#so its not actually the story i wanted to tell but it's the one i got

[iwritenarrativesandstuff]

Killua and the Power of Wishes

Okay going to try and make this coherent because the amount of wish association all through Killua's character development makes me want to chew plaster.

As a fair warning, this analysis ended up being long as hell, and I didn't even include everything I could've said. This is also just one lens to analyze Killua's story arc with, and I feel there are other valid interpretations of some of these moments. This is just one of mine, so keep that in mind please.

One last warning that this analysis does discuss emotional manipulation and abuse, as is par for Killua's background.

Let's set the stage with one important piece of info: Killua's birthday.

Killua's birthday is July 7th, the same day as Tanabata. Tanabata is a folklore-rich festival where according to legend, the two lovers, weaver Orihime and cowherd Hikoboshi, represented by the two stars, Vega and Altair, are allowed to reunite once a year after separation. A popular custom of Tanabata is to make wishes by writing them down on tanzaku, then hang it on a bamboo tree so that the wish might one day come true.

Tanabata is also known as the Star Festival. Please keep this in mind, because I'm going to come back to it.

To finish setting up the lens for this analysis, I'm going to need to dig into the game-changer scene for Killua's early characterization - his confrontation with Illumi at the end of the Hunter Exam, and specifically, the exact nature of Illumi's manipulation of him.

I say "game-changer" because it really is - up until this point, it's kind of fair to not fully know what to think about Killua. Certainly, he seems excited to hang out with Gon (he approached him first, after all) and he's friendly enough, but he's also arrogant and claims to be motivated mainly by boredom. For all intents and purposes, Killua seems set up to be Gon's dangerous yet charismatic rival... but then this scene happens and it completely turns it all on its head.

Because Killua may have mentioned his family was controlling before, but he seriously downplayed the severity of it - likely because he has no point of reference for how awful his situation actually is other than it makes him feel bad and trapped. Illumi's appearance immediately shifts our understanding of Killua from runaway murder kid with annoying murder family to straight-up victim of emotional abuse, and dissolves his cockiness instantly to terror.

What does all this have to do with wishes? Glad you asked. Let's look at some of Illumi's dialogue.

[ID: A screenshot from HxH episode 20 of the 2011 anime. Killua looks up, sweating and conflicted, as Illumi tells him "You don't want anything or wish for anything." End ID.]

This is the crux of Illumi's (and the family's) control. Killua's desires do not align with the family trade. They must be excised from him.

When Killua insists that he does have something that he really wants, Illumi says "Tell me what it is you want", in a mockery of a certain other sibling who would have helped fulfill this wish - Illumi asks only so he can completely dismantle it. And Killua isn't even really surprised at Illumi's words, just heartbroken. You can tell this isn't the first time this sort of thing has happened.

Killua states his wish quite fervently; he really means it. But his words are not rebellious, nor cathartic. Instead, he answers Illumi quietly, as if fearful or ashamed, almost reminiscent of a sinner's confession.

[ID: Two screenshots from HxH episode 20 of the 2011 anime. In the first Killua looks down with a troubled expression, saying "I want to become friends with Gon...". In the second, his face is hidden as he stands with hands clenched at his sides with a spotlight on him. He says "I'm sick of killing people..." End ID.]

It's such an innocent, simple want.

And Illumi proceeds to make him feel like even something so simple is harmful and selfish of him... not to the family, but to Gon.

In a matter of a few minutes, Illumi breaks down Killua's wish by:

Acknowledging this desire, but twisting it into something that will inevitably fade over time, thereby causing Killua to doubt his own conviction and feelings -> "Gon is a novelty, a radiant presence who has piqued your curiosity. No more than that."

Acknowledging that Gon is someone important to Killua, and undermining this by telling him that by his very nature, he will eventually bring harm to Gon, which makes him feel as though Killua cannot trust himself to be a good friend -> "If you try to be friends with him, you will one day want to kill him... because you are, by nature, a murderer." (As a... delightful... bonus, this is also apparently how Silva and Illumi justify their treatment of Killua to him - "This is the essence of your existence and we taught you accordingly." Like they adapted to Killua's nature, instead of them molding Killua into who they wanted him to be.)

Delivering an ultimatum - to fight Illumi and win, or else Gon will die - that Killua is doomed to fail due to his upbringing and the needle in his head. Since Killua doesn't know about the needle, he assumes this is his own personal failure, something Illumi feeds into -> "You're just not qualified to make friends."

And it's the last point that breaks him. The first two shoot down Killua's present wish, but the last proceeds to shatter any hope he might've had of wishing for anything similar in the future - he has told him that his desires are weak, temporary, inherently dangerous to those around him, and worst of all, aren't enough on their own for him to deserve friendship and love from others. And the clincher: Killua feels like all of this is his own fault, that there is something inherently dangerous and wrong with him!

So, it doesn't even matter to Killua anymore if he fails the Hunter Exam. To him, he just failed the only test that mattered.

10/10 manipulation, Illumi. Fuck you, seriously.

Killua's character arc is mainly his quest and struggle to refute Illumi's arguments and to shake off the manipulation and the ways in which his family have molded and controlled him. And by far, the most difficult part of his conditioning to shake off is this idea that he is undeserving of anything more than what he is already given.

It's almost like the family has drilled it into him that wishes are dangerous. How interesting.

Thankfully, however, there are two parties to Killua's wish here - Gon, too, is a part of it, and it is not simply his reciprocated desire to be Killua's friend that saves him, but also his recognition of Killua's situation for what it is (notably, when no one else correctly identified the true issue).

"You know it wasn't his choice. You manipulated him, kidnapping his spirit!"

The ensuing Zoldyck family arc emphasizes that Gon is 100% correct: the main hold Killua's family has on him isn't physical - it's all emotional.

Killua breaks one of his shackles when Milluki threatens to have his new friends killed, but he only breaks the rest when Zeno tells him he's free to go. So, if Killua could break loose at any point, was this still a rescue like Gon said?

Well, yes - just because he absolutely could've broken out physically at any time, that does not mean he could just leave. That's the nature of situations such as this - it's not as simple as "just leaving". Support is necessary, as is actually having something tangible outside the situation to go to - otherwise there is little point to leaving at all. Gon (and Kurapika and Leorio) showing up to free Killua showed him that his wish was reciprocated and allowed him to break one cuff - this is the start of his journey, but he still has a long ways to go. Notably, he again hesitates and closes off when Silva asks what he wants.

[ID: Three panels from HxH chapter 42. In the first, Silva asks Killua "...would you like to see [Gon]?" Killua's expression is complicated in the next panel - he's closed off and uncertain. Silva continues "Be honest, Kil... what do you want?" End ID.]

Killua will backtalk and casually break his shackles and death glare his family... but he's too fearful to voice his wants aloud.

And once again, asked by his father what he wants, he is subtly set up to fail. His wish is granted, but made conditional - "Do not betray your friends", something Killua is regrettably set up to do by virtue of the needle in his head that he, again, doesn't know about. Silva fully expects him to fail and come back home, disillusioned, believing it's his own fault due to his "nature", and trusting in Silva still as a "reasonable" figure in his life.

This condition placed on his friendship is what drives much of Killua's fear and insecurity with regards to Gon for much of the series - the idea that Killua has to earn his right to friendship, and that if he doesn't, he will lose it, one way or another.

It really makes me wish that Killua had actually gotten to hear Gon's views on friendship from the beginning of the Zoldyck Family arc, because it entirely refutes this entire philosophy. He even outright refuses to go through the Testing Gates at first, purely because he thinks the sentiment of needing to prove yourself just to be friends is completely outrageous - he only relents because there is no other way.

[ID: Two screenshots from episodes 21 and 22 of the 2011 HxH anime adaptation. Gon looks up at Illumi and firmly states "[Killua] doesn't need to earn the right to be my friend!" In the second, Gon's face is seen in profile and close up as he asks "Why would you test your friends?" End ID.]

I doubt it would've truly prevented Killua's insecurity from manifesting even if he had heard this, to be honest - his issues with usefulness are very deep-rooted in his upbringing - but still, it would've been nice for him to hear, I think.

However, that's not to say that this exact sentiment doesn't come through in their interactions.

Gon, as Killua's friend, cares about what Killua actually wants and wants to make sure Killua knows that - and that's part of what makes the Whale Island conversation between them really important.

[ID: Two images, both of the same scene from HxH chapter 64, and episode 37 of the 2011 anime. In the manga panel, Gon has turned his head to look at Killua directly, who looks shocked and taken aback, to say "I like hanging out with you." In the anime screenshot, Gon has turned his whole body to face Killua, and says "I think it's fun to be with you." End ID.]

I see a lot of people chalk this up to just Gon being Gon, but it reads to me as much more deliberate than even his usual honesty. He's turned so he's looking directly at Killua, which is a sure way to make his words come across clearly. The lead up to this is Killua, again, not knowing or being able to vocalize what he wants. He doesn't have a goal to work towards like Gon, he only knows what he doesn't want - he's a mix of envious and admiring towards Gon, who knows what he wants and simply goes for it.

But this conversation makes it clear that they have a shared wish - they both want to be friends, and they'd both like to stay together. It's not about earning, to Gon, it's only about if they both want the same thing - mutual, not conditional. There's a nice almost call-and-response type dialogue here, where Gon asserts that he likes spending time with Killua (very directly lol), then shares that Killua is the first friend his age he's had. This prompts Killua to say that Gon is his first friend ever, and that he does have fun with him. And just like that, Gon replies "Then let's stay together!" and pointedly includes Killua's desire to find a goal in their, now shared, upcoming journey.

Overhead, a shooting star appears in the sky. A mutual wish is granted.

[ID: A panel from HxH chapter 64. The night sky is full of stars. In the centre is a shooting star. End ID.]

Hm. Stars. Remember how I told you to keep that in mind, all the way back at the beginning? Their association with Tanabata, making a wish on a shooting star, etc. etc.?

Well, buckle up because this star is going to make you experience so much sadness now.

[ID: Panels from HxH chapter 286. The first is a conversation between Killua and Meleoron where Killua asserts he intends to "go down in flames with [Gon]". When Meleoron looks concerned, Killua brushes off the declaration as a joke. In the second image, Killua is turned away, his outline pale, as Meleoron thinks "Why... did you looks so sad... back there?" The last image is a cloudy night sky filled with stars. At the centre of the panel is a shooting star. End ID.]

Yeah, it makes its reappearance directly after Killua has "jokingly" resolved to die with Gon if it comes down to it, after "since it means nothing to you".

I am assured, in Japanese, the word choice here is 心中 (shinjuu), the word for double suicide, where the intent is to die at the same time in the same manner in order to be reunited in the afterlife. The implication here is that Killua, having increasingly grown insecure in his place by Gon's side but unable to voice this, knowing that Gon is hurtling down the path of no return, thinks back to their conversation under the stars where they both mutually wished to stay together and, because he believes that it is no longer possible for him to help Gon, has resolved to stay by his side in death, and after it.

...holy shit, kid.

[ID: Two screenshots from the 4th ending of the 2011 anime. In the first, Gon and Killua stand back to back as meteors fall around them. In the second, they stand facing away from the audience towards a body of water under a night sky filled with stars - Gon throws a stone, which flashes in the air like a shooting star. End ID.]

And of course, here's the shooting star again in the 2011 anime's Nagareboshi Kirari ending, as well as it being the subject of the song itself and rather explicitly referencing that wish to go on a journey together, to stay together, because... Madhouse hates us. I guess. :'(

What started off as a simple wish for a friend deepened into a wish to always stay by Gon's side. This is largely good at first! Killua is able to explore and experience genuine friendship, to get a taste for freedom, and use the power of his fervent wish to protect his dear friend in order to rid himself of Illumi's needle. However, the more Killua wants, the more he traps these wishes in monologues within his own head and does not voice them aloud. Part of it is that he already feels he's been given much more than he deserves - seeing himself as a creature of darkness and Gon as light - but a greater part of the issue here is not that Killua is afraid to wish for things, but that he is afraid wishing without "compensation" will inevitably lead to horrible repercussions - namely, losing who he loves.

In order to feel worthy of staying with Gon, of earning his friendship, Killua works hard to help Gon achieve his goals, taking on the role of wish grantor, growing to do practically anything needed to support him for seemingly nothing in return - but that's not 100% true. Killua wants at least some appreciation, whether he admits it or not - it's a security thing, and it also clearly makes him happy, even if he's not great at accepting it. He insists in Chimera Ant arc that friends don't need to thank friends, but this declaration always read as very sudden to me or like a rationalization, and it's relevant to remember that this is at the peak of Gon isolating himself and self-destructing before his eyes, and Killua's own insecurity regarding his importance to him.

Killua might not mind doing things without thanks, but that doesn't mean he doesn't like to hear that Gon appreciates him. He clearly does appreciate verbal confirmation of their bond! We know this.

[ID: Two screenshots from the 2011 anime. The first is from episode 61. Killua smiles down at the ground with his hands in his pockets, the colours having gone soft and bright. The second is from episode 70 during the dodgeball match. Gon smiles determinedly in the foreground as Killua looks shocked next to him. End ID.]

Keeping all this in mind, Killua's story, or at least this part of it, couldn't have concluded in a better way than his rescue of Alluka, the wish grantor.

Now, I could probably write an entire other analysis on Alluka and Nanika alone, but for the sake of not making this any longer than I already have, I'm going to go through only a few points. Alluka is incomprehensible to her family because they make no attempt to understand her, with the exception of Killua. The only thing they do seem to understand, when explained to them, is the demands made after Nanika grants a wish - this, of course, fits neatly into their own predetermined views on "earning" and "punishment". However, beyond this, they make no attempt to understand her, and since her power is deemed dangerous and uncontrollable, she is locked away.

They are worried, first and foremost, that Alluka will bring harm to the family, and there's two ways in which this could be true:

As a function of failing to fulfill her requests, of course

Because she, just by existing, threatens the family's status quo

I stated at the beginning that Killua's desires do not align with those of the family business, and he's always apparently been more open to understanding others - he asks Alluka and Nanika questions to understand them, and treats them with respect, while his family are more so focused on subjugating anything that might be a threat. This is what Illumi tried to drill into Killua after all; never fight a superior opponent - everything is about assessments of relative strength, which leaves no room for open-mindedness or getting to know people.

Faced with a daughter who is clearly incomprehensibly powerful, and a son, the would-be inheritor of the family trade, who is showing a disturbing amount of willingness to befriend instead of retreat from her, the family made the decision to excise Alluka not just from where she could "harm" the family power-wise, but also likely to secure their control over Killua, who they then set about practically programming to not have any more wishes for himself, or at least to not be able to vocalize them without fear of loss or retribution.

The family's nickname for Killua is "Kil" or "Killu", which is deeply fascinating to me as a reader - nicknames are expressions of endearment, typically, and I actually don't doubt that here. Killua's family does love him, but their love comes with conditions. He must be molded into the perfect son, and every part of him that doesn't fit must be excised.

So: Killua's memories of Alluka are suppressed with the needle, and she is further cut from his life by dropping the "a" from his name (the Zoldyck children are named like a game of shiratori - Illumi -> Milluki -> Killua -> Alluka -> Kalluto). The nickname is also like a command or order "to kill", which is of course what they want him to do.

Saving Gon through saving Alluka and Nanika forces Killua to have to face down the last and hardest of Illumi's manipulations to shake, and that's the notion that a wish, that kindness and friendship and love, cannot be unconditional without severe repercussions - where the people he cares about get hurt because of him, something he cannot envision being forgiven for.

It's a little sad to me that after spending most of the series struggling against his family's teachings that they didn't lead to Killua betraying Gon at all, as he'd feared... but to him betraying Nanika, by sending her away.

Here is this little girl with a bloodstained past, incredibly powerful and dangerous and capable of amazing feats, treated as some evil thing by those who fear her. But she is kind at heart. Her true strength lies in healing, not killing. And she only takes commands from Killua.

Illumi thinks this is because Killua is the only one with control over her. Killua believes this is because she wants praise. They're both partially correct, but this is not the full reason Nanika does what Killua asks of her.

[ID: Two screenshots from episode 146 of the 2011 anime. In the first, Nanika smiles and says "I love Killua." In the second, Killua looks at her, stricken. End ID.]

Nanika loves him. Everyone has been trying to figure out all these complicated rules and conditions on her wish granting and why Killua is the one exception, but the answer is exceedingly simple. She loves him, and wants to do nice things for him so he can have his wishes granted. It's the only way she knows to get the love that she wants in turn.

Just like her brother, Nanika makes herself useful to earn love and appreciation from someone who accepted her when no one else did.

Even though he knows Nanika just wants to help, he still sees her presence as a danger to the person he sees as pure and innocent who must be protected. He sends her away because her "nature" is to be a threat to Alluka's safety, even if she doesn't intend to be. Killua's fear of Illumi and repercussions causes him to make a horrible mistake.

And Alluka tears into him for it.

[ID: A set of panels from HxH chapter 336. A furious Alluka glares and asks Killua if he made Nanika cry. When Killua stutters, she demands he apologize to her. End ID.]

You tell him, girl.

Oh hey, this looks a little familiar, huh?

"Apologize to Killua!" says Gon to Illumi after Illumi sends Killua away.

