Heyyy!! Happy week! I was thinking about The Last of Us and I was wondering if you have any headcanons for it?
god oh my god. whats really weird is that i dont ever get headcanons for anything UNTIL i start writing for it. currently i dont think any tlou headcanons come to mind. like the most i think about is shit that happens within the context of tlou and putting things together like. things can only be this way because this happened and thats just a logical leap. thats not a headcanon. i dont think i have any? man . i dont have any headcanons for them BUT IF YOU HAVE HEADCANONS I WANT TO HEAR ABOUT IT I WANT TO HEAR ABOUT IT SO FUCKING BADLY YOU HAVE NO IDEA. CLAWING AT YOUR WALLS
Goood evening!! What’re your thoughts on dream sequences?
Welllllll you know meeee.........i write a lot of dream sequences. if im not writing dream sequences the character is falling in and out of sleep. BUT i do understand how that can get annoying. overall dream sequences should be able to convey something to the reader, that there is something going on in this character's psyche that they cannot face in the narrative right now or ever. what can you gather from a dream? and at this point i fall off the deep end soooo. more under the cut
they can be very important to the story Ya Know. most of the time im having a character confront some kind of mental block or real life issue in a dream. dreams communicate fears. dreams communicate mounting pressure- dreams can BE that mounting pressure. dreams can also communicate acceptance. dreams can be characters in and of themselves!! but dreams have to consistently represent something. i would suggest like. maintaining one or two different meanings for dreams but this generally goes for ALL symbols. telling a story is inherently enforcing some kind of narrative. joan didion's belief was that writing was a hostile act, describing it almost as if it was violating the reader. to be specific, she said:
In many ways writing is the act of saying I, of imposing oneself upon other people, of saying listen to me, see it my way, change your mind. It's an aggressive, even a hostile act. You can disguise its qualifiers and tentative subjunctives, with ellipses and evasions —with the whole manner of intimating rather than claiming, of alluding rather than stating—but there's no getting around the fact that setting words on paper is the tactic of a secret bully, an invasion, an imposition of the writer's sensibility on the reader's most private space.
do i necessarily completely agree with joan didion? No. but i do think she was getting at something and it was something very important about writing. when you are telling a story, whether it be fiction or non-fiction, there is some underlying narrative going on there. there will always be some hidden meaning because people dont walk around without them. even the nihilists have a hidden meaning they want to share with you: there is NO meaning. writing is a philosophical experience and a deeply self-analytical one, which didion also believed was part of the reason why she wrote if not the sole reason she was a writer. she described it like she didn't know what she was thinking until she wrote it down. she didn't know what was happening with her mental state until she wrote it down. i dont believe she did that expressly to impose a narrative upon a reader, to persuade them necessarily, but YES there is a part of every writer that wants to make you see it OUR way.
but this feeling is not specific to authors. other forms of art find themselves trying to make you see what they see, whether it be simply through their own memories of an event or a scene, or quite literally an artists interpretation of politics and history. an artist trying to convey to you what an event did to them through their medium of choice. a piece i love so much is félix gonzález-torres' 175 pound piles of candy that guests are encouraged to take from, forcing them to participate in the art piece. not only do you get to view it, but to get the full experience, you must participate and pick up a candy and eat from it, the representation of félix's and his lover's body, both taken away by aids. the horror of it is forced on you and that visceral emotional reaction feels like an invader suddenly entering your body. everything about it hits you like a freight train while you're eating a cellophane-wrapped candy. what can you get from that? what exactly can you interpret from it? what thought does the author have? can you feel it being forced on you?
i mentioned this before in a note but i said that at the time, i was following the oscar wilde method of writing, which was to write without communicating a moral to the audience. while i still identify with this- in no way am i trying to teach you some kind of lesson when you read nameless- there is a mix here that i think is important when talking about what you choose to write and what you choose to symbolise. dreams are not just a gateway into a character's mind but YOUR mind and what you associate with certain things. writing is displaying art and because of that, people can interpret your art in any way they want and there is no wrong way to view it in my personal opinion. even if you put it out there with a vision and a goal, people can choose to make it personal to themselves and there is NOTHING you can do about that. this is part of the medium. you dont control how people interpret it if they feel deeply about it.
