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hephaestuscrew · 9 months

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"Minkowski's been talking about Sondheim again…": Minkowski's love of musical theatre and what it reveals about her characterisation and her relationships

TL;DR: Renée Minkowski's love of musicals, while it might seem just like a mundane character detail, is used to give depth to her character because it contrasts with expectations of her from both the listening audience and the other characters. Her willingness or unwillingness to share this interest in different circumstances reveals her relationships with other characters at various points. Since this is a long one, if you'd rather read it as a document, you can view it here: Google Doc version.

"She actually really cares about these talent shows": Episode 8 (Box 953)

In the early episodes of Season 1, Minkowski is presented (largely through Eiffel's unreliable perspective) purely as a strict no-nonsense authority figure without much emotional depth, the kind of person who only likes things that are useful, purposeful, or mandated by Command. In contrast, musical theatre is a creative pursuit that has nothing to do with the mission of the Hephaestus and is viewed by many people as fairly frivolous or silly. The gradual exploration of Minkowski's passion for musicals is one of the many ways that the show expands and challenges our understanding of her as a character.

The first indication that we get of her interest in musicals is through her entry into the infamous talent show, something that is required as part of the mission. Minkowski really cares about 'crew morale' activities in general, even when they actually have a negative effect on morale and even before she's friends with any of her crew (for example, the Christmas and Thanksgiving dinners in the earlier stage of the mission), perhaps partly because doing things in the "right way" is important to her.

But Eiffel senses that the talent shows aren't just about rules for her: "it’s bad enough when she makes us do something just because it’s military protocol, but I think that she actually really cares about these talent shows". This might be the first indication that we get of Minkowski caring deeply about anything that isn't inherently part of her role as a Commander. Moments like this are part of the gradual process of giving us insight into her character beyond the Commander archetype that she tries to embody. And yet, she only indulges her theatrical passion because something mandatory gives her permission, or an excuse, to let another part of herself out.

Of course, to satisfy the needs of a talent show, she'd only need to provide a performance of a few minutes. But Eiffel mentions "the second act of the play" - which along with Hera's comment that "Isabel isn't the biggest role in the play" - implies that Minkowski was intending to put on the whole of Pirates of Penzance as her talent show act, rather than a few of the songs or some kind of medley. (I suppose that Eiffel could be exaggerating or Minkowski might have been planning to do extracts from different parts of the play, but I prefer the interpretation in which Minkowski gets to be more ridiculous.)

Even though no one else would be willing to be in her production of Pirates of Penzance, Minkowski casts Hera as Isabel, a role with two lines and no solo singing. I found some audition notes for this play which said "The traditional staging gives [Isabel] more prominence than the solo opportunities of the part suggest, so she must be a good actress" which does make me sad in relation to Hera's inability to have a more significant role by being physically present on stage.

It’s sweet that Hera still wants to take part though. She tells Eiffel "Pirates of Penzance is a classic of 19th century comic opera", so either she’s absorbed what Minkowski has told her about the show, or she’s done her own research and formed her own opinions. I enjoy the fact that Hera is the one Hephaestus crew member who shows potential to share Minkowski's musical theatre appreciation; I like to think that this is something they could explore together post-canon.

Anyway, I'm obsessed with the idea that Minkowski was planning to play every character except one in Pirates of Penzance, a show which is designed to have 10 principal characters and a chorus of 14 men. It seems that her contribution to the talent show was supposed to be an entire two-hour two-act musical, with costumes and props, in which she would play almost all of the parts. This is very funny to me as the perhaps predictable consequence of giving an ambitious and frustrated grown-up theatre kid a position of authority and asking them to arrange a talent show. Minkowski knows that the audience will be made up of her subordinates who are theoretically obliged by the chain of command to watch and listen, so she absolutely tries to make the most of that opportunity. There's probably also a degree to which she limits other people's involvement in her musical because - as with her other endeavors - she wants the outcome to be almost entirely within her control (something that is usually pretty much impossible in as collaborative a medium as musical theatre).

Of course, Minkowski's behaviour in most of the talent show episode is affected by her being drugged by Hilbert. This creates an exaggerated situation which is the first real opportunity for Minkowski to be something other than the strict sensible authoritarian Commander and the foil to Eiffel's jokey laid-back attitude. I don't agree with ideas that being intoxicated brings out anyone's true self (especially in the absence of consent for the intoxication), but it seems pretty clear that being under the influence of whatever was in Hilbert's concoction caused Minkowski to fully commit to a level of manic enthusiasm for her musical production that might have otherwise been obscured by her professionalism. It's a particular kind of person who belts showtunes when drunk, and Minkowski is that kind of person, even if that's not how she wants to present herself. (As a sidenote, I seem to remember that they took Emma Sherr-Ziarko's script off her to help her sound more drunk. It's an excellent performance.)

Minkowski wants interval ice cream. She wants "pirate costumes" (and she'll threaten to shoot a man to get them). She wants "swashes and buckles". She wants whatever props she can get her hands on (including a real cannon). This show is important to her, even though only three other people will witness it and two of them actively don't want to be there. It’s important to her for its own sake.

Eiffel says Minkowski wants "a second pair of eyes to tell her if the prop sabre for her Major-General costume was a bit much…" While I certainly wouldn't put it past Goddard Futuristics to have a prop sabre on the station for no apparent reason, it feels more likely that she might have made it or adapted some existing item. Which suggests that maybe she was that passionate about the props even before Hilbert drugged her.

Even so, it does feel significant that Minkowski's love of musicals is only revealed in the episode in which she is drugged, exhibiting lowered inhibitions, exaggerated behaviour, and an "impaired euphoric effect". Her love of musical theatre is initially revealed through a professional structure that provides permission, and then further emphasised by a forced intoxication that exaggerates some impulses that perhaps she already had.

"Some hobbies other than making trains run on time": Episode 17 (Bach to the Future)

After Eiffel tells to find Minkowski to find something else to do while her work duties have quietened down, they have the following exchange:

EIFFEL: You must have some hobbies other than making trains run on time. Something to do with friends? Boyfriends? MINKOWSKI: Of course I do, but, well, there aren't really a lot of opportunities for rock climbing or trail hiking in the immediate vicinity.

Even though this quote doesn't mention musicals, I've included it here for two reasons. Firstly, it's very funny to me that, even after the talent show debacle, Eiffel acts like he's never had any evidence of Minkowski's hobbies. She tried to perform a whole play almost single-handedly and it didn't occur to him that this might indicate an interest of hers outside of work. I think this reflects the fairly two-dimensional view that Eiffel has previously had of Minkowski, which her interest in musical theatre didn't fit into.

Secondly, it feels notable that Minkowski doesn't mention musical theatre here. She wants to show that she has non-work interests, but without undermining her own authoritative image. Her interest in rock climbing and trail hiking - while it may be genuine - fits with how she wants to be seen as a Commander. These are hobbies which portray her as physically capable, with a high degree of stamina and a willingness to adapt to perhaps less hospitable surroundings. Of course, Minkowski does have these traits and they serve her well on the Hephaestus. But there's not really anything particularly surprising about her expressing these interests. The surprise in this scene comes from the reveal that she has a husband, a character detail which - like her love of musicals - isn't something we'd necessarily expect from the archetype-based view of her we are initially presented with.