Nanika should not be the one punished for the actions of those trying to control her. She certainly shouldn't be forced to leave those she loves, or have to earn love from them.

And neither should Killua.

[ID: Three panels from HxH chapter 336. Alluka yells, tears in her eyes, "If you're going to protect me... you have to protect Nanika too!!" Killua looks shocked, then his eyes widen. End ID.]

It's interesting to me that this is the line that snaps Killua out of his fear enough for him to properly speak with Nanika and apologize. One party cannot receive all the protection, nor can the other only give and give limitlessly.

Killua makes it clear to Nanika when speaking with her that he will protect her, and that she doesn't need to earn affection from people by granting their wishes. He promises they will both be there for each other - Killua will praise her whenever she wants, and not just when she does something for him, but he also doesn't refuse Nanika's desire to grant his wishes. It's mutual, not conditional.

And on the heels of this "betrayal", Killua asks for what he never thought he could receive - forgiveness. And even though Nanika is clearly still very upset...

[ID: Two screenshots from episode 146. In the first, Nanika and Killua face each other, both of them teary. Nanika says "Kay." In the second, he has pulled her into a hug. Nanika is teary, her fingers gripping Killua's back tightly. End ID.]

...she doesn't even have to think about it.

I do think Killua still has a ways to go, but he is in a position right now to learn from his relationship with his sisters about balance - that love is not just selfless devotion, but also allowing those who love you to help you and make you happy too. I think that's what unconditional love is, in a way - supporting and working together with the people you love to make each other's wishes come true.

#oh my god this was supposed to be a brief write-up what happened 😭 #ugh i feel like this is a bit of a mess and there's infinite other little points i could've made or elaborated on or interpreted differentl #but i'm so tired lmao #anyways tldr fuck you illumi you suck #killua is a snarky little shit but he also has so much love in his tiny body and i think we should appreciate him forever and ever #this also accidentally turned into alluka and nanika appreciation. i love them #nanika sweet angel i love you so much i hope you get all the head pats in the world #ghhh i'm so scared this doesn't make sense anymore i've been working on it for almost a week #hunter x hunter #hxh #hxh meta #killua zoldyck #call me ace detective the way i am ace. and also a detective. #storyrambles #also that one scene where gon turns to look directly at killua and tells him he has fun being with him makes me jdfhbvsdjfbvh #he's so intense about it i start laughing. no wonder killua basically just went ??!?!?!?! and like. leaned back because i think i would've #done the same lmaoooo #it's very sweet though :') #argh. gotta post. i need to stop hesitating. let's go.

[highvern]

Seventeen as Pokemon Trainers

Genre: humor, crack

Note: partially inspired by @ugh-yoongi bts as pokemon gym leaders v fun way to break up the fic im working on. thinking about doing ateez if i get the inspo

m.list

Seungcheol

our leader but also the biggest baby girl. retired champion and uses the same team from his youth to this day. He’ll randomly show up places like some old man, talk about the good old days, and wait for someone to challenge him. The only person whose managed to best him is Jeonghan and his damn clefairy

team: charizard, dragonair, bronzong, spiritomb, lapras, aerodactyl

Jeonghan

If you’re in the woods alone, Jeonghan will approach and ask for help while his pokemon pickpocket you. He likes the cute pokemon and has maxed them all out so he can scam people into battles and oneshot their entire team. Word on the street is his jigglypuff is wanted in multiple countries for tax evasion

team: tinkaton, jigglypuff, espeon, tandemaus, mime jr., clefairy

Joshua

Gym leader and one of the first gyms you encounter. Copied the elite four in the sense that once you enter his gym you can’t leave unless you defeat everyone. Bug types are weak so he makes up for it by being a lunatic. Likes bug pokemon bc they freak people out. He’s more interested in people’s reaction to his team than winning but that doesn’t mean he’ll let up

team: vespiquen, drapion, gardevoir, dustox, parasect, galvantula

Jun

Cats and cat adjacent. He’s literally just some guy that hangs around town and feeds the stray cats in hopes they’ll follow him home. So fars hes be successful. likes to have a staring contest with espurr that usual ends with them both falling asleep with their eyes open.

team: espurr, litten, purugly, glaceon, liepard, delcatty

Hoshi

Gym leader and electric type enthusiast. Arcanine is the exception bc tiger is life. You hear him before you see him and if you do see him it’s probably because he's flying thirty feet in the air from a well timed thunderbolt courtesy of his Jolteon he can’t help but pet when thinking. one of the best gym leaders, also defeated the elite four but by then cheol was champion and hoshi learned a valuable lesson on why you shouldn't brag about winning with a one type team

team: luxray, jolteon, arcanine, electivire, zebstrika, emolga

Wonwoo

All of his pokemon are from when he was an edgy teen and thought they made him look more intimidating because he wanted to be a gym leader. He’s mellowed out now and mostly battles for fun. A lot people think he’s scary but then he opens his mouth and goes on a 45 minute spiel about his absol’s favorite bedtime story and why hydreigon is simply misunderstood

team: hydreigon, absol, garchomp, mismagius, banette, lucario

Woozi

Works out with his team so it's survival of the fittest. People think he’s intimidating because he is but actually very chill. Constantly asked why he doesn’t become a gym leader and the answer is always the same: he doesn’t w4ant to. He is content to sit back and watch Hoshi act like a psycho. Doesn’t really battle much but when he does his opponent is in for a world of hurt.

team: poliwrath, metagross, gallade, gigalith, hariyama, infernape

Seokmin

Every pokemon he has starts with “well its actually a funny story…” dodrio just started following him home and seokmin was too scared to tell it to leave, same with lickilicky… and marill… and pikachu. But they’re basically a captive audience for his shenanigans and he sometimes will busk with chatot and makes a good amount of money

team: meganium, lickilicky, chatot, dodrio, marill, pikachu

Mingyu

Aims for balance. Very bro with his pokemon except Cleffa who is carried around in one of those child wraps. Not on the journey to become champion, more so just wants to see the world with his besties. You can find him sleeping in a cuddle puddle with his team after sitting around the fire and eating too many marshmallows.

team: raichu, empoleon, emboar, tauros, cleffa, steelix

Minghao

Appreciates the beauty of pokemon, especially ghost/dark/fairy. they fit his aesthetic. Has a few randoms to throw people off. You can find him sitting in a field under a full moon while they all meditate or just standing in a cave marveling at the nature (right before he sends you hightailing the way you came)

team: toxicroak, gengar, musharna, murkrow, houndoom, drifblim

Seungkwan

My island boy… also a jock. Not a gym leader but a notoriously difficult trainer you meet later on the beach. His team is as sassy as he is and has no issue KO’ing everyone, including you. Hope you know how to swim!

team: blastoise, lopunny, ambipom, azumarill, milotic, blaziken

Vernon

Average Mr. Chwe. Sometimes he’ll compete in tournaments if he’s bored or one of his friend’s drags him around. His team gets odd looks given he picked a few because they make him laugh but ngl they love him and are shockingly good in battle.

team: sudowoodo, slugma, squirtle, munchlax, mr. rime, combusken

Chan

Living his ash ketchum fantasy. Next champion but Seungcheol keeps threatening to come out of retirement just to fuck with him. Josh sought him out just to KO his team before he even reached the first gym town. Hoshi found him on a random beach and let him win just so when he got to his gym Hoshi could destroy his team several times before Chan managed to land a single attack. 

team: ivysaur, ninetales, krookodile, shelgon, gyarados, larvitar

© highvern. copying/reuploading/translating my work anywhere is strictly prohibited.

#svt fluff #svt smut #svt crack #seventeen fluff #seventeen smut #seventeen crack #seventeen #choi seungcheol #yoon jeonghan #joshua hong #wen junhui #kwon soonyoung #jeon wonwoo #lee jihoon #lee seokmin #kim mingyu #xu minghao #boo seungkwan #hansol vernon chwe #lee dino #🫡 highvern

[georgescitadel]

George R.R. Martin on the process of creating A Game Of Thrones (1/3)

You hold in your hands the second volume of A Song of Ice and Fire… but not the second volume as originally intended. Although I wrote the opening of A Game of Thrones back in the summer of 1991, as related in my introduction to the Meisha Merlin edition of that volume, it was not until October of 1993 that I drew up a proposal for my agents to take to publishers. There is no mention of any book titled A Clash of Kings in that proposal. In 1993, I was under the impression that I was writing a trilogy.

Trilogies had been the dominant form in epic fantasy ever since J.R.R. Tolkien’s The Lord of the Rings had been broken apart by publishers and released in three volumes. And the story that I wanted to tell divided quite naturally into three parts; much more so, in fact, than The Lord of the Rings, which is actually one fairly seamless narrative, and not a trilogy at all. I planned to title the books A Game of Thrones, A Dance with Dragons, and The Winds of Winter. I knew right from the start that they would all be large books. Huge books, even. But there were to be only three of them, and…and none were to be called A Clash of Kings. Sometimes the author is the last to know.

As I write this, I am halfway through the writing of A Feast for Crows, the fourth volume of my ‘trilogy.’ There is no mention of that title in my 1993 proposal either. These days, when pressed, I confidently assert that A Song of Ice and Fire will ultimately run to six books… but behind my back I know my lady Parris is smiling knowingly and holding up seven fingers. She may be right. Though I may dream of six books, plan for six books, work toward six books, the only thing that truly matters is the story. And the story needs to be as long as the story needs to be.

In Hollywood, the suits will tell you how long that is. A television show has to fit within its allotted time slot, of course, and you cannot beg, borrow, or steal an extra minute, no matter how much the story needs it. Running times are somewhat more flexible for films, though not as much as one might think. For the most part, the studios still want movies to run about two hours, so they look for screenplays of 120 pages or less, and demand cuts in any scripts that come in longer. My own screenplays and teleplays were almost always too long and too expensive in first draft, so in my later drafts, along with addressing the inevitable notes from studio, network, and producers, I was constantly trimming. In the end, I would deliver a shooting script that was the right length and under budget, but it was never a happy process… and I often went away feeling that the earlier drafts were the better ones.

The size of A Song of Ice and Fire was in no small part a reaction to ten years of trimming. I wanted to do something epic in scale, something at once grand and sprawling and complex and subtle, with a cast of thousands, huge battles, mighty castles, gorgeous costume, lavish feast, great rivers, towering mountains, vast fields… all the things I could not do in television. In short. I wanted to make a world. And for that you need a bit of room.

In my original proposal, I estimated that each volume of the trilogy might run as long as 800 pages in manuscript. The novels that I had written during the 70's and 80's, before Hollywood, had generally come in at 400 or 500 pages or thereabouts, so an 800 pages book seemed very lengthy indeed. The three books of the trilogy would be structured around the long, slow seasons of Westeros. A Game of Thrones would be summer’s book, A Dance with Dragons would take us through autumn, and The Winds of Winter… well, the title says it all. Even in the Seven Kingdoms, where a season can last for years, 800 pages ought to give me enough room to reach the end of summer and conclude the part of my tale, I reasoned.

‘Twas a lovely plan of battle… but no plan of battle ever survives contact with the enemy, it has been said. Writers know the truth of that as well as any general, though our wars are fought on blank white sheets of paper and empty computer screens. For the map is not the territory, the blueprint is not the house, the recipe is not the dinner… and the outline is never ever the book.

- George R.R. Martin, A Clash of Kings Limited Edition Introduction (2002)

#Ned Stark #Catelyn Stark #Sansa Stark #Arya Stark #Bran Stark #Jon Snow #Tyrion Lannister #Daenerys Targaryen #The Outline #A Game Of Thrones #George R.R. Martin #ValyrianScrolls #ASOIAF

[flower-boi16]

”you want everything to be spelt out to you!” “The show doesn’t need to explicitly spell it out for you!” “You can just infer it!”

This is the exact same defense I always get whenever I argue with Viv fans when I criticize Viv’s piss-poor writing. And the thing is this IS true; shows don't need to explicitly spell things out to the audience, as there are conclusions that the viewer can draw on their own without having to be explicitly told by the text, usually by the text giving direct hints to that explanation.

The problem is that Viv fans' definition of inferring isn't "drawing conclusions on our own with direct explicit hints given from the text that is the canon explanation the story wants you to come to" it's "making shit up to try and explain and/or justify Viv's terrible writing".

There are three times where I got this defense when arguing with HH/HB fans all three times I lost several brain cells in the process.

The first time was in a discord server where I posted an HB episode tier list and put Truth Seekers in C tier (the mediocre one). One of users commented on this and I explained my reasoning why I thought the episode was meh. One of these reasons was the plot hole of why the Dhorks didn't send the footage they already had to the government.

The user then countered that with "how do you know didn't send that old footage?". Well, the reason why I know that is because the episode gives no actual indication that they sent it, and when I said that the user countered that with "because there was also no indication that they didn't send the footage". And then after that the argument spiraled into both of us repeating the same counterarguments over and over again.

The user says that it's logical for the audience to assume they sent the footage because it's the logical thing to do cuz why would they keep it. Which, ok, you can assume that they did send the footage but there's no indication of that within the story. This does not change the fact that this is an unanswered question that the story itself didn't answer, did they or did they not send the footage?

That's a pretty important question to answer and the show can't just leave it there. And then the user tells me "you don't need to be told, Its in your face how they act". There is no way to infer if they did send the footage because the story gives a SINGLE hint that they do, and the story DOES need to say if it they sent it or not.

This is not inferring. This is making shit up to explain Viv's writing for her. Did they or did they not send the footage? This is a big question that the episode does not answer even though this is a major plot hole and it can't just leave it hanging there for fans to just guess. The episode gave no indication that they sent the footage, so I have no reason to believe that they did. You can't infer ANYTHING from this.

This explanation is simply something made up, not a conclusion that's given direct hints from the show. If the next never said it happened, it did not fucking happen. This assumption is literally just headcanon.

The next argument was from an ask I got calling me media literate for my point about how fans shouldn't have to create fan theories to explain Viv's writing for her and Viv should explain her world-building herself. It stated that the explanation for why sinners are confined to the pride ring (making the exterminations more efficient/easier) is the clear explanation that the show doesn't have to spell out because 1) The show says that there are annual exterminations which aren't viable without the confinement and 2) Lucifer gets control over which ring his subjects go to.

Both of these explanations suck, here's why.

The exterminations simply being there does not explain the confinement. Also, this explanation doesn't work to begin with as I've talked about before

Lucifer having control over where he sends his subjects to doesn't inherently explain why he sends them to the pride ring specifically.

The "sinners are confined to the pride ring to make exterminations easier" was a fan theory created by the fans to explain this because the show itself didn't bother giving an answer. That's bad world-building.

The show itself needs to explain these things rather than having fans create explanations for it. There isn't any way to infer that because the show never once gives any hints that this is the reason. And, like I said before, the explanation doesn't even work anyway.

There is no way to infer why the sinners are confined to the pride ring at all, this explanation is once again a headcanon. But when I pointed this out, the anon said that I just want everything spelled out for me.

The third and final instance of this is with our good ol friend truffhollowell. Ya know, the person who's been going around on Hazbin critical posts spouting nothing but complete bullshit.

This argument was under this post about why Vaggie's turn around made 0 sense. In the post truff tried countering my argument with "uuuuh, actually, not all murderers are heartless monsters!" even though that is explicitly what the exorcists are shown to be.

They then go around and say that Vaggie could've been thinking "how could a child end up in hell" and she realizes Heaven's corrupt systems and develops her own identity (at least that's what I remember them saying since they deleted all of their replies once they lost the argument lmao)....even though there is NO indication within the show that this is what's happening.

This is not inferring. This is just a headcanon. But truff says that you CAN infer it because...child murder is bad...

...umm...WHY TF WOULD THE EXORCISTS GIVE A SHIT IF CHILD MURDER WAS BAD IF THAT CHILD IS A FUCKING SINNER????? And THEN they hit me with that same fucking claim of "oh, you want shows to spell things out for you!".

Ya, well, guess what, I can't infer any of this because that's not what's happening. This is not what's happening in the scene, this is just a headcanon truff made up.

There's more to their arguments than just that but that was the general point they were making.

I'm so sick of always getting this stupid-ass defense because NO, I DON'T want everything spelled out for me, I want things to actually make sense. I'm looking at specifically what the text itself is saying, the information that it gives out and what's happening within the show.

Not your headcanon you made up to explain Viv's terrible writing. None of these explanations are people infering things based on direct evidence from the show. They are just headcanons/theories with nothing in the text hinting towards it.

So, to anyone who is going to give me the "you can just infer it yourself!" excuse to defend these shows whenever I criticize them...

Shut the fuck up.

#vivziepop critical #hazbin hotel critical #helluva boss critical #vivziepop criticism #helluva boss criticism #hazbin hotel criticism #arguing with viv fans is a headache inducing nightmare #sorry #I just wanted to vent about this #because it's SO FUCKING ANNOYING getting this same argument over and over again whenever I complain about Viv's shit writting

[grimm-writings]

Hey! Can I request a falin x reader where reader is a lone researcher in the dungeon and stumbles into chimera falin and the two fall in love?

Maybe Like a 5 times the reader has met chimera falin and 1 time the two get to meet after she’s turned back type story?

beauty/beast

…ft! falin x gn! reader

…tags! 5+1 format, reader is like slightly unhinged, fluff with moments of angst, slight suggestiveness

…wc! 2789

…notes! grimm tries not to come off as a monsterkisser for nearly 2.7k words, the fic,,,, hope you enjoy!!!! i love chimera falin so bad… 

One

You can’t say you didn’t ask for this.