a good example of that is sun yuan and peng yu's "can't help myself." you probably already know about it: a machine that sweeps up liquid that looks like blood. sun yuan and peng yu intended for this to be a more political piece, trying to evoke imagery of war, surveillance, and land disputes. these concepts were not just randomly chosen for a random exhibition; the guggenheim museum specifically sought out yuan and yu for the "tales of our time" exhibition, which had a focus on locations and geography. where the artists lived, their idea of utopia, an interpretation of modern borders. even the title was a play on lu xun's book "old tales retold," which, as it says on the tin, retold old tales but in a way that critiqued society and highlighted issues specific to the era. so, when "can't help myself" was created, it was an interpretation of the state of border politics.
looking at it with this perspective, the "blood" the machine cleans up leaves red streaks across the floor as the only evidence it was ever there. the machine gets little breaks and dances and interacts with the audience like a nation's figurehead on tour, waving to citizens in the audience before immediately returning to the bloodshed. and when the blood gets too much, they dont have as much time to appease the crowd or to do a little dance or wave. theres too much to mop up, and then the blood becomes the centrepiece. no matter how much the robot sweeps up, there is always more. and the machine sweeps up blood until it cant anymore, and then the blood is left to sit for everyone to see. its the inevitable end of empires. it is what war will do to a nation. when the power struggle that leads to wars that leads to death en masse become too much, people will be unable to ignore the bloodshed and there is no amount of dancing or waving a nation can do to save them from their demise. the machine lays down and dies. the empire falls.
or...or its exemplary of a country trying to control immigration. it pulls the blood back in, but there are streaks left of it on the floor- people still get out and they never come back. blood gets spattered on the walls and is, therefore, unable to be swept back up. what is a nation without its people? and that is why borders and the inherent function of the machine is important. the machine is not leaking the fluid; the fluid has been poured into the space and the machine sweeps it into an arbitrary border. when it flows outside that border, its sensors go off and drag the fluid back in. that brings in the idea of mass surveillance. bringing those who step out of line back in. its an orwellian image of a machine dancing and waving to the audience, putting on a jovial performance, before punishing its subject for stepping out of its contrived boundary in front of its company.
the art piece briefly fell out of public knowledge before being discovered again through what little video we have of it while it was being shown. and some of the people who found it were not given the context of the guggenheim exhibit, nor did they get to view it during the time it was in action. some were not residents of china, yuan and yu's home country and the area-specific politics "can't help myself" was reflecting on. because of these holes in knowledge, people began to interpret it as a rat race sort of commentary. the fluid representing money, or the machine's life force, or joy flowing out of the machine and trying to be gathered back up by this anthropromorphised version that was created. it dances and waves and puts on a brave face, all while fighting to maintain these important things. some people interpretted it as people pleasing, where the machine would dance and then go right back to struggling to stay alive, perhaps struggling with depression or other kinds of mental illness. it would wave to make people happy and interact with the audience, all while bleeding out on the floor. people felt for it and identified with it.
and while you could argue these interpretations are "tainted" because they don't know what the piece is actually about, it doesn't make any other interpretation any better. in fact, my interpretations of "can't help myself"- even with the assistance of context from the guggenheim website or my limited knowledge on chinese policy and history or the assistance of the artists themselves, articles from people that saw it in person, what few translated articles i could stumble across in my early search- is tainted by the fact that i have only ever lived in the west. i don't truly know what chinese immigration policy looks like or what the chinese government is telling its citizens, what narrative is trying to be pushed. i only know what narrative my country is pushing. i am assuming that, maybe, the chinese government is saying the same things as the west, but i don't truly know and i won't know until i meet someone who lives or lived there, but i haven't. as logical as my interpretation is, there are likely holes because of my view on the government which has been shaped by living where i do, just as this piece is shaped by sun yuan and peng yu living in china.
