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First of all, I'm only calling it Project Apple because I don't know what it's called, it was related to the project though.
Second, I covered this a little already with my other posts, but now I want to focus on what exactly the project wanted to do with Anya? So, let's look at this in depth.
She was an accident, literally speaking they don't know exactly how they created her, how exactly she got her powers. She had her mother with her when she was an experiment as well. It's safe to assume Anya was experienced on in the womb. Doing a bunch of different procedures, they are not sure which one made Anya happen. What I'm not sure about is if they knew about Anya when they were experimenting on Anya's mother. They probably did, as in labs they tend to monitor every aspect of one's biology.
They most likely didn't know she had telepathy until she was old enough to talk, but they may have monitored her since birth to see if she was affected by the experimentation. Once they found out she had telepathy, they probably operated on her brain as in the most recent chapter focused on the thought static coming in through her horns, which is in the same placement of her buns, and the same location Desmond has his scars. If they did do this, they may have done so in an attempt to analyze her brain more closely.
The one flashback Anya gives to her time with the scientists is when they tell her a few things. First, she must not tell anyone of her telepathy. Second, she needs to study, third that power is going to help the world.
Why would they tell Anya to keep it secret if she was surrounded by people who knew about it? What would her studying do to help them study her powers?
So my theory is this: Not only were they studying Anya to understand how she received her powers and how they worked so they could maybe replicate and control it, but they were hoping to raise her to be an asset to the government; like some sort of spy. That's why they conditioned her to not let anyone know about it, and had her study, so she could understand the information she would be gathering.
Anya threw a wrench in their plans when she escaped, of course they were not too worried as she's not that old and probably doesn't have a lot of dangerous ambitions. They just lost their means of replicating telepathy.
Desmond is involved with the project as Sigmund noted; with his paranoia, knowing there is a telepath in the world, even one that is a child, might set him on edge. Hence a theory that Desmond developed a mental block in case he ran into a telepath. Of course, who knows how involved Desmond was with the project, he might not even know what Anya looks like, hence he has trouble even trusting children. Another thing is he doesn't know what happened with Anya, and this is just him being standard paranoid.
TL;DR: Anya was being trained to be a secret agent controlled by the government, and Desmond slightly aware she could be loose in the world is paranoid.
Welp, Anya managed to find her way to the 4th floor. Neuro-surgery wing, Donovan is visiting the previous chairman on his deathbed. He says he owes the man a great debt and wonders what he's thinking. So Donovan doesn't seem to have telepathy, ar least not one like Anya's; either that or he was saying that to keep up appearances so he could look into his mind.
Anya tries to get close to Desmond but can't get past the guard, so then she goes to the 5th floor. She doesn't know his voice, although she has heard it in damien's head before she probably forgot. So she tries to imagine his voice and tries to read the floor underneath her. She then gets a lot of static, which represents her powers working, and also gets a nosebleed. I noticed that the static centers around her horns, but she has read minds before without them. They might work to help her telepathy, or they cover the part of her brain where it mainly works, which is similar placing to Donovan's scars. Maybe she has scars underneath her hair similar to desmond?
Now some more theories about what this all means and going forward:
Desmond's relation to the old chairman, who started the war: Desmond was in charge when the war ended, when Wise was forming, it's been about a decade since the war ended. Project Apple was made by the previous administration, Anya's experimentation is an offshoot of that project. So the previous chairman probably funded the research that went into Anya's creation. Donovan changed around the time Damien or Demetrius was born, which was either when the war ended or when Anya was born. Either Donovan was one of the first test subjects, but it was incomplete, taking in Anya's mother as a test subject allowed them to refine the experiments and create Anya, but they only had three years with her. They probably discovered her mind reading abilities when she could talk properly, but were in the process of trying to understand it's abilities before it could be replicated. Anya ran away however, putting an end to the project. However, Donovan still has some telepathy, which is rather useful.
Donovan's potential abilities: not being sure what a man is thinking, it is possible he wasn't thinking much. Of course, another potential is that Donovan only picks up emotions and/or pictures not actual thoughts. Maybe he needs to be talking to a person to read them, upper understanding their intentions. He was able to tell who his wife wanted to meet with without her saying anything, he might only get pieces but not the whole picture, probably only seeing a picture of the man in her head. Or, this is all in Melinda's and demetrius' head and he's not telepathic.
Anya's overload and nosebleed: it could be caused by her straining too hard to read desmond's thoughts that she read too many minds. Yet it focuses on everything coming in, it might be too much new information for her to handle. Either that, or it's painful memories she repressed coming to the surface paralyzing her and her abilities overload with her memories and his. Or Donovan thinks too much for her to handle, moreso than twilight. It seems likely though that she is picking up his thoughts and what he is picking up which might cause strain on her abilities. Either that, or he's developed a mental block due to his paranoia even though he would consider himself to be the only sociable telepathy. Either way there would be feedback.
What will happen next: Twilight is delayed, he might nor make it at all, Fiona probably will only recieve pieces of Intel, but something vague they would have to analyze with a fine toothed comb. Yor is probably looking for Anya and might find her passed out. Or doctors find Anya passed out and take her for some aid. Anya might only get a little information, knowing it's difficult to read his mind or something.
