●○●○●○●○●○●○●

◇◆◇◆◇◆◇◆◇◆◇◆◇◆◇

△▽△▽△▽△▽△▽△▽△▽△▽

✄┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈

≻───── ⋆✩⋆ ─────≺

━━━━━━ ◦ ❖ ◦ ━━━━━━

▣-▣-▣-▣-▣-▣-▣-▣-▣-▣-▣

══════ ∘◦❁◦∘ ══════

─── ∙ εïз ∙ ──

━━━━━━♡♤♡━━━━━━

⊙●⊙●⊙●⊙●⊙●⊙●⊙●⊙●⊙

<>◇<>◇<>◇<>◇<>◇<>◇<>◇<>◇<>

《》《》《》《》《》《》《》《》《》

《•》《•》《•》《•》《•》《•》《•》《•》

═ ∘◦❦◦∘ ═

┌─────── ∘°❉°∘ ───────┐

└─────── °∘❉∘° ───────┘

┌────── ⋆⋅☆⋅⋆ ──────┐

└────── ⋆⋅☆⋅⋆ ──────┘

╔══════ ≪ °❈° ≫ ══════╗

╚══════ ≪ °❈° ≫ ══════╝

╔═════ஓ๑♡๑ஓ═════╗

╚═════ஓ๑♡๑ஓ═════╝

╔═══.·:·.✧ ✦ ✧.·:·.═══╗

╚═══.·:·.✧ ✦ ✧.·:·.═══╝

╒══════════════════╕

╘══════════════════╛

┌─── ･｡ﾟ☆: .☽ . :☆ﾟ. ───┐

└─── ･｡ﾟ☆: .☽ . :☆ﾟ. ───┘

╭─────────────────╮

╰─────────────────╯

▬▭▬▭▬▭▬▭▬▭▬▭▬▭▬

◠ . ◠ . ◠ . ◠ . ◠ . ◠ . ◠ . ◠ .

· . · . · . · . . · . · . · . · .

︹ ◦ ︹ ◦ ︹ ◦ ︹ ◦ ︹ ◦ ︹ ◦ ︹

. . . . . . . __ . . ___

﹌﹌﹌﹌﹌﹌

▭▭▭▭▭▬▬▬▬▬▬

￣￣￣￣￣

＿＿＿＿＿＿＿＿＿

▰▰▰▰▰▰▰

--- -- - -

┉┉┉┉┉┉┉┉┉┉┉

〰︎〰︎〰︎〰︎〰︎〰︎〰︎〰︎〰︎

————————

⏝ ໍ ⏝ ໍ ⏝ ໍ ⏝ ໍ

﹉﹊﹉﹊﹉﹊﹉﹊﹉﹊

▄▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀

︵︵︵︵︵︵︵︵︵︵︵

﹏﹏﹏﹏﹏ ──────

꒷꒦꒷꒦꒷꒦꒷꒦꒷꒷꒦ ⫘⫘⫘⫘

ılı.lıllılı.ıllı ｡*♪♪☆ 𖤣𖤥𖠿𖤣𖤥

𝖙𝖍𝖊𝖘𝖊﹔

࣪˖༺ ༻ ༾ ༿ ᗀ ᗁ ᗂ ᗃ ⚯︎ ⚢︎ ⚛︎ ⚠︎ ⚘︎ ⚣︎ ✦ ✧ ❍ ⟃ ⟄ ⟅ ⟆ ⟡ ⟲ ⟳ ⦾ ⧉ ⧾ ⩀ ⩇ ⩉ ⩊ ⩋ ⭑ ⭒ ⭘ Ⱶ ⲷ Ⳋ ⵂ ⵌ ⸮ 〄々〆〩ぁあのを龱 ꀯ ꃳ ꆪ ꈊ ꈔ ꌦ ꎺ ꏳ ꏿ ꐑ ꐚ ꐧ ꐪ ꑘ ꒰ ꒱ ꔪ∅ ➹ ੈ ‧₊˚ ↱ 彡 ✥ ❥ Ꮠ ➜❁ʤ » ❞೫༉₊✰༉‧‧̍̊˙· 𓆝.° ｡˚𓆛˚｡ °.𓆞 ·˙‧̍̊ઇઉ♫ ♪ ♫

︵‿︵‿୨♡୧‿︵‿︵

𝖐𝖆𝖒𝖔𝖏𝖎𝖘﹔

(●♡∀♡)

(๑♡⌓♡๑)

(｡♡‿♡｡)

(✿ ♡‿♡)

(◍•ᴗ•◍)

( ◜‿◝ )