and even if they don't know the context, that doesn't make their interpretations any less evocative. there is something to be said about the performance the machine puts on because its an important part of the piece. there's something to be said about how you are an observer peering into a glass box at the spectacle that is happening. you can stand there and have blood flung at you because of the work the machine is putting into maintaining its borders. there is something to be said about the way the machine appears to be bleeding, even if that's not what's actually happening. these are amazing things to think about and the fact that people think about it at all is amazing! i think thats fucking beautiful!!
and you want to know why that's so amazing? because art like this is MEANT to be provacative. it's MEANT to spark a reaction. it could be reactions in the political sense, like inspiring people to be activists or to question their governments and representatives, or reactions in the emotional sense, like fear or intrigue or sadness. "can't help myself" is poking at you and begging for a reaction. the machine dances and waves and tries to entertain you between sweeps as if it's begging for you to look at it, to analyse it, to figure out what it's doing and why it's doing it, and why you are trapped behind the glass, stuck watching it. regarding "can't help myself," sun yuan told artsy, "we see how the robot and the liquid finish by torturing each other."
with this, we return to didion and her belief that writing was a hostile act. sun yuan and peng yu went into this project hoping to communicate a strong political message that was essential to the museum that commissioned them. the museum wanted the view they could provide. from the start, this is about politics and geography and borders and immigration- so how did people end up seeing themselves in that machine? its a matter of the artists releasing the ability to maintain context. even with people learning the context of the piece, there are still those that identify with it because their interpretation means so much to them. this piece has a life of its own outside of what the artists intended for it and this inevitably happens to every piece of art. those who care about it will interpret it in a way that relates to them. if they are politically minded, they might interpret it in a political way, and for those who aren't, the piece becomes deeply emotional.
i might try to insert a piece of myself into every piece of writing i do, but there is nothing i can do to stop people from interpretting my art however they please. i find IMMENSE joy in this because its so interesting to see what i wrote and finding different versions of it inside the people it touches. dream sequences can be deeply personal for the character, but you will never know because you will never be them. for the simplest of dream sequences, the most straightforward, the most complicated, the strangest, there is an interpretation out there that blows my expectations out of the water. im constantly searching for different interpretations of stories ive read in the hopes i will find a deeper understanding of it, which is really all this post is about. dream sequences are good and people's interpretations of them make them even better and IN FACT every single piece of writing is made better by being able to turn to other people and ask them what they thought of it. understanding a piece is understanding the people around you and how the art affects them, not what the artist specifically intended by making the work.
Oh! Is this about the new ao3 ai policy? I think I heard about that last night. I had checked Unseeliekey’s account and saw that he had deleted all of his works. Read that he had been thinking of deleting them for awhile because of ao3’s policies and he didn’t wanna support them but the ai thing is what sent him over the edge. Might wanna double check that though since I was sleepy when I read that and may not have absorbed all the info or absorbed it correctly. I have most of Unseeliekey’s works saved in my google drive so I can still reread them, which I’m very thankful for, would be so heartbroken if I could never see them again.
Anyway, I’m really sorry you have to make all your works account only just so the stupid ais can’t get their little grubby ai mining hands on them! All this ai stuff is really gross and really sucks
that whole thing i posted was actually sparked by unseeliekey leaving! which is really sad honestly. and imo with my two cents if i am to say anything about that. ao3 doesnt even support ai they just dont know what to do at this time Legally. i disagree with a lot of unseeliekey's points, but that's not really up to me to convince him i did not even know him and i dont want to tell him hes wrong. its his thoughts and his worldview so ¯\_(ツ)_/¯ sad to see him go, though. thats fandom history lost right there. newer fans will never get to see fics that literally SHAPED the fandom. unseeliekey is pretty much responsible for the phantom thief au as it is today. it really is such a great loss. i hope that maybe he changes his mind, makes them public but not on ao3. maybe puts out the chapters that never made it to the light of day; i know there were chapters that were done, just not published before he left the fandom, if he still has those files
and goddd the fucking ai. i hate having to make my fics ao3 accounts only it pisses me off so bad i just want people to be able to read my shit without having to worry about scrapes and shit like that like. i am still kind of on the fence about making some of my newer stuff account only. like making nameless and nobody move account only? i hate that. maybe ill make my finished works account only and then wait until everything that i havent abandoned is done to make them account only. that might be the better plan. just pisses me off theres nothing we can do right now IM SO SERIOUS we need to find a way to make glaze for writers im not tech savvy but there has to be a way where people on ao3 can be able to read the work but ai cant and it just fucks them. that would be great but i dont even know if thats possible
Ooh! So, ya know how a few days ago you were talking about how the first fic you wrote was a choromatsu x reader fic? I suddenly remembered you mentioning that the first fic you wrote was a time loop fic and now I’m curious as to what the plot for that was
Also, I just came to the realization that I don’t have to scroll through my following list to find your account, I can just use the search button. I know this is probably like really obvious to everyone except for me but I am very excited about this!