We're on the edge of our seats here! Now I have a few theories on what may happen next!
I know Anya can read a little, but she probably doesn't know how to spell Neurology. She heard Fiona think that Donovan was going to be on floor 4, in the Neurology wing. Anya is taking the stairs to try to get there, but if I remember being 5 years old, I'd probably get the counting of floors wrong. She'd probably think she'd have to go 4 floors up instead of 3. Unless the stairwell labels the doors to the floors on what's behind each door. They'd have to label it with numbers in order for Anya to get to the correct place. So here are my theories:
Anya ends up on the 5th floor. She gets spotted by doctors who know she shouldn't be there, she says she's there to visit her papa "Dr. Holger." They figure out she means Dr. Forger, and they try to return her to his room, he's not there so they drop her off in the lobby to be picked up by a guardian. Loid makes his way to the lobby and runs into her, and Yor makes her way to the lobby looking for her, they then happen to run into Desmond on his way out.
Anya ends up on the 5th floor. She gets spotted by doctors who know she shouldn't be there, she says she's there to visit her papa "Dr. Holger." They have no idea who Dr. Holger is and decide to check the resistry to find him, while they check Anya wanders off, and realizes Donovan is not on that floor, and then asks someone how to get to the 4th floor, and they tell her it's the floor below them. She then makes her way there and gets some insight on Desmond, or catches him as he's leaving.
Anya ends up on the 5th floor, and is noticed by Doctors who know she shouldn't be there. She says she's looking for the 4th floor, and they say it's the floor below them. She then makes her way there and they wonder who she would be visiting in Neurology. She either makes it to the 4th floor and gets insight on Desmond, or the floor is blocked off by the guards for Donovan's visit.
The doors on the stairwell are marked with numbers so Anya makes it to the 4th floor immediately. The floor or room Donovan is in is guarded by his guards so Anya has to get close enough to read the minds of the people in the room without getting too close to the guards. She gets some insight into Donovan.
Update:
5. She might tell them she's looking for Donovan, but she never refers to him by name. She'd probably say she's looking for the "Big bad boss-man" or something like that. They would probably think she's referring to the director of the hospital, inform her he's busy, maybe at the symposium, and then take her to the lobby where she runs into Loid, Yor, and then Donovan as he's leaving.
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Gooseworx says it's akin to Suicide and irreversable. Others in the show treat it the same.
Alex Rochon says it's like them spiraling and needing to go the psych ward (dealing with addiction or mental illness), and Pomni being able to reach Jax at all gives people hope.
I believe that now that the show's over, anything not confirmed or implied can be up for interpretation, and we can headcannon our own theories.
My theory is this: it is very much like death, but can be reversed. It's like entering a coma; they could wake up maybe, but they most likely never will. Reversing what happened to the scan is probably a very complicated and intense process that not even Caine can undo with the snap of his fingers.
It's like an abstracted file, and those can be fixed by removing layers of necessery interfaces, stop the program from writing unessery code, and only retain the useful data, deleting everything else.
Transforming computer lingo into human mind files, those steps sound like rewiring the mind to stop catastropizing and spiraling. Therapy isn't one and done though, it could take years to fix a broken mind.
So for the moment, abstracted=dead, but if they choose to work at it instead of abandoning them, abstracted could just mean broken.
After the last act, so many people are divided on what to think and how to feel about Jax. Some are saying he deserved what he got for how horrible he was, some are saying he's completely misunderstood and didn't deserve any tragedy, and then there are some saying that he's horrible but also tragic. I lean more into that last group.
Tl,dr: Jax was a bully, chose to be one, but that doesn't mean he should pay for it with death.
Jax abstracted, and the show frames it like suicide. It's tragic whenever anyone is pushed that far. It's easy to want bullies to suffer and even to die, but that's not a solution. If it was bullying would be a crime punishable by death, and we'd be lining up even children to an electric chair. That's not a fair solution for anyone.
It's not as I don't know what I'm talking about, I was bullied intensely growing up by everyone around me. It was easy to hate everyone, to want them all dead, but it makes me out to be a serial killer with that mindset, even if I wanted them all dead in an accident. Instead I tried to understand where they were coming from, even if I couldn't forgive how they treated me. I figured they didn't like dealing with someone who seemed like a child, and instead of treating me with understanding they treated me with aggression and a lack of sympathy because it made them uncomfortable to accommodate or be near me. They didn't like or want me, so they made it clear I was inferior to them.
Enough about my sob story, back to the character analysis.
Jax is not like those bullies, but there are bullies who pick on you because you're easy. Some people around me were like that, thinking it was easy to set me off, and pushing all my buttons for amusement. These types of people called me "crybaby," and "b**ch," obviously not appreciating my attitude towards most things, I would think they just didn't like me if they didn't laugh when I got upset.
So yeah...I know what I'm talking about when it comes to bullies. Do I want them dead, no. I'd probably punch my frequent tormentors at least once, but never dead. Of course, they aren't frequently apart of my lives so I wouldn't think much if they died. If they committed suicide I might feel a little sad depending on the person. I'd probably feel sorry for them, as I didn't know everything.
People are saying Gangle shouldn't cry for Jax considering the hell he put her through. Still, she never wanted him dead, as a mindless monster to boot, because who wants that. They were all in that mess together, even if they didn't like each other, it's sad to see someone go.