Her interest in rock climbing and trail hiking never come up again, because these details don't really deepen her characterisation (or at least, they aren't really used to deepen her characterisation beyond proving that she isn't entirely all-work-and-no-play). In contrast, Minkowski's love of musicals is brought up over and over because it shows another side of her that she struggles to reveal on the Hephaestus, and that allows more interesting things to be done with her characterisation.

"You wanted to write showtunes": Episode 35 (Need to Know)

Alongside the more high stakes discoveries prompted by the leak from Kepler's files, we also learn that Minkowski applied to - and was rejected from - the Tisch Graduate Musical Theater Writing Program.

Up until this point, we've only had evidence that Minkowski enjoys performing in musicals. But here we learn that Minkowski doesn't just love watching or performing in musicals - she wanted to write them too. This suggests a creative side to her that we never see her fully express.

The course

The Tisch Graduate Musical Theatre Writing Program claims to be the only course of its kind in the world and it accepts just 30 students each year. The current application process requires applicants to: upload play scripts or recordings of songs they've written; answer a large number of extended response questions about their creative process and views on musical theatre; write a 'statement of purpose' which has to talk about why they are applying and include 3 original ideas for musicals; provide a professional resume and a digital portfolio; complete an exercise of writing in response to a prompt; and undergo an interview. The process might have changed somewhat since Minkowski would have been applying (which, if it was soon after she finished college, might have been around the early 2000s) or it might be different in Wolf 359's alternate universe, but I think we can safely assume that applying to this course was a serious undertaking that required an intense amount of commitment and work.

Applying to a course like that isn't something you do half-heartedly or on a whim. You couldn't apply to this course if you hadn't done a fair amount of musical theatre writing already. (The course requires applicants to choose to apply as bookwriters, lyricists, or composers, but I'm not going to make a guess here as to which of these Minkowski went for.) The fact that Minkowski wanted to study this course suggests that she was seriously considering trying to make a career out of musical theatre writing. In Once In A Lifetime, she tells Cutter that commanding a space station has always been her dream job, but we've got evidence here that it wasn't her only dream job. There's something kind of funny and kind of sad about the idea that writing musicals was her back-up / fall-back career path. She does not like to make life easy for herself.

The revelation

This information is revealed against Minkowski's will. It's not something she wanted people to find out, and she isn't happy about them knowing:

JACOBI: "Dear Renée, thank you for your interest in the Tisch Graduate Musical Theater Writing Program..." MINKOWSKI: Oh, come on! JACOBI: (pressing on) "We are sorry to say, we will not be able to offer you a spot in this year's blah blah blah." Oh this is too good. You wanted to write showtunes? MINKOWSKI: Number one? Shut up. Number two, why are my personal records on there?! [...] How is it in any way relevant?! JACOBI: Oh, I think it's very relevant. I mean, if you're sending someone to pilot ships in deep space, you want to make sure that they can, you know... paint with all the colors of the wind. Jacobi CRACKS UP - and, although to a lesser degree, so does Lovelace. Minkowski looks at her: really? LOVELACE: Sorry, Minkowski. It's... it's a little funny. MINKOWKSI: No, it isn't!

Minkowski seems defensive and embarrassed here. She obviously doesn't trust everyone there with this revelation (Jacobi, Maxwell, Lovelace, and Hera are all present). She considers this information to be "personal" and irrelevant and not even "a little funny". She's used to reactions like Jacobi's (and to a lesser extent Lovelace's); in Ep41 Memoria, she says "most people think it's hilarious that I like musicals" (see below for more thoughts about this quote). But the fact that these mocking reactions are expected doesn't mean that they don't bother her. She wants so badly to be taken seriously and, in this scene, her interest in musical theatre seems to be incompatible with that. Jacobi reacts the way that he does because of the idea that I've already expressed, that a passion for musical theatre does not fit with the serious authoritative image that Minkowski has often presented. It's not the typical hobby of a soldier, especially not a Commander.

To me, the way Lovelace laughs suggests that she might not have previously known about Minkowski's love of musicals, or at least perhaps not the full extent of it. At any rate, it's definitely news to Jacobi. And Minkowski clearly hasn't talked about it enough for it not to feel like a big reveal for her.

The rejection

It's notable that this reveal is not just that she wanted to write for the stage, but also that she failed to get into a course that might have helped her work towards that goal. This of course compounds Minkowski's discomfort at having this information revealed. Not only did she want to write showtunes, but she encountered rejection in her attempts to do so. This detail implies that perhaps it wasn't just the appeal of her spacefaring dream that stopped her going down a theatrical career path.

I'm about to move more into headcanon territory rather than just straightforward analysis, but I personally believe that, while Minkowski auditioned for a lot of musicals (particularly as a child / young person), she was never cast as the main role. She seems embarrassed about her interest in musical theatre in a way that (at least judging by people I've encountered) people who were always the lead in their school / college productions don't tend to be.

We don't have much evidence about her actual level of singing/acting ability, given that she is inebriated during the only time we hear her sing in the podcast. However, it resonates with other aspects of her characterisation to imagine that Minkowski was generally good enough to get an ensemble part but never quite good enough to be cast as a main part. I think she might see only ever being cast as part of the ensemble, and failing to get into the Tisch Musical Theatre Writing programme, as slightly more down-to-earth examples of the same pattern as her repeated rejections from NASA. She is desperate to prove herself. She is "someone who very much wants to matter. To do something important." When she casts herself as almost every part in Pirates of Penzance, she is finally taking the opportunity to be a main character, an opportunity which I imagine had been denied to her over and over in both a literal and metaphorical sense.

"It's just from a play I saw once": Episode 41 (Memoria)

The next scene I want to talk about is from a memory of Hera's, which took place on Day 57 of the Hephaestus mission and in which Minkowski appears to be talking about the Stephen Sondheim musical Sunday in the Park with George:

MINKOWSKI: Oh, it's just from a play I saw once. It doesn't matter. (BEAT) The guy who sings it is this famous French painter. And his entire life is kinda falling apart. But he can always turn what's happening around him into these beautiful paintings. HERA: And? MINKOWSKI: And... That's, I don't know. Reassuring, maybe? (BEAT) I don't know why I'm going on about this. You don't care. HERA: I think it's interesting. MINKOWSKI: Yeah? Most people think it's hilarious that I like musicals. HERA: I don't see what's funny about it. MINKOWSKI: Well, thank you Hera, but you're not exactly... you know. HERA: I'm not... what?

There's a couple of different things I want to pick out from this exchange. Firstly, the line "Most people think it's hilarious that I like musicals" makes me sad. I don't think she's talking about people on the Hephaestus there. Judging by the quote I talked about from Bach to the Future, Eiffel definitely wouldn't have registered Minkowski's love of musicals at this stage, and I doubt Hilbert cares at all about the hobbies of his fellow crew members. So Minkowski is talking about experiences that she's had on Earth, of people mocking her interest in musicals and thinking it doesn't fit with who she is. You can hear the impact of those experiences in Minkowski's reluctance to elaborate, in the way she says that something she obviously cares about doesn't matter, in her assumption that Hera doesn't care.

