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fumifooms · 2 months

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The Nakamoto household - facts & theories masterpost

Table of contents:

the hierarchy & general situation

The parents

The Maizuru situation

The siblings

The other retainers

Izutsumi

Toshiro

Conclusion

I also made tldr summary charts here. This post is about collecting facts about the setting and characters, but it’s gonna be a lot of analysis on what it means through the lens of Toshiro as well, his relationship and place in everything etc etc. They have entangled drama the scale of Daltian Clan. Things are so interwoven it’s hard to keep topics neatly in their own section, because of this pictures may be relevant at several point of this but I mostly won’t be putting them in twice, you might have to do some scrolling up while reading if you want the visual proof to accompany statements. Unlike with Chilchuck’s family there’s less ambiguousness and more intricate details and implications so it’s less theorizing & headcanoning and more stringing together all the crumbs canon gave us. I also dig into some cultural parallels, especially since characters from Wa are the most culturally coded in the series. Also disclaimer that I’ll be calling Shuro Toshiro through this whole thing bc that’s his actual name & Shuro isn’t even a nickname he likes, for accuracy’s sake. The servant girls have real names but are typically called by their code/given names so I’ll call them as such, except for Izutsumi who was named Asebi which I won’t be using.

The general situation

To start off, what’s the situation in canon? All three kids of the head of the house, the three sons (Toshiro and his two younger brothers), are sent out on a vague mission to find something interesting for his father to pick the heir. Each son is thus on their own journey, out with their own group of retainers for an unsure length of time, during canon it’s been 2 years that Toshiro left the house for this mission, and they seemingly all drifted towards dungeons. It’s important to remember that this state of things is the exception and not the rule, and before this the sons lived at home and had different uses of their time, and the retainers had other jobs than care after them. See the next paragraph.

The household offers ninja services, no exaggeration or misuse of the term, mostly spyint but also "covert maneuvers" which could include anything including assassination of people high up. That’s the job of their servants/retainers at least, the heads themselves are more like managers probably, possibly samurais themselves though especially since as we see with the heirs (besides the samurai armor) they also got trained in fighting as their skills showcase. I need to dig into the history of samurais more before I can draw the parallel confidently though. The Nakamoto household is noble/wealthy, distinguished as the Adventurer’s Bible puts it, but it works for and puts its service at use for "their local lord". It buys servants, but also has families who have served it for generations like with Hien. The comic shows that there aren’t only women servants, it’s just the ones we see all happen to be because Toshiro’s retainers are only a small team of all of Nakamoto’s servants.

Above, in a page showcasing characters’ relationships with their party leader: 父親の部下を借りている状態なので、距離がある。Doubtlessly there must be a translation of this already somewhere but I’m lazy and impatient so I turned to machine translation instead, this translates into: "Since he is borrowing his father's subordinates, there is a distance between him and them". Calling the servants retainers is what most of the fandom does and it’s accurate so I’ll be calling them this.

Hien and Toshiro were childhood friends which means the servants do have some degree of contact not even just together but with the heirs too, or maybe just specifically Hien, since both their parents were ninjas for the Nakamotos she ended up getting raised there and they let her play with him as an exception? They did end up drifting away as adults as their relationship got more professional, so it’s possible. The servants eat and sleep in shared spaces, separate from the masters, though Maizuru has her own bedroom, if the room configuration at the in is to be believed + it’d make sense since she’s governess/head servant. I’m hesitant wether to say it’s implied that this group of 4 retainers was always a bit of a team or it wasn’t and got formed for Toshiro specifically. We know that Benichidori had little contact with Toshiro before they were sent out together for example, but we do see all three girls with Izutsumi in Inutade’s extra when they were younger, and them eating in the same japanese styled room etc. The inn they stay at on The Island is western styled though they do have futons rather than beds (there’s only one bed in their shared room and Hien has it because of her rank).

From Izutsumi’s Adventurer’s Bible profile: "Maizuru, who was also Shuro's governess, is the one thing Izutsumi fears. After Izutsumi was taken in by the Nakamoto family, Maizuru forced her through a harsh training regimen of speech, common sense, and fighting skills. Since Izutsumi refused to listen to her, Maizuru set a curse on her that would activate if Maizuru didn't touch her within a set time frame: "Ninja Art: Babysitter." "

Maizuru, called a governess, is the one training the girls, at least some of them, we know for a fact she was the one to train Izutsumi for example, and in general she’s the one in charge of the ninja girls we see. She was a ninja herself but retired from frontline missions, but has a central role managing the servants instead. Inutade for example is strong but not stealthy, and it’s said that it’s Maizuru’s job to choose how to train her and what role to give her in consequence. Her training includes manners but fighting as well, notably kunais and martial arts. Hien is shown to use bombs and Benichidori is implied to be good at disguises, Inutade uses a bold weapon like a club but it’s implied with "ogres and clubs just go together" and Maizuru not knowing where to put her to use that it’s uncommon for Nakamoto servants to use those. Their board game artworks also show their specialties neatly. When brought into the household, the servants are given new names and their whole lives become devotion to the house and their duties. The names might be intended to act as code names due to them being ninjas? It’s implied that they never use their non-code names anymore once they start serving the household. Maizuru’s training also contains language and "common sense"… Critical thinking? As well as implied etiquette. This isn’t surprising, as she was the one put in charge of raising not only Toshiro but his brothers as well.

Oh yes I want to mention that all the retainers’ "first deaths" are in the dungeon during canon, considering our main cast we’re used to death being permissible because dungeons make resurrections possible, but it’s relevant to remember that these people never died before. Never. These girls are professionals, ninjas with a sometimes very dangerous job. Messing up means death, permanently.

From what we see and with who we see, the hierarchy is:

Father (head of house, his word goes)

Mother (has status which puts her wishes above others’ and give her some control over the house, it’s unsure how much though, but hierarchy wise she’s very much above the rest but below the father)

Maizuru (governess, in charge of (at least some) servants and raising Toshiro. Two dots)

Hien (leader of their squad, trained servant from a family devoted to the Nakamotos. Two dots)

Benichidori (trained bought servant. Two dots)

Inutade and Izutsumi (bought servants. Power wise from their rank it’s unsure just how much the difference between Inutade (who has one dot), Izutsumi (who has none) and Benichidori (who has two) is, since Hien is team leader between the four servants at least that’s measurable. Inutade gets some janitor duties, and Izutsumi has a curse put on her so she doesn’t run away I suppose. Power wise it’s unsure, but socially/role wise Inutade and especially Asebi are treated worse.)

I didn’t add the sons because I’m talking more generally about the power structure and it’d depend on each sibling, like Toshiro’s wants and directives during canon trump Maizuru’s, but Maizuru is also his nanny and manages the girls so she has a lot of importance and sway even on the final decisions.

The parents

I am so pissed I forgot that we know Toshiro’s father’s name, Toshitsugu, from these panels showing the progression of the family tree. I am so pissed I’m adding this halfway into writing this whole thing, I am not gonna go back and replace every "the father" by his name atm.

The father is the part of this puzzle most important yet most shrouded in mystery, or rather a lack of details. What we do know paints a pretty full and vivid portrait: impulsive and cares mainly about his own entertainment. Maizuru calls him a fool, his sons are exasperated and go "This again?" when he summons them saying that they’re boring/dull, everyone knows he’s having an affair and he often has undignified demeanor, but what he says goes so yes Maizuru will take Izutsumi under her wing, yes the sons will be going out right away into the world to find you the 8th world wonder, yes whatever you want lord. He seems to have little care for how his action affects others, like crashing into Maizuru’s room at night and asking she take care of a catgirl, or sending out his sons suddenly with kicks to the butts. He does what he wants hen he wants and others have to comply.

Like we see with Izutsumi and Inutade, he tends to take a liking to slaves here and there and buy them on the spot, usually at entertainment places, like sumo wrestling matches for Inutade and a freakshow for Izutsumi. The Adventurer’s Bible states him acquiring Inutade as "By coincidence, Shuro's father came to see her first match; he liked her and bought her for the Nakamoto family." and Izutsumi as "She was on display as a "cat-girl" in a sideshow when Shuro's father took an interest in her and bought her." In Maizuru’s extra, he calls Izutsumi a "souvenir" he got for her, and he’s drunk so it could well be assumed that buying Izutsumi was a drunken whim, and that he mitht be alcoholic. You can’t really say that he picks them out because he sees potential in them to be a ninja or would be useful, since with Izutsumi she had no fighting training and Inutade doesn’t fit the skills they seek like stealth and she has trouble fitting in. You could assign noble goals to him like maybe wanting to help or relating to the misfits, but I think with what we see of him it’s more likely that he likes to pick up "oddities", like a catgirl at a freakshow or an ogre, especially since one of the only things we know of him is he wants his sons to bring back interesting trophies from their travels. Toshiro, about his father buying Inutade, says: "People in power desire ogre as servants, and ogres are chosen as opponents in tests of strengths or military exploits. My father bought her for similar reasons."

Also from this we can infer that he goes out to events often, like circus and sumo wrestling, again mostly for entertainment from what we see. I like to think it’s implied that he used to travell maybe still does, due to his own liking for it as a test and because he visits various places like the sideshow, plus his forearm scars in Toshiro’s extra… But him being a samurai in service of a lord could definitely explain that.

This all paints an interesting picture doesn’t it… The Nakamoto’s lifestyle is super encased in rules and social propriety, duty and hierarchy. Old noble man who’s been surrounded by propriety all his life and just wants some spark of interesting stuff happening amongst the humdrum of his lavish cushioned life at home, and is shitty to people around him in consequence and due to his privilege allowing him to. He’s despicable, but from his 3 appearances he becomes an interesting well-fleshed character, at least proportionally to the screentime he gets…

We also know that the affair with Maizuru is well known at least inside the household, so there’s no genuine secrecy around the topic. Makes sense that the wife would hate her guts.

Ahh yes the mother. Little is known about the mother, except that from Maizuru’s profile "Shuro’s mother can’t stand the sight of her, to the point where there are areas on the property Maizuru is forbidden to enter. Maizuru, however, is impressed by his wife’s strength of character." From this I glean that she does have enough power/respect in the house that she can make rules like where Maizuru is allowed to go. Also the implication that otherwise Mazuru would have access to EVERYWHERE in the house despite being only a (high-ranking) servant is a bit interesting. Wether the mother’s "strength of character" is overt and hot-headed or understated and cool-headed is unsure, but I imagine the latter more. I could see Maizuru’s angle in many ways, from being able to tolerate "that fool" aka the father both just in general and with knowing that he’s cheating on her, to knowing how hard it is to be respected as a woman and admiring her putting up with it all and still being able to have sway in the household. This is I think the only mention of the mother anywhere. Doesn’t seem like she is an important figure to Toshiro at all: in fact we hear about her on Maizuru’s profile, and seeing all of this we can see the importance of her in Maizuru’s backstory and life, moreso than Toshiro’s. I imagine she’s a bit of a recluse, which is part of why Maizuru not being allowed to roam the full house is important, because them running into each other at the house is high.

It’s unsure how much contact the parents have with their kids. What we know is that they left the principal tasks of raising the kids, or at least Toshiro, to servants. Toshiro’s profile says that he’s more attached to Maizuru than his parents, and that’s the phrasing. From the comic where their father summons the sons, it does seem like they’re more or less used to interacting, with the sons’ "This again?". So it’s not that they’ve only interacted with them few times enough to count on fingers, but how meaningful were those interactions? From Toshiro’s profile we know he has a complex where he thinks he’ll never get recognition from his father or be able to measure up to him… But is that more born out of secondhand gossip and expectations, or from direct interactions with him that made him feel that way? Likely a mix of both, especially since the father does seem to be very dismissive, uncaring and insulting with his sons. Oh, but it’s definitely notable that in the Hag monster tidbit (below in Maizuru’s section) six years old Toshiro runs to his father scared shitless for help against the shikigami, and his father casually helps him without batting an eye. Toshitsugu knows how to deal with Maizuru’s shikigamis, and he does so efficiently and without any sense of worry or urgency. Although the event traumatized Toshiro and he was very scared, it doesn’t seem like his father offered any comfort, beyond just helping getting rid of it and letting him cower behind him without comment. Toshitsugu gives hungover vibes in that one imo haha. It’s shown he was already training as a ninja, perhaps this event only reinforced Toshiro’s complex, seeing his father, the samurai the achieved man who has expectations for him, so unfazed and uncaring like that.

The Maizuru situation

Let’s establish a timeline first. It’s left vague how much time she’s served the Nakamoto family for, or how she came to be in their service. The central point is that "She was put in charge of raising their children at a young age". If straight from his birth, Maizuru started taking care of Toshiro when she was 15 years old. If from toddler age, then 16. It’s uncertain if when she stopped getting front-line espionage missions, but we know it’s late rather than early despite having kid raising duties. But well, since she’s also in charge of the ninjas she’s definitely has a multitasking role even now.

The dad prob has around 5-10 years more than Maizuru, I’d say. We only see half of his face and only a good few years in the past, around ~3 years ago probably with the shuro quest and a good 7 years with Izutsumi as a kid, but visually those are the vibes I’m getting. From Toshiro’s birth, it’s possible that the father was 15 when the baby was born too? But conception would have been closer to 14 years old then, and yeah I don’t think they marry and have kids that young. Toshiro is 26 years old in canon and is unmarried, and the heir hasn’t been officially picked, so marriage and kids don’t seem to be in the family’s priorities. Even if Maizuru do say that the father would love if Toshiro brought back a wife.

Now the elephant in the room: she has an on-and-off affair with the father and it has been si for many many years, at LEAST 7 years since that’s when we see that comic of him going into her chambers about Izutsumi, and in the comic above, Hien in that panel has an ambiguous age. Regardless it’s definitely implied that it’s a long, long-standing thing. Hien’s phrasing above makes it sound as if it’s not purely physical, as if feelings are involved, "he’s head over heels for his confidante", and who knows if this relationship is part of why Maizuru was chosen to be the governess, or even hired at all.

It’s in the feud with his father that we learn about maizuru’s affair and how after learning it he started shutting her out emotionally. It’s left vague when Toshiro learned about it, Hien made it sound as if everybody always more or less knew but I don’t think Toshiro started shutting her out when he was still pretty young. Regardless, the two are implied to be linked, his dislike of his father/complex and how he stopped getting along well with Maizuru/being emotionally open with her. Is it that he now feels as though Maizuru is actually on his father’s side and not his own, that after all if she had to choose she’d pick him over Toshiro too? Or is it that, because his father’s known to be a self-centered frivolous jerk, that knowing she lets it happen, "can’t seem to shake it", he respects her less? He has an irresponsible reputation and she does give off the vibe of needing to clean up his messes, so that wouldn’t be unplausible either.

On the flipside from her perspective, since he learned she was his dad’s mistress he emotionally shut her out, which can partly explain why she’s SO fussy with him and happy at the slightest hint of happiness or compliance, like when he listens to her and eats, or maybe even being happy that he lets her help him dress and keep tidy (imo this is supported by how they interact in the page showing him interacting with all his party members). She wants to regain that closeness they once had and for her baby chick to be alright as he’s slipping through her fingers. Man so sad to think about him rejecting her when he’s the only thing in her life. She’s raised him for 26 years, no wonder she’s so attached to him, the only thing in her life she feels true unconditional attachment for. Maizuru says that she thinks Toshiro’ll be a better head of the house than the father, too. The respect and care is somewhat onesided, given freely from her side but repressed from his end. When she cares for Toshiro is when her demeanor immediately and drastically softens. She gets easily carried away when it comes to him, rambling enthusiastically or smiling widely or tearing up. Her tendency to ramble or tell anecdotes about Toshiro is shown making Hien and Benichidori go "Here she goes again…" twice through canon.

With Izutsumi’s timeline we see Izutsumi was taken into the Nakamoto household at 10 yo, and since in the comic with Maizuru and the dad she’s shown as stinky and all I imagine she arrived there the same day, so Maizuru was in charge of her since she was first here. In fact if we assumed that it’s the same day as when he bought her at the circus show, then we could assume that buying her was a drunken whim like mentioned.

Since Izutsumi was taken in at 10 and she’s 17, this would mean that Maizuru is 34 years old here. She looks younger without makeup, but lower than that is mathematically impossible besides maybe 33 if Maizuru and Izutsumi’s birthdays line up just right.

Time for the second elephant in the room!!

Maizuru’s magic

Maizuru is the only person in the Nakamoto household, anyone from Wa really, who we see using magic, I doubt she’d be the only one who can use magic in the household but as the governess it wouldn’t be unplausible I suppose. From what we see, the magic is estimated by Marcille to be an "appropriation of gnomic magic" with an eastern script. For my analysis of written magic (though with only a brief glance over Maizuru’s magic), see this post.

If you scroll up and read the little section on Maizuru’s profile, Ninja art: babysitter: "One of the curses put on Izutsumi is Ninja Art: Babysitter, which manifests as a terrifying hag shikigami. Unless Maizuru touches the victim within a set time frame, this terrible curse makes a hag appear and chase them around with a carving knife. Maizuru originally created it in an attempt to keep Shuro from getting lost, but it ended up traumatizing him…"

From Izutsumi’s profile: "Maizuru, who was Shuro’s governess, is the one thing Izutsumi fears. […] Since Izutsumi refused to listen to her, Maizuru set a curse on her that would activate if Maizuru didn’t touch her within a set time frame: "Ninja Art: Babysitter." It was put on her when she was 12. Since Toshiro had it as a kid, presumably the curse can be lifted off rather easily, Marcille was confident on reverse engineering it as well. It’s unsaid what the time frame is, it’s kept vague everywhere and Izutsumi herself says "who knows" how long it is. Izutsumi ran away despite the very real risk of it killing her. Essentially, Maizuru can put people in a timebomb collar

… MAIZURU WHAT THE HELL

As we might have expected, Maizuru being given the task of rasing a child at 15 did not go perfectly. This, a babysitting technique??! This comic happens when Toshiro was 6 and so Maizuru was 21. Interesting to note that Toshiro didn’t even know it was Maizuru’s doing before this conversation during canon, and he doesn’t know how to bring it up or deal with it how it affected him. Maizuru seems surprisingly uncaring of Toshiro’s feelings on the matter here, oblivious to his conflict her and fondly recalling it all.

This curse is a shikigami. From her profile: "A shikigami user, Maizuru has a variety of shikigami that have been sealed in paper as her servants. Her favorite seems to be Gyuki, a bull ogre." Now don’t ask me when Gyuki appears, I do not remember it. But before we go into the cultural/historical basis for this practice, let’s take a second to recognize the parallel that Maizuru has servants she keeps sealed unless useful in the moment, even despite having enough "attachment" to have a favorite. She’s the governess in charge of the other servants, and she has shikigamis, which she has used on the heir and the runt at the bottom of the hierarchy alike.

Shikigami, in traditional japanese folklore, are conjured to exercise risky orders for their masters, such as spying, stealing and enemy tracking. Shikigami are said to be invisible most of the time, but they can be made visible by binding them into small, folded and artfully cut paper manikins.