Death in itself is something people shouldn't wish or celebrate of others.
the second part of this tragedy is when they don't get the chance to be better.
Some argue he was never going to be better, but some people surprise you. Some of my bullies, the ones I don't want to punch, actually made an effort to be better to me high school.
Nothing can ever erase what they did to me and how it scarred and traumatized me, but I am pleased to know they are not as horrible as they were before and will not keep treating me as such. Also, they apologized, when back in the day while they were told it was wrong, they never acted to show they knew that. Knowing their wrongdoing and acknowledging it is a sign towards becoming a better person.
Jax in his final moments, is pouring out how he's aware of how awful he is and how he deserves to disappear. Of course this is complicated by everything leading up to this moment.
The third reason behind the tragedy, when the villain turns out to not be a villain but just a broken jerk.
Leeroy was pretty normal, maybe sardonic, but normal growing up. He came from a broken home, but wasn't acting like a bully on entry to the circus, so maybe wasn't a bully before. He could never make his dad proud, and his mom could never seem to like him after his dad left, never 'man' enough, or just as bad a man as his father. Eventually, Leeroy went and told her he didn't feel like a man at all (probably that he wasn't a man)[I'm using he/him pronouns because he is heavily closeting at the time of Jax]. She insulted and laughed at him for the confession, but then hugged him. He didn't know what to think, panicked and maybe killed her in shoving her off. He then just ran, afraid of what would happen next, whether she was okay or not.
Living as a squatter, he stumbled on the C&A building, and tried on the headset.
Jax immediately befriended Kaufmo and Ribbit, getting to the point where Ribbit wanted to share regrets. She talked about cutting ties with her parents and he hold her his backstory. She promised not to share, and just when he felt he could fully be himself (even female), he panicked and regretted sharing anything with her, even their friendship.
So, this is when he decides to be mean, to be a bully. He gaslights her into thinking he was lying and that she is trying to hard, prying and manipulating him even though he freely shared his backstory with her. This is because he was scared of her manipulating him, turning his vulnerabilities against him, like his mother did to him. He then makes everyone think she will lie about him and tries to exclude her from everyone else. This made her isolated and feel like she lost everything, causing her to abstract. That...that was horrible. Of course, he never saw an abstraction before, probably not knowing it would happen, and wanted to apologize to her before that. He was just so scared and in so deep that he couldn't.
After Ribbit is gone, he gaslights Kaufmo into thinking he's crazy and that Ribbit didn't matter to him. He tries to erase Ribbit from his mind so he doesn't have to feel guilty, making Ragatha promise not to mention her.
When Gangle shows up, he starts by making her a target. Potentially so he doesn't get attached, but also to make himself feel strong, especially when he's feeling so weak. He then starts becoming a bully to most girls he interacts with, maybe for the same reasons. He even does this with Pomni in episode 2 and 3, but for some reason he can't help but get close to her.
Mostly with Pomni he teases her by treating her like a child due to her shortness, or liking her panicking when in power. Of course over varied adventures of getting to know everyone, and perhaps Pomni being the blank slate newbie, or maybe because he secretly misses having someone to talk to, he opens up to her.
Of course, this falls apart in episode 6 when he realizes he's getting too close and tries to gaslight her into thinking they never had a bond. When she refuses to give up he angrily tells her he is the bad guy and that's it, almost crazy, almost defeated.
He cares about Pomni, but is scared of connection, opening up and what that might mean. He performs a mask of blatant disregard for others so that no one would want to get close to him, no one will know him. Of course, this isn't good, him isolating himself like this. He gets trapped with his own thoughts.
Another reason Jax pushes everyone away is due to his thoughts regarding himself. Jax thinks no one would truly care for him, partially because of his parents, and partially due to his actions of hurting the people he cares about. It's a vicious cycle of pushing people away due to his past of hurting someone, which causes him to hurt the other people in his life. Each time he "kills" a loved one, it kills him a little each time, becoming less and less genuine, and desiring death more and more. His mask is to hide his self hatred and misery, and with no one to confide in he believes these thoughts more and more. Pushing Pomni away was one of the final nails in the coffin.
Another nail was finding out his torment of others wasn't working anymore, his power was being taken away and he was going back to feeling weak. The only thing keeping him from going was Caine's adventures he was forced to go on keeping him distracted. Once Caine is deleted, he has no distractions from his misery.
The final nail, was Kinger revealing they were all just brain scans of real people. Jax, who initially thought he was in a fantasy world where anything can happen, was okay with that thought because at least he escaped that miserable life out in the real world; then he learns his real self didn't even escape that life. For all he knew his real self was either dead in a ditch or in prison. Also all that horrible stuff in his memories, he didn't technically do, as he's not even real.
This information, along with everything else, breaks him to the point he abstracts. He was suffering, to the point he made others suffer too.
He hurt so many with his suffering, and his only redemption is acknowledging the fact, seems like it's not enough.
Of course, there's the fourth and final bit to the tragedy here, it's in his fear. His fear of going, he only thought it was a good idea to go because he believes he's not worth people caring about him, so they wouldn't blink at his abstraction. When pomni tries her darnedest to reach out to him despite everything, he starts thinking..."am I...worthy of being cared about? Does she...actually care about me?"