Secondly, this scene is a complicated one for Minkowski and Hera's relationship. On the one hand, Minkowski freely talks to Hera about something she's passionate about, and Hera listens and expresses interest. Hera validates Minkowski's interest in musical theatre without making a thing of it being weird and Minkowski thanks her. Again, it’s shown as an interest they could could potentially share.

But on the other hand, it seems like part of the reason Minkowski feels able to open up to Hera is because at this point Minkowski doesn't see opening up to Hera as fully equivalent to opening up to a fellow human. She doesn't just accept Hera not making fun of her interest; instead it seems Minkowski is about to imply that this lack of judgment indicates Hera's difference from humans (although she does have the decency not to say it outright). Minkowski's expectation of judgment from others contributes to her saying something very hurtful to Hera here. (This kind of potential consequence of negative self-attitude is explored a lot with Eiffel, so it's interesting that Minkowski can sometimes have a similar issue.)

Minkowski and Hera's conversation is interrupted when:

The DOOR OPENS. EIFFEL: Hey, Minkowski, we've - What are you guys talking about? MINKOWSKI: We were just discussing how I'm going to take away your hot water privileges if you don't reset the long-range scan.

Eiffel can obviously tell that he's walked in on a conversation that is about something other than work, or he wouldn't have asked. But Minkowski actively chooses not to tell him that she was talking to Hera about musicals. Perhaps she doesn't know how to open up to a human subordinate about it. Perhaps she doesn't trust him not to make fun of her. Perhaps she just doesn't have any impulse to talk about her interests with him. Either way, if Minkowski's love of musicals is something which reflects a side of her personality outside of her Commander role, this is a moment where she chooses not to take an opportunity to share that side of herself with Eiffel. This reflects the emotional distance between them three months into the mission, which forms a nice contrast with the next couple of quotes I'm going to talk about.

"Composition. Balance. Harmony.": Episode 54 (The Watchtower)

When Eiffel comes directly face to face with alien life, he discovers that music is the human invention that fascinates the Dear Listeners:

EIFFEL: You haven't figured out music? BOB: ORDER. DESIGN. TENSION. COMPOSITION. BALANCE. HARMONY. EIFFEL: (low, to himself) Minkowski's been talking about Sondheim again…

I only learned in the course of writing this post that in this moment the Dear Listeners are almost exactly quoting a repeated phrase used throughout Sunday in the Park with George. The titular protagonist lists various combinations of these qualities in multiple songs in reference to his art. In the closing song, the lyrics are "Order. Design. Tension. Composition. Balance. Light. [...] Harmony." It's not only Eiffel's references that the Dear Listeners are incorporating into their speech - they've picked this one up from Minkowski. This also suggests that some element of her appreciation for musicals and the way she talks about them has fed into the Dear Listeners' understanding of the human phenomenon of music. The Dear Listeners aren't just parroting - they understood the quote enough that they left out the word "light", arguably the only quality in that phrase which isn't a big part of music as well as visual art. Eiffel likes music too, but I don't think that this is how he'd talk about his favourite songs.

This is a refrain about finding order and beauty out of the chaos and uncertainty of life, which was also the aspect of Sunday in the Park with George that Minkowski focused on when talking about it in Memoria. It suggests that art/music could be something governed by rules and principles, which is potentially something that appeals both to Minkowski and to the Dear Listeners.

Eiffel's response to this reference is one of those little hints that reminds us that Eiffel and Minkowski have spent a lot of time together and that not all of that time has involved them being at each others' throats or actively in a life-or-death situation. Some of it has just been Minkowski going on about a musical she loves and Eiffel (willingly or not) paying enough attention that he recognises this phrase as a Sondheim quote that Minkowski has talked about. I suppose that this quote might have been in Eiffel's pop-culture-brain anyway, but judging from Eiffel's general tastes and the fact that I don't think Sunday in the Park with George is one of the more commonly known Sondheim musicals among non-musical fans, it seems more likely that this quote is something he only knows because Minkowski has talked about it.

Eiffel sounds exasperated at the mention, like he's heard Minkowski talk about Sondheim far too much. But I'd argue that this still says something positive about their relationship, when we contrast it with a couple of other moments I've already mentioned. Firstly, when her previous musical theatre ambitions are revealed to Jacobi, Maxwell, and Lovelace in Need to Know, Minkowski seems embarrassed and defensive. Secondly, in the memory from Memoria, she avoids telling Eiffel that she was talking about this same musical. Yet, by the time The Watchtower takes place, Eiffel is sick of hearing Minkowski talk about Sondheim. She doesn't have the same barriers up in sharing her interests with him, even though he doesn't have the same interests. I think this is a demonstration of how comfortable she feels with him. It's a hint at the kind of easy downtime that they've sometimes shared.

"One day more": Episode 61 (Brave New World)

Eiffel recognises another musical reference of Minkowski’s in the finale. As the crew are preparing for their final confrontation with Cutter and co., Minkowski quotes Les Misérables, mostly to herself - but Eiffel recognises the lyrics and joins in:

EIFFEL: Hey - chin up, soldier. We're almost through. Just one more day, and then we're done. MINKOWSKI: Yeah, one more day. (more to herself) The time is now, the place is here - one day more. EIFFEL: - one day more. They both stop, dead in their tracks. MINKOWSKI: Did you just - ? EIFFEL: Was that what I - ? They look at each other: No way. And BURST INTO LAUGHTER. EIFFEL: Man... this is really it, huh? The end of everything.

It feels really important that Minkowski and Eiffel share this moment of togetherness before she tries to send him back to Earth and before the rest of the action goes down. I think there’s some nice symbolism about them finding a way to communicate that they both understand. Making references is Eiffel's thing, and musicals are Minkowski's thing, so this is a synthesis of their two approaches. Again, there's a contrast with Minkowski's previous unwillingness to share her musical theatre passions with Eiffel (at least without the mitigating circumstances of a mandatory talent show and some kind of intoxicating substance).

I talked about the significance of the fact that they reference this particular musical in this post from ages ago. I don't think it's too much of a spoiler for Les Misérables to say that the revolution that the song One Day More is building up to does not end well for the revolutionaries. When Eiffel says "Just one more day, and then we're done", it encompasses both the possibility that the crew will escape to travel back to Earth and the possibility that they will all die. Minkowski's reference to a famously tragic musical suggests that it's the latter possibility that's at the forefront of her mind (right before she tries to send Eiffel away from the danger). But Les Misérables is also a story about people standing together in solidarity against powerful oppressive forces, which gives particular resonance to the way that this reference brings Eiffel and Minkowski together in a moment of being completely on the same wavelength as they prepare to fight Cutter and Pryce's plan.

When they laugh here, it's not about the 'hilariousness' of Minkowski's interest in musicals, it's about their unexpected unison - Eiffel's recognition of Minkowski's reference and Minkowski's surprise at the fact he joined in. It's a laugh of togetherness, of shared understanding, of friendship. It's a moment of lightness in dark times. And that moment is provided by Minkowski's pop culture interests, not Eiffel's. In spite of all they've been through, she's not lost that part of herself, and in fact, she's more open about it, at least to Eiffel.