Shikigamis are from onmyodo, onmyoji is a profession-legal title historically but it’s what you call a practitioner of onmyodo, and so I feel content in saying that Maizuru is an onmyoji, or based on it. Her outfit reminds me of a shinto priest. It’s interestingly closer to a shinto priest outfit than a miko/shrine maiden’s (in picture below, 2 instead of 5), and I feel like red being chosen for the inner sleeve is a very charged decision since the white & red color combo is the shinto clothes color combo. Especially white clothes with red inner sleeve. Shinto priests can be women nowadays but they’re rare, and onmyojis can be considered shinto priests though it’s a more complex than that. Image below as example, source. Now I don’t think Maizuru has the role or prestige of a priest at all- But the association with onmyodo and spirituality is definitely meant to be made I think. Onmyojis are usually clothed similarly to this.

The babysitter ninja art seems to be based off of the hannya yokai. "They were once human women who were consumed by jealousy and transformed into demonesses", twisted by anger and resentment. Interesting considering her being a mistress to a man whose wife hates her. Hannyas are associated with wisdom because of its name, but there is nothing positive about them. At its highest level of "demonic corruption" if I can call it that, their body tend to become serpentine, fun link to make with her name being from the snakeberry plant.

Other cultural ties or symbolism on Maizuru’s character could be found in the motif of cranes due to her sleeves, in the tales of the crane wife, origami cranes (called orizuru, from deformation of 鶴 "tsuru" aka "crane". All names are written in katakanas in Dungeon Meshi, but thus if we had had the kanjis it’s possible her name would have been written with the kanji for crane), tennyos, and japanese crane symbolism in general. I thought cranes might have been associated with motherhood, but seemingly not in japanese culture at least, I was thinking of storks haha.

Ok speaking of her name. Maizuru is the name of an existing japanese city (舞鶴), meaning "dancing crane". From @room-surprise’s work in progress research paper on Dungeon Meshi characters’ names: "Maizuru is her ninja code name, and comes from “maizurusou”, which is maianthemum dilatatum, the snakeberry plant/two-leaved Solomon's seal/false lily of the valley. Lily of the Valley is a plant associated with motherhood and virtue… So Maizuru being a false Lily of the Valley implies that she is a false, replacement mother, and also hints at the way that Toshiro became cold towards her when he realized she was his father’s mistress, and not a pure, virtuous mother-like figure that he thought she was. Also, lilies are toxic to cats, which makes sense since Maizuru and Izutsumi have an extremely bad relationship." For more details I’ll leave it up to Room when the paper is ready to be released.

So some big themes of her character are: (false) motherhood, spirituality/magic, control, cranes, woman’s jealousy.

The siblings

Alriight so besides Toshiro the eldest at 26 years old, there is Toshiyuki (Toshitsuge in one fantranslation) the middle son and Toshizane the youngest (Toshikage in one fantranslation). They were all said to be raised by Maizuru. "A strange level of distance" is interesting. Why strange? I feel like this implies they do interact regularly, and that they’re all rather civil wirh each other, but they still have little bond to speak of. That wouldn’t surprise me, especially since even inside the family etiquette and propriety and rules are enforced, the summoning by his father feels very formal and they all listen to him standing in silence despite having snappy inner thoughts. It’s unsure if they were largely raised together or apart, but since Maizuru was their (at least main) caretaker/governess it implies that they were imo. They were put in competition with each other for the title of heir to the house, though it’s unsure to what degree. It’s examplified by their family all having names that start with "Toshi" that the legacy is very important and thrust upon them, cogs in a machine almost. They all think the same thing when their father summons them and has a spiel, so they’re used to the same sort of treatment and they are indeed brothers for being on similar wavelengths haha.

Toshiyuki, as seen in the comic about his retainers, the poor soul sent into Darkest Dungeon, is brattish. Rude, selfish and rather lecherous, does not hesitate to be mean to his retainers and complain he wasn’t given women retainers. Visually he looks what, 14 years old top. I wonder if Maizuru stopped using her babysitter ninja art on the heirs after it traumatized Toshiro, and if so maybe that explains why Toshiyuki Knows No Fear In His Heart™️ and that’s why he can spout off stuff like that.

The retainers for the youngest brother, Toshizane, don’t seem to be as clad in ninja gear as the other two, seems like the priority is to take care of the very young young master there? Rather than truly go adventuring and dungeoneering, perhaps. Not that it’s ever said by anyone that their quest is to go into dungeons specifically, only to find something "interesting" to bring back, but both Toshiro and Toshiyuki are shown to have ended up drifting into dungeons. Toshizane looks young, I’d clock him 8 years old personally. He’s drawn looking rather innocent, especially the headshot doodle above and in the Toshitsuge complaining about his retainers comic. ALTHOUGH on the latter, interestingly as we see with Toshiro having a smug smirk in that same panel (or alternatively a smug indifferent/uncomfortable "i don’t care about this, even though you want it so much" look which at the very least is very exaggerated from how he emotes in reality), it’s Toshiyuki’s unreliable/exaggerated vision of his brothers and it doesn’t necessaeily reflect reality, though it’s still interesting to note that that’s the vision Toshiyuki has of his brothers/the impression Toshizane gives off. That can imply juicy dynamics for the brothers, for example if Toshiyuki feels as though he’s in competition with his brothers, feels superior to them, that instead of pushing the shitty family dynamic angst onto his father he puts the blame for it all onto Toshiro. Toshizane seems maybe too young to notice the tensions and seriousness around him, maybe more coddled… IS WHAT I WOULD SAY BUT in the comic where their father send them away he’s as well-behaved and serious as the others, so clearly he has a grasp on his role.

When talking about which retainers go with who, it’s said it was the father’s choice. I’d like to assume it wasn’t an airheaded/random choice. Maybe he knew that Toshiyuki would be weird about having women in his team of retainers? And wants to forge their character or protect them in the way they need. Though how Toshiro’s party only has women isn’t only pointed out and commented on by the comic with Toshitsuge but also in the main Dungeon Meshi story, both Marcille and Chilchuck going "his party is fully made up of women", one more loudly than the other haha. So it does feel like a somewhat pointed/purposeful decision, if not that the 4 girls were already a team like I mentioned.

The other retainers

Already made an analysis of Hien and Benichidori’s relationship (+ moment compilation) here. Honestly my juices are exhausted so quick rundown:

Hien’s parents both serve the Nakamotos, so she grew up with the family and was even a childhood friend of Toshiro. She assumed he and her might end up in a Maizuru-Toshitsugu situation ‘just because that’s how things are’/‘it’d be a natural development’ if we’re to believe Hien, ahh what growing up in the Nakamoto with those role models will make you believe is normal hah, and was surprised when it ended up not in that way at all. They grew more distant with time, in good part because of the professional nature of their roles in relation to each other (truly a reversal of the Maizuru-Toshitsugu situation). She’s the leader of their lil squad, under Maizuru, she’s confident and she gets the perks, like getting the bedframe in the shared inn room. For all the details just read her page. She has two dots, showing her rank as a full fledged ninja.

Benichidori was bought, by "the Nakamotos" so we don’t know who made the final decision. She’s perceptive and submissive, her specialty is implied to be disguise. She never had much contact with Toshiro before she became part of his party. She has facial dysmorphia where she fears the judgement of others if she doesn’t wear makeup and highly values beauty, in her extra her anxiety really shows and she ends up angrily snapping at Hien. Benichidori ends up taking a big liking to Hien and from there on they’re implied to be inseparable. She has two dots, showing her rank as a full fledged ninja.

Inutade is said to worship Toshitsugu because he "saved her" from her horrible life conditions, buying her personally from the sumo matches, she’s extremely grateful to the family and is happy to do any work they give her and is highly satisfied with her current living conditions. She seems to find Toshiro intimidating, though. She was separated from her parents from before she can remember and raised as a sumo wrestler in inhumane betting matches, where her front tooth broke. It seems she has very littke ambitions and dreams besides obeying orders day to day, but after Izutsumi fled away she was happy for her and mused that she’d love to go out and find her one day. They’re so besties Izutsumi gave her a dream of her own I’m sobbing… </3 She has one dot, showing she still has to be attributed her role and earn her stripes.

Their approval rating of their leader. The highest total score from all the parties.

Izutsumi

Sighh where to even begin. Her timeline was put in Maizuru’s section of this post but the rundown is "taken away from parents and turned into a beastkin" at 6 yo (the human half of her soul), "sent to a sideshow on the island of Wa" at 7 yo and bought by Toshitsugu at 10 yo when he took an interest in her when he visited the sideshow. Maizuru put the curse on Izutsumi at age 12, so from then on she always had to not stray much far from Maizuru or risk death, it’s unsure if Inutade’s extra is from before that time, before she was 12, so she could still attempt many many tries to run away. If that’s the case, then Maizuru’s curse was very much treated as a last resort, honestly beyond everything else I can see it being a pain that Maizuru would need to touch her every so often on Maizuru’s schedule as well. The alternative is that, not unlike Kabru who had no regrets dying in a dungeon rather than staying with Milsiril, she’d risk her life to get a taste of freedom. Besides, you know, being a slave and having a timebomb collar with Maizuru’s curse, her frustrations with her life with the Nakamotos is most concisely put in the comic just up above, Inutade’s extra.

She has no dot tattoo, meaning she’s at rock bottom of the hierarchy. It makes sense, since unlike Inutade she’s rebellious and needs threats to obey orders, and even then might try shifty business.

This last part where Izutsumi tries sleeping with Toshiro is most interesting to me. So she’s sought out contact with Toshiro before, she considers him "the stuck-up guy" but she doesn’t exactly hate him. I wonder if this comic is set in the inn on The Island or back at the Nakamoto household, because if that’s the latter it implies that she could get access to his room if she’s sneaky.

Oh oh also, this is fanon but since Toshiro’s weapon is one used usually on horseback, and with the steadfast and upright character of horses I associate Toshiro with horses a bit, though this is wild fanon. What’s interesting is that the plant Asebi was named after is a plant infamous for being toxic to horses. Hehe hehehe he wears a ponytail… Hm now that I think of it hairdos have importance for samurais, should look into that.

Toshiro

God. Ok. Everything was leading up to this guy. Need to split open his head like a geode and vibecheck his brain crystals. Let’s get some interesting details out of the way first.

His weapon is a tachi, not a katana. The wikipedia on tachis is more in depth if you want, but I consider the article I linked to be in deoth and digestible. Tachis are heavier and longer blades than katanas, and make for better horseback weapons than close combat. The way Toshiro uses one instead of a katakana shows that he’s extra strong… And does make sense, since most monsters won’t fight in as close quarters as human fighters. If katanas aren’t a thing in the world yet could make a difference, since tachis were invented first, and once the katana was invented and spread tachis became something more common in higher-ranking samurais. In the monster tidbit of the Hag, it’s shown that even at 6 years old Toshiro was training and learning ninja skills, his first instinct to the shikigami besides running being to fight.

Toshiro knew that Izutsumi wanted to leave, for sure. He may have been sympathetic, if his cryptic look back at her in the ‘Toshiro interacting with his party members’ page means anything. As seen below though, him being sympathetic doesn’t necessarily mean that much. Also, Toshiro had to have known about the curse on Izutsumi, where if Maizuru doesn’t touch her once in a while she’d die. "Asebi must have ran away, leave her" can be seen as subtle support for her to gain her freedom, but it could just as easily be seen as him leaving her behind to die. Because the outcome options are 1) she gets killed by Maizuru's curse, 2) she finds a way to break the spell, 3) she finds a way back to them.

He’s very conflict averse. Wether it be in relationships like with Laios or the status quo. Will not stand up for 99% things including himself. He obeys his father quietly despite his anger and dislike. This is the same guy who can't even get himself to speak up to correct the butchering of his name, the slippery slope that got him tangled in the Laios party seemingly without resistance. It’s very japanese etiquette from even nowadays, never saying a direct no to not be rude. ALSO THAT PANEL, has Toshiro beaten an ogre before?? Is that a brother of his?? Does seem in character for Toshiyuki the most, unless Toshiro was desperate to earn his father’s attention with feats. On the right I’d say the ones in the foreground are two of the brothers, maybe the third being the one to gesture to the ogre. It’s worth noting that inheritance laws during the Edo period often made the heir the son with "the most merit".

When with a goal that’s important to him he’s fine with even starving for it. Although what we see him be like that about in canon is Falin, aka self-admittedly in the post-canon proposal comic "the first person he has liked this much", which for him I feel is like admitting she’s one of the first things he has truly wanted for himself and fought for, soo… It’s more like an exceptional freaking out moment than something that would be recurring, most likely. How disheveled he got is a testament to how much he would forego propriety and rules for people of his status for the person he cares about most. Maizuru says the first personal request he’s (ever?) made was for them to help him rescue Falin.

Which ahh yes, his crush on Falin. I do think idealization plays into it, he doesn’t know Falin that well for sure, but it’s more complex than that too. Falin is pretty and can have an ethereal energy to her, she’s caring and gentle kinda motherly which Toshiro would find soothing I imagine, BUT MOST OF ALL. She’s weird!! She’s just weird enough to allow and be charmed by!! Shuro was fully shaped by his upbringing and environment of nobility, social etiquette and whatnot. Yeah she’s weird and quirky, but still quiet and sweet-mannered enough that he’s like "Yes, she wouldn’t bring shame on my family name". And why would he be charmed by her weirdness? Because all he’s ever known is rules!! Conformity, fitting in!! Unlike the others he knows, she is weird without being overbearing as well. "Woah she’s so different… She’s kind and soft and doesn’t care about fitting in… She is out of this world, she’s free, she shows me a world where tenderness and authenticity is possible…" She’s like his comfort character. MOREOVERRR I had totally forgotten about it, but Toshiro was shown watching a snail behind a bush and losing sight of everything else (like Maizuru calling him) as a kid in the Hag monster tidbit, the moment he fell in love with Falin it was when she looked enthralled at a caterpillar and he mentions how "most girls would have screamed or recoiled in disgust", and in the beach chibis page he’s crouching and collecting shells thinking about Falin… He likes bugs and crawly critters guys, he wishes he could be cottagecore too… It’s a genuine shared interest… . Someone pointed out that Toshiro & Falin’s relationship probaboy references this japanese folk tale, and I think that’s very interesting to note.

And Maizuru is like his mom but it’s a Thistle situation where they can’t just be a normal family and normal affectionate either- and when he learns about his father having a thing with her he feels weirded out. And like. Who knows how much he even got out of the mansion. He got homeschooled. He’s distant with his brothers. The family is in shambles

Shuro’s issue is that he was taught to be perfect and have the upmost respectable behavior, so if something annoys him he has to be righteous about it and that it’s the annoying thing’s fault or moral failing. Bro just let yourself be petty sometimes it’s healthier. With the feud with his father it’s explicitly stated that the pressure and expectations of the family name weigh on him a lot.

But then, that makes his beef with Laios so understandable doesn’t it. Not justified, but explained certainly.

Laios & Shuro and the whole mess coming to a head

I’ve made an analysis of the Laios-Shuro fight from Laios’ pov before, here. This is the Shuro pov analysis. Yes yes in The Fight, Shuro is dehydrated sleep-deprived and underate, he’s majorly off his rocker, BUT his frustration and the underlying issues are still things he felt on any day and it’s interesting to note.

Toshiro has been raised from his birth with the priority of propriety, nobility, etiquette, rules, conforming elegantly, appareances and reputation are everything. He’s modest, humble, quiet, stays in his lane and bottles all his feelings up. Wait who is this loud guy coming up to me being inconsiderate and loud af?? Does he not see me blinking in morse code that I’m not enjoying this and want him to leave?? Was he raised in a barn?? He’s overbearing and rude and way too friendly- He’s weird wtf! Not conforming to basic etiquette is illegal??! And people just… Let him do whateve he wants?? He lives well, no one stops him or kills him?? What the fuck, I’ve followed rules and etiquette thoroughly all my life, and it’s thankless work I get no recognition for, meanwhile he gets to be oblivious af and do whatever he wants without getting clapped?? Resentment, frustration, dislike, anger anger anger, jealousy.

Laios might even remind Toshuro of his dad in a way, because he SEEMS impulsive and like he does whatever he wants without a care to people around him, without thinking of how it might affect them. Doing things without thinking through the Implications. And interestingly this is a bit paralleled to to how Shuro is serious, strict, and big on the duties that come with having a leader role and the family dynamic it brings, like Laios’ own father, who Laios also dislikes… Dealing with his anger towards Laios, especially knowing that Laios doesn’t mean anything bad by it like Toshiro admits, is probably very healing to him. He stops repressing and thinks through his issues a bit, realizes what parts of his life he’s unhappy with and where all the negative feelings come from. I do think he bottles up his dislike for his father a bit, he has to at least for appearances. His beef with Laios is repackaged internalized anger for his father, but it’s ALSO repackaged frustration from his etiquette-bound lifestyle. He says it himself, when Laios is like "You never told Falin how you feel…? Alright, when I can I’ll tell her for you buddy!!", "that’s the part of you that I envy". Laios’ ability to just come out and say what he wants to, what he means. He wishes he could be free of all the rules more, that he had te courage to speak out, like with Inutade, or talking things out with Maizuru, or nit having to act like he’s not angry with his father. This narrative point of Toshiro envying Laios’ ability to say things freely and being frustrated by not being able to himself is ESPECIALLY examplified by their first interactions, the basis of their relationship: Laios enthusiastically befriending him, giving him a bad nickname and roping him into joining his party, with Toshiro never turning it all down despite wanting to, too hesitant to act possibly rude.

And now is time for the laishuro addendum… Because of personal experiences it’s a bit of a sensitive spot to me so while I see timelines in which I enjoy it I’m very picky… This is all further theorizing from me btw I’m not pushing my view here onto ppl as facts, but I think there’s more interesting bits and scenarios to bite into here. Laishuro has very cute and sweet potential. I personally don’t see the "Oh wait Laios is just girl Falin… 😳" angle because to me if anything that’d just make Shuro disillusioned with Falin lol, but like yes make Shuro learn that it’s ok to be weird with Laios 🥺 They DO have differences first of all, important ones, especially from Toshiro’s perspective. Laios is overwhelming, whereas Falin is soothing. Laios is loud and asks things of him where Falin is a calm, quiet presence. Laios pushes himself onto Toshiro, whereas Falin is content on just doing her own thing in her corner alone.

Hot take but the ultimate laishuro timeline is the one where he DOESN’T bring Laios back home, because he knows he’ll be seen as an oddity and clown by his father, and he doesn’t want Laios to be treated like the tapdancing monkey there to please and entertain his father the way he himself has always kind of been. Wouldn’t inflict that onto someone he loves. He can recognize when people are taken advantage of (mostly) like Inutade, and it doesn’t settle right with him. He might be especially sensitive to it in Inutade’s case because it’s about seeing his dad in a better light than he deserves, though. His father is his weak spot, THE weak spot.