It’s a death sentence to traverse into a dungeon on your own, especially with your lack of combat skills.  If you were sane, you’d have hired a bodyguard to help take down monsters you couldn’t handle.  Fortunately, you are not, and decided instead you could very well handle monsters in a pacifistic way.

Any companion you told this to chose to stare at you like you admitted to dark magic.

So, you’ll simply prove the nay-sayers wrong!  After all, how hard can it be to tame some monsters?

Very hard, actually.  Like… incredibly.

You had to pride yourself in how you managed to sweet-talk some petty thieves for advice on monsters in the floor you’re currently on, even how to avoid orcs!  At least that much is out of the way.

As for fighting, well, sometimes a very sharp slap to the head with a book, or even the sharp tip of a pen can subdue anyone, if just to give you enough time to run.

Besides, blood makes for some extra ink if you just happened to come by a dead body!

Going purely on efficiency alone, you’re doing tremendous work!  When it comes to your study?  Not so much.

The purpose of coming all the way down here is that you have a very specific urge.  That being, to tame a beast.  Some researchers gained the will to try and do the same to elemental spirits, why not other monsters?

One of the most common rebuttals you receive is that monsters are animals, they can’t be tamed at all, and you shouldn’t even try lest you want your head bitten off.  Considering thus far you only got bitten by a walking mushroom, you think you’re doing rather well!  (You did take an hour to contemplate to yourself how a walking mushroom seemingly has teeth, though.)

That brings you now later to the fourth floor, trying to shield your notes from the water as you lament losing more ink.  Sure, you might write a little bit more than should be necessary, but you surely can’t be out already!

So, delight fills you as you peer past a doorway to see the top half of a woman face down on the floor.  Haha, you can likely drain her pretty easily for some ink!  Looks fresh enough, and some patches of her are already damp with red!

You skip over, humming as you do so, when all at once the woman jerks and looks up at you.  Her golden eyes pierce your own, making you freeze in place.  You wonder if something had gotten mixed up and a succubus ended up making its way to an upper floor, when the walls of the small tower the woman is inhabiting collapses.

A chimera screeches at you, as if telling you to leave it alone.  If you weren’t so awestruck, you would have tried to shush it, lure it towards you and petted its oddly human head.  Alas, you let the chicken-legged thing go, finding a safe haven for itself.

Day 1: I have found a beast in its purest form. I must pursue it. I must tame it.

Two

‘Obsession’ would be putting your experience lightly.

You had never wanted to gaze upon a monster as much as you wished to see the chimera again.  Unique is its proportions, the lower body of a dragon and the torso and head of an adult tallwoman.

To anyone else, its face must be more of a lure.  With the prettiest face and… great assets to boot, like a fish drawn to an angler fish's light, a blindsided adventurer comes near.

You had tried to navigate where the beast has gone, observing the damages of certain areas to lead you closer to it.

Thoughts course through your mind like speckles of a daydream as you walk and walk and walk, trying to sneak past other enemies and adventurers as you do so.  What would its feathers feel like?  Is it different from the mop of blonde hair on its head?  You didn’t get the chance to observe its eyes – are they human or monster?  What of its body heat?  What is its diet?

Ah.  Diet.

Your own body stops walking in realisation.  By all means, comparing their mouth to the rest of their body, it’s ultimately impossible for the chimera to have a stable diet in this dungeon, correct?

Perhaps… you need to make a lure of your own.

Even after days of navigating the dungeon, you still have plenty of rations from the surface remaining in your bag.  Hopefully the chimera likes the most noble meal one can fit inside a lunchbox — meats and pasta with the richest sauce.  One could say your taste in meals is unique, eliciting a morbid curiosity.  If the beast is more in tune with its human side, it will react the same.

You don’t know what tempted you to arrange a table with two chairs on either side.  It’s not like the chimera could fit, but it was only suitable for your first formal meeting with it!  Oh, how you can’t wait to observe it eating, and so close…!

If you’re lucky, it may even attempt to taste you.

You promptly shake off the thought.

What you focus on now is to draw the chimera near.  It seems to favour secluded areas, but has been seemingly chased around.  Aw, is it scared of humans?  That’s just adorable!  Or, maybe, it’s resting before setting off on a search…  Now that’d be some juicy stuff!  Who’s the chimera’s prey?  Another monster, or humans?

Oh, of course you’ll use yourself as bait.  You’re not a coward!

You know basic enough spells that you won’t be entirely drained of mana upon use, lighting up a route to catch the chimera’s attention upon spotting it.  Down you lead it, making yourself look as bright and delectable as possible, before sitting in your seat, your meal readily prepared for the chimera.

You smile up at her as she pokes at the food you prepared, and she begins to eat.

Day 3: The beast was very hungry upon encounter.  Even when she finished the meal, she insisted on having something more.  I complied, and soon I had emptied my entire share of rations.  The chimera eats food made for humans easily. This elicits curiosity – it might be proof enough that the chimera’s existence in this dungeon is unnatural.  Even now, it looks too… human.  I feel uncomfortable now referring to the beast as such – an ‘it’. Thus, I will refer to the chimera as ‘she’ from here on.  It suits her.  She truly is magnificent.   All signs point to her being an attempt at creating a ‘beast-kin’, but instead of using the soul of a monster and body of a human, it’s as if it’s a mesh of both.  A disgustingly beautiful transformation.  To compare, it is not dissimilar to the breeding of a pug.  Deliberately done to appease someone, something.  A selfish birth. Someone must be wanting to do the same as I to the chimera – tame her to their whims. …I’ll have to look further into this.

Three

You feel less in control of your studies these days.

The more you hang around the dungeon, scavenging for food and following your muse, the more insane you feel.  But, for the sake of research, you power through.

The chimera, she has been opening herself up to you.  When she gets anxious, her feathers ruffle, and you shush her with pets.  She calms down occasionally.  Once, you had encountered her, blood on her body and under her fingernails.  You cleaned her using the mana-infused water.  She had never looked so calm.

She doesn’t feel like a monster you have tamed, but a friend.

This scares you.

Sure, there’s the possibility that the chimera is an unnatural phenomenon, and isn’t even a monster.

But that also means you’re losing your resolve.

The chimera sits with you, as you scrub her red-scaled talons free of dirt and blood.  Her upper body leans on you, resting.  You can even hear little chirps slipping from her lips.

She’s so cute.

Even as her golden eyes soften, the small slits in them dilating to exhibit relaxation, she smiles at you.  You don’t flinch when her hands take your face to look at you.  She’s a bird after all – she might be trying to memorise you, how you look, so she knows not to hurt you in the future.

You were nearly about to reminisce on your further embarrassment when the chimera speaks.

Four words.  She spoke four words in the common language, leaving you staring at her.  You’re speechless.  She must know that she’s caught you off guard as she slowly tucks your hair behind your ear and moves away.

The moment is quickly ruined.  “Dragon!”  A boyish voice calls.  “There you are.  You’ve been leaving my side so frequently.  There’s no time to–”

An elf in a cloak freezes upon noticing you.  His heavy eye bags rival your own as he glares down at your sitting position.

You don’t do anything, merely looking up at your friend in confusion.  She is back to being silent again, reaching her arms out to the elf, as if about to pick him up.  He swats at her, before pointing at you.

“Kill them,” he demands her.

She hesitates.  You also find yourself unable to move.  So the chimera is under someone’s control after all.  This elf, forcing you apart from your friend.

You hardly process your friend lifting you off the floor, her fingers closing in around your throat.  Tighter and tighter.  Your eyes can barely make out her empty expression as she squeezes the life out of your lungs.

Snap.

You fall onto the floor, and the mad mage leaves with his dragon in tow.

Day ??: “My name is Falin.” The chimera told me this last time we encountered one another.  She has a name.  A beautiful name that belongs just to her.  Falin. …I would say ‘my Falin’, but she is not.  She is under the control of that elf.  I wouldn’t want her to be my Falin anyway. She shouldn’t belong to anyone. I was revived by a kindly Eastern woman, who is accompanying a group of retainers following their lord.  They are joined by another party, also recently revived. Apparently, in my revival, I had uttered her name, “Falin,” and captured the attention of the malnourished lord. He is looking for her. …I was informed she is his love. Pushing personal feelings aside, I asked to come along.  I neglected to mention Falin’s current state.  I couldn’t do that to him right now.  Maybe once he sleeps, or eats… but not now. Falin, I wish to save you.  That is my goal now. You are not a monster to be tamed.

Four

Today, you met Laios Touden.

He is Falin’s older brother, you learn.

You met a lot of people, actually.  You met Falin’s party, an elf who Falin went to school with, as well as Laios Touden.

“You’ve seen Falin?”  He asks you, brow creased.  He had leaned forward in interest.  Lord Toshiro, Kabru, and Asebi were also listening to you with intrigue.

You nod.  “Yes, but I fear the situation might be a little more than you have bargained for,” you vaguely inform.

Your words would be interrupted by Laios’ request to talk privately with Toshiro, to which you comply.  You do already have a feeling of what's being said, something Kabru seems to pick up on as he glances over at you.

“Falin… isn’t faring well, is she?”

“Not in the traditional sense,” you reply.  Kabru grimaces, clearly not appreciating your rather… erratic way of conversing.  You add before he could talk back, “she’ll come back for me.”

Kabru furrows his brow.  “Excuse me?”

His question remains unanswered until you are swept up in a heated battle.  Looks of horror cross everyone’s faces at the bloody acts committed by the chimera.

You merely smile.

“Hello beauty,” you whisper when she turns to you.  Falin steps forward, cornering you.  You welcome her with open arms – and the world becomes dark again.

Day ??: Scorned though I may be by Lord Toshiro, I know myself not to be mad, but in love. Yes, I am in love.  I know this now for certain. I know that he, too, is in love.  I do not see his wishes badly.  In fact, from a sane man’s mouth, it is perfectly understandable.  Dark magic is dangerous.  As is love.  He’s risking his own reputation for it, even if others don’t appear to see things the way he does. But when push comes to shove, I am not that sane man.  I am joining Laios Touden’s party in the retrieval of Falin. The aftermath of the battle consisted of a hearty meal.  Who knew monsters could taste so nice?  Keep this in mind for the next adventure. I had figured this all came from the result of black magic.  Marcille Donato is a much more interesting woman than I thought.  I’m sure I could learn a lot from her. Hence, we march forward.  I know you aren’t in your right mind, Falin, but trust that I am. I will risk it all for you, beauty.

Five

The ice is cold underneath your fingertips.  The woman encased inside is relaxed, as if she’s merely asleep.  To see her completely separated from the lower half of the chimera body was something uncanny to you, so used to seeing her towering over you, able to squash you like a bug.

You turn to Marcille as she approaches.  “You had the right mind, keeping her fresh like this.  Deep down, you really did want to follow through with the plan!”

The blonde elf is sheepish.  “I did end up causing a right mess in the end.  It… It was selfish of me.”

“It was love,” you reply.

“Not the love Falin needs, though,” she finishes.

You both stare up at her in silence.  If you were delusional enough, you could swear you could see Falin breathing.

“I love her,” you admit, quieter than you have ever been.  “Is that alright with you?”

Marcille turns to you, her eyes wide.  For such a gossip, she really hasn’t picked up on it?

“I…”  She hesitates.  Her hands reach her trousers, and she scrunches up the fabric in her hands.  “It’s not my choice what – or who – Falin chooses.  I don’t think I have the right to decide anything for her.”

You nod, graciously taking Marcille’s word to heart.

You feel you’ve also changed throughout your journey.  Volatile as you may be, you appreciate Falin as she is.  An untamed beauty.  Not for anyone to claim or put their ideals onto.

She’s simply Falin.

“Come on,” Marcille takes your hand.  She has the kind of look on her face where you know she accepts you readily.  “Let’s go eat, okay?  For Falin.”

You smile back.  “For Falin.”

I don’t care about the day anymore. Falin is being revived today.  Soon, I’ll have a chance to meet the real her.  The beauty behind the beast. Ha.  I haven’t called her that for a while. Maybe I’ll follow Toshiro’s way and propose immediately too?  No, Marcille may accept me, but that might result in another need for revival. I can’t wait to get to know you.

the first time

Falin opens the door with a dazed expression, not expecting the crowd waiting around the door.  Of course, this resulted in quite the hoo-ha.  People running around, celebrating the successful revival of Falin Touden.  You wait patiently for you to be welcomed once more.

The woman is sitting calmly at her bed.  Some of her features are still feathered, but you’ve always liked how they felt underneath your fingertips.

She glances up at you, examining your form.

You’re taller than she thought.

“Hi,” you say, handing over a random blade of grass you picked.

Falin takes it.  Her fingers brush against your own.  She starts twirling the natural green between her fingers.  She smiles warmly.  “Hello,” her soft, tired voice returns.  It’s so sweet that you might melt.  “My name is Falin.  It’s nice to meet you.”

You know from the way she glances up at you that she already remembers you quite well.

Feeling the happiest you’ve ever been, you fall into Falin, pulling her into the tightest of hugs.

“It’s so wonderful to meet you too, beauty.”

Today, she asked me if she could belong to me. I said yes, but only if she belonged to herself first. She accepted.

#✮ grimm's fics! #FALLS OVER #this is my longest fic so far i think wow #as falin deserves #delicious in dungeon #delicious in dungeon imagines #delicious in dungeon x reader #dungeon meshi #dungeon meshi imagines #dungeon meshi x reader #falin #falin touden #falin x reader #falin imagines #falin touden x reader #falin touden imagines

[zhoufeis]

What just bothers me simply about the discussion of TTPD being all so great is neither the fact that some reviewers literally ignore some of the very gruesome lyrics this album has to offer nor the fact that the whole album has the same tune and I could not tell apart these tracks even if I wanted to, no. After all, we can always argue that tastes are different... arguably. It's something utterly different that's bothering me.

It's three things entirely different.

1) The fact we pretend 31 break-up tracks, written entirely out of the perspective of victimhood, of some love stories are worth calling "The Tortured Poets Department". Mind you, Swift, I like love songs, I like break-up songs, I like them poetically, I like when they touch me. But writing 31 break-up songs (not entirely, right, more like 25 or so) for one album makes me wonder if there is anything deeper... more touching to write about. You stay on the surface describing relationships (romantic as well as parasocial) in which you come out as a victim. But the self-reflection is missing entirely. And if I learned one thing in language classes it's that it's poetically dull if we only ever stay on the surface. We gotta dig deeper. And I'm not referring to some poetic lines to make a song sound more beautiful. I'm talking about true depth, true self-reflection, something that makes you defenseless. Cause all this woman does is writing songs out of the perspective of defense - and victimhood. Never does she actually draw herself as defenseless or vulnerable, always knowing how to use the right words to make her fans defend her.

2) Which leads me to that other thing that really bothers me. Her PR team was more involved in this album than the persona of Taylor Swift could ever be. Or maybe Taylor Swift is only PR at this point. Maybe there is no actual person behind all of this. Cause if there's one thing that's utterly apparent, it is that this album hinges SOLELY on any media drama she was involved in. Everyone out there trying to decipher which song is about whom - is this storytelling? Is this poetry? If I only care about songs and judge them by who they are about? The beauty of music is that it binds people together, makes people feel heard or seen through the text and voice of another person. What she's doing isn't that. She is not binding people together by selling her songs as something that could happen to anyone, no, all of it is always only about one person's story - her own. She also doesn't create fictional stories to write about, things to further the limits of our imagination and tell a story that doesn't even exist, and never will. She doesn't use imagination, she doesn't try to connect to other people, she's trying only to connect people to HER. Can this album even be judged neutrally if everyone just knows about her relationships and is guessing who the songs are about? Is there one person out there like "I have never seen any of the TS relationship drama and the like, and I only like to review this album lyrically and sonically by the lyrics and tune within"? Because she is SO present in everyday media press, it is impossible to miss her relationship drama. So are we actually still reviewing Swift's album as a standalone media for its sound and lyrics? Or are we actually just reviewing TS's terrible love life which she apparently has no responsibility for? And mind you all - she knows exactly what she's doing. Don't even think for a second she doesn't know that you all are following her every footstep. Don't think she doesn't use it to her advantage. (Aside from that, she has been considered a storyteller for so long, but she seems to have a lack of stories she can come up with if the only ones she writes about are her own...)

3) Which leads to the entire capitalist thinking behind the release of this album. Not only did she publish 19 different versions of this album to be acquired, no, she also literally had millions of fans pre-ordering her (normal-length) album, only to drop an extended version right after its release. Which means that all these fans had to buy yet another album. And don't think she meant this as a surprise for her fans - she did that cause that's how you make money. Cause that's how capitalism works. And she's part of the problem.