♡(｡･ω･｡)ﾉ

♡(•ө•)♡

(♡ω♡ )~♪

꒰⑅ᵕ༚ᵕ꒱˖♡♡˖꒰ᵕ༚ᵕ⑅꒱

♡(ӦｖӦ｡)ෆ

╹ .̮ ╹ෆ

(´∩｡• ᵕ •｡∩)

♡(> ਊ <)♡

♥╣[-_-]╠♥

(灬º‿º灬)

♡(｡・//ε//・｡)

(〃ﾟ3ﾟ〃)(´ε｀ )

( ˘ ³˘)♥

(￣³￣)

(◕દ◕)(ʃƪ＾3＾）

(*＾3＾)/～♡

(っ˘з(˘⌣˘ )(●’3)♡(ε●)

(๑˙❥˙๑)

(/^-^(^ ^)/

( ˶ ❛ ꁞ ❛ ˶ )

(˘︶˘).｡♡(◍•ᴗ•◍)✧*。

₍⑅ᐢ ˘ ᐢ₎

(ㅅ˙ ˘ ˙) つ

₍ᐢ..ᐢ₎ っ

૮₍ ˃ ⤙ ˂ ₎ა

ꐦ >ࡇ<)っ

૮₍ ˙v˙

૮₍ >-< ₎ა

‎•᷄ࡇ•᷅ )

₍^._.^₎⟆

(ᗒᗣᗕ)՞

૮๑ˊᯅˋ๑ა

( ˋ-ࡇ-ˊ )

૮ • ﻌ - ა

૮・ﻌ・ა

૮₍｡ •᎔• ｡₎ა

૮₍⑅˶•▿•˶⑅₎ა

૮๑ˊᯅˋ๑ა

૮₍˶ᵔᵕᵔ˶₎ა

૮⍝• ᴥ •⍝ა

૮₍ ˃̵͈᷄ . ˂̵͈᷅ ₎ა

૮₍´｡• ᵕ •｡`₎ა

૮꒰ ｡^ ﻌ ^｡꒱ა

૮₍ ˃ ⤙ ˂ ₎ა

૮₍ ˃̵ࡇ˂̵ ₎ა :ﾟ

૮ ˶ˆ ﻌ ˆ˶ ა ﾟ:｡

૮₍ ´𖦹 ˕ × ₎ა

૮₍ ˶ᵔ ᵕ ฅ ₎ა

૮ • ﻌ • ა

(´｡• ᵕ •｡`)

ヽ(o＾∀＾o)ノ

(o´∀`o)

(＠＾◡＾)

ヽ(・∀・)ﾉ

(≧O≦)

(´ ∀ ` *)

＞︿＜

﹙´ω`﹚

＾∀＾

﹙◡﹏◡﹚

・ᴗ・

﹙◌◟◌﹚➜

﹙ꈍᴗꈍ﹚

❪・、・❫

( •̥ ˕ •̥)

----------------

𝕮𝖆𝖙

⠀∧＿∧

　(｡･ω･｡)つ━☆・。

⊂　　 /　　・゜+.

　しーＪ　　　°。+ ´¨)

𝕭𝖚𝖓𝖓𝖓𝖞

°. ♡

⠀⠀⠀⠀⠀. °

　＿♡

⊂⊂ ・）

　/　 |

⊂＿__u

𝖇𝖊𝖆𝖗

◜◝--◜◝　

( ・㉨・ )

/　っ♡と

ヽ__つつ

𝖌𝖚𝖓𝖘 𝖆𝖓𝖉 𝖐𝖓𝖎𝖋𝖊𝖘;;

︻╦̵̵͇╤──

︻╦╤─

-]—-

╾━╤デ╦︻

̿ ̿’̵̲̿\

[]--|===>

▬ι═ﺤ

۟ ࣭ ⭒ֺ 🌈 ֹ ᮫ 𓏳݂ ݊ ℱ 𝗰r𝗲𝗱it𖦹𝘀 a 🅣︎Ⓞ︎🅓︎𖣘🅢︎ d𝗲v𝗶𝗱𝕠𝕤 c̆̈riă̈dø𝘳ꫀ𝘴 ⩉ 🎀 ࡛ ᮫ 🐾 ᭝ ܰ ៳ׄ ֢ ♡

֗ ִ ۫ 🌙ˑ ᳝ ࣪ 𓄹 ⊹ ᳝🪐 ࣪⠀.

𝘇𝗭𝘇. . .𖦆 ִ✏️ ۫ 𐑺 ֗ ִ ˖

#escrita #estética #soft aesthetic #símbolos #aesthetic #discord symbols #symbols #sanriocore #animecore #kaoemojis soft #cute kaomojis #kaomoji art #kaomojis art #divisórias #anime kawaii #anime gif #cute gifs #soft cute #soft kawaii

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