It gets me so emotional thinking about it actually because seeing Laios played like a fiddle by his father, Laios so happy to find someone who’s enthusiastically listening to him ramble and engaging, would destroy Shuro emotionally I think. Like. On one hand being like "Oh of course my dad would find Laios fun, unlike me his boring son", super angry as coping mechanism for his intense sadness of not having positive parental attention, and then on the other he’d see Laios being treated as a clown and identify with it and that would remind him of how he gets treated similarly which he’s in denial about (more or less, but since he puts up with the family rules and follows along he hasn’t given up on getting recognition. He wants his father’s approval, and he couldn’t blame Laios for being happy with it despite how hurtful that attention truly is without Laios’ knowledge), which would be such an overwhelming conflicted mess of emotions and his worldview would shatter a bit because he has to repress it all even now, and he’d have a breakdown.

And similar deal but if he brought Falin home… Bc ok yes he idealizes her and doesn’t even know her all that well, but like I said imo what he sees in her is that "Woah she’s so different… She’s kind and soft and doesn’t care about fitting in… She is out of this world, she’s free, she shows me a world where tenderness and authenticity is possible…" So meanwhile with Laios he’d have mixed feelings on him getting treated like a clown and identify with it, bringing Falin home and having her be demeaned would be like having his perfect comfort character dunked on and he gets reminded that the world can’t have anything good actually. With both Toudens it’d make his resentment towards his father even worse, he might snap. I’m not the biggest on gendered analysis tbh but Kui evidently does like to do it to some degree, with the genderbending changing their life considerably and different fantasy cultures having different gender roles and all, but Shuro idealizing the Touden sister as something perfect he cannot attain while being jealous and frustrated at Laios for being something he cannot attain is like. So compelling actually. With Maizuru’s hannya of female rage weaponized there could be a theme of pushing the blame and responsibilities of things onto women too, the responsibility to raise and to manage and to dish out the work and to clean after mens’ reckless decisions. Anyways just a tangent.

Shuro on a bad family angst day is everything I love in a blorbo… He can be a lil shitty as a treat to make his healing arc more fulfilling. Toshiro snapping after he sees how they treat Laios/Falin and he gives up the family headship to LEAVE. Maizuru arc where she has to choose between loyalty to the clan and loyalty to Toshiro, will she stay with the boy she raised or go home… To me Maizuru is much less sympathetic than Shuro, but she is pretty tragic and her selfless love for Shuro is her one redeeming quality. Babygirl take no shit no more, but also better yourself and turn your life around please and thank you… She is so evidently taken advantage of but like. What else does she have? So she just takes care of and loves the boy she raised like her own kid and goes about her daily life in servitude and doesn’t think too much about it all.

Shuro is awful a nickname but also, I think Shiro would be a good nickname for Toshiro, because it gets rid of that ‘Toshi’ first part of his name that all the male members of his family share. It severes the link to his father and the tied pressure from his family.

Laishuro brotp turning slow burn romance would be so lovely. I think college au for laishuro would be peak actually… Shuro so is the repressed "I am so normal" guy who has a furry liberation identity crisis arc… I also quite like the potential he’d have with Namari, as both work-oriented misfit foreigners cast out of their homes, and she’s also bolder so it’d be good for him, and he could bring her stability… That’s a topic for another day tho. Even he and falin are sweet tbh, they could have traveled around together even if just as friends… Bc yeah she does value him as a friend at least somewhat, she says she’ll visit him~! Mostly I want Izutsumi-Toshiro brotp fancontent.

Conclusion

The household is very hierarchy oriented, and honestly the system doesn’t seem to make anyone happy, or at least not healthily so. Sighh feudalism.

Obviously their situation are very different, but still Toshiro and Izutsumi react to the same conflict in opposite ways: when a hierarchy and lifestyle of rules and duty is thrust upon them, Toshiro obeys and believes that it’s how things simply are, always having it been drilled into him since being a baby and being privileged enough to live ok with things as they are, meanwhile Izutsumi rages and eventually breaks free and never wants to submit herself to rules or hierarchy ever again, even if that perceived hierarchy is a mutually beneficial professional party dynamic or having a role inside a well-meaning team, like Laios’ party. WHICH IS WHY THEY SHOULD HANG OUT AND HAVE AN ARC TOGETHER. LET HER INFLUENCE HIM TO GET WILDER AND THINK OF HIMSELF MORE. FUCK INHERITING THE HEADSHIP. THE SIBLINGS NARRATIVE.

As always if I find more stuff to add i’ll edit it in. Rn I’m thinking that I’ll look into ninja & samurai feudal history and try to find specific terms that might fit their roles and situations more. I should reread the first chapter with them to try and notice the hierarchy at play more, sigh, and Izutsumi’s end of the Toshiro-Izu dynamic as well.

Ah yes yes, I forgot to talk about it but we don’t know what Toshiro’s retainers have been doing with their time on The Island, especially while he was dungeon diving with Laios and co. Ah although in the anime’s ed in this shot we see them "stealthily" follow him around, so presumably when he’s not in dungeons they’re tailing his moves.

Afterword here, it has summary charts about the power structure & relationships and complementary pages and artworks, couldn’t put them in here because SIGH 30 pictures per post limit.

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sachermorte · 1 month

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so the thing about english is that people think it's so divorced from other germanic languages based on like. words. I've even heard people try to insist that english is a romance language. because of that whole messy business in 1066 with out-of-wedlock willy and his band of naughty normans. and now a good chunk of the vocabulary is french or whatever and they're prestigious so not using them makes you sound like a rube and this and that and the other

and yes william the conqueror will never be safe from me. I will have my revenge on him. he fucked up a perfectly good germanic language is what he did. this will be me in hell

but the thing is that most words in, say, german do have a one to one english equivalent. not all hope is lost, for those who still dare to see it. it's just that you 1066pilled normancels aren't looking in the right place

dog (en) ≠ der Hund (de) but der Hund (de) -> hound (en)

look with your special eyes. that one was easier. not all of them are this intuitive because of semantic narrowing and broadening and waltzing and hokey-pokeying and whatever else. I'll give you a few more

animal (en) ≠ das Tier (de)

aha! you think. I've got him on the ropes now.

but then

das Tier (de) -> deer (en)

nooooo!! you whine and cry in gay baby jail. the consonants are different!!! listen to me. listen, I say, putting both my hands on your shoulder. /t/and /d/ are the same sound. you just put your voice behind one of them.

nooooooooo!! you wail. deer are animals but not all animals are deer!!! listen to me. LISTEN. they used to be. animals used to be deer. that's just what we called them. it was a long time ago. it was a weird time in all our lives. it's okay.

let's try for a verb this time

to die (en) ≠ sterben (de) but sterben (de) -> to starve

same principle with the consonants, we're just changing a stop (where we completely stop the airflow and then let it through) for a fricative (where we still let some air go through. idk where it's going. maybe to its job or something.)

to starve used to mean generally to die, not just to die of malnourishment. we do that a lot. we take one word for a lot of things and make it mean one thing. or take one word for one thing and make it mean a lot of things. this is common and normal.

"okay but roland," you say, suddenly coming up with an argument. "what about tree? trees are super common. I don't think we'd fuck around too much with that. the german word is baum! what about THAT?"

"when did you learn german?" I ask, but then decide it isn't relevant right at this very moment. but fine.

tree (en) ≠ der Baum (de) but der Baum (de) -> beam (en)

beam??? you ask incredulously. beam???? BEAM?????? you continue with the same tone and cadence of captain holt from brooklyn 99.

yes. beam. like the evil beams from my eye I'm going to hit you with if you don't stop shouting.

but the vowels!!! you howl.

listen. listen to me. the vowels mean nothing. absolutely nothing. they're fluid like water. it got raised in english.

"WHAT DOES RAISED MEAN"

it doesn't matter right now. they were raised better than you, at least. stop shouting. open your eyes and see what god has given you. they're the same word.

"they're NOT the same word. they mean different things!"

we've been over this. they didn't used to. a beam was (and is) a long solid piece of wood. much like the long solid piece of wood I showed your mother last night.

FAQ:

Q: could english be some kind of germanic-romance hybrid?

A: do you become a sexy thing from the black lagoon just because you dressed up as one for halloween? english may have gotten a lot of vocabulary from norman french, but its history and syntax are distinctly germanic. that's what we base these things on.

Q: okay but what does it matter? this doesn't actually affect my day to day life

A: you come into my house? you come into my house, the house of an autistic man living in vienna austria and studying english linguistics and you ask me what does it matter? sit back down. I was going to let you go but now I have powerpoints to show you

Q: you're stupid and wrong and gay and a bad person

A: I know it's you, Willy

#I don't know what came over me #it was the devil #linguistics #english linguistics #etymology #shitpost nach sacher art

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theminecraftbee · 5 months

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you know it's INTERESTING to look back at the double life soulmate pairs and see how they're doing now, relationship-wise, because that experience shaped every soulmate pair differently, i think:

ren and bigb i'll put first on account of "we have no idea since ren hasn't been in the series since double life". when will our doggy come back from the war.......

grian and scar are... grian and scar, the soulbond alone is only part of everything going on there. i think being FORCED to team shaped them a bit into being a little/lot more stable in their relationship with each other in limited life and secret life, as well as maybe taught them a bit about each other's limits. i am... honestly not a desert duo guy there are people who can do the analysis of the soulmate bond's impact on them WAY better than me but. it's part of their overall arc, you know?

martyn and cleo are fun. they both are still clearly CLOSE but they are also both still clearly mistrustful and angry at each other! they have this whole "the only one who can kill you is me" dynamic going on between each other that's very fun. i think being soulmates... obviously they were one half of divorce quartet and the resentment of being forced together did some stuff to that relationship. but i think maybe it also sort of gave them something that they appreciate about each other as well? and they DO care, despite everything. (i could GO INTO THIS LET ME TELL YOU.) so like, they aren't close friends or anything, but they Know Each Other now. and that's a fun dynamic.

impulse and bdubs are funny because i think their bond both did and didn't shape them. the thing is, like desert duo, their soulbond is only one step in their journey, the one that ARGUABLY only settled out in limlife after impulse permakilled bdubs. (note that this is the first series where bdubs hasn't gotten a clock! he is FINALLY PAST that one relationship!) that said i think being each other's ridiculously happy married couple did something to impulse specifically, actually. i think it sort of confused and solidified the grudge and it also like, showed him the almost-happy-loyalty that he wanted in the world. i think these days impulse, at least, has a different idea of 'loyalty' and 'betrayal' thanks to that. and bdubs... i think it's relevant that despite bdubs intentionally CONSTANTLY THROWING UP BETRAYAL FLAGS, he never actually did it. and i don't think he ever actually would. but in terms of their relationship to EACH OTHER? the soulbond was, yeah, only one step in how that arc went.

scott and pearl are... interesting. it's funny; for one of the single most consequential soulbonds in double life, it like... mostly hasn't come up again in their relationship? part of this i think is that pearl's LONELINESS had more of an impact on her than anything scott specifically did, and scott choosing had more of an impact on him. so to each other they're mostly... normal? both a bit mistrustful but like... normal? it's in the ways they act with other people that this experience shaped them, i think; i could say something about scott's next major relationship being mean gills, and the way pearl is only now learning to be a part of a team that cares again. also, pearl's discovery of her bloodlust. that kind of happened in last life to be fair, but it's relevant,

jimmy and tango are surprisingly simple because they were one of the most stable and normal soulmate pairs, lol. they're each other's ranchers! they're still friendly to each other even when their teams are on opposite sides! i think having one relationship where he was the more self-assured one was nice for jimmy and tango having a guy who, rather like skizz, was never going to point out much when tango screwed up on account of Pot Meet Kettle was nice for him, and they both know it was nice. they both get more into the teasing now that they know each other better--a big part of the early ranchers dynamic is that they Did Not Know Each Other but now that they DO it's starting to settle into something shaped more like the kinds of relationships both tango and jimmy tend to have (and they are BOTH the kinds of people to have a lot of friendly mocking in their relationships i wouldn't be surprised if that gets Even More in the future)--but i think out of everyone they probably remember the soulmates thing the most fondly, given the degree to which they are still Buddies.

etho and joel are... good lord the boat boys. on the one hand: clearly they both still enjoy pointing out that the boat boys happened. joel gets... weirdly jealous of other people hanging out with etho? on the OTHER hand they seem determined to murder each other so so so bad. i like to think that their soulbond is a thing they look back on fondly from this but ALSO they both have such weird commitment hangups and bloodlust that maybe the fact they want to kill each other SO BADLY was inevitable. also interesting, though, is how much of this bloodlust comes from etho, given that normally you'd expect joel's relationships to go the other way. what i THINK is happening is that joel still feels a lot of loyalty towards the boat boys somewhere in his head (hence the jealousy and not typically being the one to lash out), whereas etho thinks of it as largely Done and Past, but thinks of it fondly--hence bringing it up every time he has to kill joel, and also the weird tendency to gravitate towards joel specifically. I DON'T KNOW MAN I WOULDN'T HAVE PREDICTED BEFORE LIMLIFE THAT BOAT BOYS WOULD BE THE SOULMATE PAIR THAT WERE WEIRDEST ABOUT EACH OTHER BUT HERE WE ARE,

anyway i just think it's funny to look back on the various soulbonds and realize which ones have had a big impact on sticking around and which ones haven't, you know?

#trafficblr #double life smp #sometimes i just sort of rotate the fact that the soulbond relationships have MOSTLY stuck around a lot #even though many of them arguably should have become less rleveant?#idk.#also oh god this ended up being long MY BAD

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ao3commentoftheday · 6 months

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Hello!

How do you leave a good comment on a work when you notice a large error? Or a small error,m I get so nervous to leave a comment nowadays because not many people have clear statements regarding criticism. So, I'm hesitant to point out anything out/ leave a comment that's anything but positive.

I remember a few months ago, on a BNHA work, I corrected the timeline of canon events that author got wrong (because the WIP seemed to be going down that route of "canon adjacent" work that spawn from a canonical event). The author had a message beneath the chapters that "all comments were welcomed," so I thought it was okay to leave the type of comment I did. But I dealt with several aggressive messages from the author and the author's friends about needless critique and how rude I came off as afterwards (I apologized,but I still got messages for a while).

The whole thing freaked me out a bit because I hate any semblance of confrontation ,so now I'm nervous about commenting any work- even those with explicit statements on criticism (welcome ,not welcomed,etc). I leave kudos and such ,but sometimes I debate over whether or not the author needs my comment about their typos. I try to sandwich a critique between two compliments like everyone says,but then I end up with a paragraph-length comment, and I worry about coming off too strongly.

I'm rambling,sorry.

Is there a guide to good comments for criticism in fanworks? Besides not giving criticism when criticism would not be welcomed??

Thank you for your time.

First of all, I'm sorry that you had such a bad experience. I'm sure that was awful for you, and I totally understand why it would freak you out.

When it comes to correcting things in fanfic, there are a lot of things to take into account.

Why does correcting the error matter to you?

How well do you know the author?

How long would it take to make the correction?

There are others, but these are the bigger "buckets" I see most of them fitting into.

If the error matters to you because you get annoyed when you see typos, for example, then that's more of a "you" problem. You can download the fic and edit out the typos and then when you reread it, you won't have to worry about them.

If the error matters to you because you'd be embarrassed if you had posted a fic and there were typos in it, that's also kind of a "you" problem. If the author feels the same way, they'll likely have an author's note indicating that they want to be notified. Otherwise, they're likely resigned to the idea that typos will happen, and if they reread their work themselves, they'll edit them out if and when they catch them.

If the error matters to you because it's non-canonical, this one is more of a wait and see. Maybe the author made the error by accident, but it very well could be on purpose. Perhaps that small change is relevant to the overall plot they're developing. Maybe it's just a thing that they personally hate in canon and have decided that they don't want to include for that reason. Maybe it's a genuine error that they'd be horrified to notice later. There's no way to know.

And that last one is where we come to the second item above. If you know the author well, you can message them and have a chat and bring it up there. I'd recommend just starting out by talking about the story as a whole and what their plan is for it. As I said, maybe what you see as an error is actually a conscious choice that they've made for the story that they want to tell. During that conversation, you'll be able to figure out whether it's actually an error and whether they'd want it pointed out or not.

If you don't know the author well, you could point an error like that out in a comment but then you need to think about the third factor.

Typos take seconds to change. Plot points take hours, days, weeks, or longer. Asking someone to put in a lot of time to make a change to something they've already been working hard on can be really demotivating - even crushing.

For a lot of authors (possibly even most?) they put a lot of work into their fics before they ever get to the point of posting them. They've read, revised, planned, and plotted. They might even have additional chapters already written that are in the revision process and just haven't been posted yet.

Especially in long works, authors look to the comments as a cheering section to urge them on towards completion, so posting corrections or pointing out errors can feel like someone standing up and booing. I think that's what happened in that BNHA situation you referenced in your ask.

That's why the general suggestion when it comes to commenting with corrections is just to not do so. If you want, you can comment about all of the things you like in the fic and then ask if the author wants a beta. That would allow you to have those conversations about their vision for the fic, and it would also allow you to offer feedback before the work is posted and while it's still being edited and worked on.

Otherwise, if it really does bother you, I'm afraid you might just need to dip out and find a different fic.

#asks and answers #long post

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quin-ns · 11 months

Text

Fake Blood (Ethan Landry x Reader)

Word count: 5.6K

Summary: spoiler: the blood isn’t fake. alone in your apartment after your friends had been attacked, you ask ethan to stop by. he does in an unexpected way and you get more than you bargained for

Tags: (18+), friends to lovers, minor violence, knife tw, flirting, making out, virgin!ethan, virgin!reader, fingering, unprotected p in v sex, the ghostface robe stays on during sex, denial ab ethan being a murderer :) (if bad why hot?)

A/N: just watched scream 6 for the first time only a few days ago and couldn’t get this psycho out of my brain (tiktok edits didn’t help lol). timeline might be a little wonky but tbh it’s not relevant. also this follows the theory that ethan did the big apartment attack. I really wasn’t expecting this to be this long but it’s worth it yall I promise

cross-posted to ao3 • scream masterlist • main masterlist

As much as you liked Mindy, if you knew becoming friends with her would lead to you being integrated into her friend group of past and present serial killer victims, you might’ve thought about asking someone else to partner up with you for a presentation in your film studies class.

When you’d asked her, it was mostly to avoid having to accept an offer from a guy named Jason, who had always stared at you during that class and brought up the ‘Stab’ movies whenever he could (this was before you knew your friends knew him, but you still got a weird vibe from the guy).

She’d been excited to hang out with you after you two gave your presentation, and that’s how you wound up spending most days with her and her tight knit group of friends.

You were probably closest with Mindy, but you liked her brother too. For a guy named Chad, he was actually pretty chill. You got along with Tara as well, who was in a bit of a rebellious phase after being attacked and nearly killed, which you only learned about once they trusted you enough. Her older sister Sam was mostly cool too, but a bit overprotective. There was a gloomy aspect to her, but you supposed it made sense given that she was betrayed by her murderous boyfriend and now the internet peddled theories that blamed her for a series of killings in their home town of Woodsboro.