I'll finish by highlighting what Eiffel says when he's trying to get into character to impersonate Minkowski so he can turn the Sol around:

EIFFEL: Umm... yes, this is Lieutenant Commander Renée Minkowski. I'm... uh... well I sure love schedules, and, uh, musicals. And that man, who I married…

I just think this is a nice example of Eiffel not defining Minkowski solely by her professional Commander role. Sure, she likes schedules (probably in a personal as well a professional capacity to be fair), but she also loves musicals, and her husband. It is a fairly reductive overview of her as a person, but it feels reductive in a fond way, like these things are part of Minkowski's brand to Eiffel in a way that he might affectionately tease her about. (Credit to @commsroom for this thought.) His view of Minkowski has come a long way from "our resident Statsi agent" or even just "you must have some hobbies other than making trains run on time." He doesn't see any contradiction or inherent humour in Lieutenant Commander Renée Minkowski's appreciation of musicals.

Conclusion

Minkowski's love of musical theatre is used to deepen her characterisation and is one of the ways in which we gradually begin to see her complexity beyond the strict Commander archetype. The degree to which she is prepared to share this interest at various points is used to illustrate the nature of her relationships with other characters: a general unwillingness to show a less serious side of herself; a complicated potential shared interest with Hera; and the growing understanding between her and Eiffel.

If you read this whole thing, well done / thank you 😄 It wasn't meant to be this long - it just happened… Feel free to share your thoughts!

#It's Minkowski Essay Time again!#This is over 4700 words and still doesn't cover it all...#I hadn't quite realised there was so much to say!#Wolf 359 #w359 #If anyone is more familiar with 'Sunday in the Park with George' and has thoughts on why it might particularly appeal to Minkowski #I'd be interested to hear #I listened to the soundtrack and read the Wikipedia plot summary #but I don't think I really got it #My other significant bit of research was that #in order to see what applying to the Tisch Graduate Musical Theatre Writing Program involves #I had to create an account as if I was actually applying #which might be the oddest thing I've done for character analysis #If it interests anyone I could do a post with more detail about that application process #cos it looks insanely intense #Renée Minkowski #Renee Minkowski #the empty man posteth #I hope no one takes things I have said here as critical of musical theatre people btw #I'm just talking about general perceptions #In general I do enjoy musicals myself from an audience perspective

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zombie-bait · 3 months

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The Death of a Vampire

Lestat as a protagonist just works so incredibly well and a very significant aspect of that is him being Anne Rice's self-insert. Lived experience can be critical when it comes to writing a good story and many memorable novels will feature elements of that. Anne is built different, though. Lestat (book 2 onwards) is basically Anne's journal for dealing with her grievances and trauma, which, on its own, is a very questionable method of writing. More often than not, it causes him to be characterized inconsistently between books because Anne's own opinions have changed. But it also makes him so real.

You follow his struggles with religion, you see him yearn for forgiveness from a god that has seemingly abandoned him a long time ago and you feel it. The passage I will never get over is in the early chapters of The Vampire Lestat, when Lestat has a breakdown over his mother's (and frankly his own) mortality. He struggles and he cries and he can't get out of bed because there's nothing he can do. Eventually he starts to live again, forces himself to.

But.

"I wandered into the church and on my knees I leaned against the wall and I looked at the ancient statues and I felt the same gratitude looking at the finely carved fingers and the noses and the ears and the expressions on their faces and the deep folds in their garments, and I couldn’t stop myself from crying. At least we had these beautiful things, I said. Such goodness. But nothing natural seemed beautiful to me now! The very sight of a great tree standing alone in a field could make me tremble and cry out. Fill the orchard with music. And let me tell you a little secret. It never did pass, really."

I think about those last two sentences a lot. I think about them even more since Anne Rice passed away.

Every page of Interview is spent talking about death and yet (imo) it's only in TVL that you really feel it. Louis in book 1 welcomes death quite readily because, besides his toxic boyfriend and their traumatized daughter, he doesn't have much to live for. He's basically given up by the time Lestat appears. The greatest torture, to Louis, is the knowledge that he can live forever on the suffering of others.

But Lestat is the complete opposite. He wants to listen to music, to explore Paris, to perform on any stage that will take him, to embrace the man he loves and to send his ailing mother letters of his accomplishments. Death matters most to those who are desperate to live and god is he desperate. He's haunted by his mother's sickness, by the wolves on the mountain that threaten to end his life before he's even lived it, the witches place that reeks of meaningless suffering. And in a way, the dark gift provides opportunity to escape that. But it is still death. It takes away Nicki in a very literal way and takes away his mother in a more personal one. Magnus, like death, chose Lestat arbitrarily. He sees the cellar of blonde corpses and knows that he was only one of dozens to meet an untimely death with no explanation.

Lestat also really wants you to know that he is, truly, a good person. He must be. He swears to only hunt criminals and then goes back on that two pages later. He reshapes stories to present himself as the noble protagonist and the audience has no choice but to believe him. He wants, desperately, to be loved for all that he is, man and monster. He wants to be the hero.

He's this awful, fascinating, very human man so clearly born out of the internal struggle to find meaning and love in a cruel, unpredictable world we all tend to share. He's made up of incredibly basic and powerful human desires hidden behind a mask of bravado and I can't recalling seeing another protagonist like him.

(Quick mention: This isn't some kind of "wow Anne Rice is an incredible author who can do no wrong" piece. She's written a lot of fucked up and bad shit that cannot be easily brushed over. But I don't think I'll ever get over reading TVL for the first time. To read someone bare their soul in such a way creates a truly unique experience. A lot of characters in a lot of pieces of media face death, but it's rare to see a character face mortality in such a personal way.)

(Also odds are I've written similar posts to this before but shhhhh these sad gay vampires are all I have)

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viasplat · 1 year

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I typed up the Pentiment bibliography for my own use and thought I’d share it here too. In case anyone else is fixated enough on this game to embark on some light extra-curricular reading

I haven’t searched for every one of these books but a fair few can be found via one of the following: JSTOR / archive.org / pdfdrive.com / libgen + libgen.rocks; or respective websites for the journal articles.

List below the cut!

Beach, Alison I, Women as Scribes: Book Production and Monastic Reform in Twelfth-Century Bavaria. Cambridge University Press, 2004

Berger, Jutta Maria. Die Geschichte der Gastfreundschaft im hochmittelalterlichen Mönchtum die Cistercienser. Akademie Verlag GmbH, 1999

Blickle, Peter. The Revolution of 1525. Translated by Thomas A. Brady, Jr. and H.C. Erik Midelfort. The Johns Hopkins University Press, 1985

Brady, Thomas A., Jr. “Imperial Destinies: A New Biography of the Emperor Maximilian I.” The Journal of Modern History, vol.62, no.2, 1990. pp. 298-314

Brandl, Rainer. “Art or Craft? Art and the Artist in Medieval Nuremberg.” Gothic and Renaissance Art in Nuremberg 1300-2550. The Metropolitan Museum of Art, 1986

Byars, Jana L., “Prostitutes and Prostitution in Late Medieval Barcelona.” Masters Theses. Western Michigan University, 1997