okay so the plot was essentially like. it starts out super normal right. for a WHILE its a normal x reader was the idea. like you get you (reader) just hanging out with the boys and getting closer to them, though i really wanted to focus on choromatsu at the time. long after this fic was deleted, i also had the idea of making it be like a multiple-choice thing so i have a bunch of chapters with the same numbers with different letters beside them to differentiate choices, which was ALSO going to play into the fic. i wasnt really that far into the story when i deleted it, so i couldve reasonably added chapters where you get to know all the boys and get closer to them. but yeah you think its normal youre lulled into a false sense of security and then i was going to reveal the time loop like BAM theres a time loop. and it was going to become CRAZY TOWN in there but i never got to that part because i was very flustered and frustrated with it. but choromatsu was aware of it and then the reader became aware of it
i also had the idea of it being like. the end of the choromatsu route feels like its all settled and done with but then it reveals its not. the loop keeps going or the reader resets. and then if a reader was really curious they could go through the other x reader chapters and see what the fuck is going on and it would basically be like There is no proper end. and the whole thing hinges on the fact that you, the reader, are NOT COMPLIANT WITH THE CANON OF THE UNIVERSE. you DO NOT EXIST in this story and you SHOULDNT. this SHOULDNT be something thats happening and YOU ARE AWARE OF THIS. i wanted it to get really meta and the horror was going to be amazing i had a scene planned where the reader goes to hang out with one of the boys, walks into the house, and theres nothing there and you just get to talk to god. i wanted it to very quickly spiral out of control with the multiple options that you could respond with and for the text of god to become very jumbled and nonsensical (because theyre answering ALL THE RESPONSES instead of JUST ONE because there is NO WAY to tell which response you choose in the format i was writing the story in) until you get to the end, where god kicks you out and tells you to keep going. i wanted the final chapters to be either a) the reader systematically removing themselves from the story as a selfless act for the boys or b) the reader KEEPS FIGHTING the will of the universe until the fic collapses in on itself. like the universe just gives up and you can TELL it just gives up. the universe lets out a final breath
talking about it you realise that this is a really huge idea that really i could not do on my own. i think that i could write an individual story like this and i do love the idea of meta-commentary, ive always wanted to get meta in my stories, but this is a REALLY BIG idea. especially considering there are six brothers? and because they are six different people, there needs to be six different plots? like yeah im not doing that . sure its all going to eventually focus on the time loop but like. i need to keep lulling the people who choose osomatsu into a false sense of security until he learns about the time loop.
and also its juggling a reader that may or may not know theyre in a time loop. you have to constantly write as if it could be either or so that readers can come back and be like Holy fucking shit because that is probably the best feeling as a reader is being able to go back and Realise. and i cannot pull a nameless and have the reader character be expectant that theyre in a time loop because when that comes out, it would make more sense for the reader to be in shock no matter WHAT version of the universe theyre in. the person who should be acting like they know is choromatsu because he has a reason to. and of course, as time goes on and as you continue reading through the routes, choromatsu becomes more and more suspicious of you. but its hard to write this when its like. do you want this to be multiple choice or do you want this to centre on choromatsu. because wanting it to centre on choromatsu makes this make sense, but then adding in multiple choice and writing the multiple-choice sections at the same time, it makes the whole concept fall apart. if a reader comes into the story and starts reading the ichimatsu route, theyre going to be hit with these things that they dont even understand. theyre reading the story completely out of whack BUT THATS HOW ITS MEANT TO BE READ me making it multiple choice means that im ALLOWING this to be the experience they get.