#anti taylor swift #taylor swift #tagging with TS too cause it's valid criticism and no hate #(fyi tho i couldn't stand her since i first saw her in 2009 :D) #mischa for ts

[strangestofthings12]

This is going to be a very rambling and venty post cause im tired and annoyed and honestly am just using this to vent my anger/hurt. there is going to be stuff that can maybe be seen as anti tommy/bucktommy (please dont tell me a ship name to put i dont care about if they do have an agreed upon ship name right now) so if you dont want that please just move on. i dont want to fight i just want to yell into the void on a stupid throw away account so i dont bring my negativity stew and come out on my main blog where i just want to enjoy my stuff and just keep happy energy. I dont normally post and try and just find someone who explains it better because im not great and getting what im saying across or understood the way i want, so please bear with me. With that said i will move on to what i want to say

Okay so i have been watching 9-1-1 for years and i love and adore it. Its characters and dynamics and i have always loved found family. Now i will admit that i started watching it thinking that Buck and Eddie were a couple and had a son so i was kinda watching for it. Do i think if i didn't start watching thinking that i would ship them still yes 100%. I have always loved their relationship and i have loved watching both Buck and Eddie grow and start to be happy while also having each others back even at the worst times. Sometimes if i think to hard about Eddie and start crying cause I'm very normal about this show and it characters. Now Eddie is my favorite character in the show and at least in my top five overall favorite characters. I love him and his development and i adore seeing how much he does to just do right by Chris even when he messes up you can tell how much he adores that boy and how badly he wants to give Chris the best life possible. I could write essays about Eddie Diaz trying to explain how much i love him and why and i think words would run out before i could finish making people understand. Buddie is my favorite ship (sometimes second depending on my mood. i would say sorry but Henren and Madney will always be amazing ships and sometimes i just cant stop think about them)(Sorry Bathena i love you too i swear i just cant decide if i wanna kiss athena or be adopted by bobby and athena:( Its confusing) and has been for quite awhile and is one of my overall favorites and its one of my comfort ships.

With that context when bi Buck happened i was so insanely happy and i wouldnt shut up about it. it made me sick. i was so happy for Buck and while i think a part of me will always be a little sad Eddie wasnt his first kiss with a guy i dont think either of them are ready for that. i also understand that it wouldnt make sense for how the story is going right now. Now i have nothing against bucktommy in the show. I have watched the kiss scene and sobbed to much to pretend like i hate them or even dislike them. However I genuinely dont care about Tommy. Hes kinda bland and i forget about him half the time and before they brought him back i completely forgot his name. in my mind he was the one that wasnt as much of an asshole to chim and hen as the other two assholes which wasnt saying a lot. Now I dont dislike tommy nor am i going to act like hes irredeemable because neither Chim nor Hen seem to think hes still that guy and while they dont seem super close they seem to get along so clearly, he's not like that anymore. I have nothing that makes me dislike him nor do I like him. He's just there. He's just the guy buck kissed. Thats all he means to me. I would give up his screen time for Ravi or May or Karen in a heartbeat. because i love them cause they mean something to me. I don't think i thought about the fact that people might actually like him especially not more than EDDIE.

This is where the context matters cause i am to my core a one ship per person girly. I might see a ship and people who like it and even think thats not a terrible ship but i will still only look at content for my ship for that person (ie. i ship Destiel (dont say anything bad about them ill cry<3) but i can see the way someone would also ship Dean and Benny or crowley or Cas and Crowley or Mick but i will ignore the ship and move on and look at more Dean and Cas). normally i will just ignore the ship and move on because im not who its for. If it gets annoying in my tag or anything like that ill block it or whoever is annoying me cause its not a them problem that i dont want to see it. When i start to have a problem is when multiple people arent tagging right for whatever reason or people who are being rude about the ship i like because of their ship. When I started seeing Bucktommy stuff more and more in the 9-1-1 tag i went to the buddie tag cause i dont want to see them. my problem is that when im reading on AO3 and click on a fic tagged Buddie where bucktommy get married. it was literally just hurting Eddie. There was stuff before like id be scrolling though the buddie tag here and see someone saying that Tommy is a better character then Eddie and saying that they hope bucktommy is endgame. Whatever block and move on. Just like always but then people who have shipped buddie for years who ive seen talk about them are suddenly saying that they like bucktommy better. People who started watching because of bucktommy saying they dont like Eddie. People are going to have different opinions but it still bugged me. and then i read that and i was just hurt because it was tagged happy ending and i cannot fathom ever thinking Eddie hurting and pining is a happy ending. So i started to get more annoyed and i hate when that happens especially with a show i love and a character i dont dislike so i tried to just move on but more and more people are taking about it then i saw someone saying that they wanted eddie to die so buck and tommy can have Chris.

I just hate that so many people are jumping on the bucktommy train and saying that they like it better than buddie something that is so good and sweet or saying that they like Tommy more than Eddie. I just dont get it cause Tommy is boring. like yeah we now some about him and he flies a helicopter but hes forgettable he could be a completely different person and next to nothing would have to change. We have seen Eddie at his worst and claw his way back up and hes finally letting himself be open and honest and soft. Eddie couldnt be replaced. Now im not saying Tommy can't be an interesting character but as he is right now?? He just isnt. Hes just as bland as every women (minus Taylor and Shannon) Buck and Eddie have dated and been hated on for no reason!!! Like i get that Tommy is a guy and we got canon Bi Buck and people are happy but those same people turn around and shit on Marisol from what ive seen(I could be wrong cause again i have done my best to avoid). Buddie fans arent safe from that either, cause we all know that Buddie fans do that but so many of those people who hated on them and said they didnt want them with anyone else suddenly decided that they were okay if Buck ended up with any guy. I dont know its just weird and i hate how many people are acting like Eddie isnt always going to be better then Tommy. Part of me wanted Tommy to stick around and help Buck and Eddie figure it all out but now?? i honestly just cant wait for him to be gone cause I want to have fun and read fics for my comfort ship and just chill where i can see all of my ships in the show without buck and tommy being everywhere or people saying crap about Eddie.

I have more to say but most of its about how gratifying waiting and seeing where this whole thing goes(Buddie season 8 PLEASE!!) and this is already why to long and i think im just going in circles and none of this makes sense so ima shut up for now and hopefully this will help it not fester and drive me insane and become a tommy hater

Edit: but i also hate that Tommy calls Buck Evan so he already had some stuff against him rip

#911 #buddie #anti bucktommy #i guess?? #i dont know #i dont know what to tag this and just hope i dont upset anyone #anti tommy kinard #again i guess #but not really?? #let me know if i need to add any tags:)

[thesublemon]

best picture

For the first time in a long time, I watched all of the movies nominated for Best Picture at the Oscars this year. Partly on a whim, partly for a piece I’ve been working on for a while about what is going wrong in contemporary artmarking. I cannot say that the experience made me feel any better or worse about contemporary movies than I already felt, which was pretty bad. But sometimes to write about a hot stove, you gotta put your hand on one. So. The nominees for coldest stove are:

Poor Things. Did not like enough to finish. I always want to like something that is making an effort at originality, strangeness, or style. Unfortunately, the execution of those things in this movie felt somehow dull and thin. Hard to explain how. Maybe the movie’s motif of things mashed together (baby-woman, duck-dog, etc) is representative. People have been mashing things together since griffins, medleys, Avatar the Last Airbender’s animals, Nickelodeon’s Catdog, etc. Thing + thing is elementary-level weird. And while there’s nothing wrong with a simple, or well-worn premise, there is a greater burden on an artist to do something interesting with it, if they go that route. And Poor Things does not. Its themes are obvious and belabored (the difficulty of self-actualization in a world that violently infantilizes you) and do not elevate the premise. There’s a fine line between the archetypal and the hackish, and this movie falls on the wrong side of it. It made me miss Crimes of the Future (2022), a recent Cronenberg that was authentically original and strange, with the execution to match.

Anatomy of a Fall. Solid, but not stunning. The baseline level of what a ‘good’ movie should be. It was written coherently and economically, despite its length. It told a story that drew you along. I wanted to know what happened, which is the least you can ask from storytelling. It had some compelling scenes that required a command of character and drama to write—particularly the big argument scene. The cinematography was not interesting, but it was not annoying either. It did its job. This was not, however, a transcendent movie.

Oppenheimer. Did not like enough to finish. But later forced myself to, just so no one could accuse me of not knowing what I was talking about when I said I disliked it. I felt like I was being pranked. The Marvel idea of what a prestige biopic should be. Like Poor Things, it telegraphed its artsiness and themes and has raked in accolades for its trouble. But obviousness is not the same as goodness and this movie is not good. The imagery is painfully literal. A character mentions something? Cut to a shot of it! No irony or nuance added by such images—just the artistry of a book report. The dialogue pathologically tells instead of shows. It constantly, cutely references things you might have heard of, the kind of desperate audience fellation you see in soulless franchise movies. Which is a particularly jarring choice given the movie’s subject matter. ‘Why didn’t you get Einstein for the Manhattan project’ Strauss asks, as if he’s saying ‘Why didn’t you get Superman for the Avengers?’ If any of this referentiality was an attempt to say something about mythologization, it failed—badly. The movie is stuffed with famous and talented actors, but it might as well not have been, given how fake every word out of their mouths sounded. Every scene felt like it had been written to sound good in a trailer, rather than to tell a damn story. All climax and no cattle.

Barbie. Did not like enough to finish. It had slightly more solidity in its execution than I was afraid it would have, so I will give it that. If people want this to be their entertainment I will let them have it. But if they want this to be their high cinema I will have to kill myself. Barbie being on this list reminds me of the midcentury decades of annual movie musical nominations for Best Picture. Sometimes deservingly. Other times, less so. The Music Man is great, but it’s not better than 8 1/2  or The Great Escape, neither of which were nominated in 1963. Musicals tend to appeal to more popular emotions, which ticket-buyers and award-givers tend to like, and critics tend to dislike. I remember how much Pauline Kael and Joan Didion hated The Sound of Music (which won in 1966), and have to ask myself if in twenty years I’ll think of my reaction to Barbie the same way that I think of those reviews: justified, but perhaps beside the point of other merits. Thing is. Say what you want about musicals, but that genre was alive back then. It was vital. Bursting with creativity. For all Kael’s bile, even she acknowledged that The Sound of Music was “well done for what it is.” [1] Contemporary cinema lacks such vitality, and Barbie is laden with symptoms of the malaise. It repeatedly falls back on references to past aesthetic successes (2001: A Space Odyssey, Singin’ in the Rain, etc) in order to have aesthetic heft. It has a car commercial in the middle. It’s about a toy from 60 years ago and politics from 10 years ago. It tries to wring some energy and meaning from all of that but not enough to cover the stench of death. I’d prefer an old musical any day.

American Fiction. Was okay. It tried to be clever about politics, but ended up being clomping about politics. At the end of the day, it just wasn’t any more interesting than any other ‘intellectual has a mid-life crisis’ story, even with the ‘twist’ of it being from a black American perspective. Even with it being somewhat self-aware of this. But it could have been a worse mid-life crisis story. The cinematography was terrible. It was shot like a sitcom. Much of the dialogue was sitcom-y too. I liked the soundtrack, what I could hear of it. The attempts at style and meta (the characters coming to life, the multiple endings) felt underdeveloped. Mostly because they were only used a couple times. In all, it felt like a first draft of a potentially more interesting movie. 

The Zone of Interest.Wanted to like it more than I did. Unfortunately, you get the point within about five minutes. If you’ve seen the promotional image of the people in the garden, backgrounded by the walls of Auschwitz, then you’ve already seen the movie. Which means that all the rest of the movie ends up feeling like pretentious excess instead of moving elaboration. It seemed very aware of itself as an Important Movie and rested on those laurels, cinematically speaking, in a frustrating way. It reminded me of video art. I felt like I had stepped through a black velvet drape into the side room of a gallery, wondering at what point the video started over. And video art has its place, but it is a different medium. Moreover video art at its best, like a movie at its best, takes only the time it needs to say what it needs to say. 

Past Lives. I’m a human being, and I respond to romance. I appreciate the pathos of sweet yearning and missed chances. And I understand how the romance in this movie is a synecdoche for ambivalent feelings about many kinds of life choices, particularly the choice to be an immigrant and choose one culture over another. The immigrant experience framing literalizes the way any choice can make one foreign to a past version of oneself, or the people one used to know, even if in another sense one is still the same person. So, I appreciate the emotional core of what (I believe) this movie was going for, and do think it succeeded in some respects. And yet…I was very irritated by most of its artistic choices. I found the three principal characters bland and therefore difficult to care about, sketched with only basic traits besides things like Striving and Being In Love. Why care who they’d be in another life if they have no personalities in this one? It’s fine to make characters symbols instead of humans if the symbolic tapestry of a movie is interesting and rich, but the symbolic tapestry of this movie was quite simple and straightforward. Not that that last sentence even matters much, since the movie clearly wanted you to feel for the characters as human beings, not just symbols. Visually, the cinematography was dull and diffuse, with composition that was either boring or as subtle as a hammer to the head.

Maestro. Did not like enough to finish. Something strange and wrong about this movie. It attempts to perform aesthetic mimicry with impressive precision—age makeup, accents, period cinematography—but this does not make the movie a better movie. At most it creates spectacle, at worst it creates uncanny valleys. It puts one on the lookout for irregularities, instead of allowing one to disappear into whatever the movie is doing. Something amateurishly pretentious in the execution. And not in the fun, respectable way, like a good student film. (My go-to example for a movie that has an art-school vibe in a pleasant way is The Reflecting Skin). There’s something desperate about it instead. It has the same disease as Oppenheimer, of attempting to do a biopic in a ‘stylish’ way without working on the basics first. Fat Man and Little Boy is a less overtly stylish rendition of the same subject as Oppenheimer, but far more cinematically successful to me, because it understands those basics. I would prefer to see the Fat Man and Little Boy of Leonard Bernstein’s life unless a filmmaker proves that they can do something with style beyond mimicry and flash.

The Holdovers. Did not like enough to finish. It tries to be vintage, but outside of a few moments, it does not succeed either at capturing what was good about the aesthetic it references, or at using the aesthetic in some other interesting way. The cinematography apes the tropes of movies and TV from the story’s time period, but doesn't have interesting composition in its own right. It lacks the solidity that comes from original seeing. (Contrast with something like Planet Terror, in which joyous pastiche complements the original elements.) The acting is badly directed. Too much actorliness is permitted. Much fakeness in general between the acting, writing, and visual language. If a movie with this same premise was made in the UK in the 60’s or 70's it would probably be good. As-is the movie just serves to make me sad that the ability to make such movies is apparently lost and can only be hollowly gestured at. That said, the woman who won best supporting actress did a good job. She was the only one who seemed to be actually acting.

Killers of the Flower Moon. The only possible winner. It is not my favorite of Scorsese’s movies, but compared to the rest of the lineup it wins simply by virtue of being a movie at all. How to define ‘being a movie’? Lots of things I could say that Killers of the Flower Moon has and does would also be superficially true of other movies in this cohort. Things like: it tells a story, with developed characters who drive that story. Or: it uses its medium (visuals, sound) to support its story and its themes. The difference comes down to richness, specificity, control, and a je ne sais quois that is beyond me to describe at the moment. Compare the way Killers of the Flower Moon uses a bygone cinematic style (the silent movie) to the way that Maestro and The Holdovers do. Killers of the Flower Moon uses a newsreel in its opening briefly and specifically. The sequence sets the scene historically, and gives you the necessary background with the added panache of confident cuts and music. It’s useful to the story and it’s satisfying to watch. Basics. But the movie doesn’t limit itself to that, because it’s a good movie. The sequence also sets up ideas that will be continuously developed over the course of the movie.* And here’s the kicker—the movie doesn’t linger on this sequence. You get the idea, and it moves on to even more ideas. Also compare this kind of ideating to American Fiction’s. When I said that American Fiction’s moments of style felt underdeveloped, I was thinking of movies like Killers of the Flower Moon, which weave and evolve their stylistic ideas throughout the entire runtime.

*(Visually, it places the Osage within a historical medium that the audience probably does not associate with Native Americans, or the Osage in particular. Which has a couple of different effects. First, it acts as a continuation of the gushing oil from the previous scene. It’s an interruption. A false promise. Seeming belonging and power, but framed all the while by a foreign culture. Meanwhile potentially from the perspective of that culture, it’s an intrusion on ‘their’ medium. And of course, this promise quickly decays into tragedy and death. The energy of the sequence isn’t just for its own sake—it sets up a contrast. But on a second, meta level it establishes the movie’s complicated relationship to media and storytelling. Newsreels, photos, myths, histories, police interviews, and a radio play all occur over the course of the movie. And there’s the movie Killers of the Flower Moon itself. Other people’s frames are contrasted with Mollie’s narration. There’s a repeated tension between communication as a method of knowing others and a method of controlling them—or the narrative of them—which plays out in both history and personal relationships.)

Or here’s another example: When Mollie and Ernest meet and he drives her home for the first time, we see their conversation via the car’s rearview mirrors. This is a bit of cinematic language that has its origins in mystery and paranoia. You see it in things like Hitchcock or The X-Files or film noir. By framing the scene with this convention, the movie turns what is superficially a romantic meet-cute (to quote a friend) into something bubbling with uneasiness and dread. This is not nostalgia—this is just using visuals to create effects. It doesn’t matter if you’ve seen anything that uses the convention before, although knowing the pedigree might add to your enjoyment. The watchfulness suggested by the mirrors and Ernest’s cut-off face will still add an ominous effect. It works for the same reason it works in those other things. Like the newsreel, it is a specific and concise stylistic choice, and it results in a scene that is doing more than just one thing.