They had a tight bond, and even though you grew close with each of them, you knew you’d be an outsider. Like Tara and Sam’s roommate Quinn, Mindy’s girlfriend Anika, and Chad’s roommate Ethan. You all had shared multiple conversations about their trust issues. It must’ve been hard to even start to trust people after all that.

Out of all of the other “newcomers” as Mindy once put it, you got along with Ethan the best. He was a little quiet and sorta dorky (which your friends would tease him about a little—all friendly, of course) but he was fun to talk to. You guys liked a lot of the same stuff, including horror movies, and it didn’t hurt that he was cute.

In your opinion, with his curly dark hair and eyes to compliment, the whole “shy guy” thing was part of the appeal.

You wondered if he’d ever make a move, or if he even knew you were curious about him in that way. You wouldn’t go so far to say it was a crush for your ego’s sake, but you wouldn’t send him running off with his tail between his legs like you did with most guys.

Like that guy Jason from film class, who, just before Halloween, was killed alongside his roommate by a masked killer.

“Didn’t he have a thing for you?” Mindy asked you as you were all gathered around the TV, finding out the news together.

You were sitting crammed in a chair next to Ethan since the others had all taken up the couch space. He didn’t seem to mind, but it did unfortunately make it easy for them all to look your way and stare. You didn’t like the attention.

You were in shock at the news, especially when the anchor revealed Jason had also killed your film professor. Ethan pointed that out, saying if the guy was crazy enough to do that he might’ve even gone after you.

“Maybe the killer who killed him did you a favor,” Quinn suggested in response to Ethan.

The thought terrified you. You looked around the group. “Do you guys think he really would’ve hurt me? He seemed weird, not psycho.”

“We talked not that long ago, nothing seemed off,” Tara revealed with a grim look. “He asked if you and Sam were gonna come to the party.”

You hadn’t planned on going—what the hell would’ve happened if you had?

You exchanged a look with Sam, who seemed to have the wheels in her head turning.

You zoned back into the news as the reporter explained the mask found was a ghostface mask—like from the Stab movies. And of course, the actual Woodsboro killings.

“Pack a bag,” Sam told her sister, springing up to move around the apartment building.

Sam and Tara argued, which was a little weird to witness. You tried to sink back into the chair, while Ethan looked at you like he wanted to say something.

Hopefully it wasn’t “get out of the chair” because you didn’t think you could move.

The night ended with you going back to your little apartment alone. Your roommate was out of town and so your anxiety was on high alert.

A lot had happened that night apparently, including Sam and Tara getting attacked in a convenience store and them being questioned by the cops.

As much as you cared about them, you feared what would happen if you were with them.

That’s why the next night when you were invited over, you had been hesitant. A government paper was the perfect excuse, but you had FaceTimed with them so you all could keep an eye on each other.

You sat at your little desk, your laptop opened to work on your paper, and your phone propped up on your cup so you could talk to them hands free.

Apparently everyone was together at the apartment except Ethan, who told you he was studying in the library when you texted to ask him. You responded that you were working on a paper and that if he wanted to come over to keep you company, he could.

You’d spent some time alone with him, but not a lot when you really thought about it. It was always in the group—who were all murder suspects, according to Mindy’s movie rules.

You knew you weren’t the killer, and you had absolutely no motive. The others were still suspicious of you so that hurt a little (maybe that was another reason why you were keeping to yourself), but you did your best to understand that they weren’t just suspicious of you.

Everyone was a suspect, and no one was safe.

You felt even less safe when Mindy said she’d call you back. You didn’t know why she had to hang up so urgently, but you had a feeling it had to do with the emotional conversation Tara and Sam had been having in the background. You couldn’t make out most of it clear so you avoided mentioning it.

You sighed and checked your chat with Ethan. He hasn’t responded to your text. You were getting nervous now that you weren’t video chatting with your other friends anymore and the thought of being home alone didn’t bring you much ease.

You thought about just going over to the Carpenter’s (and Quinn’s) apartment, not wanting to bother Ethan further. Maybe he was ignoring you on purpose.

However, it was a far walk there. You didn’t feel safe making it alone at night—especially with a killer on the loose, likely targeting your friends. If you had a car, maybe, but you were a broke college student who could barely afford a place to live.

You sucked it up and double texted Ethan, this time asking if he could come over and that you were worried.

When he didn’t respond right away, you gave it a few minutes.

A little while longer passed and since you now couldn’t focus on your paper, you tried to call Mindy back. Then Tara. Then Chad. Then Sam. Then Quinn. Then Anika.

Not a single one of them answered.

You took a deep breath. Then, you went to double check that your door was locked.

You tried to call Ethan, but his phone went immediately to voicemail. It must’ve been dead or powered off.

That left no one else to call, and you felt more alone than ever.

You sat down at your desk and tried to focus.

You ended up going to your bedroom, putting on sleep clothes, and watching a comfort show under all your blankets instead, paper completely forgotten.

Your phone dinged from your bedside table and when you looked at it, you saw a message from Ethan. Only a few hours late, but he said he was on his way up.

That was sudden. You tried to not overthink being alone with Ethan too much.

A few moments later, there was a knock at your front door.

You climbed out of bed, not really caring that you were wearing sleep shorts and a baggy shirt. Your friends had seen you go to class in about the same when you had all night study sessions.

When you got to the door, you got a little nervous. But you knew it had to be Ethan, so you tried to push the anxiety aside and unlocked then opened the door.

You were met with shock and horror.

Towering over you in your doorway stood a figure in a black robe… and a ghostface mask.

You tried to slam the door, but the person caught it. You choked on a scream when they shoved their way in, holding a knife. There was a small stain of red on the metal blade and a darker, bigger mass on the robe.

Blood. Blood was red.

You scrambled back and tried to think of where to go. None of the doors in your apartment locked, not even the bathroom door.

Your heart and mind raced and suddenly you were spewing words.

“I don’t know what to say to make you not kill me, but I please don’t,” you rushed out.

The person—the killer—moved closer to you after shutting and locking your front door.

You ran, but there was really nowhere to go. The killer ran too. You tried to lure them to the bathroom and shove them in, but they dodged and had you almost within their grasp.

They didn’t slash the knife, though.

You ran for the front door, but the killer grabbed you by the arm. You were shoved back against your hallway wall and pinned. Your back slammed against the wall, but not hard. They held the knife to your throat—not too close, but it was still there and still kept you frozen.

“Are you gonna kill me?”

The words came out before you could stop them. You internally scolded yourself. That’s the kinda shit the girls who got murdered asked.

There was a laugh, and then a familiar voice.

“I’d never do that.”

By the time the killer reached for the mask and pulled it off, you still hadn’t processed your shock.

“Ethan?” you gawked up at him while he gave you a cheeky smile. He let the mask drop and the hand holding the knife fell to his side.

“You should’ve seen your face,” he said through a smile, excited eyes scanning your face for realization.

“Is this… is this a fucking prank?” you questioned, finally comprehending. “Ethan, what the fuck!?” You shoved him back by his shoulder, admittedly a little pissed. “You’re covered in blood!”

He stayed standing in front of you.

“It’s fake, I promise. It was just a joke,” he reasoned, looking a little guilty. “Y’know, cause Halloween and… alright, maybe my timing isn’t great.”

You scoffed out a laugh at that. “It’s terrible timing. There really is someone after us.”

“You’re right, I’m sorry,” Ethan apologized with a small, apologetic smile. You stared at him, still surprised. He looked so innocent for someone that could pull off, let alone come up with, such a messed up prank.

“Is this where you’ve been? Dressing up to mess with me while there really is a killer after us?” You questioned, raising your brows and crossing your arms.

“Y’know, if there really is a killer after us, we probably shouldn’t let each other die virgins,” Ethan stated in a flirtatious way he easily could’ve played off as a joke. Maybe it was entirely a joke, but you played along in a different direction.

You scoffed. “And you’re just assuming I’m a virgin?”

He shrugged, the long fabric of his costume rustling. “I see how you are with guys. They want you, you never want them.”

“So what, I’m a tease?” you guessed, used to hearing that but a little disappointed to think it would come from him.

“No,” he clarified quickly. “But they’re just never good enough for you and you know that. Like that jerk Jason.”

You cringed a little at the mention of him, and then felt bad about that. The guy had been murdered, after all.

“Don’t say that, he’s dead.”

“So what?” Ethan asked plainly, surprising you a little. “He was a killer too. He could’ve gone after you, you should be grateful to whoever did it.”

You furrowed your brows. He was starting to sound like someone else. “Grateful?”

“It’s okay, you’re allowed to be.” Ethan’s expression as he spoke was one of reassurance. “You could’ve been next, you never know. He was one of those guys who couldn’t take a hint that he was beneath you.”

You had no idea he thought that way about you—that there were men he deemed unworthy. It was enough to distract you from the shift in his demeanor.

“And what? You’re saying you’re one of the guys who’s good enough for me?” you couldn’t help but wonder. You never thought about your dating history (or lack of) like that.

“Hell no,” he said, surprising you yet again. You were expecting a ‘yes’ with the way he was coming onto you all of the sudden, but what he said carried even more of a self-depreciating brand of charm. “But I’m hoping maybe you’ll pity the loser who’s had a hopeless crush on you for a while now and give him a chance.”

“You’re not a loser,” you said before you registered the rest of his words. When you did, you were taken aback at the confession. “But you’re not usually this… bold, Ethan.”

You wanted to ask him if something was wrong, but there was a lot wrong these past few hours.

“What can I say? I’ve been feeling more confident recently.”

You hummed, understanding that in a way.

“Maybe it’s the whole ‘we could die any second’ thing,” you ventured a guess.

He smiled to himself, like you’d just referenced an inside joke you weren’t a part of.

“Could be,” he agreed. He laughed a little and looked down at himself, then met your eyes again. “Sorry about scaring you. It was in poor taste. We both like horror movies… I don’t know, it was stupid.”

You scoffed, but you weren’t really mad anymore.

“I like horror movies, I don’t want to be in one,” you told him, eyeing the knife he held loosely in his right hand. “Is the knife real?”

“What?” Ethan asked, feigning confusion. He lifted the knife and examined it. “This knife?”

“Yeah, that knife,” you parroted back his playful tone. “You said the blood is fake, but is the knife real?”

A devious look crossed Ethan’s face. He held it to your throat slowly, holding it horizontally. You didn’t flinch, much to his pleasure. He seemed almost impressed.

“Gotta be authentic, right?” he mused, eyes flicking to your parted lips as you breathed steadily. “Can I kiss you?”

When his curious eyes looked back at yours, you couldn’t help but notice he still held the knife. The rush of excitement you felt scared you more than the fear of him letting it slip forward.

“What’s the knife for?” you asked with a surge of confidence, taunting him a little. “If I say no?”

Ethan laughed at that. He pulled it back and let it drop to the floor. It clattered against the wood, and you let out a breath you hadn’t realized you’d been holding. But it wasn’t from fear—it was from anticipation. Maybe your curiosity was a little more than that after all.

“You’re safe with me,” he assured. “Promise.”

His words felt layered, but in a way you couldn’t define.

Perhaps it was his way of saying he’d protect you. Maybe it was strange, especially given his entrance, but you found yourself feeling exactly that with Ethan. Safe.

Nothing was going to hurt you, certainly not him.

“About that kiss…” you started, giving him the indication that he was looking for.

Ethan took the hint and ran with it, lips crashing into yours in the blink of an eye.

His lips were soft, but the kiss was needy and hungry. You tried to move your lips in sync with his, but he was much more dominant.

A joke that you’d never say flashed by about him practicing.

It was easy not to laugh when Ethan’s hand threaded into your hair and his tongue began to explore your mouth.

The leather glove felt strange. It made you pull back a little, which you almost couldn’t do with the way Ethan eagerly chased your swollen lips with his own.

You glanced over his costume again. It looked really legit—when did he have time to get it? Was he actually gonna wear this for Halloween? You swore you remembered him and Chad talking about some other costume he made out of cardboard for the frat party.

Before you could spiral down that path, Ethan pulled the leather gloves off quickly and cast them aside. It was like he could read your mind. Both hands went to your face, pulling you to meet him halfway in another searing kiss.

You didn’t know what was coming over you, but whatever it was was causing arousal to stir in your belly.

You figured out the answer to that pretty quickly.

It was want. You wanted Ethan.

“Is the other offer still on the table?” you uttered softly when you and Ethan had to part for air.

He grinned, unable to contain it.

“Thought there was no way in hell that would work,” Ethan admitted a little breathlessly. “Thought I never stood a chance with you, but I liked you anyway.”

Ethan had a boyish charm about him usually, but now that was combined with a streak of deviance that you finally now noticed.

You weren’t expecting to be as intrigued by it as you were.

“Give yourself a little more credit,” you told Ethan, raising your hand to cup his cheek. He leaned into your touch a little. One hand rested on your shoulder and the other fell to hold your hip, tucking under your baggy shirt and rubbing your skin beneath. “You are pretty cute.”

Ethan’s smile only grew, but when you leaned in to kiss him again his lips met yours.

He wrapped his arms around your waist and guided the two of you to the ground with your back leaning against the wall. He was in front of you, on his knees, with you in his lap.

You ran a hand through his curly hair and you guided his lips back to yours. From what he’d revealed, Ethan hadn’t had a lot of experience with girls. It was a damn shame, because the boy was a great kisser.

His hand caressed your thigh as he trailed upward. You gave him a soft sound of encouragement when his fingers found their way to the waistband of your shorts.

“Is this okay?” Ethan asked, which made you want to grab him and kiss him again.

“Yeah.”

His hand slid into your shorts and your underwear.

One finger—you guessed middle—pushed inside of you. A small gasp escaped you at the intrusion and he watched your face.

Ethan was making sure the sound wasn’t of pain, which it wasn’t, and you appreciated that.

He withdrew the digit, then pushed in again. He repeated the motion a few more times before adding his index finger.

Ethan’s breathing grew heavy as he felt you squeeze around his fingers. He thrust and curled them inside you with rhythm. He managed to find one pretty quickly. That plus his thumb rubbing at your clit, you were falling apart in mere minutes.

Your brief orgasm rocked your whole body, leaving you clenching his fingers and quivering.

Ethan muttered things to you, but you could hardly hear over the sound of your own heart pounding in your ears.

Your head rested back against the wall as you caught your breath, still trembling from the aftershocks. Ethan withdrew his hand from between your legs and out of your shorts.

Your eyelids felt heavy, but in between slow blinks you saw him lift his fingers to his lips. You watched breathlessly as he placed them into his mouth and moaned at the taste of you.

No words would come out of your mouth, but he took rendering you speechless as a compliment.

“I’ve thought about that,” Ethan started, voice a little ragged. He was watching you, but his hand had moved off to the side. “What you’d look like… what you’d sound like… what you’d taste like.” The awe in his eyes as he spoke left you swooning.

“And?” you managed, sitting up a little straighter.

With the change in your angle, you could feel the bulge in his pants, even though the added layer of the costume he had yet to remove.

“You’re better than I ever imagined,” Ethan finished.

A scrape against the floor alarmed you. You looked to the sound and saw Ethan grabbing the knife off of the floor.

You watched as he brought it between your bodies. He first tucked it through the leg of your shorts, the cold metal sliding against your skin as it caught under your underwear as well. Then, he pointed the sharp side facing out. Finally, he sliced up through the fabric. You gasped a little as the cold air of the room hit your newly exposed skin. He did the same with the other leg, then pulled the tattered material away from your body.

You did the honors of pulling off your shirt. You didn’t have a bra underneath and you almost laughed at the way Ethan gawked at your fully naked body when you cast it aside.

“Your turn,” you told him. You were completely undressed, while he still wore the long, black disguise.

“Actually,” Ethan said a little eerily. There was something in his eyes you couldn’t quite pinpoint. “I was thinking I could leave it on?”

It was a question, there was room for you to say no. Maybe you should’ve, it was a little weird. But you weren’t really thinking about that. You were more focused on how badly you wanted Ethan to fuck you, and that clouded your brain.

“As long as you don’t put the mask back on,” you relented in a joking tone.

“You’re so fucking cool,” Ethan rushed out before slamming his lips into yours. The knife was cast aside again—you didn’t see it happen, but both of his hands were on your face.

You laughed a little against his lips, dazed and drunk on arousal. You didn’t really care about the logistics of it.

His hands moved down, but you were distracted by his lips dominating yours.

You heard the sound of his zipper being undone and he moved a little—you guessed shoving his pants down his thighs.

There was no time to look down because in a rush, Ethan was pinning you back against the wall with his body. One hand gripped your waist, holding you in place for him. The other was presumably guiding his cock to your entrance.

You gasped a little against his lips when he started to press forward while simultaneously pulling you down into his lap. The fabric of the costume draped over your thighs, blocking your view.

The stretch of his cock pushing into you was more intense than you could’ve predicted, but your whole body trembled with pleasure at the feel.

Finally, he either got too excited or lost his patience, and guided you down the rest of the way until he was fully sheathed inside of you.

“Fuck, fuck, fuck,” Ethan cursed to himself, body straining to keep from moving. His head dropped to your shoulder, heavy breaths hitting your neck. He leaned against you, forcing you against the wall.

His cock twitched inside of you and his body tensed, trying to hold back.

You panted slightly, trying to get your breath back. You ran a hand up his back and you felt him shiver. Your hand moved up the back of his neck and into his mess of curls.

You always liked Ethan’s hair.

You gave a small, barely qualifiable tug, but it had an effect. His body jerked, causing him to move inside of you. You gasped a little, but the motion felt good.

He lifted his head to look at you. His face was a little flushed and the lust blown look in his eyes made you quiver.

“You can move,” you whispered out, not trusting your voice.

Ethan didn’t need to be told twice. He secured the arm around your waist a little tighter and he put the other hand on the wall, giving himself leverage.

The slow drag of him moving out of you made you gasp for breath. The thrust back in knocked the air out of your lungs.

He set a quick pace after that, hips slamming eagerly into yours as the pleasure and excitement overwhelmed him.

It felt good, really fucking good.

Neither of you knew exactly what you were doing, but you were sure you’d figured it out because your whole body tingled with pleasure.

You cried out his name, which only spurred him on.

In a jarring movement you could hardly track, Ethan dragged you from the wall to the floor. He put himself on top of you, never once withdrawing from inside of you.

He watched your face as he pounded into you. Ethan had more leverage this way, able to grip your hip in one hand while the other held the top half of him off of you by being planted on the floor near your head.

You wrapped your legs around his waist, which you couldn’t see because the bottom half of your body was covered by the black costume. You hardly paid any attention to that aspect. You didn’t care that he wore it, not when you were this caught up in pleasure.

(In hindsight, you should’ve).

“I’ve wanted you for so long,” Ethan breathed out, hips starting the stutter with every thrust.

The knot in your belly started to tighten as he buried himself into you over and over.

You couldn’t speak, your breathing was so labored as you reached to cling to him.