like as banging as this story sounds in my head and as banging as the chapters i have written are (as banging as they could be considering i was 16 years old writing them) i do not think i could actually post this because it would just be really confusing to follow if you consumed the story as it was meant to be consumed which could potentially be TECHNICALLY out of order. people do this with the how to: series as well there are a lot of people who have read how to: happy and have NOOOOO fucking clue what is going on in there. they came for KARAMATSU ANGST and NOTHING MORE they DID NOT expect there to be HORROR NIGHTMARES but that is exactly what they got. so i just know that is how that would go with this series which i know for sure would fuck people up. you walk into a 150k+ jyushimatsu x reader and on the 14th chapter youre in there talking to fucking god like HELLOOOOOOOOO!!!!!!
you mentioned character studies a lot in a prev ask, would you be willing to share your interpretations of saihara and ouma?
oh my god yes. i fucking LOVE these two. some of this might be pretty common and easy to spot but im going to try and do a brain dump under the cut. this is gonna be a mess and a lot of my notes dont source a lot of what im talking about. its really just me tearing through the game and writing what i can observe about them and relying on memory so. Yeah 👍
okay so lets get one thing out of the way the common interpretation that shuichi is a symbol of TRUTH and kokichi is PURE LIES is just not real ITS NOT FUCKING REAL shuichi not only lies during trials through the gameplay mechanic of perjury but also just canonically he is hiding from the truth. early on we get that backstory of how he doesnt like the truth or people's eyes because of that case he solved, he feels really guilty (another big part of his character), and so he tells kaede and confides in her that he wears his stupid emo hat because he doesnt want to see people's eyes. eyes are the window to the soul, another thing he is hiding from. we know hes hiding from the truth because he knew basically the whole first trial that kaede was fucking lying through her teeth about what happened but said NOTHING. when all hope seems lost shuichi holes himself up in his room while maki gets shit done. shuichi doesnt want to know the truth of what happened to kaito. these are REALLY big moments which is why im covering them and not every single instance of him hiding from the truth
a lot of his character choices centre on guilt. he hides from the truth because hes guilty about the things hes done earlier in his life. he hides from the truth because every time he DOES tell the truth someone in his class dies. hes guilty about being unable to save people or being unable to prevent death. hes guilty about kaede's death because maybe if he spoke up or did this or that nothing wouldve played out the way it did and i feel like in the final trial, this guilt finally leaves him. like is it still there? a little bit. in a small amount. but most of the fight is still in him and he fucking hates hope and he hates despair and he fucking hates danganronpa and he fucking HATES this FUCKING KILLING GAME so all the guilt from before about being unable to save his friends? this was all scripted. he never had a chance. the only way to save everyone is to reject the script, reject the plot, reject hope and despair and whatever the audience wants of them, and do what THEY want.
so what makes them narrative foils because they are STILL narrative foils. its not who lies and who tells the truth. its what they BELIEVE about lying that makes them foils.
know that shuichi doesnt like lying he is often awkward about it during class trials and when kokichi lies to him, he sometimes doesnt even know its happening but when he DOES know its happening its just confusing. shuichi doesnt know why kokichi lies so much. hes not quite as extreme about his stance on lying as kaito is (who just absolutely truly hates the fucking lies that kokichi tells despite telling a pretty big lie throughout the entire game but i Love Him) but we know hes not opposed to it. we know that he is most likely to HIDE the truth, not outright lie. like in the first trial, he just stays silent when he senses that kaede has lied. that doesnt make him any better than her when she lies, though. hes still just a fucking liar.
kokichi is just not awkward about it at all lies are really easy for him to tell and we know this because weve seen it before. his feelings on lying are basically neutral in that he doesnt like being lied to (which we see in chapter 4 when shuichi lies to the group) but he also lies about ANYTHING. EVER.