Cashion, Debra Taylor. “The Art of Nikolaus Glockendon: Imitation and Originality in the Art of Renaissance Germany.” Journal of Historians of Netherlandish Art, vol.2, no.1-2, 2010

de Hamel, Christopher. A History of Illuminated Manuscripts. Phaidon Press Limited, 1986

Eco, Umberto. The Name of the Rose. Translated by William Weaver. Mariner Books, 2014

Eco, Umberto. Baudolino. Translated by William Weave. Boston, Mariner Books, 2003

Fournier, Jacques. “The Inquisition Records of Jacques Fournier.” Translated by Nancy P. Stork, San Jose University, 2020

Geary, Patrick. “Humiliation of Saints.” In Saints and their cults: studies in religious sociology, folklore, and history. Edited by Stephen Wilson. Cambridge University Press, 1985. pp. 123-140

Harrington, Joel F. The Faithful Executioner: Life and Death, Honor and Shame in the Turbulent Sixteenth Century. Farrar, Straus and Giroux, 2013

Hertzka, Gottfied and Wighard Strehlow. Große Hildegard-Apotheke. Christiana-Verlag, 2017

Hildegard von Bingen. Physica. Edited by Reiner Hildebrandt and Thomas Gloning. De Gruyter, 2010

Julian of Norwich. Revelations of Divine Love. Translated by Barry Windeatt. Oxford University Press, 2015

Karras, Ruth Mazo. Sexuality in Medieval Europe: Doing Unto Others. Routledge, 2017

Kerr, Julie. Monastic Hospitality: The Benedictines in England, c.1070-c.1250. Boydell Press, 2007

Kieckhefer, Richard. Forbidden rites: a necromancer's manual of the fifteenth century. Sutton, 1997

Kümin, Beat and B. Ann Tlusty. The World of the Tavern: Public Houses in Early Modern Europe. Routledge, 2017

Ilner, Thomas, et al. The Economy of Dürnberg-Bei-Hallein: an Iron Age Salt-mining Centre in the Austrian Alps. The Antiquaries Journal, vol. 83, 2003. pp. 123-194

Làng, Benedek. Unlocked Books: Manuscripts of Learned Magic in the Medieval Libraries of Central Europe. The Pennsylvania State University Press, 2008

Lindeman, Mary. Medicine and Society in Early Modern Europe. Cambridge University Press, 2010

Lowe, Kate. “'Representing' Africa: Ambassadors and Princes from Christian Africa to Renaissance Italy and Portugal, 1402-1608.” Transactions of the Royal Historical Society Sixth Series, vol. 17, pp. 101-128

Meyers, David. “Ritual, Confession, and Religion in Sixteenth-Century Germany.” Archiv für Reformationsgeschichte, vol. 89, 1998. pp. 125-143

Murat, Zuleika. “Wall paintings through the ages: the medieval period (Italy, twelfth to fifteenth century).” Archaeological and Anthropological Sciences, vol. 12, no. 191. Springer, October 2021. pp. 1-27

Overty, Joanne Filippone. “The Cost of Doing Scribal Business: Prices of Manuscript Books in England, 1300-1483.” Book History 11, 2008. pp. 1-32

Page, Sophie. Magic in the Cloister: Pious Motives, Illicit Interests and Occult Approaches to the Medieval Universe. The Pennsylvania State University Press, 2013

Park, Katharine. “The Criminal and the Saintly Body: Autopsy and Dissection in Renaissance Italy.” Renaissance Quarterly, vol. 47, no. 1, Spring 1994. pp. 1-33

Rebel, Hermann. Peasant Classes: The Bureaucratization of Property and Family Relations under Early Habsburg Absolutism, 1511-1636. Princeton University Press, 1983

Rublack, Ulinka. “Pregnancy, Childbirth, and the Female Body in Early Modern Germany.” Past & Present, vol. 150, no. 1, February 1996. pp. 84-110

Salvadore, Matteo. “The Ethiopian Age of Exploration: Prester John's Discovery of Europe, 1306-1458.” Journal of World History, vol. 21, no. 4, 2011. pp. 593 - 627

Sangster, Alan. “The Earliest Known Treatise on Double Entry Bookkeeping by Marino de Raphaeli”. The Accounting Historians Journal, vol. 42, no. 2, 2015. pp. 1-33.

Throop, Priscilla. Hildegard von Bingen's Physica: The Complete English Translation of Her Classic Work on Health and Healing. Healing Arts Press, 1998

Usher, Abbott Payson. “The Origins of Banking: The Primitive Bank of Deposit, 1200-1600.” The Economic History Review, vol. 4, no. 4, 1934. pp. 399-428

Waldman, Louis A. “Commissioning Art in Florence for Matthias Corvinus: The Painter and Agent Alexander Formoser and his Sons, Jacopo and Raffaello del Tedesco.” Italy and Hungary: Humanism and Art in the Early Renaissance. Edited by Péter Farbaky and Louis A. Waldman, Villa I Tatti, 2011. pp. 427-501

Wendt, Ulrich. Kultur und Jagd: ein Birschgang durch die Geschichte. G. Reimer, 1907

Whelan, Mark. “Taxes, Wagenburgs and a Nightingale: The Imperial Abbey of Ellwangen and the Hussite Wars, 1427-1435.” The Journal of Ecclesiastical History, vol. 72, no. 4, 2021, pp. 751-777.e

Wiesner-Hanks, Merry E. Women and Gender in Early Modern Europe. Cambridge University Press, 2008

Yardeni, Ada. The Book of Hebrew Script: History, Paleography, Script Styles, Calligraphy & Design. Tyndale House Publishers, 2010

#pentiment #Pentiment bibliography #some of these books give me strong first-year undergrad vibes #even just seeing ulinka rublack’s name gives me semi-traumatic flashbacks to cultural history seminars #would I cope better with it now that I don’t have to write essays each week on the topic?#¯\_ (ツ)_/¯#probs not tbh #also it probably would have been a lot faster if I could have pulled this list from game files somehow #but I do not know how to do that :)))#Anyway I hope this is of use to somebody at some point #I wish you all a very happy reading about the primitive deposit banking system everybody 😌

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rearranging-deck-chairs · 3 months

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the doctor isnt neurodivergent or autistic or adhd or nonbinary or genderqueer or asexual. what the doctor is, is Not From Here

#which necessarily of course says something abt their (non)whiteness #(i had all these words in quotation marks first so mentally add those to whiteness too)#but we've them be black for all of 1.5 episode now so #lets see how that develops you know #also i dont think i understand the politics of that part well enough to say much abt it #not that i probably understand the politics of these parts better but #im annoyed enough abt this Thing happening these years. in these 20s i guess. the 'representation' thing #to complain abt it anyway #the dsm isnt real and it isnt gonna fuck you buddy #maybe i'll read some books and then one day i'll write an essay driven by spite and pettiness #i wonder if i can make the thesis statement about the tension between their status of main character #in a 60 year running family adventure show vs this therapy thing we're doing now #like. you cant do that. in terms of like. what story is and does. what a character is and does. it strains #in an interesting way. like im not saying they Shouldnt have done it. im just observing. that you cant do that really. i think #or maybe you can! but i'll find that out #i also dont know shit abt narratology or whatever so. need to read books first. sigh #always have to pause my thoughts to read myself in first its so annoying. esp bc i rarely really do #bc then new thoughts new things to do you cant do EVERYTHING. you can do almost nothing. bane of my existence really #but like you might even be able to say smth interesting here about whether you can call them traumatised at all #remember that article i saw around on tumblr a few years ago i think that was abt like. some scholar in the middle east maybe #saying that ptsd is a western thing bc it necessitates a Post #all of this is western. psychiatry is western. its all stories. how you conceptualise trauma is a story #whos Other is story #where youre from is a story what you stand for is a story who you are is a story #ah. checked the article. dr samah jabr. palestinian. i'll start with her book maybe

