#; they say death is cruel and evil but it is necessary in the cycle of life (ic)

[yourdeepestfathoms]

The you have any headcanon about Perrine and The Croon?

Perrine has an affinity for skulls because of The Croon, and they’re mainly the reason why she likes to collect them

The Croon refers to her as “calf”

Perrine sometimes catches glimpses of a tall figure out of her window at night, standing among the distant trees, hidden by just enough shadow to make her wonder if she’s just seeing things

The Croon gifts her skulls, bones, and small dead animals

When people say The Croon is evil, she’s the first to jump to its defense

However, Perrine does have a healthy dose of fear for The Croon

She doesn’t know why this is

But there’s always a level of wariness she feels towards it

There was this one night…

It was cold. The wind was blowing. Branches brushing against the cottage were like clawing fingers on the walls, desperate to get inside.

Perrine woke up.

Or maybe she had never fallen asleep in the first place.

She couldn’t remember.

It didn’t matter.

She got up from her bed.

All around her, the moonlight bleeding in through her window pooled ghoulishly into the empty black eyes of her animal skulls.

It felt like they were all watching her.

At first, she had gotten up to get a glass of water. Her mouth was dry, and the space behind her eyes was uncomfortably warm. But at the same time, she was covered in goosebumps.

But then, she found herself drawn outside.

Grass crunched under bare feet.

She didn’t even flinch from the cold.

Like she was in some kind of trance, she found herself delving into the woods.

And then, she saw it.

The towering beast of feathers and bone. It stood among the trees, nearly obscured by darkness.

The Croon.

She was scared.

She wasn’t sure why she was scared. She based her whole image around this beast, after all. She wore the moose mask because of it.

And yet…she trembled.

And then, she spoke.

“What’s the point of you?”

She asked it without thinking. It was a question that had been brewing in her head for ages.

“I mean…you embody and represent chaos…”

The Croon tilted their head for a moment, as if considering the question. The quiet night air was tense.

“Chaos…is beautiful and destructive. It’s everywhere, and it’s all-consuming. It doesn’t need any apparent purpose. It merely is. It destroys and makes and changes…over and over again. That is what I represent. Change is necessary. Everything must die, and from the destruction, something new is born. After a wildfire, flowers will bloom from the ashes.”

“But people like the flowers. Not the fire.”

“Perhaps. But they need the fire. They need the chaos and the change. Even if it destroys them. There is no new life without death, and there is no death without chaos.”

“But, you still destroy things. Why can’t you have something new without destruction? Why change?”

“Destruction..is just part of the cycle. It’s a part of change. There is beauty in decay. Death and destruction can be…art. The changing of the seasons, the wilting of flowers, the withering fall leaves… Even the most positive change is destruction for something else. Destruction and chaos are required for rebirth, for evolution. Because of change, everything is different, and everything is unique. There are no two things that are exactly the same, down to the last detail.”

“My friend, Cole, lost their parents in a horrible way. Is that supposed to be beautiful? Or necessary?”

“…Perhaps not. Not all destruction is beautiful or necessary. But not all death is cruel or senseless either. After all…without death, would you appreciate life at all? When an animal dies, and it decomposes, the earth gains the nutrients it gives to grow new flowers and new grass. New life. Even a death as horrible and cruel as that can still give new life to the plants and earth around it. It is the same with humans. A death, even a cruel and horrible one, can lead to new life for the remaining family or loved ones…or to the end of a destructive, hurtful cycle.”

“Cole has suffered since their parents’ death. There was no hurtful cycle to break! It’s not fair!”

“Death isn’t fair.”

Its voice had dropped to a low, almost guttural growl that shook her to the bones. But its empty eye sockets still held an eerie sense of calm.

“Life…isn’t fair. People die. Families are torn apart, homes and villages are destroyed. It’s the nature of the world. It’s a necessary evil.”

“…I don’t want to be a necessary evil.”

[disastrcl-a]

SC // Death // @applekingpin​

      HELL. A rather peculiar place to Death. Filled with the souls of people demons deemed unfit for redemption or a second chance at life. Then again, this was their second life. Just not a particularly good one unless they where a soul who enjoyed the perks of being a sinner.  

      Heeled boots clicked against cracked pavement. Arms folded behind him as he glanced around the place. Obtaining the odd stare here and there as we walked, though the GOD ignored each and every single one. If anyone tried to be brave, he would easily be able to defend himself if necessary.

      Still, the sounds of ‘murder’ and of bodies being hacked at in various ways like a piece of pig at a slaughter house didn’t deter him from seeing what HELL was like. It just spurred him on to see more of the chaotic place.

             Nothing would be able to ruin his small break to explore the place.

                        Not even a Candy Appled Pimp.

[disastrcl-a2]

Drops a flower crown on Death's head from above, it's made of pink roses and chrysanthemums.