His head dropped down to your shoulder as he allowed more of his body weight to fall onto you. You found yourself enjoying the feel of him truly being on top of you.

You hardly noticed the fake blood smearing onto your bare skin. When you did, you were too gone to care.

You bucked your hips, meeting his stuttering thrusts. He was getting close to his edge and so were you. You moaned beneath him as his forceful thrusts sparked pleasure through your entire body.

“I’m close,” you managed to moan out against his ear.

“Oh, fuck,” Ethan groaned out, cock pulsing inside of you at the thought. He lifted his head enough to be able to watch your face. “Come again for me, please,” he panted out, nearly falling over the edge at the mere anticipation.

The begging was hot, and your body was already ready to give him what he wanted.

You noticed his eyes flicking down your body, seeing the red stains on your skin. That was quickly forgotten by you when your whole body began to tense and quiver. You held onto him tight as waves of ecstasy crashed over you.

You didn’t see his eyes linger.

Ethan couldn’t hold it together, not with the way your body tightened around him as your orgasm rocked you.

He collapsed on top of you, holding you against him as his forehead pressed to yours. His eyes were clenched shut as he frantically shoved his hips against yours, burying himself deep. His cock twitched, his whole body shivering as he spilled himself inside of you with a moan.

The sound of him alone was enough to prolong your pleasure as you rode it out, but the extra movement and the feeling of him filling you was an added bonus.

He kissed you hard on the lips, effectively pulling the air from your lungs.

After a moment, he found the strength to roll off of you, only to then drag you to his side.

“I can die a happy man, now,” he joked morbidly.

You shoved him a little by the shoulder like you had before, but not enough to actually make him go anywhere.

“Don’t say shit like that,” you argued weakly.

He flashed you a brief grin. “I meant it as a compliment.”

You rolled your eyes and did you best to laugh it off.

You lost track of how long it took you to move from the floor to your couch. The same thing happened between the time it took for you to get from the couch to your shower.

It was a tiny shower that couldn’t fit two people, so you rinsed off as quick as you could. You were tired, and your legs felt weak, and you knew you’d be sore in a way that would make it hard to keep calm tomorrow.

Whatever he had used for the blood, at least it washed off fast. You were able to finish up in a matter of minutes.

You threw on new pajamas and crawled into your bed, managing to tell Ethan to take however long he wanted and that he could stay over if he wanted.

You found yourself hoping he would.

You were nearly asleep when the shower shut off and Ethan finally joined you in bed. He was only in his boxers and a black t-shirt, which he must’ve been wearing under the costume robe.

A thought nagged at the back of your mind about the costume, wondering why he’d gone through all of that just to mess with you for a minute—albeit a terrifying minute. It didn’t seem like him, but then you remembered you’d only met him a few months ago.

You were so exhausted you fell asleep in his arms, not awake enough to care about all of the weird details. In fact, the only thing you could think about was how much you liked falling asleep with Ethan’s arms around you.

In the morning, you found out your friends had all been attacked.

You showed up with Ethan after the feed on your college’s chat app blew up with images of cops swarming and ambulances outside of Sam, Tara, and Quinn’s apartment.

Mindy seemed relieved to see you, but not so much when she realized Ethan was with you. Maybe she’d cleared you as a suspect in her head.

She yelled at him to stay back, accusing him of being the killer. Nobody was taking Quinn’s death well, but Mindy was especially heartbroken over Anika.

“Stay back!” Mindy yelled at Ethan, who did as she commanded.

Everyone turned on him then, even Chad. Everyone except you. They demanded his alibi.

“How do I know you’re not the killer, roomie,” Chad spit at him, amped up.

“I was with Y/N last night,” Ethan defended, holding his hands up in a small show of innocence, before you could say a word. “We were… preoccupied, alright?”

You wanted to elbow him for how he worded it, he couldn’t have been more obvious if he tried. It might’ve been on purpose, you weren’t sure.

He wasn’t close enough to do that, though, and now all eyes were on you.

“Yeah, he was with me,” you backed Ethan up.

You weren’t going to leave him hanging because it was the truth, but you knew what that implied, and so did your friends. They all shared subtle—but not unnoticeable—looks. Your face felt warm, while Ethan bit back a prideful smile.

“So you guys, um…”

“Chad, stop,” Tara scolded him before he could point out the obvious.

“Point is, we had nothing to do with this,” Ethan stated.

We?

They were suspicious of him, and now he was lumping the two of you together. There were always two killers in the movies—you began to doubt if the alibi would ease their anxiety or only spike it.

You thought back to when he had showed up to your apartment in that costume. He’d scared you, but you accepted it when he told you it was a joke that he mistakenly took too far.

It made you wonder. What if it was him?

If he wanted to hurt you, he easily could’ve. That didn’t seem to be his intention. What was? Seeing how much he could scare you? Get your heart rate up? Seeing if you wouldn’t believe him?

Or was it seeing if he could put the evidence right in front of you and have you ignore it because of a crush?

Fuck. Maybe it was some weird combination of all. Were you that gullible? Or were you overthinking it now?

Your brain struggled to come up with a conclusion.

You wanted to believe Ethan was innocent. You really, really did.

It was easier than believing you had slept with a killer. Or potentially worse, that you had feelings for one.

Ethan gave you a slight, assuring smile.

Your head told you one thing, but your heart told you another.

Maybe you shouldn’t have, but you kept your mouth shut and gave him one back.

#quin-ns writing #ethan landry #ethan landry x reader #ethan landry x you #scream #scream 6 #ethan landry smut

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bettsfic · 2 years

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writing cheats

i know i’ve probably written about these all individually but i’m putting them together in one post. these are writing tricks that are extremely cheap and dirty; when you use them it feels like cheating and honestly by posting them i’m probably exposing all the easy moves in my own work, but more than a writer i am a teacher, so here you go, some writing cheats that have never steered me wrong.

quick character creation

what’s really annoying is when you have two characters sitting at a restaurant or something and the server has to come by. to what degree do you describe the server so that it’s clear they’re just a background character but that they’re not just a faceless form, so that the world has texture without taking up too much space on the page? rule of three, babeyyy: two normal things and a weird one.

she had pale skin and blue eyes but her hair was dyed black like a 2010 emo kid.

he was tall and broad, and he wore a sweatshirt with an embroidered teddy bear on it.

the woman stood there comparing the prices of toilet paper. she had a short angled bob and carried a keychain the length of a trout.

why does it work? it gives the reader something to hang onto, a brief observation that shows the world exists around your narrator. it also works when introducing main characters, but there’s so much action going on that you can’t take time to write a rich long paragraph about them. all you need is a little hook.

quick setting creation

i used to TOIL over descriptive paragraphs. for years i was like, description is my weakness, i must become better at developing imagery. i believed this because a famous writer once projected a paragraph i had written onto a screen and asked my cohort, “count how many images are crafted in this paragraph.” there were none. none! my friends were sitting there like, “we are TRYING” but they couldn’t find any.

i would say that after years of studying imagery development at the sentence level, i am, perhaps, competent at it, but what was more helpful was for me to shrug and tell myself, “i’m just not a writer who does that.”

anyway. my cheat is thus:

there’s not much you can assume about your audience. the audience is not a homogenous whole. but your ideal audience is something you can guess at, and that means you can play around with their existing knowledge and expectations.

if you say your characters are in a tacky shit-on-the-walls restaurant, if your ideal reader is an american who went to restaurants during the maximalist era of franchise design, they will conjure their nearest memory of one of those places. and for those readers who aren’t familiar with it, they’ll use other context clues to conjure that space. the point is, you don’t have to list every single stupid license plate nailed to the wall. you can leave it as one detail of one sentence and let your reader extrapolate from there.

if i say the dentist’s office looked like a gutted 90s taco bell, maybe no ideal audience would have ever seen a place like that, but a lot of people can mentally conjure a dentist’s office and a 90s taco bell and overlay them together to create a weird and fun image.

you can go even simpler than that: a bathroom the size of an airplane lavatory. a tiny studio apartment with a hotplate instead of a stove. a mansion with a winding stairwell. the point is that you want to define the size of the space and its general vibes.

in some ways detailed description can be overrated, because your reader conjures images even in absence of them on the page. and for those readers who can’t mentally conjure images, it doesn’t matter anyway; they take you at your word. the trick is to figure out what details are unexpected, relevant to understanding the story and its characters, and those are the things that you add in.

one other note: after working with hundreds of writers on drafting, for *most* of us it’s difficult to develop images and establish setting in a first draft. it’s nearly always something to be saved for a second or later draft. i think it’s because while we’re writing we tend to put character and action first.

nail the landing

there’s a joke i heard once from a writer i really admire: “you know it’s literary fiction if the story ends with a character looking at a body of water.”

and god it’s so painfully sad and true how easy it is to nail the landing of a given story by ending on a totally irrelevant piece of imagery. the final beat of a story followed by your character looking up at the sky and seeing a flock of birds in the shape of a V flying past. or maybe they’re sitting in their car and they count the rings of a nearby church bell. or maybe they watch an elderly couple walk down the sidewalk hand-in-hand. i don’t know!! when in doubt shove an observation, an image, whatever, something neutral at the end and it’ll sound profound.

(this cheat is the only one that can really bite you in the ass because if the image is too irrelevant you risk tonal incongruity. for use only in the most desperate of times.)

sentence fragments

when writers ask me how to punch up their writing or start developing their own style, my go-to advice is to give up the idea of a complete sentence. fuck noun-verb-object. if you have a series of character actions, knock off the sentence subjects like in script action. if the clause at the end of your sentence is particularly meaningful, don’t separate it with a comma but a period and make it its own thing. if your character is going through something particularly stressful or heinous, that bitch is not thinking in complete thoughts so you don’t have to convey them that way. make punctuation bend to your will!!

rhetorical moves

this one opened a lot of doors for me stylistically. remember that famous writer who called me out on my lack of imagery? i always thought his prose was beautiful, that he’s one of the best living prose writers, etc. once i learned more about rhetoric though, i realized he just employed it a lot.

usually when we talk about beautiful sentences it means a sentence that uses rhetorical devices. the greeks were like, you know what, when we give speeches there are certain ways to phrase things that make the audience go nuts. let’s identify what those things are and give them names so we can use them intentionally and convince people of our opinions.

i love shakespeare, i really do, but one of the big reasons he’s still a household name today and his plays are still performed is because every sentence of every goddamn play utilizes a rhetorical device. the audience is hard-wired to vibrate at the sound and cadence of his writing, like finding the spot on a dog that makes their foot thump. for five hundred years, william shakespeare has been scritching that spot for us.

i have no idea why, cognitively, rhetorical devices are so effective. i’m no rhetorician. all i know is that well-deployed anaphora makes a reader want to throw their panties on stage. my intro to rhetorical devices was the wonderful book the elements of eloquence by mark forsyth, a surprisingly fun read! hopefully that will open some doors for you the way it did for me.

the downside to this is that once you know rhetorical devices, it’s like learning how the sausage is made. on one hand, as a writer, you’ll have a lot stronger grasp of style, but as a reader good prose loses some of its magic.

pacing it out

many writers, myself included, rely on the tried and true “he bit the inside of his cheek” or other some such random action to help pace out dialogue. one time my thesis advisor sat me down and said “you’ve got to take all of those out.”

“all of them?” i said.

“all of them,” she said.

i thought, but that will weaken the text! it didn’t. once i cut what i came to call cheek-biter sentences i never went back. and now when i edit for other people i’m like, look i know where you’re coming from but just cut all these out and see how the scene stands. if it doesn’t feel right you can put some back in. a lot of times when you’re drafting you put those in the way some people say “um.” they’re just sentences you jot while you’re thinking of what the other character says, so from a writing perspective it seems like you’re pacing, but readers don’t read it that way. they just want to get to the next line of dialogue.

but sometimes you really do need to pace out a scene and i think there are other ways to do that that don’t rely on banal physical movements, such as:

interiority: a sentence or paragraph of relevant cognition, bonus points if you weave in background context. good interiority defines the voice of your writing.

observations: i know i just said description is overrated but idk sometimes you just need a character to note the back and forth clacking of one of those desk ball toy things.

character texture: maybe your character notes something about the person they’re talking to. a wilted pocket square. a mole that looks like it needs looked at by a dermatologist. a scar on their forehead. some detail that deepens or complicates our understanding of a character.

narratorial consciousness and access

this one is less a cheat and more a problematic opinion i have that doesn’t win me any popularity in writing circles.

i believe that if you’re writing in first person or close third or any narration which is dedicated to the mind of one character, you are only ever obligated to convey the experience of that character’s consciousness. and nothing else.

by that i mean, if your point of view character is unobservant? then they’re not going to even notice the flight attendant is missing one of their canine teeth. if your pov character is focused and obsessive, they’re going to think lavish, detailed paragraphs about that which they’re obsessed with and have no acknowledgement of the rest of the world. if your pov character has no understanding of time, does your story even need to be linear?

defining the scope of a narrator’s cognition early on can give you parameters in which to work. even if you don’t consciously do this, you still do it. if you write in third person limited present tense without really thinking about it, that’s your scope. i’m just pointing out you can choose to do it differently. you get to define your narrator.

whenever we talk about narration we also talk about information access and the order of information being revealed/conveyed. writing must always be in order; even if you’re writing multiple concurring things, it still has to be rendered on the page in order one after the next, because the human mind can’t read two sentences over top of one another.

if we’re restricted to the mind of a character, that means we’re also restricted by their knowledge and experiences, and this can be used to your benefit. i don’t want to take too much space for this but i do talk more about the relationship between narration and reality here.

in short, you the writer get to choose

what the reader knows,

in what order they know it, and

its relationship to the presumed real events of the story, which develops the (un)reliability of your narrator

okay going to cut this off now before i go on more rants about narrative scope. i hope you found this helpful and go on to put some of these nasty lifehacks in your own writing!!

#writing advice

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phantomrose96 · 2 months

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Hey not to go all "tumblr is a professional networking site" on you, but how did you get to work for Microsoft??? I'm a recent grad and I'm being eviscerated out here trying to apply for industry jobs & your liveblogging about your job sounds so much less evil than Data Entry IT Job #43461

This place is basically LinkedIn to me.

I'm gonna start by saying I am so so very sorry you're a recent grad in the year 2024... Tech job market is complete ass right now and it is not just you. I started fulltime in 2018, and for 2018-2022 it was completely normal to see a yearly outflow of people hopping to new jobs and a yearly inflow of new hires. Then sometime around late-spring/early-summer of 2022 Wallstreet sneezed the word "recession" and every tech company simultaneously shit themselves.

Tons of layoffs happened, meaning you're competing not just with new grads but with thousands of experienced workers who got shafted by their company. My org squeaked by with a small amount of layoffs (3 people among ~100), but it also means we have not hired anyone new since mid-2022. And where I used to see maybe 4-8 people yearly leave in order to hop to a new job, I think I've seen 1 person do that in the whole last year and a half.

All this to say it's rough and I can't just say "send applications and believe in yourself :)".

I have done interviews though. (I'm not involved in resume screening though, just the interviews of candidates who made it past the screening phase.) So I have at least some relevant advice, as well as second-hand knowledge from other people I know who've had to hop jobs or get hired recently.

If you have friends already in industry who you feel comfortable asking, reach out to them. Most companies have a recommendation process where a current employee fills out a little form that says "yeah I'd recommend such-and-such for this job." These do seem to carry weight, since it's coming from a trusted internal person and isn't just one of the hundreds of cold-call applications they've received.

A lot of tech companies--whether for truly well-intentioned reasons or to just check a checkbox--are on the lookout for increasing employee diversity. If you happen to have anything like, for example, "member of my college Latino society", it's worth including on your resume among your technical skills and technical projects.

I would add "you're probably gonna have to send a lot of applications" as a bullet point but I'm sure you're already doing that. But here it is as a bullet point anyway.

(This is kind of a guess, since it's part of the resume screening) but if you can dedicate some time to getting at least passingly familiar with popular tech/stacks for the positions you're looking into, try doing that in your free time so you can list it on your resume. Even better if you make a project you can point to. Like if you're aiming for webdev, get familiar with React and probably NodeJS. On top of being comfortable in one of the all-purpose languages like C(++) or Java or Python.

If you get to the interview phase - a company that is good to work for WILL care that you're someone who's good to work with. A tech-genius who's a coworker-hating egotistical snob is a nuisance at best and a liability at worst for companies with even a half-decent culture. When I do interviews, "Is this someone who's a good culture fit?" is as important as the technical skills. You'll want to show you'll be a perfectly pleasant, helpful, collaborative coworker. If the company DOESN'T care about that... bullet dodged.

For the technical questions, I care more about the thought process than I do the right answer, especially for entry-level. If you show a capacity for asking good, insightful clarifying questions, an ability to break down the problem, explain your thought process, and backtrack&alter your approach upon realizing something won't work, that's all more important than just being able to spit out a memorized leetcode answer. (I kinda hate leetcode for this reason, and therefore I only ask homebrewed questions, because I don't want the technical portion to hinge at all on whether someone managed to memorize the first 47 pages of leetcode problems). For a new hire, the most important impression you can give me is that you have a technical grasp and that you're capable of learning. Because a new hire isn't going to be an expert in anything, but they're someone who's capable of learning the ropes.

That's everything I have off the top of my head. Good luck anon. I'm very sorry you were born during a specific range of years that made you a new grad in 2024 and I hope it gets better.

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cardentist · 2 months

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Fam how can one be trans in the direction of their assigned sex? I'm not even trying to make the idea sound ridiculous or anything. I'm genuinely curious and want to understand. I thought the whole meaning of trans was that you feel or act in the opposite direction of your assigned sex; if you're transfem but you're afab then to me that's just cisgender??? But like please explain to me how that's not the case if that's what you and others strongly feel so I may grow my compassion

Context: [Link]

well ! while I personally am not intersex, I DO want to highlight intersex people first and foremost.

gender and sex are very Very complex, and I think generally people don't consider the way that being intersex can play a big role in that!

there are intersex people who are afab who are also trans women, there are intersex people who are amab who are trans men, there are intersex people with many Many different relationships with sex and gender and anywhere in between !

an afab person can be born with masculine sex characteristics and transition the way trans women often do. that person May identify as trans, they may not ! that trans person may not even consider themselves a woman depending on who they are and what they want !

I Do think there needs to be an effort to be aware of and make space for intersex people within the trans community, and really the wider queer community as a whole. as it's often something that's given a footnote without deeper thought into the ways that intersex people Actually interact with our communities.

which I don't blame people for not already knowing ! that's the whole point of trying to educate people in the first place ^^

and as for Myself

labels are, ultimately, a form of gender presentation. what you call yourself is an extension of not only how you see yourself, but how Other People perceive you.

I could call myself nonbinary or I could call myself trans masc, and both would be Accurate. but people have certain traits and expectations and associations when they see those labels. there are assumptions made about the kind of life that I live, the things that I want, the things I might experience, that change depending on which labels that I use.

and that's not Inherently a bad thing ! I mean, that's part of why people Like labels. but it Can be a struggle for people whose gender is Funny.