one thing that also differentiates shuichi and kokichi is WHY they lie. shuichi is lying out of what he believes is necessity. when i say this, i mean shuichi lies to get a point across or to convince the class of everything to move past something he cant logic his way out of. kokichi is lying to save lives. is he misled in doing this? i would fuckin say so i dont think he needs to lie to stay alive in this game and i think he wouldve been better off had he kept the lying to a minimum, but i do genuinely believe that a lot of what he lies about is to protect the group. we see him lie to steer them away from topics that later come to hurt them, lies about whos dead and whos alive to save everyone from the killing game; the most honest moment we get out of kokichi is when hes on the brink of death, in a panic trying to write a whole script for kaito to read out before he dies from poison and thus make MAKI the killer, and he says to kaito I HATE THIS KILLING GAME I HATED DOING ALL OF THIS THIS WAS THE WORST EVER and in saying this he also reveals that. he did LOVE these people.
kokichis humanity is scrubbed away by himself but you have to keep in mind that he was able to plan out EVERYTHING. he was able to figure out what the fuck was going on long before anyone else did. he had his suspicions and he had things pretty well figured out. like he outsmarted tsumugi and monokuma a couple of times. he knew that miu was going to kill him before the plan even launched into action. like kokichi is smart do NOT get it twisted. so when he makes himself inhuman and scary and tries to convince everyone to stay away from him, that hes annoying, hes not worth talking to or trying to make sense of, thats part of the plan also. kokichi is a character that plans out nearly EVERYTHING. im one of those people that thinks he really did cry over gonta but we have no way to prove that other than Look at everything he lies about during the game and then please look me in my eyes and tell me I'm wrong (which is very easy to do). i mean if he didnt act evil and scary and inhuman, his plans wouldve fallen apart. the only thing he didnt account for was shuichi choosing to solve what hed done. because shuichi is JUST AS MUCH OF A WILD CARD AS KOKICHI. BOOM
kokichis whole goal throughout the game is to stop it. at ANY cost. and he did a whole lot of set-up to make sure it happened. and inevitably, because of his efforts and the clues he left behind, it DID stop. it DID end. and it was because of the one person he decided to trust.
so like my thoughts on kokichi are he was pretty fucked up during the game but i understand his reasons. does that absolve him No but i dont care because hes a fictional character so yes hes my little guy and yes i love him dearly. he has borderline personality disorder TO ME and im not going to explain because i feel like going into canon and being like "this is why kokichi ouma has borderline personality disorder" is too much for me at this time so shout out to anyone who wants to make that post because they agree with me
ultimately shuichi and kokichi are not truth vs lie. they are not good vs evil. kokichi is not a bad person just like no one else in this game is necessarily a bad person and i think that judging daganronpa characters on who is bad and who is good is just focusing on the wrong fucking thing. shuichi and kokichi are holding hands because they are the same basic concept, fully actualised only in the end of the game when shuichi rejects hope and despair. fulfilling his wild card. kokichi fulfils his wild card by trying to end the killing game with all the tools at his disposal. two crazy kids i love them so dearly. ugh
theyre like everything to me. so thank you for asking it also gave me an excuse to go through my character analysis notebook. i do need to revisit the source material and think a little more about it because my friends did also bring up the ideas of faith and logic, that kaito doesnt hate lying necessarily, but that he wants people to have faith in him, which i do think goes with his hero complex. a hero who wants people to have faith in him. so fucking tragic that he teams up with kokichi who has fucking NO faith in him. i do still think that kaito does hate lies in a way because he does have a problem with them but yes faith does also play a part in it. kokichi really isnt a faithful character to anyone but shuichi honestly. shuichi is the only person kokichi truly TRUSTS. god. i seriously need to play drv3 over again
The die young animatic! I saw that in my youtube recommendations like a while ago and then I started it, was like “this seems cool” and then did something else and forgot to ever finish it so thanks for reminding me, that was really fun to watch!