In general, the common thread I noticed as I watched these nominees, was the tendency to have the ‘idea’ of theme or style, and then stop there. It’s not that the movies had nothing in them. There were ideas, there was use of the medium, there was meaning to extract. There were lots of individually good moments. But they tended to feel singular, or repetitive, or tacked on. Meanwhile contemporary viewers are apparently so impressed by the mere existence of theme or style, that being able to identify it in a movie is enough to convince many that the movie is also good at those things. The problem with this tendency—in both artists and audiences—is that theme and style are not actually some extra, remarkable, inherently rarifying property of art. Theme emerges naturally from a story with any kind of coherence or perspective. And style emerges naturally from any kind of artistic attitude. They are as native as script, or narrative, or character. A movie’s theme and style might not be interesting, just like its story or dialogue might not be interesting, but if the movie is at all decent, they should exist. What makes a movie good or bad, then, is how it executes its component parts—including theme and style—in service of the whole. When theme is well-executed it is well-developed. Contemporary movies, unfortunately, seem to have confused ‘well-developed’ with ‘screamingly obvious.’ A theme does not become well-developed by repetition. It becomes well-developed by iterationand integration. Theme is like a melody. Simply repeating a single melody over and over does not result in the song becoming more interesting or entertaining. It becomes tedious. However, if you modify the melody each time you play it, or diverge from the melody and then return to it, that can get exciting. It results in different angles on the same idea, such that the idea becomes more complex over time, instead of simply louder.

Oppenheimer wasprobably the worst offender in this regard. Just repeat your water drops, crescendoing noise, or a line about ‘destroying the world’, and that’s the same as nuance, right? Split scenes into color and black and white and that’s the same as structure, right? That’s the same as actually conveying a difference between objectivity and interiority (or another dichotomy) via the drama or visual composition contained in the scenes, right? When I watched many of these movies, I kept thinking of a behind-the-scenes story from Buffy the Vampire Slayer. The story goes that Joss Whedon was directing Sarah Michelle Gellar in some scene, and when the take was over he told her how great she was, and that he could see right where the music would come in. And Gellar replied that if he was thinking about the music, he clearly wasn’t getting enough from her acting alone. This conversation then supposedly informed Whedon’s approach to “The Body,” a depiction of the immediate aftermath of death that is considered one of the best episodes of television ever made, and which has no non-diegetic music whatsoever. Not to imply that music is necessarily a crutch, or to pretend that “The Body” is lacking in other forms of stylization (it is a very style-ish episode). But more to illustrate the way that it is easy to forget to make the most of all aspects of a medium, particularly the most fundamental ones, once one has gotten used to what a final product is supposed to feel like. 

And that’s why most of these movies don’t feel like movies. They create the gestalt of a movie or a ‘cinematic’ moment—often literally through direct vintage imitation—without a sense of the first principles. Or demonstrating a sense of them, anyway. Who needs AI when the supposedly highest level of human filmmakers are already cannibalistically cargo-culting the medium just fine.

[1] “The Sound of Money (The Sound of Music and The Singing Nun).” The Pauline Kael Reader. (This book contains the full text of the original review, rather than the abbreviated review that I linked earlier.) 

#posts: art #movies #am rusty at blogging and don't have all the virtuous nuance i would like in this but we will go with it

[thelakesuite]

The Rusty Lake Story in Bitchass Baby Terms

this is ALL off the top of my head (and i haven't experienced like 10% of it maybe?) so i might be wrong but i don't care right now

the lake itself isn't, like, that well established 'cause it's a mystery game or something so we don't need full exposition. it's some deity-like thing as old as the mammoths (not canon) that eats time. or rather memories that are stored in lil cubes. and it gives its zookeepers immortality so they can keep feeding it. they call themselves the Rulers of the Lake but we all know the truth. 'immortality', or rather enlightenment, is represented by you becoming your fursona and living maybe an extra century. mr. owl's looking for a new heir pretty quick in the process but we'll get to that.

corrupted souls are kinda a byproduct of all this. truly the lake's farts. when a person dies horribly, when their memories get extracted wrong, or when the plot demands it, they become corrupted. corrupted souls still talk, and some of them are even sensible (like your mom oooooh), but generally they're jumpscare beasts or wet little puppies. sometimes both. yes you can get corrupted when you're enlightened, and right now it's the more likely outcome actually. there's a whole 'elixir of immortality' that gets harped on, where one drinker gets corrupted and the other gets enlightened, but that is literally only a thing for roots and a little bit of cave so don't worry about it too much. unless you're making dramatic fanart in which case leverage that shit.

cubes come up a lot in cube escape, believe it or not! black ones are bad memories, white ones are good memories, blue ones are connected to the past in a way that's somehow not a memory, gold ones are connected to the future, red ones only exist in my fangame that ellesian recently unearthed, and green ones are jello yum. also suck it anyone who told me pre-tpw the gold cube thing was unestablished. anyway. it was a big thing mr.'s owl and crow were working on, creating a golden cube (presumably to extend their own lives) as seen in cave, but then one just kinda appears in the past within when albert does electric jujitsu. jury is still out on that.

onto the actual narrative i think.

in paradise, you're mr. owl pre-owling (1790-something). the lake's current suckass servants are your family who tried to sacrifice you to it way back, but your mom took your place for mom reasons. now mom's corrupted and guiding you to... well, to get sacrificed for real this time. but with your powers combined (yes mr. owl was two people, no it is never addressed) you get enlightened and tell your family to fuck off 'cause you're building a hotel on that island now. you also get a tease in the secret ending that dale and laura will do a similar fusion dance to be the lake's next suckass. we've been waiting 6 years for that to happen.

in roots, two alchemist brothers get that elixir shit going (1860-1935). one of them becomes mr. crow, while the other becomes a playable character for a game. and corrupted. you rope your whole bloodline into this, harvesting their body parts (usually after they die from other means, but you totally caused most of their deaths) for a reincarnation ritual involving a magic seed (that also only exists for this game). this is where the best characters come from because rusty lake actually wanted to tell a story with this game. you reincarnate into a woman! don't think about the implications.

in samsara room, the inside scoop of reincarnation is fuckin' weird, dude (1935). the original was made before rusty lake began, so it's not truly part of the narrative, but it got folded in for the fifth anniversary.

in hotel, you do not get the backstory of the third bird man (1890ish). instead, you get to kill mr. owl's family again, but one-on-one as animal people. how did they become animal people? fuck you that's how! mr. owl probably did it on purpose to spite them with shit sandwiches and bullets to the brain. oh, also, there might be an evil twin of mr. rabbit that shows up later.

in arles, you're vincent van gogh. that's it. he's not relevant. but it is funny seing the death date of paul gauguin in the timeline docs.

we're talking about the past within later but the 'past' segment takes place around here. 1926 iirc?

in birthday, your parents get shot (1939). you're going to be an important detective, dale, but like right now you're getting traumatized. or rather you're experiencing that memory, then doing blue cube magic to fix it and have your grandpa shoot evil mr. rabbit instead. is your grandpa actually mr. crow? no. shut up about it now.

in underground blossom, your mom gets abducted (1935-1972 maybe). okay, well, not you. this is the laura backstory metaphor game but you're actually playing as the third bird man who is both her stepdad and her pet. and her grandpa albert takes her mom rose for his own nefarious reincarnation schemes maybe probably. rose is surprisingly okay with it but characters rarely put up a fight with the plot anyway. laura's a lonely kid, starts dating robert, picks up art to soothe her nightmares, gets murked, then reaches some kind of epiphany that we just train ride away from before finding out what actually happens. she's your daughter, damnit, you should support her transcendence. not enlightenment importantly. also, no, laura's life didn't literally happen at train stops, it's just a vehicle. not even a pun don't fucking laugh i see you snickering.

in seasons, you set up a really interesting plotline that gets utterly countered by everything that came after (1960's-80's). it's just laura time in there, and she uncorrupts herself, thank you very much. the series has been struggling with how laura gets her corrupted self to 1980-whatever, and so far only one other game's even taken place after 1972. and that game's the past within which also counters every other plotline. sigh. maybe we're not smart enough for these puzzle games. at least harvey's cute and bird-shaped. key point that's impossible to fuck up is that laura dies in 1972, and it's unclear whether it was a murder or suicide. that's why we get a detective.

in harvey's box and the lake, uh i don't know really (1969). these are early games that are basically spinoffs of seasons. they help with the overarching stuff but aren't much for the narrative at this point. also they suck

in case 23, dale starts investigating laura's death and gets wrapped up in the lake stuff (1972). it was supposed to be just another murder case, but he got too into it and it got too into him, so he gets teleported to the lake chapel and ferried off to. somewhere idk. he goes into an elevator that takes him down memory lane to the lake floor.

in the mill, mr. crow is really trying to clean house before dale gets here (1972). this is where laura gets her ass corrupted by mr. crow, and we find out how the lake eats memories or whatever. it's supposed to overlap with case 23 and it almost succeeds. whatever skrunk is still there is forgiveable, this was the flash era after all.

in theatre, dale learns about ripoff hinduism, goads a man into suicide, and abandons his darling toilet fetus son (1971). it's like birthday again, where this is a memory we're seeing, but that is a light distinction. robert kills himself at the bar, and we take his memories for legal reasons. there's some sixfold wheel we learn about that doesn't matter much.

in the cave, mr. crow still cleans house before dale gets to the Magic Memory Machine (1972). mr. owl's kinda sorta dying, and dale's been elected his son or something. gotta get his mindmeats. you read a textbook about cubes, pilot a submarine to the lakefloor, put dale and laura in a surrogate fusion dance machine, then give dale the golden cube it makes before sending him up the elevator again. hotel did imply something serious was gonna happen when he gets to the top, but that was eight years ago. the devs probably forgot and fell too in love with albert vanderboom in the meantime.

in the white door, robert unkills himself and gets wrong psychiatry (1972). as it turns out, mr. owl has a front business running a for-profit psych ward to extract totally good and healthy memories from people. this one is an actual factual spinoff but is kinda relevant for the greater rusty lake metropolitan area.

in paradox, fuuuuuuuck who knows maaaan, isn't it all just a metaphor? (1972). there's a consensus that none of the stuff that happens in paradox actually happens, and that it's all in dale's head while he's in the Magic Memory Machine from cave. even though there's five different endings, he kinda walks away at the end, which might be the worst ending of the lot. the information's solid though; mr. owl spells out the whole heir thing, there's bits of backstory for dale and laura everywhere. also the movie's sick.

in the past within, albert becomes a mechanical engineer for the sole purpose of making plot armor (1926/1984). yeah, remember that guy from roots? the voodoo murderer who got third-hand alchemy information to make up for his lack of pussy? yeah, he invented a time machine decades ago. and he enlisted his daughter to talk to her past/future self to grow him back to life in 1984. with a gold cube that he somehow got. and somehow his scar is genetically coded in him. and we don't see his wiggly lineart dick. what does he do in 1984? trap his daughter in a time loop then who the fuck knows. he's stuck in his jumpscare beast ways from being corrupted for so long. how did he get corrupted when he was literally buried in the ground and salvaged bones from? next game!

there's an ARG that i never saw a thing of because i hated it, best kept memory. from what i gathered, it was another front scheme for memory harvesting, except in the 2000's. does that mean it's enlightened dale/laura doing this one, since mr. owl presumably passed on the title then turned into a fish? i'd like to know too!

also, a chapter of underground blossom i haven't completed, and a paper-based game coming out within the next two years or whatever. i don't know how much they'll clear up.

toodles!

#rusty lake #basically the cube escape era set up this 1972 arc without actually concluding it #and each of the steam titles have been more distinct stories while still playing to the overall plotline #kinda like spinoffs of spinoffs #a lot of us old folk are bitter that we still haven't resolved 1972 and there isn't much focus with the recent games #like they do just enough building on each other to make it irritating they aren't doing more. especially compared to the cube escapes

[katerina-marie]

Bathtub Confession (Eres Tú)

Sukuna x Reader

Part 3 to this

The one where you learn that certain confessions don't always have to be romantic, but others certainly do.

Word Count: 5.7k

Notes: Part 3 of my Sukuna x Reader celebrity!au. Takes place directly after part two. Song of inspiration: Eres Tú by Carla Morrison

Content: bandmember Sukuna x actor female Reader (referred to as such, but left descriptively vague), no y/n, manager Nanami, bodyguard Toji, actor Gojo, found family vibes, some angst, fluff, crack, humor, out of character Sukuna (he's so fluffy), suggestive, maybe lightly explicit, tho no sex actually occurs just yet (sorry), so please avoid accordingly.

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“Should I change my name?”

A beat of silence. A drop of water.

“No.”

“Should I get a wig?”

Another beat of silence. A clink of glass on tile.

“No.” 

“Should I flee the country?”

A minuscule half second of silence.

“Not if you’re going to quit paying me,” Toji grumbled. 

His response made the frown on your face dip down further on your lips, and you rolled your head against the back of your porcelain tub to stare at the ceiling.

“Is that all you see me as?” you whined, “A paycheck?”

“You want me to lie?” 

“That’s it, I’m going to drown myself.” 

That gets a long, heavy sigh from your bodyguard and you can hear him readjust himself on the chaise lounge seated in the middle of your expansive bathroom before he carries on.

“First off,” he grunts, “no you’re not. That would require me to pull your sad self naked from the tub, and we both know we don’t want that. Second…you know you’re not just a paycheck.” Toji goes quiet for a moment. “I’d like to think that we’ve become a sort of family over the last couple years, you, me, and Nanami. Shoot, even Megs too when he’s around.” 

His soft confession brings a smile to your face, and you turn your head to the right to look in his direction from behind a large mahogany privacy screen. It stands tall, wrapping just barely around the ends of your tub where your feet and head lay, keeping you securely tucked away from any prying eyes. It found its way there long ago, because this wasn’t the first time that Toji had played therapist from his dedicated chaise while you lounged in a hot bath and the two of you shared a bottle of wine. 

“Thank you,” you whispered to him, “I’m grateful you’re my friend…and my family.” 

“Don’t worry about it, I know you are. But don’t go on getting too upset or sentimental just because you’ve had a rough day. Things haven’t been that bad,” Toji said, and you groaned at the reminder.

After finally arriving home safely—no thanks to you—Toji immediately went into damage control mode and spent the afternoon fielding phone calls and text messages, though nothing too serious had been blown your way yet. 

You had received a none-too-pleased email from the producer of the movie you and Satoru were co-starring in, accusing you of sabotaging the release by not waiting to reveal your relationship with Sukuna until after the movie premiered in a few short months (as if he couldn’t tell that what happened today wasn’t by choice). Luckily, Satoru swooped in with his sweet-talking words and buttered the producer right back into promising extra money for a job well done. Though Satoru’s idea of fixing things was convincing the producer that the only premise that sold better than a classic love story was the angst of a good ol’ fashioned love triangle, and he was more than happy to play the jilted lover dead set on winning you back. You wondered what it must be like to live in such delusions. 

What really put the cherry on top of a bad day was the text you received from Sukuna shortly after arriving home. It wasn’t anything particularly worrisome, a straight to the point, “I’ll call you this evening, busy smoothing a couple things out, x,” but it had you in a fit nonetheless. After sending a quick affirmation back, you threw your phone across the couch in your living room and flung yourself onto the nearest surface to bemoan your miserable existence. Toji was not amused when that nearest surface happened to be his chest, and he only offered you five minutes of soaking his shirt with snot and tears before he drug you upstairs to your bedroom, turned on the hot water to your tub, and shoved you into the bathroom with a promise to return with wine if you quieted down for just a second. 

So here you were, an hour later, soaking under a mountain of peppermint scented bubbles while you toed at the hot water handle at the end of the tub. 

“You think if I begged hard enough Nanami would let me come stay with him for the rest of his vacation? I’m afraid I’m in need of a tropical escape,” you told Toji, already calculating in your head how quickly you could pack your bags and be on the next plane to Malaysia. 

Toji chuckled, “No, I don’t think he would, considering he refused to tell us anything more about his trip other than what country he’d be in and when he’d be back. You showing up would take seven years off his life. Add three more if he opens up the door to you sobbing like you’ve been all day. Besides, running away to another country just because you’re afraid to talk to your boyfriend is a cowardly move.” 

You ‘tsked’ at him for calling you out on poor behavior and slouched further down into the hot water in shame-filled defeat. Instead of wallowing in it further though, you popped your ankles up on the rim of the tub, tossed your arms back to hang behind your head, and clapped twice to get Toji’s attention.

“Another glass of wine, please,” you mocked in as snobby an accent as you could manage.

“What do you take me as? I’m not your damn butler,” he complained, but you could hear the quick successive cracking of his back as he stood up from the chaise and stretched. 

“Just one more and that’ll be it, I promise.” You considered what else could entice him into doing your bidding. “I’ll let you be done for the evening and take the day off tomorrow if you also bring me a plate of cheese and crackers, please.” 

Toji was silent before letting out a begrudging “fine” and shuffling out the door without another complaint. 

You marveled in the silence, nothing but the occasional lap of water as you adjusted yourself in the tub to break it. After a few minutes, however, you realized the absence of conversation was the perfect environment for your thoughts to run unhindered, and that was not something you cared to partake in at the given time. Trying to concentrate on anything else though was futile, and perhaps trying to wade through your own head for a few minutes would leave you feeling better when you chose to pointedly ignore it once your butler…ahem, Toji, returned with your snacks.