Pomni complicated his plan to end everything, making him regret everything he chose in the end, making him wish he had more time. He then finally accepts her affection, her offer of friendship. Realizing what he could have had, a genuine friend who accepts him warts and all, he regrets choosing to disappear. He's scared of losing what he could've had. "I don't wanna go."
Hearing those lines, seeing his tears from his fear and regret, he doesn't seem like a remorseless bully, but someone willing to change. Unfortunately, the tragedy is, he may never get the chance.
Pomni comforted him as he lost sight of himself again, and now at the moment he is a mindless blob of eyes. Of course, the fact Pomni could reach him at all was a good sign, and Caine's VA said abstraction wasn't the exact same as suicide. There's hope...of course it's slight. Jax is in a similar situation to someone in a coma, he may wake up one day, but it's very unlikely.
So, what Jax did, was horrible, but like every redeemed character I've seen in media, he had a capacity for change, at least to acknowledge his actions and be better. Pomni was the one friend who wouldn't let Jax push her away, so much so he actually considered changing, although it was too late, and that is the tragedy.
After seeing Aladdin a couple times as well as HISHE, I'm thinking, why didn't Aladdin legit become a prince. I have my theory for that...
Genie says despite all his power there are some rules he can't break: no love, life, or death where there wasn't. These are three forces in the universe greater than him, well technically two. It's influencing love and manipulating death; he can make it so death stays away from people(immortality), that's granting them life, but he can't cause death or undo it. There is a third force that can't be messed with...time or history.
They mention this in once upon a time, instead the three rules being, bringing back the dead, making anyone fall in love, or going back in time. They also mention it in Avengers: Endgame, going back in time doesn't change the past or how would you have gone back in time in the first place. Time(History) is final.
There was an episode of Aladdin where a villain went back in time in an attempt to change things, but all the heroes kept their memories in tact long enough for Genie to take them back in time in an attempt to stop him. It's debatable how canon the show is. Of course, time travel and changing history on a whim are two different things.
Back to the question, in order for Genie to make Aladdin a prince, he'd have to change his entire family history which would involve going back in time and making sure his family ancestry becomes noble. We'd have an entirely different movie. If Aladdin was just shunted into a new reality where he's a prince, the character there would be completely different, Aladdin would be an imposter in his other dimensional self's body. If he didn't keep his memories, he'd have no reason to go after a genie lamp and probably wouldn't make his other two wishes. Jasmine probably wouldn't be interested in him in this dimension of reality.
Aladdin has a history of being born poor and the memories to go with that. He can't change what Aladdin went through, you might argue he can't alter the mind, but he can undo hypnosis in the show. Also, if he suddenly made Aladdin of royal blood, Aladdin would get a bunch of new memories or we get the new reality imposter situation. It would make much more sense if the genie couldn't influence what has already happened without going back in time himself and working out circumstances that allow Aladdin's ancestors to become nobility, and the potential fallout might mean Jasmine might not become a princess and it would be a long loop of both of them wishing to be nobility and going back in time to influence things. It would probably be safer to not mess with that.
Genie most probably can only affect the present foward, like if you wish for wishes or immortality or something, except for love and death. So Aladdin would have to just become a prince. He could become a prince in name only, but he wouldn't get with Jasmine. Genie could make a kingdom for him appear from nowhere, but would have no connections and no standing with other kingdoms as of yet, thus still probably wouldn't be allowed to be with Jasmine. He could suddenly be adopted by some nobility, but then they would have control of his destiny.
The easier thing to do in this situation is to make Aladdin seem like a prince, especially a very popular and well connected one. Of course, if that's what Genie wanted to do, why convince Aladdin to tell the truth about his history and who he is; maybe it's because it's all Genie could do for him. Aladdin also made it clear he wanted to be with Jasmine, and Genie can't grant that wish with magic, he still wants to fulfill it for him. The guise was just to get Aladdin through sultan's door, but Genie probably advocates that love should be true.
"I can help you get through the door, but if you really want to be with this girl, don't start your relationship with lies."
Just imagine how that conversation would go:
"Can you make me a prince?"
"Let's see, I can make you a prince of nothing, I can make you a prince nobody knows about, I can make a king and queen adopt you...you want to be adopted?"
"I don't want to be adopted by some strangers. Can't you just...change my lineage?"
"That's history you want me to move around, I can't go messing with time like that. That'll have too much fallout and consequences that you won't like and I won't be able to clean up. You could end up not existing, or that princess you like won't exist or many other catastrophic things."
"Well, I don't want that. Can you make it seem like I'm a wealthy, and well known prince?"
"Oh that's easy, that's just lying. Well if that's what you want, you know the magic words..."
If the characters could break through the fourth wall and say one thing to the player, what do you think they would say? (ㆁωㆁ)
That would actually be interesting. Here are a few ideas of what they might say based on what they know about MC so far (remember, Jester, Ticket Taker, and Doctor don’t know much about MC yet)
Pierrot: I knew I would find my way to you eventually, my dear. There is only a screen separating us now, and I will find a way to cross it.
Harlequin: Oh, so you have been playing with us this entire time? Just wait until I get to play with you in person~
Ticket Taker: So that is how it was… how you always seemed to know everything. I believe I could grow rather fond of such a mechanism.