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hollowtwilight · 1 year

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A small collection of Kakashi sketches to fill the void :3

#kakashi #kakashi hatake #naruto fanart #fanart sketch #sketch #My eyes literally burn so bad rn I'm so tired and I'm pulling an all nighter #I could write a 10 page essay about how this man is the peak character #His only character flaw is the books he reads and doing that is actually very ✧uncharacteristic✧ of him

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boyfridged · 19 days

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i'm not gonna lie. most of the time the "is this character female coded" as well as "can you write this character as trans" discussions simply get too close to notions of gender essentialism for me to take them seriously.

#personally i do not see anything wrong in writing and headcanoning any male character as a woman #because again. refusing to play with concepts like that in fiction also strikes me as gender essentialism #but the way some people talk about it. on both sides of the discourse #differentiating between characters who are “appropriate” to read as a particular gender and those who should not for [whatever reason]#insisting that it's wrong to gender bend characters at all #essays explaining why characters are a specific gender...#i'm sorry. what is it all about atp

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no-light-left-on · 3 months

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So the Death of the Outsider lacks a chaos system and it makes perfect sense

(I recommend reading my other post on how chaos works in the DH universe first but it is not mandatory.)

The point of the chaos system is, at its core, a reflection of how a world already at its tipping point reacts to the player's actions: Dunwall ridden by the plague and oppressed by the Lord Regent’s rule, Karnaca bloodfly-bitten and slowly torn to shreds by the Duke with people scared after the recent coup.

Billie, however, simply exists as a person once the world has been tipped towards the better, Emily having reclaimed her throne and Karnaca slowly but surely steering towards better times. Her quest is not motivated by politics or by a falling empire. It is entirely personal to her, Daud, and the Outsider.

Billie is an ex-assassin. She puts the world on a tipping point, but she does not decide whether the world rights itself or comes crashing over the edge. She takes jobs from the black market, sometimes killing people for money, because that is all it is to her - a job. And while she may kill innocent people while at it, there is no more terror it can bring atop the cruel rule of the Duke and people dying in the mines. In the end, she will disappear into the shadows. It is just another mugging, another unfortunate murder of a father coming home in the evening. Nothing more, nothing less. No responsibility to take over it after.

She is dedicated to her quest, and that quest is not even hers - it is Daud's, and she is just going along with it out of maybe guilt, maybe old times' sake. She is not even that interested in killing the Outsider herself, has very little stakes in it, and decides to go through with it because it's what Daud wanted. There is no world that can react to her because she is the world that is reacting, in a sense, to Daud's wishes and the Outsider's subtle interventions.

Compared to, say, DH2 which takes place months before the events of DotO, Billie has very little to lose, no place to reclaim, no world to save. The results of her actions, no matter what they might be, won't change how the world is at the end of the game. Emily can choose whether a brilliant doctor lives so she can save lives, she decides whether the Howlers or the Overseers take over Batista, dictates who rules and with how much power, with what level of cruelty. Billie is killing a god, no matter what it takes, and there is little need for consideration of how this result is achieved.

The game does not even have targets, save for one, the Outsider himself. All the missions are about gathering intel and preparing for the job. The structure of the whole game is very different to serve the purpose of the plot and honestly it's a clever choice so that the focus remains on the one thing only - killing the Outsider.

One thing I did not mention in relation to chaos in my other post is that the chaos also influences the Outsider and his speeches at the shrines. Which, fair enough, it is just one more change in dialogue among many. But in the case of DotO, he is directly involved. He is not an observer anymore. He has real reason to be emotionally invested in what is happening and what Billie is doing. He needs to bait her into murder, or change her mind to spare him and free him from his eternal imprisonment. There can't be a change from interest to cynicism as Billie kills more people to get to him, because in the end, he is the target. He wants out of the Void by any means necessary, which means he has to be fully invested at all times. He has no reason to suddenly go soft and make subtle comments. He comes across as so much more malicious in this game, maiming Billie and being so incredibly cruel when he tells her that Daud has passed while she was away. All this because he can't risk her changing her mind, thinking to herself, “Hey, maybe he sucks but he’s not That Bad” and then turning on her heel to leave. He is trying to influence Billie instead, which he didn’t do with his Marked (unless you count his mentions of multiple possible outcomes as influencing, or him telling Daud about Delilah).

So no, the world won't change for you, the player. It won't change because you chose not to kill anyone, not even the contract targets, because if you don't do the dirty work, someone else will. And the Outsider cannot change either, because Billie is not changing the fate of an empire. She is changing the fate of Him, personally, and he cannot afford to let her choose the only bad choice - indifference. So there is no point in a chaos at all.

No matter what Billie does in the end, the outcome will be the same - the Void will change. sShe will change the universe as they know it, but no matter how she goes about it, the change will come. She is not faced with a question of what she wants the world to be. She was guided there by others, expected to do one thing - kill a god. The world has set her up, and now she has to react.

And so she comes to the Void and is met with the only choice that will matter: Is she going to show mercy, or remain the same?

#dishonored #doto #death of the outsider #daud #the outsider #billie lurk #another post on 'people dont understand chaos in these games and I am Upset about it'#while checking the wiki on the missions in doto so I wasnt actually forgetting anything I found out that someone got hired over doing #analysis of the game on twitter and harvey noticed #if this is all somehow correct and harvey sees it hi hello let me write dh3 I promise I wont make it into a dating sim #these are not tags I should be leaving under this post #anyways uh yeah there you go #dh #I should write that one post talking about how I interpret the chaos system in each game separately #also read the first essay. I am begging. its good #essays tag

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chrollohearttags · 7 days

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I know I said no more negativity but I’ve never met a literate, intelligent person on tiktok. All those bitches have cat in the hat reading comprehension and pre-k level of discernment. Stop determining your worth and merit as a writer off of them. Free yourselves.

#they’re literally the laughing stock of the education system #do you know how fucking stupid you have to be for teachers to be quitting by the droves bc y’all can’t read 😭#y’all give too much of a fuck abt impressing ppl who can’t even write essays without chatgpt #miss me with the respectability politics while also being complicit with racism bc it’s ur fav fandoms #y’all be whole hypocrites on this app I swear #cherry chats 🍒#I hate that the new girls don’t even feel like they have a safe space in fandom to grow #bc y’all wanna impress the failed result of no child left behind #all them bitches can take a short bus to hell #anyways I love you plug writers #I love you toxic relationship writers #I love you baby mama drug dealer writers

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mirrortouchedsea · 17 days

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(CW for Suicidal Ideation)

Hinata’s breath was heavy as he landed the final move of their act. The tinny music playing from their speakers went quiet and the audience clapped politely. It was always the same song and dance as the crowd moved on with their day. A few of them tossed some yen their way but otherwise it was time for them to regroup for their next performance. Yuta knelt down by the hat with some coins and bills sticking out of it, counting their earnings thus far.