I could Also describe myself as genderqueer or multi-gender or genderfluid or gnc or-. I've tried on lots and lots of labels, and for the most part I haven't thrown any of them out, I just keep them in a box under my bed and take them out when relevant.

I've been wrestling with the feminine aspect of my identity for a very Very long time. I've been aware that I'm some level of trans masc. that part was easy. I want a deeper voice, I want things about my body to change, I don't want people to look at me and see a cis woman.

but I Also like femininity. I've found that after accepting myself as trans masc and slowly growing an environment where I am Perceived as masculine, I've started getting euphoria at presenting femininely in the Same way that I did (and do!) get about presenting masculinely.

but that feeling doesn't carry over when I'm perceived as a cis woman. it's Quite Uncomfortable for obvious gender reasons.

and while I may not know the exact Words that I'd use to describe it (as I've said, I've been chewing on it for Many years now), I've gotten a clearer idea of how I Feel.

I want to be Visibly trans. I want to be perceived masculinely And femininely. I want to transition masculinely to present femininely (and sometimes butch, sometimes like your dad at the ace hardware store, I contain multitudes).

and of course, figuring out what I have going on has involve a lot of exploration ! it's the same way I figured out the whole trans masc thing in the first place. seeking out other trans people and other Things About trans people feeling things out.

I find ! that I have a lot of shared experiences with transfeminine people. both in how I feel about certain things, some of the presentation that I want, and in how people would React To said presentation.

my femininity Is Trans, I don't relate to cis womanhood. but I Do relate to trans femininity. which is really awkward for me, because it's difficult to describe it to other people fjksldljkasfdjklfasd

(I don't personally consider myself a trans woman mind, but I'm certain there Are people who are trans men and trans women at the same time. gender is complicated, sex is complicated. labels are malleable and sometimes situational)

Could I describe myself with a different label? probably ! I've got lots of them. but when I Don't put emphasis on this aspect of myself people assume that it's not there. insist that it Couldn't be there, and I don't know what I'm talking about. and those people who Would act nasty towards me probably aren't gonna change their mind just because I changed my bio. but it feels Nice to assert that aspect of myself when other people are trying to tear it down.

part of me feels like I should post the intersex portion of this by itself, because people tend to engage more with shorter posts and there's nothing Short about my gender situation ljkfdasjkls

but ! I dunno, if this makes even one person understand the gray areas of gender and presentation a little more it'll be worth it.

thank you for taking the time to ask ! and especially for doing so kindly ! I do hope you'll see this

#discourse #long post #intersex #genderqueer #nonbinary #multigender #trans unity #queer unity #moral of the story is that gender is a fuck

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douwatahima · 5 months

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sorry to invoke james somerton again but i just watched his "apology" video and the way he addresses the criticism to his utena video has been scratching at my brain. for this who don't want to watch (which is so so fair), here's what he says:

"we ended up making a lot of videos we didn't want to make because people were asking for them and so there were a lot of videos we made that we didn't want to make and i think those videos are very clear on which ones those were. one of them never got officially released, it was released to patrons. some patrons have shared it to other people before all the videos went private and a lot of people hate the analysis nick and i did on it and so maybe it's good that that never got properly released because maybe it would have hurt people and i don't want that."

so, not directly saying he's talking about the utena video…but he's talking about the utena video lol. the thing that really gets me is like…look. full disclosure. i used to be subscribed to james somerton long before this whole thing blew up. i wasn't necessarily a big fan of his video style, but he talked about a lot of media i enjoy and i liked his analysis (that wasn't really his, but i didn't know that at the time) so i followed him.

the thing about him was he was always asking his followers for shows he should do videos on, especially anime, and then not long after making those posts he would post videos of "things to come" including like…every anime people suggested. not all of these shows ended getting videos made, but the point is james really set himself up as the queer anime video essayist; constantly promising videos about every show people told him they wanted.

and a lot of people loved that about him! a lot of the big names talking about anime on youtube are people doing season by season breakdowns or people talking about big shonen titles, and here was someone consistently pushing out long form analyses on less talked about shows! great! but to find out that not only was a lot of what he said plagiarized, but also that a lot videos were just shat out to appeal to his audience without any care or passion? just to get more views and more money on patreon? that's literally crazy when you're talking about something usually as involved as video essays.

on top of that i'm about 95% certain him doing an utena essay was a patreon tier goal (hence why that video was released there first). he literally heard queer anime fans asking him en masse for a video about one of the best queer anime of all time, decided to set it as a patreon goal, and then literally boxed himself into doing a video on an anime he didn't care about because he promised it to the people who payed him to be the "queer anime guy".

and the thing is he 100% didn't need to do that. he didn't need to "make a lot of videos he didn't want to make because people were asking for them". i follow a ton of video essayists who get requests for videos all the time! that doesn't mean they have to, or even should, make them if they're not passionate about the topic! video essays, when actually done well and with integrity, are hard work. that's why most good video essayists take a lot of time between videos! to think that this guy just took every possible suggestion, dangled them like carrots in front of his audience, that made a bunch of passionless, mediocre videos to solidify his station as the queer video essayist to watch is just…upsetting and disheartening tbh.

anyway if you want some actually good analysis of revolutionary girl utena, my favourites are "is revolutionary girl utena still relevant?" and "why revolutionary girl utena still slaps" by stushi, and "the shadow play gays" podcast (note: this podcast is run on the same feed as another podcast called "bitter jurors". you may have to scroll back a bit to find "shadow play gays", it started in 2021 if that helps, but i promise you it's worth it).

#anime: utena #james somerton #there's obviously more important things in the apology video than this #like him straight up not using the word plagiarism or him throwing his supposed best friend under the bus continually #but this just irked me in a particular way you know?

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gummilutt · 3 months

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250 followers Custom Memory Bonanza

It's finally time! To thank all you lovely people for your support, I have been working hard to get this ready for upload and here we are. Today I am sharing my custom memory object, and my library of a whopping 201 custom memories. Based on the wonderful Tattered Diary by DiLight over on MTS, and the tutorial she shared of how to make your own custom memories.

I've always cared a lot about memories, to me they tell the story of the Sims life. Some of you from MTS may recall when I did the whole several year rebuild of my hood, replicating every last detail of the original. I'm memory crazy, okay? And when DiLight gave me the power to make my own, I may have gone a tad overboard. Or just the right amount, you get to decide :P DiLight taught me most of what I know about making custom memories, and the base BHAVs are from her, but as I've learned more I've added some bells and whistles that I hope you will enjoy. It's a new clone and separate GUID from the original tutorial object set up by DiLight, so if you have your own you can have mine too without issues :) Found in misc/misc, costs 1 simoleon.

Download on simfileshare

Features - Brand new form, created by me. Resized BV photo album with new mapping and new texture (seen above, in game pictures at the end of this post). I wanted something that was uniquely mine, and that you don't necessarily have to hide away in the attic or under the foundation. If you don't like it, you also have some additional model forms you can switch between through the pie menu. - Adaptable dynamic menu. Thanks to a really neat trick from @picknmixsims the menu reflects the memories you put in your downloads. If no file with the correct guid is found, the option for it won't show. Which means that although I am crazy enough to have 201, you can go ahead and only pick your favorite ones and the object will automatically detect and adapt the menu to that selection. - Memories all have a custom icon, that's made from game icons from TS2 or TS3. Some I am quite proud of, some are admittedly not great. Not everything is easy to convey through game icons, but I've tried my best, I hope the effort shows. 5 memories have icons that are not from the game, but I tried to match them to the aesthetic as best I could. - Memory subject menu shows only relevant age groups. For example, if the memory is about having a baby, only baby/toddler Sims will show as options. Goal being to keep menu as concise as possible. If you wish to assign memories retroactively, please see jonasn's excellent Memory Commander object, which has support to add my custom memories without age limitations. As well as a whole lot of other useful memory-related stuff. - Extensive documentation detailing everything you may need to know about the memories (text, icon, background, who can get it, who they can get it about, repeatability, where to find it on the object) to help you select the ones you want for your game, and familiarize yourself with them. - English and Swedish translations of memories, and object menu. If someone wants to add their language, that would be great but it's a lot of work so I don't expect it. You are welcome to share your translated versions directly if you wish, or you can send them to me for me to update files shared here :) If you want to learn how to translate the files directly, Episims has a great tutorial found here.

Examples of types of custom memories included - Extended family members memories (got cousin, got aunt/uncle, got sibling, got twin sibling, got great grandchild, got stepparent, got stepchild) - Birth related memories (pregnancy, becoming parent, late in life parent, had multiples birth, premature baby) - Marriage related memories (divorce, parental divorce, custody things, alimony) - Relationship related memories (fighting, breakups, additional love memories) - Woohoo related (memories for specific woohoo locations, repeatable generic woohoo/public woohoo) - University degree related (declared major memories, got a minor degree memories, got a major degree memories, for remembering having studied multiple things and being able to see what major your Sim chose without looking at their diploma) - Loan related, for remembering taking and paying off loans of different types - Moving memories (first apartment, child moves out, various memories for sims moving in with others) - Kids related (child's first day in school, got their own pet, nursery rhyme, giving up for adoption, living at orphanage)

Mods automating delivery of my CC memories (more to come) Learned nursery rhyme from - Found here, by me Wrote restaurant guide - Found here, part of jonasn "Novel Writing Improvements" mod

Credits: DiLight, @picknmixsims, @morepopcorn, @latmosims, @joplayingthesims, maxon, @keoni-chan. For detailed info on how they all impacted the creation of this, see readme :) Policy: Give credit to DiLight, beyond that, totally open. Enjoy!

#gummiluttmods #ts2 mods #ts2 gameplay #ts2 cc #ts2 custom memories #gummi memories

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eriexplosion · 2 months

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Tech Lives: An Ungodly Long Essay

(AKA: Turns out that my Tech Lives compilation post comment was actually a threat.)

There have been hundreds if not thousands of posts since Plan 99 aired wondering if Tech might have made it after his fall - it's probably been brought up more than any other hanging plot point, even after season 2 scooped up Omega and left us on a massive cliffhanger. Now that season 3 has started, though, Omega and Crosshair are home (for now) but we have received an almost aggressive lack of Tech info. So, I've gathered up some of the stronger Evidence for why Tech might be fashionably late but still on his way back from The Void!

THE LEAD UP

So to start, let's go back to what came before the whole Incident. This will focus mostly on season 2, seeing as that was definitely Tech's season to shine, but with bits about plotlines in season 1. Which brings us to our first bit, that's not really evidence so much as some gentle push-back on a common argument.

Doomed By Character Development?

We've all seen this particular situation before - a character is slated for a tragic death, so just before it happens the writers gives them a little extra relevance to the plot to make sure the audience really feels it when the time comes. The Clone Wars was especially good at this, giving characters like Fives an arc of his own that ended in his tragic death. Season 7 gave us a better look at Jesse, first in the Bad Batch's intro arc and then again through the Siege of Mandalore, all to bring us to the chip activation that led to his ultimate death.

When season 2 started off with one of the two intro episodes spotlighting Tech and our first breather episode of the season also spotlighting him, people started to get worried. So is it fair to say that his spotlight in season 2 was setting him up for a permadeath?

Looking at it, I don't think so, for multiple reasons. For one, Tech didn't just get a spotlight episode, his development dominated a good chunk of the whole damned season, often taking priority over the other characters that wouldn't be dropped into the mists. While giving a little bit of character development to a doomed character can be a good move, giving ALL your development to a doomed character ends up feeling like a good portion of your season was actively pointless.

The Bad Batch is not an open ended show. It seems to have been planned for the three seasons it got, and they would have gone into it knowing they had a set amount of time to work with. Dedicating so much time to developing Tech in preparation for a character death takes away all of their opportunity to develop, well, anything else.

But, along with the amount of time that was dedicated to Tech as a character through season 2, they also didn't develop him in the ways that most often get used for a doomed character. Namely...

That Sure Is A Lot Of Open Plot Lines

And not one of them got tied up. Currently, Tech has two open plot lines to himself, both started in season 2, as well as a key place in the overall show narrative arc. As the overall show narrative arc takes precedence, we'll start with that.

The Bad Batch sets up a few different narrative arcs very early. One is if clones can be more than soldiers - this is the central thing that we see them struggling against from the start, they've been created to be soldiers and don't know much else about how to function in the world. Theoretically this arc can be fulfilled with one or two of them still dying as soldiers, as long as a few of them make it to find a new life for themselves.

The arc that can't be fulfilled without everyone though is the ongoing thread of reuniting the batch. Much of the show is geared towards making the viewer want this specific end result, as soon as they talk about Crosshair, Omega says they'll just have to get him back and complete their family. The end of season 1 teases us with this only to pull it away at the last moment, then season 2 teases us with it again only to yet again pull it away, this time seemingly permanently.

Ending one of your key narrative threads you've been using to draw audiences in only 2/3rds of the way into the show and without ever resolving it... well it would be a choice. If Tech is gone for good then the last time we saw everyone together would be the end of season 1. Rewatches would lack impact because something that was made to seem so vital ended up going nowhere, and the series finale would never quite reach the height that hearing the full batch theme kick in over the team fighting droids together did. It absolutely destroys the central narrative to leave him gone without ever having reunited the family.

And then there's his personal plots.

Let's start with the obvious one. Tech got a whole potential love interest this season and they absolutely did not resolve a damn thing about it.

Again, this takes a trope that we all know - the young army man that's going to go home and finally marry his girl, who has his whole life ahead of him, but dies tragically in his final mission - and seemingly intentionally subverts the beats. Because what makes the trope work is that the plot line is resolved as soon as that young man decides how he's going to move forward. He can't die uncertain of if he's going to marry his girl, he has to make a decision, and the longer we spend on the relationship to his girl the stronger the decision has to be to consider the narrative line resolved and free him up for some tragedy.

Tech/Phee is a tentative little 'will they or won't they' romance. They're flirting, they're feeling each other out, they're seeing if they're compatible. To tie up this narrative line we would have to find out if they are or not, get a yes or a no on the question. Will they or won't they? We simply don't know because the writers didn't put a resolution in.

We do get the traditional pre-mission scene with them, which would normally be when we get the first kiss or perhaps the promise of a date, either of which would have had me digging Tech's grave for him to fall into from the second it happened. Or even a 'we can't do this right now, but maybe some day it will be the right time' which would have been a kind of lukewarm resolution but would have at least represented a decision.

Instead we get a scene that almost aggressively refuses to resolve anything. They have an awkward interaction, but not one that says they won't get together, no promises are made for the future, no decision point is reached, and the plot line is still dangling wide open when Tech falls to his supposed death. If we truly leave it off here, well, what was the Tech/Phee subplot for? Why did we spend precious time on it when it could have been spent on something else, if it was meant to make Tech's death hit harder why did it not go further?

A second subplot with Tech is that he certainly made the most progress on seeing options outside of the Empire - it starts early on in Ruins of War when he meets Romar and gets his eyes opened to the idea of cultures that existed unconnected to the war. Serenno existed before the war and before the separatists, and Romar introduces Tech to that idea of an ongoing culture. He gets a taste of racing in front of a cheering crowd, leans further into his teaching of Omega and gets new insights from her regarding their lives as soldiers, his relationship with Phee picks up right when he finds out that she is interested in the preservation of cultures. It's a quiet little subplot, but Tech was seeing the full scope of what the galaxy contained beyond being a soldier in a war.

But, like the Tech/Phee, it never resolves. He never decides to settle down, he never chooses to stop being a soldier or even openly discusses the idea of what life will look like after. Rescuing Crosshair isn't positioned as a final mission that they have to complete in order to give up their lives as soldiers. Without that decision point being reached, the plot stays open, we never find out what he Would Have Done so we don't get a sense of the future that he would lose by dying, which is what the purpose of these types of plots is for a planned permadeath.

The Kaminoans don't create without purpose and writers working on a three season timeline don't typically write without it either. So if we spent the time on Tech/Phee but Tech is dead before it ever went anywhere, if we spent time on Tech's relationship with being something other than a soldier but he never really pursues it, what is the payoff?

Too Much of a Survivor To Die?

There's also the matter of how they chose to build Tech's character this season. Namely they beefed that man's skills up incredibly high making it intensely unbelievable that he's dead without seeing some sort of concrete proof. Things we know about Tech as of the end of season 2 include:

Incredible pain tolerance - Tech fractures his femur in Ruins of War and seems shockingly unbothered by it. The femur is frequently listed as one of the most painful bones to break. This is not a broken toe the man is hobbling around on, he fractured the strongest bone in the body and kept going through the woods. He physically fought and killed a man with that busted femur.

Lightning fast mental processing - this is of course on display nowhere so much as Faster where he's put up against droids and wins by taking calculated risks that no one else is willing to try.

A cool head in stressful circumstances - this one is hilarious because he outright says it, but Tech does demonstrate time and time again that when it comes down to it, he's able to keep calm no matter the circumstances.

Essentially, we spend the entirety of season 2 setting up why Tech is the perfect person to drop out of the sky and have him survive. He has the ability to keep calm and come up with a plan in seconds and he has the grit to keep moving even if he's grievously injured once he hits the ground. When you set a character up like this, you can still kill them, but you have to work harder to do it convincingly. Leaving Tech not at the moment of death but with probably at least a minute to act in and then not showing us the body is the exact opposite.

We have a moment in The Crossing showing us Tech's precise aim, and it comes up again to brutal effect when he shoots out the connection on the rail car. If moments through the season were used to set up that particular instant of the finale, then we can't discount the numerous scenes demonstrating his survival skills as being irrelevant to his chances.

Plus, looking back at Ruins of War - one of the big moments in the episode is towards the end, where Romar tells Tech, "I'm a survivor. Remember?" The camera then lingers on Tech for a long moment. It's not the kind of action that demonstrates his capabilities as above, but it works to associate the words with Tech in the viewers mind. Romar is a survivor, and Tech is a survivor too. And when you intend to kill someone off, it's kind of an odd choice to spend that whole season setting them up as a survivor.

THE FALL

Which brings us to the scene itself. Plan 99, implied to be one of the last ditch plans that they have. It's absolutely a heartbreaking scene, and one that can be tough to analyze when it's so well done, because it's rough to watch repeatedly. But, it's worth doing, because the scene itself is FULL of questions, some structural others more based in the visual presentation.

What is Plan 99?

Well, that's just it, we don't actually know.

We know what it's implied to be, a self sacrifice plan where one of the batch gives their life for the others to get away. But in show it's never actually defined, leaving the full meaning of Plan 99 up to interpretation. It could be as simple as what it's implied to be, but that brings up questions like 'why not provide any lead up or foreshadowing for it?' and 'does killing yourself actually count as a plan?'

Removing the assumptions from it gives us room to speculate. Is the plan actually that they leave him behind, dead or alive? Hunter ordered them to do so without a plan number in season 1, but he is the sergeant, so plan 99 could easily be something that bypasses his authority - if a batcher calls a plan 99, you go and you don't question his decision. It's certainly closer to a plan if there's something they are supposed to be doing from their end rather than just an announcement of intent.