Besides falling on national television—and underneath Gojo Satoru nonetheless—you had a particularly difficult time deducing from yourself what exactly about the accidental revelation of your relationship with Sukuna caused you so much embarrassment. It wasn’t that you didn’t want to be associated with him or that you always intended for the relationship to remain secret until it had reached its course; your desire was quite the opposite, actually. It was a feeling best left to baser animals and bedroom activities, but the idea of staking a claim, proving that he belonged to you in a way, was not unappealing and not something you could talk your way out of thinking, especially with the world the two of you lived in. 

If you got down to it, the real problem lay in your unfortunate habit of caring what people thought. You didn’t want Sukuna to see you as childlike, only a few years younger than him in age but miles behind in maturity. You didn’t want him to view today’s incident as a misfortunate foreshadow into the “what if’s” of your relationship. Neither did you want the world looking at the two of you and questioning how exactly something like it came to be. Where Sukuna was all sharp angles and dark colors, suave nonchalance and carrying a presence that demanded to be seen, you felt painfully opposite. You wouldn’t self-deprecate and believe that you were unworthy of standing beside him, but just cognizant of how different you felt. More like something that could be just as appreciated, but more likely to be overlooked and favored over something brighter. A “mismatched pair” is what they would call you, something that struck you so vividly that the pressure in your chest increased ten-fold. You knew he would hear it, see it, be made aware of it, and while he may not agree right away, you wondered how long it would take for the sphere of influence to get to him too. The anticipatory grief (as your actual therapist called it, usually followed by anxiety) of waiting for someone you valued so much to realize that he had better options was enough to make you consider running away from the whole thing entirely. 

And that’s how you came back to scheming your departure from the country. If you hurried, you could probably towel off, pack a bag, and slip out the back before Toji realized (you wondered if the big oaf had decided to take a nap instead of bringing you snacks for how long it’d been since you last heard him). Surely Nanami wouldn’t abandon you in your time of need if you were wailing at him over the phone in the airport of a foreign country. 

But alas, you heard your bathroom door open, effectively cutting off any means of escape.

“It’s about time, Toji. What took you so long?” He neither spoke, nor took another step. “Eh, no matter. Bring me my snacks, please.” 

Footsteps continued again and before you could chastise Toji further, a voice spoke up from right behind your privacy screen. 

“Should I be concerned with the normalcy of your bodyguard attending to you while you’re naked in the bath?” 

The shock of hearing Sukuna’s voice caused you to jolt, sending your legs into the water with an unmistakable splash and leaving you to scurry back into a sitting position from where you had slipped dangerously close to submerging your whole head underwater. The indecency of it all would kill you if this conversation that was about to happen didn’t.

“I assure you,” you started, hoping you didn’t sound as wrecked as you felt, “it is not nearly as salacious as you made it out to be.” 

Sukuna hummed. “Really? Because it sounded as if you were expecting him, and when I ran into him downstairs he told me to tell you that he would be back up to deliver wine and cheese shortly. Sounds like a romantic evening to me if I’ve ever heard one.”

You were relieved to hear a hint of amusement in your boyfriend’s voice, but horrified at what he was saying. 

“Please stop implying things that’ll make me gag.” 

Sukuna chuckled, but was quiet for a minute until, “You have five seconds to tell me to stop before I move this privacy screen so we can talk face to face.” 

You shot upwards, looking around hurriedly as you tried to scrape the remaining bubbles in the tub to strategic places in order to maintain your dignity, though you realized a moment later that it was probably unnecessary. With a second left, you brushed tendrils of your hair away from your face and wiped your thumb across the top of your lip to remove any remnants of a wine stain from your skin. In the next, Sukuna was pushing aside the privacy screen and looking down at you with a blank—but not unkind—expression. You eyed him warily as he walked up to the edge of the tub and dropped a cushion from the chaise Toji was sitting on earlier to the floor. He settled himself down onto it and then placed his elbow on the edge of the tub so he could lean in close to you. 

“Hello,” you whispered to him, settling both your arms down next to his and then resting your head against them. A small smile crossed his face.

“Hello to you too.” 

You were surprised at the lack of tension in his face, no clenched jaw or heavy brow to be seen, and as you trailed your eyes further down his torso you noticed its absence there too. His shoulders were relaxed, and his chin was cupped in the hand propped up on the tub so he could gaze at you with those unnervingly observant eyes of his. You wished he’d been wearing a t-shirt instead of the thin navy turtleneck he currently had on so you could focus your stare on the black tattoos decorating his body. Aside from being intricate, and distracting, they always gave you something to look at when meeting his eyes felt like too much. 

The tenderness of Sukuna’s knuckles meeting your temple forced you to look back up at him, only to see that he was following the path his fingers were making over your skin. They grazed over your cheekbone, feathered down the bridge of your nose, and then were skimming over your mouth, his thumb catching ever so lightly on your bottom lip. His hand didn’t linger there, and it was quick to skate over your jaw before his thumb landed under your ear and the rest of his fingers tangled in your hair while his palm cupped your neck. With a slide of his other hand up your arm and down your back to press between your shoulder blades, Sukuna brought you close enough to him that he was able to reach the rest of the way over the tub and kiss you. His lips remained pressed against yours for a second or two before he broke away, hesitated, and then leaned in to do it once more, twice, and a third time. 

You were the one that put space between the two of you, sitting back in the water and drawing your knees to your chest. You desperately needed to inhale without smelling the crispness of his aftershave or the spiced warmth of his cologne, both of which were guilty of making your head spin. 

“You’re not mad at me?” you asked, breaking the silence before he had a chance to, before you lost your nerve. You watched as his head tilted slightly to one side, his expression a touch befuddled, but full of disbelief. 

“Why would I be mad at you?” He questioned slowly, moving himself to his knees on the cushion so he could go back to resting his arms on the tub. 

“I don’t see why you wouldn’t be,” you told him, your voice a bit sharp. “I inadvertently told anyone with access to the internet that we were dating, without even talking to you about it, and then proceeded to flee the scene like a coward instead of getting back out there to present myself as confident enough to own up to my mistakes. Not to mention the fall with Satoru right before. It’s embarrassing. The whole thing made us—me—look like a giant mess!” 

Your voice cracked on the last word, and you bit down on the inside of your cheek until you tasted iron. Sukuna looked pained, and he reached a hand out to play with your fingers as they sat at the top of your knees. 

“You’re not a mess,” he said, rubbing his thumb in small circles over the middle knuckle of one of your fingers, “and I’m not embarrassed either. I never intended to keep us a secret, and I’m not trying to implicate you when I say this, but I don’t think I ever implied doing so that evening.” 

“Well, yeah,” you huffed, the twinkle in his ochre-brown eyes and the mischievous grin on his face as he hinted to the night the two of you cemented your relationship into the category of “official” making your face get warm, “we didn’t do a whole lot of talking after that point.” 

You tried to jerk your hands out from under his to cover up your cheeks, but Sukuna was unrelenting in his hold, and you gave up before continuing on, “I know you never implied that you wanted to keep our relationship hidden, but that’s been the theme of whatever we’ve had going on these last ten months. We were sneaking around from the very beginning, we lied about it to Yuji and Choso, and then let’s not forget about the whole incident of being caught by Satoru,” you pointed out to him, feeling the slightest bit smug when he looked chagrined. 

“I apologized for that,” he reminded you, his voice tone faintly defensive. You squeezed his hand in comfort. 

“You did, and I’m not upset about it.” 

You took a deep breath and cast your eyes everywhere except Sukuna, taking in the details of your bathroom as you tried to muster the courage to share your insecurities with him. He never let his attention on you deviate, and between that and the heat of the water you had been in for almost two hours, you were beginning to feel lightheaded, and everything finally came rushing out of your mouth.

“I feel like we’re mismatched! It feels like everytime someone looks at us, they’re going to wonder why, like we don’t fit well together. And I’m not saying I believe that, or that you would believe that, and I know this whole thing sounds ridiculous because it is ridiculous, but it’s hard to get outside of my own head about this when I already love you so mu—,” 

The startled look on Sukuna’s face is what clued you in to the fact you had said something you had not intended to. You snapped your mouth shut with an audible click of your teeth and used your feet to push away from him and to the otherside of the tub, wrenching your hands out of his grasp. 

If someone asked why you never liked to talk about your feelings, this was why. Why the words that came out were never as eloquent—or as sane—as the thoughts in your head was something you’d pay so much money to figure out. And Kento was about to have no choice in letting you hide out with him for the rest of his vacation because you were no longer asking, and if he was interested in keeping his job he would do so without complaint. Even so, you considered that forcibly releasing Kento from the grip of a career that was so wrought with overtime would be another mercy for the overworked sal—,

“You know what I think,” Sukuna murmured, bringing you out of your own head to focus with rapt attention on the blissfully contented expression he wore. His fingers curled around the tops of your arms as he reached out to slide you back to his side of the tub, and when you were close enough again, he pushed his nose into the plushness of your cheek to nuzzle there affectionately. You were transfixed by a small tan freckle on the edge of his eyebrow that you somehow hadn’t noticed before.

“I think this whole time you’ve been so focused on pleasing everyone around you—which isn’t necessarily unadmirable, I promise—and treading with extreme care to take into consideration my feelings about our relationship that you haven’t noticed what’s been going on…or I haven’t been doing a very satisfactory job of making it apparent.” 

He said the last part more under his breath, but didn’t give you a chance to interject with an objection before he carried on, making intently sure your eyes were on his. “From the very beginning, even when all I had of you were fleeting touches and secret meetings in questionable places, I was always bound to fall in love with you.” 

You didn’t know what to say, what to think, and trying to wrap your head around the fact that what you considered to be one of the worst days of your life was ending with unintentional confessions of love in your bathtub wasn’t helping. So you did what you could and traced a finger down one of the tattoos under his eyes, hoping he would keep talking.

“We aren’t a mismatched pair,” he insisted, his eyelids fluttering slightly at your gentle touch, “I think we compliment each other quite well, so please, don’t try to hide or run away.” He fixed you with a pointed look that told you Toji had warned him of your current status as a flight risk, and you ducked your head slightly and in a way that you hope conveyed repentance.  

“Because you must know, I will always be chasing after you.”

You wasted no time in hurrying to crush your lips against his and throw your arms around his neck, because what else was there to do when words couldn’t suffice, other than to surrender to the melding of bodies? 

Sukuna reciprocated in fervor, breaking apart from you only to stand up from his place on his knees, and reached down to cup his hands under your bottom, lifting you out of the tub and securing your thighs around his hips while his mouth found yours again.

He seemed to care not that you were dripping water on the floor and soaking the front of his clothes from where you were pressed tightly against him. He stumbled back a couple steps until the back of his knees made contact with the chaise, and the two of you fell back onto it. Sukuna adjusted you to straddle his lap, his hands clasping at your hips while your hands scrambled down his back to pull up his shirt. You ground your pelvis down against him as he dropped his head to mouth at your neck, and the rough groan that elicited from his throat had you deciding that your bed was too far away to justify taking time to separate, and that the convenience of the chaise was worth going to the trouble of having to buy Toji a new one. You had no more than let the thought flutter through your head when an obnoxiously loud knock resounded through the bathroom. 

“You two haven’t drowned yet, have you?” 

Speak of the devil and he shall appear. 

Sukuna ripped his lips away from where he was sucking a mark into the space where your shoulder blended into your neck, and met your gaze with one that dared you to intervene. 

“Don’t even think about it,” he growled, using the grip he still had on your waist to hold you in place while he rolled his hips up into yours, and you prayed that the moan you let out wasn’t as loud as it sounded. Even if it was, you hoped Toji would get the hint and make himself scarce.

“Look, I get it,” your bodyguard remarked, sounding both amused and vaguely uncomfortable, “but it’s kinda, maybe important.” 

With both the mood dashed and your anxiety spiked again, you patted Sukuna on the shoulder in a bid to get him to let you slide off his lap. He rolled his eyes, exasperation—and lustful desperation—painted clearly on his face, but he helped you down without giving you any grief and grabbed a black fluffy robe from where it was draped over your privacy screen. He held it out so you could thread your arms through it, and then he proceeded to tie the belt securely around your waist. 

“Come in, Toji,” you called, moving to sit on the chaise while Sukuna came to stand at your back.

Your bodyguard waited a moment before opening the door, peeking his head around first and then sauntering in with his normal arrogance to lean against your bathroom counter just a couple feet in front of you.

“Glad to see that nobody’s drowned. There’s only one of you I’d be willing to do mouth-to-mouth on,” Toji joked, clearly proud of what he had come up with. You felt Sukuna’s hands come to rest on the tops of your shoulders, his fingertips digging into the muscles lightly. They relaxed when you bought one of your hands up to twine your fingers with his. 

“So, to what do we owe the interruption?” you asked. The amusement on Toji’s face vanished, and in its place came weariness. 

“I just got off the phone with Nanami, and—,” 

“You called him?!” You yelped, springing up from your seat, “I begged you not to!”

“Whoa, Whoa,” Toji cautioned, raising his hands up in a surrender, “easy with the accusations. He called me. He knew.” And before you could open your mouth to ask how, Toji’s expression darkened and his eyes flicked up over you to glare at Sukuna. “Uraume called him.” 

You whirled around to look at Sukuna, who—thankfully—seemed just as surprised by the news as you did. 

“I didn’t ask them to do that,” he assured you, then turned to Toji, “did Nanami say what they wanted?” 

“Just to talk about the whole situation, more or less. Nanami said they only talked for about ten minutes, but they’re planning to discuss things more when he comes back in five or six days.” Your bodyguard sighed and crossed his legs as he leaned back further against your counter. “He was nearly ready to hop on the first plane home, but I managed to convince him to finish his vacation. Told him it’d damn near break your heart if he came back early.” 

You plopped back down on the chaise, bone tired and completely ready for this whole day to be over. 

“Thank you, Toji. I’m sorry for jumping down your throat like that.” 

“Don’t sweat it, Princess,” he said, pulling a vaguely familiar set of keys out from his pocket and pushing himself off the counter to walk towards the door. “You two going to be okay if I head out? I have some errands to run and then I’ll probably crash at Megumi’s tonight instead of the staff quarters.” 

You nodded at him, sending him off with a wave before shifting to look back at Sukuna. 

“Stay with me?” you pleaded. He answered with a kiss to your hair, and then offered his arm so you could stand from the chaise. He followed after you into your bedroom, and the faint flutter of clothing made you glance back over your shoulder. Your heart began to race at the sight of his bare chest, tattoos displayed in full glory. You must have made some kind of noise because he looked up at you from where he was draping his shirt over the back of a lounging chair in the corner of your room.

“I hope you don’t mind,” he said sheepishly, “my clothes are wet.” 

You shook your head, tugging your bottom lip between your teeth as you watched the muscles in his back flex as he bent down to push his jeans to the floor, leaving him in simple grey underwear. There must have been something written all over your face as he began to walk towards you, for he was reaching out to pull you into him as soon as he got close enough.

“I’m tired, Sukuna,” you warned as he pressed your cheek to his chest, though you wondered if you could muster up the energy to continue where the two of you had left off in the bathroom. Surely he would make it worth your while. 

“I know,” he told you, voice light and good-natured, and he tightened his arms around you briefly before stepping back and nodding in the direction of your bed, “why don’t you go get comfortable. Toji left your snacks on your dresser. Want to finish them off before bed?” 

With a grateful nod, you turned to leap onto your bed, sitting down in the middle and wiggling with excitement as Sukuna came to join you. He sat the tray of food and wine in between the two of you and crossed his legs underneath himself before picking up a piece of cheese and offering it to you. You smiled in thanks and began to nibble on it while he surveyed his options. 

“Mhm,” you started, an errant thought popping into your head, “I’m assuming since Uraume knows that Yuji and Choso know now as well?” Sukuna raised his head slowly from where he had been studying the various snacks, and the hint of guilt on his face wasn’t confidence inspiring. 

“They do,” he drew out, observing you carefully, “they were both watching the interview with me.” 

You groaned as white-hot embarrassment flooded your body, and you fell back against your pillows, grabbing one to shove over your face to muffle the bitter laughter you couldn’t control. “What do they think?” 

“It’s nothing you should be worrying about,” Sukuna said, suddenly sitting by your head and lifting the pillow off your face to set it above your head, “you know they adore you. Choso was his normal, level-headed self. He’s happy for us. Yuji was just as ecstatic once he got his laughter under control, if a bit disappointed that we hadn’t told him.” Your boyfriend paused, his face darkening suddenly, and you watched with interest as a muscle feathered in his jaw. 

“What?” you asked, pushing yourself back into a sitting position and poking him in the arm to urge him to explain. He shook his head, clearly annoyed.

“You know what that little shit said immediately after? He thought that you and Gojo had been secretly dating and were waiting till after your movie was over to say anything.” 

Obnoxious laughter erupted from you, and you hurried to slap your hands over your mouth to try to conceal it as Sukuna’s face fell. 

“I’m sorry, I’m sorry,” you rasped out in between giggles, unable to stop it as you watched Sukuna sit back against your pillows with a huff and a crossing of his arms. 