“Hey aniki! We might be able to eat well tonight! There’s like 3,000 yen in here!” Yuta exclaimed. The idea of a filling dinner made Hinata’s mouth water. Oh what he wouldn’t do for even warm noodles not from a cup.

Hinata turned to grab the iPod from its place on the speaker, choosing the next song to play. He put the phone back and turned the volume up a little more to play over the evening rush. The music started and he and Yuta moved in unison around their little stage, taking in the crowd. There were some regulars that Hinata recognized, the businesswoman who was perpetually tired but always stopped for their performances and a few kids who looked up at them in awe as their parents were trying to usher them away. There were always new faces too, of course people traveled across the country all the time or took new trains or moved cities, but there was something different about the boy with the bright red hair at the back of the crowd. His sky blue eyes pierced straight through to Hinata’s heart and made him stumble when their gaze connected with his own.

“Hey, aniki focus! We’re almost done, don't fail on me now!” Yuta whispered, carefully shielding Hinata from the crowd as he regained his footing. Yuta was always so quick thinking. Hinata got back to his position and finished up the routine, eyes looking for that boy he had spotted earlier. He half hoped the boy would come talk to them afterwards while they were packing up for the evening, but when he finally saw that shock of red hair, it was moving away with the rest of the crowd.

Hinata sighed, disappointed. Maybe that boy would come back someday. There was something about him that drew Hinata in.

Someone bumped his shoulder, drawing him from his thoughts. “Hey, aniki, are you alright? You seem out of it today.” Yuta’s hand rested on his shoulder and Hinata couldn’t help but smile. Wasn’t it supposed to be the other way around, the older brother checking in on the younger one?

“Hey hey everything’s fine Yuta-kun, don’t worry about me. I was just thinking about that delicious dinner you’re treating us too~” He playfully pushed back on Yuta, the red haired blue eyed boy all but forgotten now.

“Hey! It’s technically our money so I’m not treating you to anything!” Yuta scowled but the smile in his voice was obvious to Hinata.

“Hehe, then dinner’s on me! Say ‘thank you aniki!’”

---

It was a week before Hinata saw the red headed boy in their audience again. He had all but slipped his mind, but those striking blue eyes were impossible to forget. Yuta was introducing their next performance which allowed Hinata to take a better look at the older boy who had made his way to the middle of the audience. He was tall and what Hinata could see of his outfit seemed ill-fitting at best, along with a headband holding his hair away from his eyes.

Hinata scrambled to his position as the music queued up and let his instincts take over. Every so often he found himself glancing at the red haired boy, trying to see what he thought of their performance, but his face revealed nothing.

Why was he so focused on this one boy? It’s not like they didn’t have strangers who watched them sometimes, and none of them had caught Hinata’s attention quite like this boy. He really couldn’t be much older than Hinata, maybe 17 at the oldest. Was he an older brother too? The boy’s eyes made contact with Hinata’s and it took everything in him to not look away.

Once again however, Yuta snapped him out of whatever trance he had been in and everything was forgotten.

“Are you really okay aniki? You’ve been out of it a lot recently…” Oh how it pained Hinata to see the concern on Yuta’s face. Nothing was even really wrong per se, but Hinata was distracted nonetheless.

“I’m fine, Yuta-kun. Geez, can’t your older brother have some peace?” His mouth ran faster than his brain and he immediately regretted it. Yuta’s face flipped through several emotions; hurt, confusion, exhaustion. It wasn’t like him to hide things from his brother, so why was he doing it now? “Whatever, let’s get some dinner. My treat~”

“It’s our money!”

---

The boy continued to make appearances at the twins’ performances on the street, becoming something of a regular but disappearing before Hinata could flag him down. Hinata wasn’t even sure what compelled him to want to talk to the older boy, but he wanted to say something. He had even noticed that the boy seemed happier and his clothes fit a little better, not like they were just the first thing he grabbed out of a donation pile.

Finally, after almost a month of trying to say something to the boy, Hinata saw him walk up to their hat on the ground and drop a few coins into it.

“Thank you!” He said, walking up to the boy. “Hope you enjoyed the performance!”

The boy froze as if he wasn’t expecting to be greeted like that. There was a slight flush to his face. “I-it’s nothing, don’t worry about it. You uh…you were great?” The boy seemed unsure of how to reply, though Hinata was happy with the compliment nonetheless. Maybe…

“What brings you here? I mean--agh, sorry! I just mean…I noticed you don’t have a regular schedule?” The words were practically falling out of his mouth and Hinata wasn’t really sure what they were doing. “Like you show up a few days in a row but then go three weeks without stopping by at all!” He was just digging a bigger grave for himself! Great!

“Ah uhm…I’m not from around here.” The boy scratched at the back of his neck. Maybe Hinata should back off.

“O-oh, yeah of course. Duh. Are you visiting family or something?”

“Not quite. I really should get going though. See you…later?”

“Yeah, see you later.”

“Hey Aniki, are you coming or not? The food’s gonna get cold!”

“Coming!”

---

It was almost a month before the boy appeared again. In the time between, Hinata had come up with a million different ideas for what his life was like. Was he a delinquent who skipped school to hang out on the street with gangs (how scary! But he looked strong enough to fit in)? Or was he a runaway from a city far away, somewhere Hinata only dreamed of visiting like Okinawa? Maybe he had a bad relationship with his dad and ran away, a thought that Hinata hated to admit had crossed his mind more than once. Or maybe he just passed through the city on the way to somewhere else. That seemed to be the most likely option, especially if he couldn’t come very often.

When the boy did finally show up again, Hinata had to hold himself back from practically jumping him after the performance. Something looked…different about him though. His eyes seemed more tired? Like he hadn’t been sleeping well. Hinata thought of a fight he had with his dad a few weeks ago that made it hard for him to sleep and thought maybe this boy was the same as him in that regard.

Hinata decided to wave him down after the performance, hat in hand (they had done pretty well! It felt heavier than normal and even without counting everything, they’d probably have enough for breakfast too).

“Hey! You look tired, are you--did you want to get something to eat?” Please say yes please say yes please say yes--

The boy’s mouth opened, then closed, then opened again. Did Hinata mess up? Oh he overstepped and now there really wasn’t any chance of getting to know him. Why was he so interested in talking to the boy anyway? Hinata had been asking himself that for a while now and he still had no answer.

“I…I can’t. I need to go.” The boy turned and ran off before Hinata could ask more. He just kept messing up, didn’t he? Maybe he really was just a burden to Yuta and their dad and the restaurant owner. He shouldn’t have been born and Yuta would’ve been better off--

“Aniki! Sheesh, get your head out of the clouds. How much did we make?” Yuta grabbed the hat out of Hinata’s hand and quickly counted out the coins and bills. “Woah! We could eat a whole five course meal with this…”

“Think with your head a little Yuta-kun. We’ve got breakfast paid for if we don’t blow it all tonight!”

Yuta nodded before handing the hat back to Hinata. “So, my pick tonight?”