It's not strictly evidence one way or another, but it is something of note when Tech's entire sacrifice is based around a plan that we're not privy to the details of. TBB has hidden its twists in ambiguity before, so it would not be the first time that it let us assume something only to pull the rug out later. But ambiguity is not the only thing that makes this scene stand out in the raising questions department.

Pacing Goes Out The Window

Generally speaking, a self sacrifice is the climax of an episode. Think Kanan, Hardcase, Gregor, Hevy, etc - Even a minor character sacrificing their life tends to make up the most climactic portion of any given episode, let alone one of the characters from the title squad. It gets to be the big central moment, the big rush of music and feeling, the pinnacle of the viewers attention.

Tech's sacrifice is not. It happens around 5 minutes into the episode, is rapidly moved past with barely a moment to think, and then the actual climax is Omega's capture on Ord Mantell. They even repeat the music when Omega is captured, except much stronger this time, making it clear that this is the emotional crux of the episode, this is the scene that is supposed to stick with you.

The opportunity to make it the climax of an episode was certainly there. The storyline could have been adjusted to put Tech's fall at the end of The Summit, allowing more time in Plan 99 for processing his loss and making it feel final. The pacing choice is one that doesn't allow the viewer to process the loss, only giving us maybe a couple minutes of time with actual emotional reactions before we're barreling off to the next plot point. Why was Tech's death de-emphasized within the episode if it is indeed our last moment with this central character?

Tarkin, Eriadu, & Saw Gerrera

A lot goes into the set-up for Plan 99. We have Tarkin's base on Eriadu as the setting they're working within, going up against Tarkin for the first time since early season 1. This is the big leagues, and something that's come up in multiple interviews is that when going into the den of one of the franchise's big bads we have to have consequences, something to demonstrate that Tarkin is not to be trifled with.

Sounds reasonable enough. Except Tarkin doesn't actually do anything in either of these episodes. The thing that actually threw them off was Saw's planning mixing in with their own.

All Tarkin does upon finding out that the batch is stuck on the rail is order an air strike and ignore that this would kill many of his own men. This is certainly evil, but it's standard Imperial evil. Rampart would have given that order. Hemlock would have given that order. The guy in Tipping Point that we know for 5 minutes before he fried himself would have given that order.

So if the point of this finale was to demonstrate Tarkin's power, then bringing Saw in both complicates the plot and devalues what they're claiming they are trying to show. So is the point to get them to Tantiss? No, because they fail in that. They don't plant the tracker, they're no closer to finding Crosshair than they were before.

By all accounts the point of the whole endeavor is in fact just to drop Tech off a sky rail for reasons unknown and injure Omega to force them to go back to Ord Mantell. These two things could have happened anywhere in any way of course, so why choose Eriadu and why choose to complicate the plot by introducing Saw rather than letting Tarkin handle the job?

They're questions we don't have answers to yet, but they're very hard to get answers to if Tech is dead and completely out of the picture. Having a dead body on Eriadu is fairly useless to the plot, having a living Tech on Eriadu though? That has potential to move them huge leaps forward in a very short amount of time once we bring him back in. Especially given his conversation with Saw prior to everything going downhill - Tech was in favor of gathering intel from the facility rather than destroying it.

And what about Saw, anyway? If he was genuinely there to cause problems and fly away, again, that's a plot wrinkle that isn't needed and took time away from everything else. If he's there because they needed someone to pick Tech up though? There's potential there.

Did Tech's Sacrifice Mean Anything?

In universe, Tech's sacrifice means everything, of course. It's a decision made in the moment to risk everything to save his family. It's a noble deed and one he does without hesitation. But pulling away from that narrow scope of an in universe perspective, what did we accomplish narratively with his fall?

Well... not much actually! They got over the bump in the road that they encountered all of five seconds ago and promptly crashed headfirst into another, different bump in the road. Tech's dramatic sacrifice didn't allow them to escape unharmed, it didn't allow them to find Crosshair, it just allowed them to move a few steps forward, after which Omega is almost killed and then captured, which is a fairly weak reason to sacrifice a whole major character.

But not every character death is exclusively about narrative, sometimes it's about the character arc itself. So does this close out anything for Tech's character development? Again, not really. Tech has always been completely loyal to the squad and would have risked anything for his family. He never had a choice not to fall, it was either just him or the whole team, and he is an endlessly logical actor. The action would have played out the same had it happened in the series premier or the season 1 finale, or any other time in the show. If anything it's a backtrack on his character by putting him solidly back into the soldier box that the show is trying to let the clones grow out of.

Maybe it's not about Tech's character though, maybe it's about everyone else's! Does his death change anyone's trajectory? Again... no, not really. We'll get into season 3's lack of mentioning Tech later, but in the immediate aftermath of his fall, no one's course or actions is majorly changed because of his loss. Hunter wants to go back to Pabu where it's safe, the same thing he wanted to do before they ever left for this mission. Omega puts herself in danger to save her brothers, which has been one of her defining traits since season one. Wrecker is following Hunter's lead, same as he always did. (We get very little of what Echo hopes to do, but the opening of season 3 reveals that they went back to work with Rex, exactly like they were doing before.)

So narratively nothing required him to die, the character's arc isn't completed, and the other characters aren't motivated to change. If Tech dies here, it's the picture of a shock value death. It doesn't complete or inform his character, it doesn't need to narratively happen in order to put Omega on the path to being captured, and thematically it exists just to give the viewer an unnecessary gut-punch when just the failure to rescue Crosshair and the loss of Omega would have been enough.

Framing is Everything

In a death scene there's nothing more powerful than our final shot of a character. The very last we'll ever see of them, the image that will linger in our minds when we think of that character from then on. This is especially important in animation where everything has to go through several iterations before deciding on what that final look will be. You want it to be impactful, you want the audience to have one final connection to the character before they're gone for good.

So why does Tech die with his helmet on?

If there's one thing TBB is good at, it's their expression work, and a death scene is a perfect place to show off their full range, which is why most deaths meant to have a heavy impact occur with faces unobscured. Crosshair loses his helmet and takes Mayday's off so we can see both of their faces as Mayday dies, Slip, Cade, even Clone X and Wilco, all die helmetless. Looking into older series you have Kanan dying without his mask, Fives, Hardcase, Waxer all dying helmetless with one last good look at their faces and expressions.

And while Tech's helmet gives us a good look at his eyes, the rest of his face goes unseen, and Wrecker's face as he watches this happen is completely obscured. We're denied a look at a lot of their expressions as the decision is made and Plan 99 is executed, rendering it less personal than it otherwise could have been. Tech could have lost his helmet in the blast that knocked him from the rail, Wrecker could have had his helmet knocked off at some point to give us a good look at his expression. TBB isn't known for pulling its punches, so why leave our final look at Tech's face back in The Summit and not here?

Then there's the framing choices. We get some absolutely amazing shots of Tech during the fall, from taking the shot to falling backwards towards the cloudy cover - but here's where some interesting choices are made. Rather than letting our last shot of him be a face up shot that keeps eye contact with the camera as he falls, they make the choice to have him flip over, and we hold the shot as the rail car goes down after him, partially obscuring him.

Which means instead of our last glimpse of Tech being something like this.

We end up with something closer to this.

Which, while we all love those Tech crotch shots is somewhat less impactful emotionally. These frames go through multiple departments and get multiple eyes on them before going through final animation, and no one thought that leaving him face up and unobscured until he disappears into the fog would stick more firmly in the viewer's memory?

The Flip Might be Intentional

And I don't just mean out of universe, as every detail of animation is often intentional, but in universe as well. If you look closely at Tech as he falls, he seems to roll his shoulders back in order to begin flipping over. It was a specific enough detail to send me searching for a reason and I found it in instructions on how to survive a long fall - the first thing that you're supposed to do? Get into the arch position like a skydiver to slow and control your fall.

The flip was important enough to not only include but to include the small detail of Tech intentionally flipping himself over into said position. It's not a confirmation but it's an interesting detail, and one that has very few other reasons to exist.

THE AFTERMATH

Image chosen because even thinking he's alive I didn't want to pull from Omega reacting to the fall on Ord Mantell. Looking at her makes me Sad. So the fall has happened, the rail car has rushed forward and crashed, and Omega fades in and out of consciousness until finally waking up on Ord Mantell to the bad news.

"What if he's hurt?"

Omega is our POV character for the show. We may sometimes see things she doesn't, but emotionally she remains the center of the narrative, the character that the target audience will see themselves in. Her ultimate thoughts on a situation are the closest we have to a clear indicator of our intended takeaway.

So it's interesting that the first thing we hear out of her, having heard that Tech 'didn't make it,' is a firm denial. He can't be gone, he might be hurt, he needs them and they need to go back for him. And, despite Hunter continuing to talk with her about it for a bit, we never actually hear Omega explicitly take it back or verbally acknowledge Tech as dead. The closest we get is 'lost' which she also uses for Echo in The Crossing.

Now, here's where the interpretation between the adult and child audience will likely differ. From an adult perspective, this is a reasonable reaction for a child her age. It comes off as very natural that she doesn't want to accept it and that she doesn't have time to really process that it's true before the scene moves on. It makes sense from an in universe perspective.

However, the main audience is still children who actually are Omega's age and who are being presented with her as their window into this world. And their takeaway, seeing that same scene, is likely to be that Omega is correct. They don't know that Tech's dead, just because an adult says it doesn't make it true and just because Hemlock says it DEFINITELY doesn't mean it's true, they have to go back and check.

If they wanted the main audience to think that Tech is dead for sure, they could have had Omega be the one to say that he's gone, with Hunter simply confirming it for her. Alternatively, Omega accepting it when Hunter tells her would also function in the same way - ultimately, as the POV character, if Omega doesn't accept it there's a strong possibility much of the audience won't accept it either, especially without other evidence.

No Body?

And, as we all know, we simply don't have other concrete evidence. Not only are the batch given no time to look for Tech's body or any confirmation that he died, but we get a whole scene with Hemlock and the goggles where he also confirms verbally that he doesn't have a body either. There's very little reason to have him say this outside of putting a bug in the viewer's ear that he might not be gone for good.

Not only do we have that verbal confirmation, but we have multiple places where a body could have been included or implied without adding much to the runtime.

Easiest place would probably be when Omega passes out - there's a trooper's corpse right there in front of her, and it would have been very easy to make that identifiable as Tech. Have one of the boys check his pulse like Crosshair did with Mayday and then be forced to leave after confirming he's dead. Would it require a little bit of fudging the details of how he landed so close to them, sure, but it would have been narratively streamlined and easy.

Have Hemlock bring his helmet rather than his goggles (and damage it in a way clearly incompatible with survival) or confirm that he did find a body but has no use for the goggles.

Put the body in Hemlock's lab when Omega is brought there at the end of the episode. Have a sheet covering him even if you want and just one of his hands hanging out, especially the one with the distinctive light on the back of it. Give us her reaction to that.

These are just the ones that don't involve adding scenes or making major changes - instead, in a franchise known for bringing back everyone and their grandmother especially if there's no body, they chose to leave it extremely vague.

Reused Score

The soundtrack for Tech's sacrifice is fantastic, I don't think anyone can argue that. In fact it's so good that it's used occasionally used as a reason for why he's dead for real. If it's a fakeout, why go so hard on the music?

It almost sounds like a reasonable argument, except that the music isn't even unique to Tech's fall. We get the same motif later in the episode with Omega's capture, and it actually comes in even harder and more impactful there than it did with Tech falling.

Reusing bits of the music has two results. It lessens the impact of hearing it with Tech if it is in fact his Death music, because it makes it clear that he is not the central feeling of the episode but rather, Omega's capture is. As mentioned before, deaths are usually the climax of their own episodes partially to avoid them being upstaged by any other plot points, but here Omega's capture is fully prioritized over the loss of one of our central characters.

The second result is that it changes the meaning of the music. It's no longer meant specifically to underscore a tragic death, but rather a more general one of loss and separation. And if it's simply about that separation, then it no longer requires Tech to be dead to have that same impact. They're apart from each other, and that's painful enough.

SEASON 3 SO FAR

Which of course finally brings us to season 3! We're five episodes in as of the posting of this, so a full 1/3rd of the season down, which gives us a good idea of how they're handling the whole grief aspect of this scenario.

They Aren't!

That's right, we simply have not directly acknowledged or dealt with the whole 'watching your squadmate fall to a presumed horrible death' thing even once in five episodes. Tech has been mentioned by name twice, we've seen his goggles once, and Wrecker makes one sideways reference to him having not made it back.

In universe, there is a several month timeskip and it seems to be implied that the majority of the grief milestones happened in that gap. For example, we don't see Crosshair finding out from Omega, we don't see Omega grieving her brother, we don't see Phee finding out (more on her in a bit) despite her fledgling romance. Months of grieving and processing skipped over and what comes out the other side is single line mentions that go by in seconds.

This is especially apparent after episode 5, where we got something to compare it to. Crosshair has a long, painful moment of grieving with Mayday's helmet when they return to Barton IV. It's deep, personal, and intimate and we take a minute with him gathering up the helmets of Mayday and his men to set them up on the crates the same way that Mayday had honored them.

Mayday is a one episode character that was important to only a single character, Crosshair - Tech is a core member of the team present through two full seasons and shown as close to every member of the squad. Yet the single scene grieving Mayday is longer and more emotionally gripping than every short mention of Tech so far in season 3.

Narrative Grief

Seeing characters grieve their loved ones onscreen is about more than just the characters themselves. It's also part of the viewer experience - through the characters' grief, we're able to process our own grief at the loss. It makes it feel real, it makes it feel personal, and the amount of grieving needs to be proportionate to the character's importance in the story.

This is especially true in a show written for children like The Bad Batch. Kids don't typically have the same experience with death as adults, and a well written main character death within a children's show will need more time and energy spent towards making the loss feel real. We see this with deaths like Kanan's; it wasn't Jedi Night that told the viewer that Kanan was really, truly dead, it was Dume, where the characters mourned him and dealt with the aftermath.

Currently, with Tech, we do see holes in the team that make us miss Tech but they remain completely unaddressed by the characters. We see Tech's goggles, but Hunter isn't looking at them, he's looking at Lula. Omega mentions Tech having taught her all the plans, but without any real sadness on her or Crosshair's part. The closest we get to actually bringing it up are Wrecker saying 'not everyone came back' and Echo mentioning the datapad would be difficult without Tech, and both of those are only seconds long before moving on. They don't serve as any kind of catharsis for the viewer, relying more on gut punch impact and keeping the wound open rather than allowing it to heal. The difference between the treatment of Tech's death and Mayday's just makes it more stark.

How Do You Like Yearning?

Interestingly, though, it strongly resembles the writing team's handling of another situation: Crosshair's departure from the team in season 1 vs Echo's in season 2. The show even drew a lot of flack for the lack of discussion on Crosshair's betrayal, as outside of a couple conversations the matter often went unremarked on. Echo leaving, on the other hand, got a whole episode dedicated to processing the loss immediately after it happened.

So what was the difference? Crosshair's departure is part of a long term plot point. We're supposed to want him back, we're supposed to want the team to talk about him, anything that would ease the tension. The writers on the other hand want that tension to remain until it's time to actually resolve the plot. So we get those slow drips in between bigger encounters, we get opportunities for Crosshair to come home that he doesn't take, and we don't get the catharsis of the team actually talking about any of it. We're left to want and imagine it, using the yearning to keep it on people's minds more than anything.

If Crosshair had been discussed on screen long enough for the characters to actually come to terms with his absence, though, that would have made the plot feel more settled and resolved early on. It might be conversations we want to see, but it doesn't keep the viewer on edge and craving a resolution. Best case scenario we're just not as desperate for Crosshair to come home - worst case scenario we accept that he won't be returning and find the fact that he eventually does to be unrealistic.

Echo on the other hand gets their absence processed immediately, because their absence from the team is not meant to be a huge plot point. It's something the team has to deal with, yes, and the viewer wants to see them again just like Omega does, but Echo returning isn't meant to be a maybe, and it's not supposed to keep the viewer wondering and worrying. It's a when, not an if.

Similarly to Crosshair, Tech has never felt like a resolved plot point. We don't get confirmation on his death, we don't get any long term grieving, and we get drip fed acknowledgements that pry the wound back open. If we actually see the team discuss and come to terms with their grief and loss, the plot point closes, the wound closes and we begin to fully accept a team without Tech in it, which makes it harder to reinsert him into the storyline if he is in fact alive.

If he's truly gone for good, what is the point of denying closure to the audience? We know that they are capable of writing an intense mourning moment that feels completely in character for otherwise emotionally repressed men such as Crosshair, so why not give us that with the team mourning for Tech? A memorial, an intimate moment with the goggles, a short scene of Crosshair finding out about the loss, or anything at all really? Once again it's something that makes sense if he's alive and we're simply not being shown yet, but makes very little sense to not capitalize on if he's dead.

What's to Come

We have ten episodes of season 3 to go, and a lot to cover. Reviews have indicated that Tech is not explicitly brought up in the first eight, so the earliest we could possibly have a survival reveal is in episode 9. Will it actually happen? Maybe, maybe not. Though interestingly episode 9, The Harbinger, is almost exactly one year after Plan 99, just like The Return aired almost one year after The Outpost. Could mean nothing, but they do enjoy their anniversary dates.

One thing we do know for sure is coming up is Phee's inclusion - she's seen in the official trailer, as well as briefly in a recent twitter spot. This is interesting as Phee is, of course, Tech's teased love interest, and her connection to Tech has been emphasized multiple times, including on her Databank entry and the official 'what you need to know about season 3' guide. When she comes onto the scene, it's very likely that more information about Tech will too.

MARKETING, INTERVIEWS, & SOCIAL MEDIA

I wanted to keep this mostly focused on what can be seen within the show itself, but it's impossible to talk about whether or not Tech is alive without pointing to the absolutely bizarre messaging from the cast and crew, as well as the marketing choices surrounding his sacrifice. (Example: the Instagram Mourning Filter they layered over him in the official trailer, as seen above) I won't get quite as detailed here as in the above, but it does have to be mentioned.

Constant Focus

In between the end of season 2 and the posting of the season 3 trailer in late January, there were several posts on various official Star Wars media. The majority of them were about Tech and Plan 99. In fact, I don't think I ever saw anything mentioning the giant 'Omega's been captured' cliffhanger, just Tech. Over and over again.

Once a character is dead, marketing generally stops caring about them. They're forward focused after all, they want you coming back for what's to come not lingering on what won't be relevant again. So why the constant focus on Tech?

And it wasn't just the social media either - a huge portion of the trailers and reels included old footage of him too. For the most part this was from Plan 99 and bringing up his fall again to rip open those old wounds, but in one case they included action footage from The Summit. This was an interesting case, because the majority of people watching wouldn't have recognized it immediately. Fittingly, the entire comment section was full of nothing but 'Was that Tech?' style comments, which they would have known was going to be the case to start with.