“The little idiot is just dense. And delusional. Anyone could see that you and the q-tip don’t have any real chemistry.” He sounded an awful lot like he was trying to convince himself of the truthfulness of his own statement. You wondered, affectionately, at which brother was a touch deluded. You were a fine actor, thank you very much. And you were about to open your mouth and say so when something ‘plinked’ off the window next to your bed. 

Strange. Your bedroom was on the second floor. 

Sukuna jerked his head up, all traces of humor forgotten, and the two of you listened for the noise again. 

Plink. 

“What the hell,” he muttered, pushing off the bed so he could go inspect the noise, “stay right there.” 

You appreciated the concern in his voice as he began to lift the window pane open, and he had just begun to stick his head out to look around when something small smacked him right between the eyes, sending him butt-first to the floor. 

“Sukuna!” you gasped, rushing over to kneel by his side and lift his hand from where he had it pressed to his forehead. You didn’t get a chance to fawn over him any further before he was up on his feet and striding to your bedroom door. 

“Be right back,” he growled, throwing the door open and cursing all the way down the stairs. 

You heard something land next to you on the floor, utterly perplexed when it turned out to be a rock from your flower beds. You got up and tiptoed over to the window, just barely lifting your head over the pane as to avoid becoming another victim of a flying projectile, then shot to your feet when you caught sight of a familiar white-haired costar outside beneath your window.

“Satoru!” You screeched, dumbfounded by his mere presence and the way he waved up at you, completely unbothered, “How in the world did you get through the gate?!”

“Hey! There you are!” He called, with a lazy grin on his face, “that’s not really important right now.” 

“I would disagree!” You yelled back down to him, making a mental note to have Toji go over all the security points around your property after his day off. “What are you doing here?” 

Satoru laughed sarcastically before the smile on his face suddenly disappeared, and he propped his hands up on his hips. “Where is my car?” 

No. Way. 

“You’ve got to be kidding me, Satoru.” 

“Nope! Give me back my car. It’s one of a kind!” 

You groaned, reaching up to massage the burgeoning headache you could feel at your temples. “Are you sure it’s not out there in the driveway? Toji left just a bit ago, so you shouldn’t be boxed in or—,” you cut off when the memory of your bodyguard twirling an unfamiliar set of his keys around his finger as he left your bathroom flashed across your memory.

Oh god, that absolute bastard. 

Satoru must have caught the horrified look on your face, as well as how you suddenly stopped talking after mentioning Toji because his face blanched even paler than usual, and his voice was two octaves higher in distress when he hollered back up at you.

“Does that criminal have my car?!” 

You deserved a vacation at this point. 

“I’ll call him in the morning, Satoru, I promise. And I’ll make sure he washes it for you or whatever you want, just come back tomorrow.” You hoped placating him with the prospect of torturing Toji would convince him to leave, but no, he still stood rooted to his spot down below. 

“As fun as that sounds,” he mocked back up at you, “I can’t.” 

“What do you mean you can’t?”

He looked a bit like a toddler caught with his hand somewhere it shouldn’t be. “Suguru dropped me off and then left in a hurry. He said he had something to do.” 

You couldn’t believe that the universe thought that pairing those two together in any capacity was worth the absolute chaos they unleashed on the poor, unsuspecting population. 

The slamming of your front door caught your attention, and you figured your boyfriend was about to make himself known.

“Look,” you sighed, backing away from the window slightly, “you can borrow one of my cars and swap it tomorrow when Toji brings yours.” You ignored Satoru’s protests and started to close the window. “Just apologize to Sukuna for hitting him between the eyes with a rock and he’ll open the garage for you.”

You caught the confusion on Satoru’s face, and just barely heard his panicked remark as you shut the window.

“Oh, fu—.”

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

Whew, that one took it out of me, not gonna lie. Angst and I are not friends.

#jjk #jujutsu kaisen #jujutsu kaisen x reader #ryomen sukuna #ryomen sukuna x reader #ryomen sukuna x you #sukuna x reader #sukuna x you #gojo satoru #toji fushiguro

[understandableparadox]

Bottom of the barrel isekai reviews:

Todays title: Welcome to demon school iruma

hi, im back, tell a friend.

Anyways we will be looking over something populer, and only a few images this time. I want this to be a nice slide back into the mix while I get ready to boil myself alive by reading shitty isekais.

"b-b-b-b-but dox!" you say, your form emaciated and ghoulish from months of little to no attention "how is it an isekai?"

Normally an isekai requires some form of passage into another world through death, but again, we are going to consider any and all portal fantasies to be on-par with isekais. as death and jumping through a funky portal are really kinda the same thing if you think about it.

so! plot synopsis, we open on the titular character iruma! they are being sold to a demon, don't worry this action will be the literal best thing that has ever happened to them. Also, added treat, slavery is not a running theme in this manga! HURRAY! WE HAVE FOUND OVERCOME THE BARE FUCKING MINIMUM! HUZZAH FOR MEDIOCRITY! MY DESIRE TO RUN MY HEAD THROUGH A ARC OF GONGS UNTIL THE SOUND WAVES LIQUIDATE MY BRAIN MATTER HAS LESSENED!

anyways we get to know some important plot points between the buyer and the product! (our mc)

iruma is a 14 year old yes man. They say yes to everything, even yes to the idea of breaking child labor laws! as their parents are frivolous unimportant freaks that spend way too much money then bolt, leaving him to work off the debt. Anyways, that's how this happened. they wanted dosh, and our buyer, we will call him grandpa!

Why is he so interested in buying a child? simple! He is rich and wants to have a grandson, unfortunately, he does not have a dick due to war injuries... ok thats a lie, he just wants a grand kid.

Anyways this is a very interesting title in the fact that it is still in a way, a power fantasy, but the power in that fantasy is separated towards other things.

It is a story in which you have the power to be helped. The adults in this manga are actual competent adults, they are there for the protection of the children, they are there to guide, nurture, train and help them grow. Despite differences or annoyances some may have, those are secondary to the ferocity they show when it comes to ensuring the protection of their students.

Iruma does have a lot of “i am the chosen one” but it is not something that automatically aids him in most situations, in fact it is the triad of facts of “I am a human”, “I want to help”, “I am determined” that allow him to rise both in power and social standing. The might makes right idealism of the underworld forced to reckon with people that stop to drag someone across the finish line. 

As for the plot, it goes along a few separate arcs; there is a very clear progression of time as Iruma gets older. Mostly split into two parts. Irumas social life, in which we get to see him become better and better friends with the students and faculty at this school. Showing both the give and take as they both show how far they are willing to go for each other. 

The second half is the mystery and political intrigue of the demonic society at large. The idea of a demon king has gone missing, disciples of which are eager to try and resurrect him as they see no one who is more suitable for the role, opposing forces trying to groom the top students at various schools into the role of king in a contest of disciples. 

I think you should give it a read, its cute, the designs are fun and the power system while simple is still enough to give the action that is there a lot of meat. It's also satisfying thing to read if you just got done with a shounen and you are wondering “where the fuck are the adults? Why are these children doing everything?”

Draw backs. Not a lot but some of the students are essentially drawn as adults and there are parts where you will feel slightly skived out by.

#anime #bottom of the barral #isekai #mairimashita! iruma kun

[anim-ttrpgs]

Eureka: Investigative Urban Fantasy, and Themes of Disability, Mental Illness, and Criminality.

Back Eureka: Investigative Urban Fantasy on kickstarter before May 10th if you want to help a disabled person with limited ability to work pay his bills.

Verisimilitude, What Would a Person Do?

To understand Eureka’s themes regarding disability, mental illness, and criminality, you first have to understand its verisimilitude.

“Verisimilitude” is defined as “the appearance of being true or real,” and it is a big part of the core design ethos behind Eureka. It is a very realistic game.

We aren’t necessarily of the opinion that “realism” is a better design choice than stylization overall for RPGs, but it is a better design choice for Eureka, because we want the PCs to be very normal, believable people who make believable, organic decisions in extraordinary situations. No matter what anyone says, the mechanics of a TTRPG strongly influence what kind of stories are told with it, and what characters do in those stories. So if we want characters to make realistic decisions, the world they inhabit and interact with must be constructed of realistic rules.

Even though there is a small chance that they may be a supernatural creature, PCs in Eureka are still not fearless action heroes, chosen ones, or anything of the sort. They’re normal people with jobs, friends, and families who get mixed up in mysterious and/or dangerous situations, often against their will. They are fragile, vulnerable, imperfect, and they, largely, know it.

“Composure” is a mechanic that helps you know it too. I’ve given a deeper explanation of the Composure mechanic in the post linked here, but I’ll give a very very very condensed version in this post. Composure can sort of be thought of as “emotional/fatigue HP,” (and no, it is NOT “sanity”) it acts as a guideline for how well your character is handling the situation, and when it gets low enough, it starts to have serious mechanical effects as well, because a character’s stat modifier can never be higher than their current Composure level. Fear, hunger, and fatigue all lower Composure, and eating, sleeping, and bonding with one’s fellow investigators can all restore it, at least for normal people. More on that further down. All you really need to know for now is that when Composure gets below zero it starts eating into HP, so characters can even pass out or die from loss of Composure, and also one single bullet is enough to permanently cripple a character, and the rate of Composure loss during combat reflects how serious that is for the characters.

Grievous Wounds

It isn’t too uncommon for RPGs to have some sort of “flaw” system, whereby in character creation you can give your PC “flaws” or some kind of penalty, and usually get that balanced out by being able to add extra bonuses elsewhere, and these “flaws” may take the form of disabilities.

Critical Role’s Candela Obscura, the whole document of which is one of the most egregious examples of liberalism and toxic positivity I’ve ever seen in the TTRPG space, takes this beyond just character creation, and makes it so that if a PC receives a “scar” in combat that reduces their physical stats, their mental stats automatically go up by an equivalent amount, and proudly asserts that to make any mechanic which functions otherwise is ableist. I think you can probably tell what I think of that from this sentence alone and I don’t need to elaborate. Getting bogged down in all the failures, mechanical and moral, of Candela Obscura would make this post three times as long.

I actually do think that as long as you aren’t moralizing and patting yourself on the back this hard about it, “flaw” systems in character creation are a pretty good idea in most cases, it allows for more varied options during character creation, while preserving game balance between the PCs.

But in real life, people aren’t balanced. The events that left me injured and disabled didn’t make me smarter or better at anything—if anything, they probably made me stupider, considering the severity of the concussion! Some things happened to me, and now I’m worse. There’s no upside, I just have to keep going by trying harder with a less efficient body, and rely more on others in situations where I am no longer capable of perfect self-sufficiency.

Denying that a disabled person is, by definition, less capable of doing important tasks than the average person is to deny that they need help, and to deny that they need help is to enable a refusal to help.

This is the perspective from which Eureka’s Grievous Wounds mechanic was written.

When a character is reduced to 1 HP, which by design can result from a single hit from most weapons, they may become incapacitated, or they may take a Grievous Wound, which is a permanent injury with no stat benefits. Think twice before getting into a shootout.

Grievous Wounds don’t have to result from combat, they can also be given to a character during character creation, but not as a trade-off for an extra bonus.

“But then doesn’t my character just have worse stats than the rest of the party?” Yes, didn’t you read the above section? There is no benefit, except for the opportunity to play a disabled character in an TTRPG, and this character will probably have to be more reliant on the rest of the party to get by in various situations. Is that a bad thing?

Monsters

Just like mundane people in Eureka: Investigative Urban Fantasy, monsters are playable, because they are regular people. I’ve gone over this in other posts and also you can just read about it in Chapter 8 of the Eureka rulebook, but the setting of Eureka doesn’t have a conspiracy or “masquerade” hiding or separating supernatural people from normal society. They exist within normal society, and a lot of them eat people.

Most RPGs consider monsters to just be evil, they do evil for evil’s sake. RPGs that seek to subvert this expectation often instead make monsters misunderstood and wrongfully persecuted, but harmless. Eureka takes a wholly different approach.

There are five playable types of monsters in the rulebook right now, and it’ll be seven if we hit all the stretch goals, but for simplicity’s sake this post will just focus on the vampire. Despite them applying in different ways, the same overall themes apply to nearly every monster, so if you get the themes for the vampire, you’ll get the gist of what Eureka is doing with monsters in general.

I mentioned Composure above, and how it can normally be restored by eating food and sleeping. Well, vampires can not restore their Composure this way. They don’t sleep, and normal people food might be tasty as long as it isn’t too heavily seasoned for them, but it doesn’t do anything for them nutritionally. Their main way to restore Composure is fresh living human blood, straight from the source. To do what mundane PCs do normally by just eating and sleeping, vampires have to take from another, whether they’re happy with this arrangement or not. They do not, of course, literally have to, and a player is not forced to make their vampire PC drink blood, just like you don’t literally have to eat food, but they do and you do if you want to live in any degree of comfort or happiness, or else they’d eventually just sit at 0 Composure and not be able to effectively do anything.

There’s a reason that this is a numerical mechanic and not simply a rule that says something like “this character is a vampire and therefore they must drink blood once every session,” and that is to emphasize and demonstrate that the circumstances a person faces drive their behavior. In America, there is a tendency to think of criminality and harmfulness as resulting from something of an intrinsic evil, but in my experience and observation, people do not just wake up at like age 16 and decide “I think I’ll go down the criminal life path.” Through their life circumstances they have been barred from the opportunities that would have given them other options. People need food, food costs money, money requires work, work requires getting hired, but getting hired requires a nearby job opening, an education, an impressive resume, nice clean clothes, a charismatic attitude, consistent transportation, and so on. For people without, criminality is something they are funneled into, which becomes harder to avoid the longer they go without consistent access to their basic needs. The choice will be between taking money from others by force or trickery, or running completely out of money.

As the Composure counter ticks down, a vampire, or other playable monster, is going to encounter much the same dilemma. There is little to no “legal” or “harmless” way for them to get their needs met, even if they do have some money. Society just isn’t set up for that. And no your kink is not the solution to this, trying to suggest every vampire get into sex work is like one step removed from telling every girl she should just get an OnlyFans the minute she turns 18, or that women should just marry a man and be a housewife that gets taken care of if they want their needs met.

Playable monsters in Eureka are dangerous, harmful people. They were set up to be.

“Oh well then the vampire should just eat bad people!” You mean those same bad people i just described above? See this post for answers to all the other arguments people are going to make to try and absolve vampires of causing harm.

Society not being set up for that brings me to next reading/theme: Monstrousness as disability, and monsters as takers.

Mundane human characters restore 2 points of Composure per day just by eating food and sleeping, but vampires do not, they can’t. To restore their Composure they have to take from others a valuable resource that everyone needs to live and the extraction of which is excruciatingly painful and debilitating (blood). No one knows what happens to blood after a vampire drinks it, it’s just gone. Vampires are open wounds through which blood pours out of the universe.

This is a special need, something they have to take but cannot give back. Their special needs make them literally a drain on society and the world.

Even in so-called “progressive” spaces, there is a tendency to consider takers, people who take much more than they give back, such as disabled people, as something that needs to be pruned, with the mask over this being the aforementioned total denial of the fact that disabled people take more than they can give.

In this way, vampires and other playable monsters are, inarguably, “takers,” but in positioning them as protagonists right beside mundane protagonists, Eureka puts you in their shoes, and forces you to at least reckon with the circumstances that make them this way, as well as acknowledge their inner lives. You have to acknowledge two things: That they are dangerous, harmful people who take more than they can give, and that they are people. Because they are people, Eureka asserts that they have inherent value, a right to exist, and a right to do what they need to do to exist.

One final point is that of monstrousness as mental illness. Mental illness is a disability, one pretty comparable to physical disability in a lot of ways, so all of the above about disability can apply to this metaphor as well, but there are a few unique comparisons to make here.

It’s not the most efficient, but there are a couple of loopholes deliberately left in the rules that allow vampires to restore Composure without drinking blood. Eureka! moments can restore Composure, and Comfort checks from fellow investigators can restore Composure.

When I was writing the rules for how monsters regain Composure in accordance to these themes, I came to a dilemma where I wasn’t sure if it was thematically appropriate for them to be able to regain Composure in these ways, but ultimately I decided that yes, they can. It works with themes of mental illness, which is mental disability.

People with mental illnesses may have the potential to be harmful and dangerous, but study after study, including my own observation, has shown that mentally ill people with robust support structures and agency allowed to them to handle tasks are much less likely to enact harm, be that physical violence, relational violence, or violence against the self. So that’s why I kept that rule in for playable monsters. Being able to accomplish goals, and having friends who are there for them, makes the harmful person less likely to cause unnecessary harm.

I couldn’t really figure out where to fit this paragraph in so I’m sticking it here right before the conclusion: Vampires are especially great for this because they’re immortal, and because they always come back when “killed.” They can’t be exterminated, they aren’t going away, there will always be problem people in society, no matter how utopian or “progressive.” They’re a never-ending curse, who will always be a problem. The question is how you will handle them, not how you will get rid of them.

In conclusion,

Eureka is as much a study of the characters themselves as it is the mystery being solved by the characters. It is a harsh, but compassionate game, that argues through its own gameplay that yes, people do have needs which drive their behavior, many people do have special needs that are beyond their ability to reciprocate, and failure to meet the needs of even a small number of people in a society has high potential to harm the entire society, not just those individuals whose needs are unmet.

And Candela Obscura sucks.