And like Kaito and Kokichi’s relationship is just so good! Like I personally think I like them more platonically but I do really like oumota a good bit. I don’t really indulge in too much fan content for it though. But like you put everything about the hanger situation together so perfectly??? It’s so sad. The killing game is so sad. It just brings out some of the absolute worst in someone and makes them so scared and then that someone is just dead??? They’re never getting better? They can’t heal? They can’t live? They can’t learn to be happier? They’re just gone? And like these people could’ve had such different relationships, these people could’ve been friends? If they had just known each other?? And like my heart is broken. Shattered into little pieces. Why must I always get into such messed up stuff and get so attached to the characters? Why do I do this to myself? Why?????
Also, do you have any fanfic recs for like post game simulation stuff? Hearing you talk about it has now made me in the mood to read some
sooo the bad part about asking me for fic recs is that. i dont actually read a lot of fanfiction. i just Make it when i DO read fanfiction its normally stuff that my friends give me so i dont normally Puruse Around its like my biggest sin as a fan creator is that i love talking about how fanfiction is beautiful and that people should keep writing fanfiction and people should stop making fun of people who write fanfiction but i very rarely get the urge to go snooping around for fanfiction myself...
SO! i turned to micah kaedyu for this!
therefore you and me by unseeliekey from what i have seen and heard from micah is amazing and gorgeous even. its unfinished but micah loves the shit out of it and has reread it many a time and loses her mind EVERY SINGLE TIME. micah is generally unseeliekey's biggest fan. he really loves everything that they put out. they are unfortunately not in the fandom anymore so this is probably not going to be updated any time soon and remains unfinished FOREVER! but its still really good. i trust micah's judgement for the most part
steps from your pulse by kaylenep SOOOO fun and has sleepy shit mixed in here so you know that i like it. this is a really sweet fic im glad that micah sent it to me
and that is about it. there was another one but i didnt really like it so im not going to recommend it. it just. it was so Hopeless. and i dont like hopeless narratives or endings which is ironic because i like danganronpa and specifically love v3 the most
Rereading Lovefool and Shuichi’s smile being so wide that his eyes disappeared is so creepyyyyy adgggyhjk. Like, I can’t imagine Shuichi ever smiling like that. Also, all the mentions of bugs and stuff are making me scared that like Shuichi’s gonna take off his gloves and just have wasps. The wasps come and call their Yellowjacket brethren. Then I’m foodless and dead.
Really though, the gloves are so curious and the bug mentions feel suspicious and I feel so terribly nervous of Shuichi’s entirety, he’s acting so nice and so weird and it’s mnbhjjhhhjj I don’t trust him or his house or his food or his garden
Or maybe this fic isn’t horror at all and actually what’s in the basement is Shuichi’s secret flower shop. Him and Kokichi have a really sweet heart to heart where Shuichi shares all his flower shop dreams and then they open up a flower department in the mall together.
Anyway, your writing is very cool and I’m gonna try not to think too much about Kokichi wearing flip flops and socks together or how completely accurate that is
i cant get over that everyone is freaked out about shuichi's smile its so fucking funny to me like HES JUST SMILING i was genuinely trying to get it to be like kind of sweet. most people smile with their eyes when i smile big and wide my eyes disappear i was like NOOOOO ITS NOT MEANT TO BE CREEPY WAAAAHHHH but its fine i dont actually care that much. again its funny i think its really funny
i am actually REALLY scared of bugs like mentions of bugs dont freak me out SUPER bad but its still like. fucked up. im very excited to get somewhere with the bug bullshit im SO excited to keep writing chapter 2
yeah hes just got flowers down there. dont worry about it 👍
kokichi wearing flip-flops and socks comes from me growing up with my grandma. grandma koko would always wear flip-flops and socks in the house and on the patio. i think i once asked her about it and she was like Oh this is just normal ^_^ i had inside shoes in japan because thats what my mom liked ^_^ a lot of what i write when it comes to innocuous stuff like that is me remembering her and what she would do. stuff that she would tell me, stuff she would do, the way she would talk (this is more so for an original novel of mine), all that stuff. so do not worry about the accuracy of that i have seen it with My Eyes