Jester: So you truly do live in another world. Your reality gives me power… and it will be quite entertaining once I finally arrive there.
Doctor: So this is where you were hiding, sweetie? Once I cross that screen, I would very much like to study the changes your body undergoes within your reality.
A bit of context: this comic takes place quite a long time ago. They were younger and still figuring out how to make things work in the circus. The first version of their outfits wasn’t comfortable, since their bodies are different, which led to the redesign and custom-made clothes for all of them after this incident.
Besides the outfit changes, you’ll also get a small spoiler about Pierrot’s rule!
Also! Thank you @destinysquared for helping me correct some poses and adjust a few things in the comic!
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Rayla: I will never be allowed back in. No matter how much I might want to. I can't tell Runaan that. I can't ruin Ethari's life any longer.
Callum: Rayla...
Rayla: Don't start. You know what I've done. I failed them all...
Callum: Oh, come on! I'm sure if we just go, Runaan will fight for you. So will Ethari.
Rayla: ...Ethari helped with it. I don't blame him a single bit.
Callum: You don't deserve this! You deserve to have your family, y-you deserve to be happy, and you deserve more than what you were given! It's not fair.
Rayla: Hey... Listen to me. I don't know what I may or may not deserve. But... they don't deserve to suffer over my choices.
Rayla: I can't make them go through my mistakes.
Callum: Are you sure?
Rayla: Yes. I made up my mind. It's for the best.
Callum: You lost too much, all your parents... you deserve to be happy.
Rayla: Hey, there's one thing I still got. It's you. And I love you, with all my heart.
Callum: I love you too.
Rayla: Although I lost my home long ago. With you, I'm always home, Callum.
Some people are baffled as to how characters could be yanderes if they are not romantic in nature. Yanderes are describing any relationship, not just the romantic ones. Love comes in many forms, so let's look at some platonic yanderes, and how platonic yanderes differ from romantic ones.
First:
The Difference between Romantic and Platonic:
Brass tracks say it's simply a difference of love type: Eros vs Philia.
Philia is the love between friends and siblings, a companionship. Eros is the desire for a deep connection, that can get very intimate. It's companionship plus some. As an Asexual, the difference between my philia relationships and eros relationship is slight (very similar). What I do with my boyfriend is stuff I don't do with my friends: cuddle (I don't cuddle my sister often), kiss on the mouth, and hand-holding (I only do that with my sister and him, all my other friends no).
Of course, when it comes to Yanderes, what drives them crazy over these types of relationships? What drives a romantic Yandere?
A Romantic Yandere believes a person they meet is their soulmate, someone who can complete them, or otherwise soothe their loneliness.
It's rare that someone feels this way towards someone just wanting to be their friend, so most likely a Yandere based on Philia already had a relationship with the person. They were/are friends, or are siblings. This person was/is very kind to them, or is a constant in their life that they are used to. They don't want to lose that, or they want to get that back.
TLDR: Romantic Yanderes are seeking completion to end their loneliness, and Platonic Yanderes do not want to lose a constant comforting presence in their life.
Now let's look at some examples of platonic Yanderes:
The first example I can think of when I think of platonic yanderes is the example of Emperor Belos from The Owl House towards his brother Caleb. Caleb raised Phillip (Belos) from a young age, always looking out for him. They became witch hunters together, and this lasted until Caleb fell in love with a witch, leaving his brother for the magical world. Eventually Phillip in desperate search of his brother, found him starting a family with a witch. Disgusted his brother is not who he thought, he attacked them in a rage and ending up killing Caleb. Unable to live without him, he kept trying to clone him with the grimwalkers, but kept killing the clones when they weren't how he wanted them to be. This kept happening as Phillip was delusional and lost the truth of who his brother was.
Another example is All for One from My Hero Academia, towards his brother Yoichi. All for One wanted everyone's attention to be on him, and believed the world was his. His younger twin brother was, in his mind, the first thing he ever owned. He wanted his brother to be on his side, to join him, so he gave him a superpower against his consent (as his power allows him to transfer them). Of course, someone against All for one managed to rescue Yoichi from where All for One had him locked up. The fact his brother was fleeing from him enraged him so he killed Yoichi so he could harness the superpower from his dead body and absorb his conciousness so he could never leave again. When he found he couldn't and the power was already given away (as was Yoichi's true power), he is obsessed with reclaiming it, even raising someone who would have have the potential to reclaim it.
There's also Yuri from Spy x Family, towards his sister Yor. It's arguable if it's romantic or Platonic; seeing as he's okay with seeing her married off, I'm making it platonic. Yor is seven years older than him and they lost their parents at a young age, so she raised him. She was a constant in his life, and he noticed how much she put into raising him. From his flashbacks and his reaction to Yor ending up with Loid Forger, I can deduce he would only be okay with her being with someone else if he could be there for the entire process of them dating and falling in love so he could live vicariously through him because marrying your sister is societly frowned upon; since that didn't happen he hates Loid for taking Yor from him.