Back Eureka: Investigative Urban Fantasy on kickstarter before May 10th if you want to help a disabled person with limited ability to work pay his bills.

If you want to try before you buy, you can download a free demo of the prerelease version from our website or our itch.io page!

If you’re interested in a more updated and improved version of Eureka: Investigative Urban Fantasy than the free demo you got from our website, subscribe to our Patreon where we frequently roll our new updates for the prerelease version!

You can also support us on Ko-fi, or by checking out our merchandise!

Join our TTRPG Book Club At the time of writng this, Eureka: Investigative Urban Fantasy is the current game being played in the book club, and anyone who wants to participate in discussion, but can’t afford to make a contribution, will be given the most updated prerelease version for free! Plus it’s just a great place to discuss and play new TTRPGs you might not be able to otherwise!

We hope to see you there, and that you will help our dreams come true and launch our careers as indie TTRPG developers with a bang by getting us to our base goal and blowing those stretch goals out of the water, and fight back against WotC's monopoly on the entire hobby. Wish us luck.

#disability #disability rights #disabled #leftism #critical role #candela obscura #eureka #eureka: investigative urban fantasy #ttrpg #rpg #roleplaying #tabletop #monsters #accesibility #blindness #autism spectrum disorder #autism awareness #autism acceptance #neurodivergent #adhd #ttrpgs #ttrpg community #ttrpg tumblr #indie ttrpg #dnd 5e #d&d 5e #vampirism #vampire #progressivism #lgbt art

[lollystocks]

The Strange Case of Amity Park

So, the facts are these:

On April 12th, 2004, Annabelle Louise Robb goes missing during morning recess at Saleham Elementary, Illinois.

“No one realized until we were taking registration after recess, and she wasn't, just wasn't there. We were all calling for her, all over the playground- the panic, the panic actually didn't set in for a while.”

It's her tenth birthday.

Seven weeks later, another young child disappears from their bedroom, just a half-mile away from Saleham Elementary. Their name is not a matter of public record.

“We all of us in the town immediately knew something was up, that this wasn't no coincidence, cos things had been happenin’ for a while, things that made no goddamn sense. We'd been paying attention see, and this whole thing didn't start with the Robb girl, though outta-towners’d been calling us crazy.”

“Actually the curfews and all that, the paranoia, that started after little J- ahem, after the second kid. The cops needed three for a pattern, but not us.”

...

Over the next three years, a further twelve children vanish from the small town of Amity Park, Illinois, all under mysterious circumstances. No suspicious figures spotted, no signs of a struggle or forced entry, and no connection between the victims - other than that none was over seventeen.

“It was misery. Pure misery. We couldn't do anything to, to protect them. They were taken from locked rooms, from crowds, anywhere. Anyone's eyes left for a second’n they'd be gone. I barely slept those years. The whole town got sick from stress.”

Listeners might label this a classic case of serial murder or kidnapping, and officially, that's what it is - an unsolved case, of an unidentified subject taking kids.

But the official account fails to tell you the complete story.

“Amity Sheriff's Office does not provide comment on cold cases, now for the last time, please simply consult the official contemporary paperwork housed in the county library. Good day.”

“You have reached the answerphone of Amity Park Public Library. Please leave your message after the tone. You have reached the a̷͓͝n̷̪̣̾́s̸̗̎w̷̧͇̍ẹ̵̄͆͜r̶̨̬̊͝ṕ̴̢̝̓ẖ̵͛o̵͍͂͠n̸̫̍̓ĕ̵̫ of Amity Park Pu̴̮͚͝b̴̙͚̋lic Library. Please leave.”

…

Here's another fact - of the fourteen taken children, nine were found, all alive. Some within days, some over a year later. Or, as locals put it, Returned. Capital ‘R’. 

None of these children could, or would, talk about what had happened to them or where they'd been. Most didn't remember.

“I ain't giving you their names because they're sealed. You want a story, talk about the dead kids, their names are a matter of record.”

“Don't look for the Returned. Stay away from Them, trust me, and stay outta town too while you're at it. Now are ya gonna pay fer that or no?”

There are other facts, too, that aren't published with the lists of unfound children and redacted names.

Power outages. Outbreaks of violence. Unprecedented levels of crop disease; print and online media rolling to a total halt; a water contamination scandal. A vast and unspecific incident at local employer Axiom Labs, which left thirty dead, and families without answers.

“Sorry hon, the Axiom Thirty weren't, aren't buried here. We didn't really do burials during that time, as a town. You'd understand if you knew.”

…

On the night of August 24th, 2007, the last child vanishes from Amity Park. Daniel James Fenton, age seventeen, says goodnight to his family, and isn't in bed the next morning.

He remains missing to this day, and is presumed dead.

What exactly happened to this sleepy Midwestern town in the mid-noughts? Why has such a dramatic, tragic case been so withheld from the American consciousness? And what can we learn from the way the town responded to this trauma: its unnerving slip into superstition, ritual, and secrecy?

“What, you never seen blood blossoms before? I don't care if you got an allergy, you either sniff the flowers or you stay outside. And besides, ain't you [redacted]’s cousin? Did he not explain all this already? Look, jus’- wait, are you recording me?”

…

Welcome, to The Strange Case of Amity Park.

#danny phantom #dp #dp fanfic #fanfiction #my fanfiction #podcast fic #cw mild horror #cw kidnapping #may not have the energy to ever write this sprawling au but i can sure write a snippet that lacks any context

[dirty-bear-rick-sanchez]

Hi, sorry to ask but have you written any fanfics where Jerry is autistic? I've read your autistic!morty fic and thought that was excellent. I'm trying to find Jerry-centric fanfics where he isn't mischaracterized/demonized. (Way too many people write Jerry as transphobic which -_-ll no he isn't)

Hi, no need to apologise! I haven't written any autistic Jerry fics and I'm not sure if I know of any (if anyone else does, please leave recs on this post!). I do 100% view him as autistic though. Thank you!

Yeah honestly Jerry being portrayed as transphobic is something that bothers me as a trans guy? I headcanon him as supportive but clueless/cringe at times (he a little confused but he got the spirit).

I do have a trans Morty WIP with a scene between Morty and Jerry, although Morty is still very early on in figuring out that he might be a guy, and Jerry kind of knows something is up but assumes Morty is a lesbian rather than a trans guy and so kind of fumbles but ultimately is trying to be supportive/nice. Morty does worry about Jerry not loving him anymore if he's trans, although this is Morty's POV rather than being objective/a thing that actually happens.

I'll leave the scene below the cut in case anyone's interested. Warnings for mention of periods (and them being referred to in a gendered way), fear of transphobia from parents, accidental misgendering (and misgendering/deadnaming of Morty in the text since this is only the very start of Morty's gender questioning).

“Morti? Rick said you’re sick. Are you OK?” Jerry opens the door. Morti quickly shoves her phone under her pillow. Thankfully, her dad is as oblivious as ever as he walks over and rests a hand against her forehead.

“You don’t feel warm. Is it, uh, you know,” Jerry points down towards his own abdomen, “woman troubles?” he asks in an exaggerated stage whisper. Morti wants to die all over again. She presses her face into her pillow.

“Hey, sweetheart, i-it’s OK.” Morti feels Jerry rest a tentative hand on her shoulder. “Do you need anything?”

Morti takes a few deep breaths to calm herself and then sits up.

“N-no, Dad, I’m OK.”

“OK, honey.” Jerry wraps his arms around her and Morti can’t help but wonder if he would still hug her like this if he knew what she’d spent the past couple of hours reading about. She hugs him back tightly, suddenly unable to stop thinking that she might have to make the most of the affection while it lasts.

When Jerry pulls back, his face clouds with concern and Morti realises she’s once again been crying. She’s getting really sick of that.

“Morti, honey, what’s wrong?”

Morti feels the question writhing around in her gut until it chokes its way out of her mouth. “Dad… you’d love me no matter what, right?”

“Of course, sweetie. No matter what, you’ll always be my daughter.”

The words are meant to be a comfort, but all Morti can think about is the possibility that she’s not his daughter.

“Morti? Are you gay? It’s OK if you’re gay, you know.” As always, Jerry is well-intentioned but clueless. Truthfully, Morti’s not really put much thought into her own sexual orientation, and it’s not her main concern right now. She shakes her head, and Jerry looks doubtful but leaves it. 

After a few minutes, Morti works up the courage to speak again. “Dad? Could-could you… tell me a story? Like when I was little?” she cringes as she says the words, knowing she’s far too old to be asking for something like that. To her relief, Jerry smiles.

“Sure thing, sweetie.” 

He launches into an improvised story, very similar to the ones she remembers him coming up with when she was younger. She has a memory of Summer complaining Jerry’s stories were boring, always demanding more action. However, once Summer had aged out of wanting a bedtime story and left Morti as the sole listener, Jerry had settled comfortably back into his original stories, which Morti found calming and reassuring. 

Her dad’s voice relaxes her and she rests her head against the pillow, feeling her eyelids begin to droop. Jerry’s hand rests on her hair and strokes it gently, just as he used to all those years ago. It’s enough to block out the negative thoughts for the time being, and Morti is so exhausted from the recent events that she soon drifts peacefully into sleep.

#rick and morty #rnm #morty smith #jerry smith #autistic jerry #autistic jerry smith #trans morty #trans morty smith #transphobia #i hope this is at least semi-coherent #the brain fog is bad rn 😅

[lil-melody-moon]

OKAY IT’S HAPPENING, EVERYBODY STAY CALM!! I’ve finally finished my opinion on “The who by numbers” This took me so long but it’s finally here so I hope you enjoy:

Before I start, I feel the need to say (once again) that I really love the design of the cover and the fact that John Entwistle actually drew the cover himself makes it even better. I love a talented King ❤️

Okay, now the opinion you’ve been waiting for:

1. Slip Kid: The cowbell at the beginning of the song?? I LOVED IT. Great intro. I think it captures the vibes of the album really well. Btw Is that Roger on backing vocals?? I love the song. I have no idea what it is about but I love it 🤣

2. However much I booze: Ummm excuse me??? This song is a fucking vibe. Now I understand why this song is your favourite😍 I don’t know what they put in this song but fuuuuck it’s so damn groovy and the melody it’s soooo catchy. Keith’s drumming and John’s bass in this one are superb

3. AAAAA SQUEEZE BOX MY BELOVED, MY BABY. I literally forced all of my friends to listen to this one. They looked at me weird when I played the song for them in the car but idc. Anyway, This one is my favourite and you already know the context behind why I love this one 😏🤣

4. Dreaming from the waist: All I can say about this song is that I absolutely love the dedication John Entwistle and Keith Moon put in this song. All I can hear is bass and drums 👀❤️

5. Imagine A Man: Okay confession. The first time I listened to this song I did not like very much but now that I’ve listened to it a few more times I think It’s starting to grow on me. Also, the line “Imagine a past where you wish you had lived” literally wrecked me, I felt it in my soul 💔

6. Sucess Story: I have the feeling that I’ve heard this song before…. It sounds like a mix between “All the way from Memphis” by Mott the Hoople and “It’s only Rock N Roll (But I like it) by the Rolling Stones. I might be wrong tho but all these songs have the same vibes 🤣

7. They Are All in love: This is probably my least favourite (don’t kill me) the song is good and I like how Keith and John sound together but idk. Maybe I need to listen to it more

8. Blue Red and Grey: IS THIS PETE ON VOCALS TOO?? Holy sweet mother of jesus his voice feels like a warm hug. Is that an ukelele?? YEP IT IS. I’ve read that Pete wanted to commit suicide and that’s why he wrote this song. If that’s true I feel so sorry for Pete :(

9. How many friends: HELLO?? THE DRUMS? THE GUITAR??? Holy fuck I like everything about this song. “How many friends have I really got? Well you can count ‘em on the one hand” THAT’S LITERALLY ME. I only have a few friends but feel so lucky to have them.

10. In a hand or a face: This song reminds me of Baba O’Riley for some reason🤣 Are we absolutely sure that this isn’t a leftover song from “Who’s Next?”

Oh, by the way, I still can’t tell the difference between Pete and Roger’s voices but I feel like Pete sings in almost every song of the album so I don’t really know what to say about Roger’s input in the album except for the backing vocals (he sings beautifully)

Overalls, this album is really fun to listen to, it’s very complete and catchy. From what I’ve read, this album took ages to be completed cause Pete had a writer’s block and depression but I’m so glad he recovered and finished the album. So far, this is probably my favourite The Who album. I still need to listen to Quadrophenia in its entirety tho.

Okay so first of all, to clear your doubts, Pete's voice is the warm one, "However Much I Booze" and "Blue Red and Grey" are sung by him, the rest is Roger. Roger has a distinct voice, if you know "Squeeze Box" by heart, you know Roger's voice <3

Normally Roger sings, occasionally Pete does, Pete and John are always the backing vocals, Keith only shines from time to time, not a single song of his on this one, BUT I'm so glad to hear that the rhythm section is catching your attention this much - you would have to see me grin when you said you can't hear nothing but bass and drums XD

About the stories you mentioned there, I didn't read much, so I believe in what you're saying. I somehow can't bring myself to really dig in the history of the band, I'm probably afraid of a thing or two, but like, I'm so glad Pete recovered from depression as well - he's a lovely guy really, deserving the best <3

I'm very happy that you love the album this much and I certainly can't fucking wait for you to dive into "Quadrophenia". You'll hear my screaming when you send me your opinion, plus... I'm still waiting for your opinion about "Tommy" and the revenge. Take care, my dear and have fun on the path to become a The Who fan <3

#ack I'm so glad she loves it! #ask corner

[droughtofapathy]

"Welcome to the Theatre": Diary of a Broadway Baby

The Great Gatsby

April 27, 2024 | Broadway | Broadway Theatre | Evening | Musical | Original | 2H 30M

All the sparkly costumes and grandiose set pieces can't disguise this show's intellectually and musically filthy core. With a creative team that seems to have missed the entire point of Fitzgerald's book, Bad Gatsby is a Vegas spectacle best suited to theme parks and audiences bereft of critical thought. I have no loyalty to the source material. As a lesbian, I didn't much care for the book and its protagonist who seems disinterested in women, and spent pages waxing poetry about the male physique. But even I know it's a classic brimming with intellectual nuance, while this production is anything but. The relationship between Gatsby and Nick is now only ever a passing acquaintance, rather than the very foundation. The show's aggressive heterosexuality sees Nick and Jordan (a forcibly-feminized, pick-me girlboss type) romping about as Gatsby and Daisy, somehow even duller than the book (and how was that ever possible?) sing power ballads at and about each other that say nothing, and move the plot even less.

This adaptation of the beloved classic novel gleefully excises any and all purpose. Nick's idolization and homoerotic love for Gatsby drives the book's narrative. Here, he's doing basically nothing. My kingdom for a dramaturg who seems to actually like and understand the book, rather than someone who just wants to capitalize on it being newly public-domain. Why, oh why, do people keep adapting classics they clearly do not like? I don't like Gatsby, so I'd never bother to write a musical adaptation of it.

And speaking of music, it's ill-suited to both the period and the story. Everything is all contemporary pop ballad, and as someone who doesn't care about or know much of Jeremy Jordan, it's not working. Perhaps it's my blatant lesbianism and pretentious disregard for the allure of youth, but he's never seemed overly remarkable. He's a white male tenor. There are fifteen-thousand who look and sound just like him. But from the constant shrieking up in the mezzanine, you'd have thought the Beatles had come back for a one-night-only reunion. Thankfully, in my front side-orchestra section, I was surrounded by older patrons who politely clapped and refrained from any such screaming. Also, Jeremy Jordan's accent is all over the place, and I can't imagine why.

The shallow production that sits in the (possibly cursed, at this point) Broadway Theatre, has been robbed of its social commentary, its purpose, its depth. The characters are caricatures, the subtext is spelled out on a chalkboard (A song entitled "The Green Light"???) and is in some fascinating way, a meta commentary in and of itself. A massive budget allows for not one, but two working cars to drive around on stage. The glitz and glam blinded the creatives to anything...creative.

And don't even get me started on the baffling decision to cast a Mexican-Asian woman as Daisy, the quintessential image of white privilege. What are we saying by having Eva Noblezada in that role? It's such a thankless role that it's not like her talents are being utilized. And her character is so weak and dull, even more so than the book itself. And she's out here doing a hit-and-run, and yet we're just gonna...gloss right over that, I guess? And Nick's disgusted by Jordan saying they shouldn't tell the police what they know, but then immediately goes to plead with Gatsby to get out of town? Having done no work in the show to justify this loyalty, it's just inconsistency.

Also, and now I'm just jumping around to things I didn't like, the scene where Gatsby gets shot is staged so that Wilson is pointing and shooting that gun right at the front right orchestra section. And staring down the barrel of a gun is not what I want to be doing on a Saturday evening at 10:30 p.m. He shoots that thing twice while pointed at the audience, and no thanks.

Anyway, the Florence Welch Gatsby is at the ART now, so let's hope that one actually understands the damn book.

Verdict: Someone Put This Dumpster Fire Out

A Note on Ratings

#the great gatsby #broadway #welcome to the theatre: diary of a broadway baby #musical theatre #theatre #i'm so tired of bad musicals i just need to see kimberly akimbo today and have my faith restored #and my heart broken...final performance