      There’s a blink of surprise at the sudden extra, but light weight atop his head. Bright amber hues glance up, noticing petals just outside his peripheral vision. Lips press together in curiosity as to what exactly sits on top of his head, but a small part argues with him to just leave it be. From what he can tell it is indeed a FLOWER CROWN. One that Saeda created himself. 

      A faint smile graces his lips, cheeks barely flush in his happiness. Happy for now to let the crown on his head. Whatever flowers are within the crown, he’s certain he’d adore them either way. 

      “I trust that the flowers you’ve chosen suit me?” DEATH questions him with a lighthearted tease. Looking at him with an arched brow and amusement twinkling in his eyes.” 

[lcnelymccn-moved-blog]

@pxssymxtsu​ ♥ SC

      “Honestly, you look surprised to see me here. Or maybe it’s the fact that people are interacting with me with ease?” Hands, not claws, hold the cup in an almost elegant manner as he takes a sip from it. “Did I forget to mention I can make myself visible to people?” 

[septembersghost]

no actually, and i could write an incredibly detailed thesis and explanation here if i wanted to because the themes of this story have always read in a very deep and specific way to me in regards to humanity, growth, grappling with morality, the consequences of actions, development of empathy, plus grander ideas about fate, justice/vengeance, nature vs. nurture, transforming definitions of love, and the lasting effects of trauma, grief, and bloodshed. i don't think i've ever seen anything fundamentally misunderstand, undermine, and ultimately destroy what its underlying ideological purpose and metaphors were like this. i didn't like the original ending but did see the reasoning for it (now i can actively DEFEND it, which is wild), but you do not, cannot, build years upon years of story studying a character's growth, avoiding labels of all "good" or all "evil," showing fallout and suffering, proving how much he was manipulated and abused in his trauma into becoming a kind of tool and a self-proclaimed monster, counter that with his deep well of intuitiveness and season upon season of revelations of his emotional capacity, the unquestionable ability he finds to truly love those close to him, intentionally ASK the audience to confront these many quandaries and to see his potential, make him try and try and try over and over again for the barest sliver of light (usually losing and yet still seeking it), make continual commentary on the human condition, have him find new aspects of his being every season, conclude in the tragedy of necessary isolation, him finally feeling entirely human but having to endure it alone

and then bait and switch at the very end into saying he was an irredeemable psychopath all along, never actually dealt with any of this, never understood the consequences of his actions (even though we hear his narration proving he does and struggles with it), never felt emotions or actual love (lol what? at the very least, why is he haunted by the memory of his closest person as an extension of his conscience then? god that idea is unconscionable), and had to be put down like a rabid animal. it's not his death that's an issue, death could've happened in any number of fulfilling ways that honored the journey, as could capture, but vilifying him entirely at the last second to force this outcome feels like weird moralistic bullshit punishing and mocking us for caring and believing in more. which is offensive and i reject it. it's not only a cruel/derivative take, it's a boring one.

this is not even to get into every laughable waste of narrative space, the erasure of canon, the numerous retcons of vital facts, and the many inexplicable plot holes. not to mention the REPREHENSIBLE conclusion that a cycle of violence was somehow broken by...perpetuating and enacting more of it with no hesitation and making a kid a killer and suggest patricide has fixed him? to scold the audience for their investment? thematically that's so much worse than the idea of having to abandon everyone because of the destruction caused. clownery.

[probably-haven]

Hello!! After seeing what you wrote about xiaoven fics I went to see what things you usually write and omg, your archon Venti headcanons????? I am absolutely in love. So if it isn't annoying, could you talk about xiaoven or Venti or Xiao or whatever ship or character you like? I don't care what you are going to say, I just want to know more about your thoughts ^^

I- is this... bestie, this is essentially a free ramble pass- kerujsgheskdfug. Trust me when I say that in no way is this, and in no way will it ever be annoying in the slightest- i literally- lets just say rambling off thoughts is kind of my specialty, especially when provided a topic to branch off of because otherwise I'm just- really indecisive about it so- iujskdh yeah- 100% definitely down to talk about Venti, Xiao, and/or Xiaoven XD. Also, yes- it may have been awhile since i last posted one(cuz again, indecisive about which direction to take part 5), but the Archon War Era Venti headcanons are still without a doubt my favorite posts I've made. It's just such an interesting topic with such endless potential that so few people actually think about or consider or even realize is there, so i always just get really psyched whenever i see someone interact with them lol.

.... this ended up being a bit of a mess: warning in advance

Anyway! onto the actual content!

- You see the thing about Xiaoven is that there's a lot of different ways that it could end up working out, and just personally my favorite way of portraying Xiaoven in my mind is as an unlabeled relationship because if anyone in genshin would give off that vibe its these two. And a number of other reasons.

- Firstly, I heavily headcanon Venti as being an aroace polyplatonic or perhaps heavily demiromantic. However, regardless of this I just don't think that Venti is really the kind of person to worry about how he should label his feelings, thinking it's silly to try to put them in one box or the other, especially with feelings and emotions being as fluid as they are in general. Plus it fits his whole God of Freedom vibe. I just- dont think he's the biggest fan of labels or social categorization in general.