There's Tsukasa from Toilet Bound Hanako Kun, but that's an interesting case. He's obsessed with his brother, but is okay with him doing what he wants. He wants his Amane to end up with Nene, and is also okay with killing him or his brother killing him. He sees it as a game he's playing with Amane, a voilent game where they try to destroy each other. He wants to destroy the world, and Amane to be happy, but is okay with kissing Nene in front of him, and trying to rip her limbs off. He claims to love Amane, but doesn't really understand him. Since he's bonkers, and claims to love Amane, he counts as a platonic yandere. He's trying to play games with him as a way to have a connection with him.
There's Unknown/Ray in Mystic Messenger: Despite claiming ownership of us in the regular routes, he's not a romantic yandere of us until Another story where his route can be an option. He's okay with killing us more than once, and it's more to make someone else suffer. He's more a yandere for his saviour who he sees as a mother figure. Once his saviour no longer behaves how he believed her to be, he blames the character V for taking his saviour away and kills him in the secret ending. His saviour saved him from an abusive home and convinced him with brainwashing the kind people in his life hated him so that he would be devoted to her instead, that worked a little too well for her. He felt his saviour was abandoning him, and didn't want the saviour he knew to go away. He was afraid of the constant in his life leaving him.
There's Claudia in The Dragon Prince toward her father. She was willing to do dark and vile things in order to save his life and keep the people around her close. This is what her father taught her is nessecery to do for people you love. When he decides to leave she begs him and demands him to stay. This causes her to snap for a brief period, until she decides to ask her dad what she should do now. Without her dad, she latches onto the next possible candidate who is very similar who to her father was; hates Xadia, believes in the greater good, advocates dark magic and human's potential. She becomes obsessively devoted to him, even if it means destroying the world. She just wants someone in her life who will never leave her: first it was her father, then Aaravos replaced him as a father figure.
Lastly, the most recent addition, The Prototype from Poppy Playtime, towards his adoptive sister Poppy. He was turned into the Prototype shortly before Poppy turned into Poppy. He was a test run to see if it was possible. This made him believe his entire existence was tied with Poppy's. His adoptive father then told him that Poppy would love him and they could be a family together. This made him believe Poppy was the only one who would truly love him despite what he's become. Both him and Poppy were made to be a needless type of immortal, so he believed that even after eternity Poppy would still be there. Of course, Poppy chooses to go against him, which goes against his vision of them sharing eternity. So in an effort to control her he gets abusive. He's obsessed with making others that won't leave him, maybe also perfecting Poppy's immortality so she won't die. He's very cruel in his efforts of keeping her safe and in line, and disregards everybody else's well being.
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Let's look at the arcs of our two main characters in the two movies.
The theme of the first movie: It's important to try despite what's against you.
Judy's Philosophy: Anyone can be anything, and Zootopia is a place where everyone gets along.
Nick's philosophy: We are what we are, and nothing can change that.
Judy first believes that if she tries her best nothing can go wrong, she can achieve her dreams if she just tries. Yet she wants to believe she's above everyone else because she is willing to try and so she's willing to look past everyone's bias. Since she believes that anyone can be anything, she believes since she believes that, that she's doesn't have a bias towards anyone. She wants to make the world a better place but doesn't see the faults within herself.
Nick first believes since no one will cut him any slack there's no point in him trying to be honest. Since people laughed at him crying about the unfair way he's being treated, he chose to close himself off and deflect the harshness of the world back at others.
As a therapist pointed out in Cinema Therapy (Channel on Youtube, Episode: Optimism vs Cynicism in Zootopia), Nick and Judy are both right, but also both wrong. Judy is right in that it's important to try if you desire it as that's the only way to acheive it, and Nick is right that there will always be bias and obstacles. Judy is wrong in thinking that being her best self means she doesn't need to improve or take in mind people's bias. Nick is wrong in thinking there is no point in even trying or being the best self you can be. Nick is aware of the world's darkness, and Judy is aware of the world's hope. The light and dark need to balance each other out.
Throughout the first movie, at first Nick laughs at her naivete and how much she tries to be a cop thinking it's going to blow up in her face. Judy at first thinks that Nick is a no good scumbag and a jerk who didn't even try to be better. Midway through the movie, Nick finds Judy to be impressive at how she can handle big threats and be a hero, showing she does have what it takes but no one cuts her any slack either. So he sticks up for her. Judy then learns throughout the movie whilst Nick is cunning and sly, he's resourceful. Also, he did try to be better once, and it blew up in his face, thus making him what he is.
They both realize the other's merit, as well as the reasoning behind their philosophy. Nick actually starts to think there could be more for him than how people see him, until Judy opens her mouth at the press conference. That's when he realizes his philosophy again, people will see you how they see you, even the supposed people who like you. Talking with Judy after just proves his point that she has a bias against him, she's scared of him and doesn't trust him. Nick is sick of that treatment and refuses to associate with her after that.
That opens up Judy's eyes of what she did and how what she said innocently was still hurtful, that despite her self boasting, she does have a bias. Everyone is then easily swayed by what she said, and it makes things worse for everyone. Judy realizes in proving a bunny could do more, she also proved that predators are less. She proved she can be anything, bunnies could be anything, but she didn't do the same for preadators. She sees her actions have consequences and people's bias are complicated and won't go away so easy. She proved Nick right, bias doesn't go away no matter what you do, and she is just like everyone else.