---

Hinata signed the note, trying his best to keep the tears from dripping on it and smudging the ink. After his blunder with the red haired boy, he hadn’t shown up to their performances for over two months. Hinata was certain that he had messed up and was too forward. He didn’t even know the kid’s name! Why did he think the two of them could ever be friends?

And on top of all of that, Yuta had become more and more distant from Hinata, as if Hinata just existing was dragging him back from his full potential. Yuta would have been better off as an only child and maybe Hinata deserved this life. Thirteen years living with their father, who had treated them as nothing but monsters, blaming them for their mother’s death and everything bad that had happened since, Hinata had resolved to run away. He’d make his way to the mountains and maybe he’d find someone willing to help him or maybe he’d slip into an endless sleep.

Dear Yuta-kun, the letter had started. I’m sorry that I’m leaving like this, but I know that I’m just a burden to you. I’m sorry for that. I wish I had more to say but I just want you to be happy and maybe father will treat you better without me. I love you.

The other letter, already folded and placed on the table, was much shorter, addressed to his father.

Dear Father, I’m sorry I couldn’t be a better son. Please don’t take this out on Yuta-kun, it was my decision.

The less words he spent on that man, the better. Hinata folded Yuta’s note and placed it on top before quietly exiting through the front door.

---

Everything was cold. Hinata slumped against a tree, head between his knees in a last ditch effort to keep warm. Sleep should come soon and he could painlessly move on, at least that’s what he hoped. He barely registered someone approaching him, but didn’t look up.

“Hey.” The voice was vaguely familiar, but where did he remember it from? A warm hand shook at Hinata’s shoulder.

“‘M fine.” The words were barely a whisper. The other voice grunted before walking away. It was another minute before Hinata felt something drape around his shoulders and a cup shoved in his hand. Whatever was in it was steaming, warming his fingers.

“Drink.” The voice said. And he did, the tea was very, very bitter. That voice…

Hinata looked up, meeting a pair of bright, sky blue eyes. That’s where he recognized the voice from. Did he…live? In the mountains? The boy seemed to recognize him too. He was wearing a headband and what looked like very warm clothes that Hinata wished he had. Hinata finished the tea, trying not to focus on the flavor. It helped at least, in warming him up a bit.

“Why are you here?” The boy finally spoke again. It sounded like he was unsure if he should be mad or concerned, or both, but he offered Hinata another cup of tea, which he accepted if only to warm his fingers up. He pulled the blanket closer around his body.

“I…ran away.” Hinata looked downward, as if admitting this out loud was a cardinal sin. The boy gestured for him to continue. “I guess I just…I was dragging my brother down. I’m not really talented at anything like he is and I’m the reason our dad sees us as monsters. He shouldn’t have to deal with a brother like me.” Hinata wasn’t really sure why he was spilling this so easily. The boy was a good listener though, hanging on every word Hinata spoke. Was he shaking? He’d never admitted this out loud before and it felt oddly freeing to say it to someone.

He waited for a response, anything to chase away the uncomfortable silence Hinata had created with his confession. He really fucked up, didn’t he. He should have just kept that to himself like he always did instead of burdening a stranger like this!

“I…” The boy started, barely audible above Hinata’s racing heartbeat. “I’m glad you’re alive.” He sounded unsure of his words. Was he just trying to be nice? Of course he was, how else do you respond to a kid telling you something like this?

“You don’t have to pretend.”

“I’m not. When I saw you singing and dancing…I think I realized something--” The boy cut himself off, the suddenness of it making Hinata look up. A moment later he heard his brother calling out from the woods behind him.

“Aniki! There you are!” Yuta tackled him to the ground, squeezing Hinata like he might just blow away in the wind if they weren’t careful. “You scared me! I can’t believe you’d do something like that!”

Tears pricked at Hinata’s eyes again. “I’m sorry, Yuta-kun. I’m really sorry.” He buried his face in Yuta’s jacket. His nose started to run, from the cold or the tears he couldn’t tell.

“You aren’t a burden to me. I don’t know what I’d do without you around Aniki!” Yuta pulled back, hands gripping Hinata’s shoulders. “Promise you won’t do something that stupid again.”

Hinata wiped the tears from his eyes, sparing a glance where the boy had been. It was as if he had never been there at all and Hinata had just hallucinated the whole interaction. He looked back at his twin brother. “I promise.”

“Now let's get you home and warmed up. Where’d you get this blanket anyway? It doesn’t look like one of ours.”

“I…” The boy had been real, and he told Hinata he was glad he was alive (even if his explanation was cut short by Hinata’s brother rushing in). “I guess I just found it. There must be people living nearby or something.”

---

The chatter of the night club died down for the night as everyone was getting ready to go home. Hinata’s feet were sore from running around, but it was satisfying to be back in a restaurant like this. It reminded him of his childhood working for the Chinese restaurant with Yuta.

Rinne, the leader of Crazy:B who had wanted to get closer to Hinata, and by extension 2wink, slid a drink down the bar. It looked like a horrible mix of syrups and club soda, but one sip was all it took for Hinata to drink it all down.

“Great job tonight Hina! You’re a real natural at this stuff.” Rinne was washing the other glasses behind the bar now as Hinata finished the rest of his soda.

“Yuta-kun and I used to work in a restaurant so it comes pretty naturally to us!”

“That so?”

“Mhm!” Hinata slid the empty glass back to Rinne, who quickly dumped the ice and washed it before tossing the towel over his shoulder. The entire week they’d been working the club together, there had been something bugging Hinata at the back of his mind. “Hey, Rinne-senpai…did you ever watch our shows?”

“Huh? ‘Course I have, vice prez wants us to work together so I’ve seen a few of ‘em.”

“That’s not what I mean. I mean like…back when Yuta-kun and I did street performances.”

Rinne paused for a moment. “Why’re you askin’?”

“Oh, it’s nothing. You just reminded me of someone who used to watch them.”

“Well I’m sure whoever it was is proud to see you singin’ and dancin’ on stage.” Rinne had come around the bar and stood next to Hinata, ruffling his hair. “Let’s get goin’ or I’m never gonna hear the end of it from Niki-kun.”

#shay writes #enstars #ensemble stars #hinata aoi #yuta aoi #rinne amagi #OKAY ITS DONE I'M NOT THINKING ABOUT THIS PIECE ANYMORE. FUCK MAN #its at least finally no longer a wip. that's all i can say #got one person who said they liked it so to the blog it goes!!!#one less wip to worry about yippie!!!#2.8k words of me being a bit silly. that's what this is.#i probably could have extended the end a bit but augh if i thought about it any longer i would literally pass away #fuck that shit #so here we go. enjoy. i have a whole essay about aoi and amagi parallels i need to write one of these days when i reread mainstory #i'm working on reading boarding live rn i have like 9 chapters left. i'd keep working rn but augh eepy #probably just gonna watch an ep of a3 and go to bed or smth #anyway enjoy!!!! feels good to finish something a bit longer #probably no wip wednesday tomorrow just bc this is all i worked on this week...#also this is a second draft i never do that. well not never i've done it before #and this is i think a significant improvement on the first #okay i'm done tag talking for realsies byeeeeeee enjoy

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