So why are we so focused on a man that's supposedly dead? If he's genuinely never going to show up again why keep putting him in? Everything? While not even bringing him up all that often in the show? If he's dead, this is a truly bizarre marketing decision.

Never Say Die

In interviews or in official material. For several months the word 'dead' was never used for Tech anywhere, not in interviews, not in official material, nowhere. It took until January 23rd for all of the databank entries to be updated, and among all of the main cast he's only referred to as 'killed' once, and it's on Hunter's page not even his own. Then, the Friday before the premier, an interview came out referring to him as dead - on the part of the interviewer, not the creators themselves.

Everything else seems to use a variety of euphemisms. His sacrifice, his absence, his loss, he 'plummeted out of sight', he 'fell from a tram car', he did absolutely anything it's possible to do except outright die apparently.

It's an odd choice when there's known controversy over if he's dead or not. The standard operating protocol of course, in a planned comeback, is to refer to them as dead anyway and allow fandom to fuel its own speculation, but with a fandom as devastated as TBB's was, it's quite possible that the odd behavior had to be introduced just to keep speculation going. The only interviews that sound remotely final came out right before the episodes started coming out - if they had done that from the beginning, the chances of people outright refusing to come back to the show likely would have been higher.

Much like the marketing, this is not necessarily proof of anything - but in combination with the multiple odd things in the show itself, it's certainly suspicious. Speaking of suspicious...

What an Odd Thing to Say

The cast and crew themselves have not been skimping on making strange comments when it comes to the Tech situation.

There is of course the well known Joel Aron (lighting director for the series) tweet that came out the day of the Celebrations panel (AKA when the Tech trauma was at an all time high) and in direct reply to a fan that was having a hard time with Tech's death. It's hard to take it as anything but a reference to Tech given the timing, and it was certainly taken as being about Tech in the quote tweets. If it's not about Tech, why tease the fandom with it? And the specification for it being a mid s3 episode as well...

Also from the day of Celebrations, and from the panel itself, we have Michelle Ang saying in front of God and everybody, that Tech "doesn't come back... in this episode, at least." At the time there was a possibility she didn't know and was just leaving it open, but with that only being ten months ago and the extremely long timeframe of animation, it's almost certain that she would have been done with all primary recording by that point. If you know he's not coming back, how do you accidentally imply that he is with no one correcting it?

Dee Bradley Baker, when asked for a farewell message from Tech at a con, came out with "the life of a soldier is fulfilled by fulfilling his mission and supporting his brothers. And this was the end of mine. And that's a good thing." Which was a perfectly serviceable goodbye right up until he said that the end of Tech's (life? soldier's life? mission?) was a good thing.

During an instagram interview we have Deana Kiner, one of the composers, in response to the interviewer talking about the final episode containing a major loss, saying, "It's kind of a loss... It's complicated." The claim on twitter was that this was about Omega, because everyone knows that when someone mentions the major loss in Plan 99 they're definitely talking about Omega.

So is Tech alive? Is Tech dead? We still don't know. But while one or two of the above might be a coincidence, having all of them at once coalesce around this single character death is a lot to chew over. The Bad Batch team has shown willingness to address grief and loss prior, as well as a willingness to show us death onscreen and front and center. So why, with such an important character, sidestep it all in order to keep it vague? Why keep it from sounding final for so long, if the intent the entire time was for him to be dead for good?

We won't know until he either shows back up or the show ends. If Tech's alive, all of the above starts to make sense. If he's dead... well a lot of things will just never quite add up. I feel that this team has shown enough willingness to follow up on their trailing plotlines that they've earned my trust. Fingers crossed for a satisfying resolution for all of us, and for our boy Tech, whatever that resolution may be.

#the bad batch #tbb #tbb tech #the bad batch spoilers #tbb spoilers #the bad batch speculation #this thing is some 7500 words i might have an obsession problem

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cy-cyborg · 13 days

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Dealing with Healing and Disability in fantasy: Writing Disability

[ID: An image of the main character from Eragon, a white teenage boy with blond hair in silver armour as he sits, with his hand outstretched. On his hand is a glowing blue mark. He is visibly straining as he attempts to heal a large creature in front of him. /End ID]

I'm a massive fan of the fantasy genre, which is why it's so incredibly frustrating when I see so much resistance to adding disability representation to fantasy works. People's go-to reason for leaving us out is usually something to the effect of "But my setting has magic so disability wouldn't exist, it can just be healed!" so let's talk about magic, specifically healing magic, in these settings, and how you can use it without erasing disability from your story.

Ok, let's start with why you would even want to avoid erasing disability from a setting in the first place. I talked about this in a lot more detail in my post on The Miracle Cure. this line of thinking is another version of this trope, but applied to a whole setting (or at least, to the majority of people in the setting) instead of an individual, so it's going to run into the same issues I discussed there. To summarise the points that are relevant to this particular version of the trope though:

Not every disabled person wants or needs a cure - many of us see our disability as a part of our identity. Do difficulties come with being disabled? absolutely! It's literally part of the definition, but for some people in the disabled community, if you took our disabilities away, we would be entirely different people. While it is far from universal, there is a significant number of us who, if given a magical cure with no strings attached, would not take it. Saying no one in your setting would be disabled because these healing spells exists ignores this part of the community.

It messes with the stakes of your story - Just like how resurrecting characters or showing that this is something that is indeed possible in the setting can leave your audience feeling cheated or like they don't have to worry about a character *actually* ever dying. healing a character's disability, or establishing that disability doesn't exist in your setting because "magic" runs into the same problem. It will leave your readers or viewers feeling like they don't have to worry about your characters getting seriously hurt because it will only be temporary, which means your hero's actions carry significantly less risk, which in turn, lowers the stakes and tension if not handled very, very carefully.

It's an over-used trope - quite plainly and simply, this trope shows up a lot in the fantasy genre, to the point where I'd say it's just overused and kind of boring.

So with the "why should you avoid it" covered, let's look at how you can actually handle the topic.

Limited Access and Expensive Costs

One of the most common ways to deal with healing and disability in a fantasy setting, is to make the healing magic available, but inaccessible to most of the population. The most popular way to do that is by making the services of a magical healer capable of curing a disability really expensive to the point that most people just can't afford it. If this is the approach you're going to use, you also typically have to make that type of magic quite rare. To use D&D terms, if every first level sorcerer, bard, cleric and druid can heal a spinal injury, it's going to result in a lot of people who are able to undercut those massive prices and the expense will drop as demand goes down. If that last sentence didn't give you a hint, this is really popular method in stories that are critiquing capitalistic mindsets and ideologies, and is most commonly used by authors from the USA and other countries with a similar medical system, since it mirrors a lot of the difficulties faced by disabled Americans. If done right, this approach can be very effective, but it does need to be thought through more carefully than I think people tend to do. Mainly because a lot of fantasy stories end with the main character becoming rich and/or powerful, and so these prohibitively expensive cure become attainable by the story's end, which a lot of authors and writer's just never address. Of course, another approach is to make the availability of the magic itself the barrier. Maybe there just aren't that many people around who know the magic required for that kind of healing, so even without a prohibitive price tag, it's just not something that's an option for most people. If we're looking at a D&D-type setting, maybe you need to be an exceptionally high level to cast the more powerful healing spell, or maybe the spell requires some rare or lost material component. I'd personally advise people to be careful using this approach, since it often leads to stories centred around finding a miracle cure, which then just falls back into that trope more often than not.

Just outright state that some characters don't want/need it

Another, admittedly more direct approach, is to make it that these "cures" exist and are easily attainable, but to just make it that your character or others they encounter don't want or need it. This approach works best for characters who are born with their disabilities or who already had them for a long time before a cure was made available to them. Even within those groups though, this method works better with some types of characters than others depending on many other traits (personality, cultural beliefs, etc), and isn't really a one-size-fits-all solution, but to be fair, that's kind of the point. Some people will want a cure for their disabilities, others are content with their body's the way they are. There's a few caveats I have with this kind of approach though:

you want to make sure you, as the author, understand why some people in real life don't want a cure, and not just in a "yeah I know these people exist but I don't really get it" kind of way. I'm not saying you have to have a deep, personal understanding or anything, but some degree of understanding is required unless you want to sound like one of those "inspirational" body positivity posts that used to show up on Instagram back in the day.

Be wary when using cultural beliefs as a reasoning. It can work, but when media uses cultural beliefs as a reason for turning down some kind of cure, it's often intending to critique extreme beliefs about medicine, such as the ones seen in some New Age Spirituality groups and particularly intense Christian churches. As a general rule of thumb, it's probably not a good idea to connect these kinds of beliefs to disabled people just being happy in their bodies. Alternatively, you also need to be mindful of the "stuck in time" trope - a trope about indigenous people who are depicted as primitive or, as the name suggests, stuck in an earlier time, for "spurning the ways of the white man" which usually includes medicine or the setting's equivalent magic. I'm not the best person to advise you on how to avoid this specific trope, but my partner (who's Taino) has informed me of how often it shows up in fantasy specifically and we both thought it was worth including a warning at least so creators who are interested in this method know to do some further research.

Give the "cures" long-lasting side effects

Often in the real world, when a "cure" for a disability does exist, it's not a perfect solution and comes with a lot of side effects. For example, if you loose part of your arm in an accident, but you're able to get to a hospital quickly with said severed arm, it can sometimes be reattached, but doing so comes at a cost. Most people I know who had this done had a lot of issues with nerve damage, reduced strength, reduced fine-motor control and often a great deal of pain with no clear source. Two of the people I know who's limbs were saved ended up having them optionally re-amputated only a few years later. Likewise, I know many people who are paraplegics and quadriplegics via spinal injuries, who were able to regain the use of their arms and/or legs. However, the process was not an easy one, and involved years of intense physiotherapy and strength training. For some of them, they need to continue to do this work permanently just to maintain use of the effected limbs, so much so that it impacts their ability to do things like work a full-time job and engage in their hobbies regularly, and even then, none of them will be able bodied again. Even with all that work, they all still experience reduced strength and reduced control of the limbs. depending on the type, place and severity of the injury, some people are able to get back to "almost able bodied" again - such was the case for my childhood best friend's dad, but they often still have to deal with chronic pain from the injury or chronic fatigue.

Even though we are talking about magic in a fantasy setting, we can still look to real-life examples of "cures" to get ideas. Perhaps the magic used has a similar side effect. Yes, your paraplegic character can be "cured" enough to walk again, but the magic maintaining the spell needs a power source to keep it going, so it draws on the person's innate energy within their body, using the very energy the body needs to function and do things like move their limbs. They are cured, but constantly exhausted unless they're very careful, and if the spell is especially strong, the body might struggle to move at all, resulting in something that looks and functions similar to the nerve damage folks with spinal injuries sometimes deal with that causes that muscle weakness and motor control issues. Your amputee might be able to have their leg regrown, but it will always be slightly off. The regrown leg is weaker and causes them to walk with a limp, maybe even requiring them to use a cane or other mobility aid.

Some characters might decide these trade-offs are worth it, and while this cures their initial disability, it leaves them with another. Others might simply decide the initial disability is less trouble than these side effects, and choose to stay as they are.

Consider if these are actually cures

Speaking of looking to the real world for ideas, you might also want to consider whether these cures are doing what the people peddling them are claiming they do. Let's look at the so-called autism cures that spring up every couple of months as an example.

Without getting into the… hotly debated specifics, there are many therapies that are often labelled as "cures" for autism, but in reality, all they are doing is teaching autistic people how to make their autistic traits less noticeable to others. This is called masking, and it's a skill that often comes at great cost to an autistic person's mental health, especially when it's a behaviour that is forced on them. Many of these therapies give the appearance of being a cure, but the disability is still there, as are the needs and difficulties that come with it, they're just hidden away. From an outside perspective though, it often does look like a success, at least in the short-term. Then there are the entirely fake cures with no basis in reality, the things you'll find from your classic snake-oil salesmen. Even in a fantasy setting where real magic exists, these kinds of scams and misleading treatments can still exist. In fact, I think it would make them even more common than they are in the real world, since there's less suspension of disbelief required for people to fall for them. "What do you mean this miracle tonic is a scam? Phil next door can conjure flames in his hand and make the plants grow with a snap of his fingers, why is it so hard to believe this tonic could regrow my missing limb?"

I think the only example of this approach I've seen, at least recently, is from The Owl House. The magic in this world can do incredible things, but it works in very specific and defined ways. Eda's curse (which can be viewed as an allegory for many disabilities and chronic illnesses) is seemingly an exception to this, and as such, nothing is able to cure it. Treat it, yes, but not cure it. Eda's mother doesn't accept this though, and seeks out a cure anyway and ends up falling for a scam who's "treatments" just make things worse.

In your own stories, you can either have these scams just not work, or kind of work, but in ways that are harmful and just not worth it, like worse versions of the examples in the previous point. Alternatively, like Eda, it's entirely reasonable that a character who's been the target of these scams before might just not want to bother anymore. Eda is a really good example of this approach handled in a way that doesn't make her sad and depressed about it either. She's tried her mum's methods, they didn't work, and now she's found her own way of dealing with it that she's happy with. She only gets upset when her boundaries are ignored by Luz and her mother.

Think about how the healing magic is actually working

If you have a magic system that leans more on the "hard magic" side of things, a great way to get around the issue of healing magic erasing disability is to stop and think about how your healing magic actually works.

My favourite way of doing this is to make healing magic work by accelerating the natural processes of your body. Your body will, given enough time (assuming it remains infection-free) close a slash from a sword and mend a broken bone, but it will never regrow it's own limbs. It will never heal damage to it's own spinal cord. It will never undo whatever causes autism or fix it's own irregularities. Not without help. Likewise, healing magic alone won't do any of these things either, it's just accelerating the existing process and usually, by extension making it safer, since a wound staying open for an hour before you get to a healer is much less likely to get infected than one that slowly and naturally heals over a few weeks. In one of my own works, I take this even further by making it that the healing magic is only accelerating cell growth and repair, but the healer has to direct it. In order to actually heal, the healer needs to know the anatomy of what they're fixing to the finest detail. A spell can reconnect a torn muscle to a bone, but if you don't understand the structures that allow that to happen in the first place, you're likely going to make things worse. For this reason, you won't really see people using this kind of magic to, say, regrow limbs, even though it technically is possible. A limb is a complicated thing. The healer needs to be able to perfectly envision all the bones, the cartilage, the tendons and ligaments, the muscles (including the little ones, like those found in your skin that make your hair stand on end and give you goose bumps), the fat and skin tissues, all the nerves, all the blood vessels, all the structures within the bone that create your blood. Everything, and they need to know how it all connects, how it is supposed to move and be able to keep that clearly in their mind simultaneously while casting. Their mental image also has to match with the patient's internal "map" of the body and the lost limb, or they'll continue to experience phantom limb sensation even if the healing is successful. It's technically possible, but the chances they'll mess something up is too high, and so it's just not worth the risk to most people, including my main character.

Put Restrictions on the magic

This is mostly just the same advice as above, but for softer magic systems. put limits and restrictions on your healing magic. These can be innate (so things the magic itself is just incapable of doing) or external (things like laws that put limitations on certain types of magic and spells).

An example of internal restriction can be seen in how some people interpret D&D's higher level healing spells like regenerate (a 7th level spell-something most characters won't have access to for quite some time). The rules as written specify that disabilities like lost limbs can be healed using this spell, but some players take this to mean that if a character was born with the disability in question, say, born without a limb, regenerate would only heal them back to their body's natural state, which for them, is still disabled.

An external restriction would be that your setting has outlawed healing magic, perhaps because healing magic carries a lot of risks for some reason, eithe to the caster or the person being healed, or maybe because the healing magic here works by selectively reviving and altering the function of cells, which makes it a form of necromancy, just on a smaller scale. Of course, you can also use the tried and true, "all magic is outlawed" approach too. In either case, it's something that will prevent some people from being able to access it, despite it being technically possible. Other external restrictions could look like not being illegal, per say, but culturally frowned upon or taboo where your character is from.

But what if I don't want to do any of this?

Well you don't have to. These are just suggestions to get you thinking about how to make a world where healing magic and disability exist, but they aren't the only ways. Just the ones I thought of.

Of course, if you'd still rather make a setting where all disability is cured because magic and you just don't want to think about it any deeper, I can't stop you. I do however, want to ask you to at least consider where you are going to draw the line. Disability, in essence, is what happens when the body stops (or never started) functioning "normally". Sometimes that happens because of an injury, sometimes it's just bad luck, but the boundary between disabled and not disabled is not as solid as I think a lot of people expect it to be, and we as a society have a lot of weird ideas about what is and isn't a disability that just, quite plainly and simply, aren't consistent. You have to remember, a magic system won't pick and choose the way we humans do, it will apply universally, regardless of our societal hang-ups about disability.

What do I mean about this?

Well, consider for a moment, what causes aging? it's the result of our body not being able to repair itself as effectively as it used to. It's the body not being able to perform that function "normally". So in a setting where all disability is cured, there would be no aging. No elderly people. No death from old age. If you erase disability, you also erase natural processes like aging. magic won't pick and choose like that, not if you want it to be consistent.

Ok, ok, maybe that's too much of a stretch, so instead, let's look at our stereotypical buff hero covered in scars because he's a badass warrior. but in a world where you can heal anything, why would anything scar? Even if it did, could another healing spell not correct that too? Scars are part of the body's natural healing process, but if no natural healing occurred, why would a scar form? Scars are also considered disabling in and of themselves too, especially large ones, since they aren't as flexible or durable as normal skin and can even restrict growth and movement.

Even common things like needing glasses are, using this definition of disability at least, a disability. glasses are a socially accepted disability aid used to correct your eyes when they do not function "normally".

Now to be fair, in reality, there are several definitions of disability, most of which include something about the impact of society. For example, in Australia (according to the Disability Royal Commission), we define disability as "An evolving concept that results from the interaction between a person with impairment(s) and attitudinal and environmental barriers that hinder their full and effective participation in society on an equal basis with others." - or in laymen's terms, the interaction between a person's impairment and societal barriers like people not making things accessible or holding misinformed beliefs about your impairment (e.g. people in wheelchairs are weaker than people who walk). Under a definition like this, things like scars and needing glasses aren't necessarily disabilities (most of the time) but that's because of how our modern society sees them. The problem with using a definition like this though to guide what your magic system will get rid of, is that something like a magic system won't differentiate between an "impairment" that has social impacts that and one that doesn't. It will still probably get rid of anything that is technically an example of your body functioning imperfectly, which all three of these things are. The society in your setting might apply these criteria indirectly, but really, why would they? Very few people like the side effects of aging on the body (and most people typically don't want to die), the issues that come with scars or glasses are annoying (speaking as someone with both) and I can see a lot of people getting rid of them when possible too. If they don't then it's just using the "not everyone wants it approach" I mentioned earlier. If there's some law or some kind of external pressure to push people away from fixing these more normalised issues, then it's using the "restrictions" method I mentioned earlier too.

Once again, you can do whatever you like with your fantasy setting, but it's something I think that would be worth thinking about at least.

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