Later, Judy apologizes to Nick (espeically after Judy realized 1.a bunny could go savage and is thus just like a predator, 2. The flowers affect everyone and the predator's biology has nothing to do with them going crazy.) She admits Nick was right and that she is very naive and unthoughtful ("Dumb Bunny"), and doesn't mind if he hates her for it, but she really needs his help because she's come to rely on him. Nick does forgive her, because she is naive and she admits it, but also hopeful, and he's come to admire that part of her.
At the end of the movie, Judy accepts the world is complicated and messy like Nick said, but you should still try to be better and make the world better. Nick meanwhile, has opened himself up slightly, and has accepted he could do good, especially if he's with Judy.
Now for Zootopia 2: Spoilers!!
This movie has also focused on their philosophies.
Judy's Philosophy: In order to be taken seriously by everyone you need to prove yourself to them, and the world can only be better if you're willing to risk it to do the right thing.
Nick's Philosophy: People are going to judge you and as long as you're okay with yourself you don't need to prove yourself to anyone, and if you care about someone you would do anything to protect them, even if it goes against their beliefs and desires. The world is as it is you're not always going to succeed or change anything.
Again, they are both wrong and both right.
Judy is right in that in order for things to get better you have to be couragous in trying to change things. Nick is right in that you don't have to prove yourself as long as you're okay with yourself. Of course, it seems Judy tries too hard and Nick doesn't take anything seriously. Nick has flippant "you can't win'em all" attitude, and Judy has a "bunny hero complex," to the extent she overrides his "can't win'em all" attitude a lot. She's like: "We're doing this," and he's like: "Let's not stress over it."
Of course, they are there for each other. Judy does not think they need consuling, despite her overriding him in the session, and tries to defend him from bullies. Nick always supports her in her endeavers even when he suggests against it, and defends her from bullies as well.
Judy and Nick are both wrong in their philosophies. Judy is wrong in trying to risk her life and career all the time to change the world, and Nick is wrong in going against her beliefs and desires, as least as he as he worded it. He's mostly wrong in how being a hero won't change anything.
Nick tells her at one point, being a hero won't change the world and the case they're on isn't worth dying for. Judy thinks he's being a coward in this instance who doesn't care about what she wants or helping others.
Nick admits to Nibbles that his words came out wrong and what he meant was: while he does care about helping others, he doesn't want to lose Judy in the process. He wasn't being a coward, he's just scared for her and wants to protect her.
When they reunite, they admit their faults. Nick admits he's not great with words, and he still retains the deflecting part of his personality from the first movie as he's afraid of getting hurt. Judy admits she has been railroading him and not taking his thoughts into consideration because she wants to prove herself, which she implies she doesn't need to do but wants to do. She's risking herself too much and she needs to work on it.
After the confession, Nick is reinvigorated of going after the Lynxlys with Judy because they both just survived death together. He has opened himself to taking risks, as long as he's with Judy and they can protect each other. Judy has accepted that they may not matter to everyone, but they matter for what's most important.
Sidebar: In my opinion, the first movie's main focus was on Judy's growth, her overcoming her bias and naivte. She has the ending monolouge for that movie.
The second movie is more focused on Nick's growth, he overcomes his bias, and some of his insecurities. He has the ending monolouge of the movie.
Some more details that prove this are sprinkled throughout the second movie:
In the first movie we're introduced to Judy's place, in this movie we're introduced to Nick's place.
The First movie started with Judy putting on a performance, the second movie started with Nick putting on a performance (He was the main seller of that whole undercover charade).
The directors said they were trying to make Nick uncomfortable in this movie like Judy was in the first movie. There's even a scene that mirrors the naturalist club with the reptile speakeasy. Judy recruits someone who Nick is uncomfortable with at first like how Judy was frustrated with Flash, Nick is annoyed with Nibbles.
Like how Judy saved Nick from Manchas, Nick saved Judy from the Red Line.
Nick and Judy have a falling out again, this time instead of Nick being offended at what Judy said and leaving her, Judy is offended at what Nick said and leaves him.
First movie: Nick is attempted to be given a substance that would kill Judy. Second Movie: Judy is given a substance and then they try to Nick.
Finally: Nick overcomes the bias he has in the first movie. Even off screen in the second he calls her a dumb bunny jokingly. While Judy no longer has any bias against Nick, at the end he finally says "She's not a dumb bunny." Moreover, in the end of the first movie he's still partially closed off, the end credits showing him dancing only after Judy pressures him. In the end of this movie he's dancing from the begining of his scenes of the credits, showing he's opening up more. Teasers of the first movie show him roll his eyes when Judy glomps into his selfies, and the end of the second movie show him smiling widely when she jumps on him for a selfie, which is more evidence of his opening up.
{EDIT}: In the first movie, Judy admits she loves him at the end, and at the end of the second Nick tells Judy he loves her.
(Edit): In the first movie he jokes that Judy is a bad driver at the end, and in the climax of the second Judy says thar Nick is a horrible driver.
Overall, in the first movie, whilst they both realized where they wrong in their philosophies, Judy had the most growth in recognizing bias and overcoming it. In the second movie, they both realized they were wrong in their philosophies, but Nick had more growth in overcoming his bias and fear over Judy and his own emotions.
Judy's ending monolouge in the first: Change starts with you.
Nick's ending monolouge in the second: Our differences may bring us closer together than you think.
I mentioned in another post that Nick could probably be considered a threat to Pawbert because of his ability of deduction, but I also noticed he's not much of a sleuth in these movies.
Let's start from the begining:
After the first hustle, he very accurately reads Judy like a book. Yet he ends it kind of cynically, so it's kind of overlooked. You can also argue that his deduction is from years of cynical experience.
Every interaction after that is him trolling and insulting Judy in an attempts to get her to leave him alone as well crush her as that makes her feel better about herself. As a deleted dialouge once said, "He doesn't want her to prove she can be more because it will prove he can be more and he's scared."
His next sluething instance of course is the limo, he's more joking around until he puts together whose car it is. You can argue it's because he knew the guy personally.
The most he helps with Judy's case: he takes her to naturalist club, gets her someone who can run a plate, and gives her probable cause for entering a closed parking lot. After Mr. Big, Judy's just keeping him around in case she needs him for something. At the same time, he's impressed she's gotten that far.
With Manchas, he knows what to say to get Manchas to let them talk to him, and in a deleted segment he's looking around his mail, also in a jokingly manner. Then Manchas goes crazy, and he corrects Judy on the street name. He refuses to abandon Judy when they are cornered by him and Judy saves his life a couple times. When the police show up, she counts him as an important witness, which is validating to him. Now he's sticking around with Judy because he likes her and he sees himself in her with her struggles.
His next sleuthing instance is where he realizes the traffic cams probably caught what happened to Manchas, and then when investigating the footage, he knows where the howlers would have gone.
In the asylum, he is keeping his eyes open, the first to notice claw marks but not to notice the predators.
Later after the interview, it's revealed he could read her as more than a naive bunny in their first meeting, he knew she had bias against foxes. He deduced that she secretly believed he could attack her out of nowhere, that deep down she was afraid of him.
The next sleuthing instance isn't till far later. Judy just wants him around as she feels comfortable solving cases with him by her side. He deduces at the same time as her that Bellweather is the mastermind probably spearheaded by Judy's deduction. Then you can argue he came up with the plan to pretend to go savage in case they couldn't escape because Judy wanted him to leave him behind and he told her they would find another way. In that case, he knew how to get Bellweather to talk.
So from the first movie we find he's perceptive, has connections, and knew how a criminal mind would think, not to mention he has a charisma about him when it comes taking on other personas, getting people to play his hand. Judy is the one finding clues and piecing them together and he's the one handling and reading people. Not much of sleuth, just a motive reader.
Now onto to Movie 2: spoilers...
In their partnership, Nick was the actor, playing a role so Judy can do her job. He knew they were on thin ice with the chief, and was content on standing back like he wanted as a means to stay with Judy. He knew what would make him mad and is used to people not respecting him. Yet, when Judy needs him he comes calling, even if he doesn't agree.
In this movie he's less of a troll, and more of a jokester. When investigating the van, he's not. When Judy finds an open door, he is correct to say that anyone could have left it open, but incorrect in the fact it had nothing to do with the snake (Pawbert probably left it open).
In the Gala, he helps Judy blend in so they don't get spotted and helps her get into the area to investigate the journal by reading the room and knowing exactly who could get them in. Later he finds the scales and realizes Judy was right, but to be fair it was very obvious. He follows that trail correctly to find the snake, so I'll give him that.
Again, next he realizes at the same time as Judy that the Lynxlys are horrible people and the snakes are being framed. Also again, it was pretty obvious.
This movie went out of it's way to make Nick uncomfortable. He doesn't know the area and can't charisma his way around people like usual. Afraid of heights and water, he is very uncomfortable, just being dragged along for the most of it. Not sleuthing, just convincing Judy to leave.
His major sluething of this movie doesn't happen until the climax, where he realizes that the Lynx Judy was travelling with did something to her. You could say it was obvious when he pulled out the weapon, but someone dimmer might think he mistakingly thought Nick was someone untrustworthy or something. When Pawbert pulled out the weapon, he could immediately put together Judy was betrayed by the lynx and was probably in danger at that moment. Pawbert lies and says Judy is dead, which Nick believes until Gary says she's still alive. For some reason Nick fights for his life until then, probably because basic fox instinct, also didn't want him to win.
Once he finds out Judy is alive and safe, he is reinvigorated in solving the case, probably because he's just really happy she's alive, also he wants to screw over the Lynxlys for putting them through that. Judy kinda gave him a quick run down of what was going on and he quickly accepted Gary as a friend.
In the end, he's just helping to chase down Pawbert. He plows down a maze, jumps into him with Judy and trips him, also handing nibbles a log to beat him up, but other than that Judy and Gary are doing most of the fighting and wrangling. He's just willing to be there for her.
So not much sleuthing from Nick in this movie, not even much reading people. He makes a big deduction after Pawbert betrayed Judy by reading Pawbert, but that's it. I feel like in this sequel, Nick is taking a more active role in their partnership, actually risking himself couragously (in the water and in heights), and actually fighting a bit. Before, he just was there for Judy, in a disgruntled passive way. Now he's there for Judy in an active enthusiastic way. He becomes willing to fight for what he believes in, which is Judy, and that is probably what Pawbert found so dangerous.
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