- And secondly on the hand of Xiao... his defense mechanisms are very much ingrained in his personality. It's probably hard enough for him to not go into fight or flight(the answer is fight) at the slightest affection at first, at the slightest feeling of vulnerability. Even further down the line, with his fierce dedication to Liyue, I cant help but get the vibe that the moment he recognized that he was falling for Venti he would begin avoiding him, not only to avoid distraction from his duty, but to avoid corrupting him or losing him in general like he has with like basically every other person he gets close with(even believing that the cycle had repeated once more when he first heard of Morax's death)... now imagine Venti tryna slap a label on their relationship and tell me Xiao would have a positive reaction.

- The thing with Xiaoven.... honestly, i feel like theres more ways that it can go wrong than it can go right, but if they do manage to make their relationship work out, it's just simply beautiful in all terms of the word.

- Lets talk about killing. - During the Archon War, both were forced to kill a large number of people and gods alike- Venti out of a need to remain alive to protect Mondstadt, it's freedom, and the nameless bard's legacy by extent- and Xiao out of servitude to the god that was once his master

..... actually- break here- ive talked a lot about Venti on this blog but I havent actually spoken about Xiao all that much- so i should probably do that a bit first... do note though that my characterization of Xiao is pretty flexible actually- this is just- the possible characterization of him that i tend to favor as being the most- uh- "realistically complex"

-

Theres a line I saw this one time in a certain story: "He is a trained weapon. That's what he is, was, and always will be. You cannot change that so stop trying." And i just- think its a really interesting concept- that applies pretty well to Xiao now that i actually think about it. - the concept behind it is this: After spending more than a vast majority of his life killing or otherwise in battle, it's become a part of who he is, a normalcy that after centuries and centuries would be near impossible to get rid of or reverse, and even if it was possible, with his karmic debt constantly eating away at him its unlikely he has enough time left for that to happen. - it sounds like a cruel thing to say about him- but in context it's actually pretty layered and i think about it a lot. It's not as much a "he's a killer lol, that his whole personality" its more of a "The centuries of trauma he experienced have conditioned him into a constantly alert and battle ready mindset while also shaping his dehumanizing inferior-in-worth-but-superior-in-capability view of himself that would have likely been necessary to get through those time, and at this point he's been under that conditioning for long enough that it's essentially ingrained itself in his personality."

- the main idea is- it's a part of who he is, that needs to be accepted as who he is because its not something that he can just up and change. It's not all he is of course but his constant battle mode, as though always waiting to be ambushed or to be granted a new target to eradicate.

a couple character story quotes:

-"His past of service under the evil god had rid Xiao of his innocence and gentleness. All that remained within him was the means to kill and the weight of his sins. The only way he could be of service to mortals was in combat." -"Xiao does not feel any hatred. Having lived for over two thousand years, no single karmic debt constitutes anything more than a fleeting memory. No grudge can last a thousand years; nor is any debt so great that it cannot be paid off in this time. Xiao has spent many long years alone. But his battles have never been in vain." -"where did Xiao have to return to? He was merely leaving the battlefield." -"since Xiao wages a constant war against dark forces powerful enough to devour Liyue in its entirety, any bystanders who witness him in the heat of battle are likely to end up as collateral damage." -"The war he fights can never be won, and will never come to an end." -"Because ultimately, the one with whom Xiao wrestles is himself."

i feel like at some point this very nearly did consume his whole personality, almost turning him into nothing more than a being of slaughter under Morax's control, devoid of any "humanity" at all, consumed and corrupted by his karmic debt like his fellow yakshas before him. - until he experienced a moment of clarity- a song in the wind, the peaceful melody of a dihua flute. - and pulled back from the border of something he wouldnt have been able to return from, there a was a shift in his mind- a concept grown unfamiliar enough with time that it took him a great time to identify what it was; a curiosity. Something that there was no place for on the battlefield, something that by all means should have been completely useless to Xiao, and yet he held onto that curiosity, slowly regaining over time, a sense of who he was and who he could choose to be with each song that the wind chose to carry towards him every once in a blue moon.

and eventually that curiousity turned to longing. Longing "for a day to come when he will wear the mask and dance — not to conquer demons, but to the tune of that flute amid a sea of flowers"

...... uh- heh- if you couldn’t tell already i have a tendency to make my characterizations/analyses of characters more serious that i probably should. 

to summarize: Xiao is constantly toeing the line between his ingrained nature and his humanity- almost as though still trying to decide how much of that humanity he deserves to have, how much he is allowed to have, and how much is safe to have.

^looking back after writing this, i think the best way to explain it is that this is the view that i keep in mind/the lense that i tend to most enjoy looking through and refering back to while examining and/or analyzing his character, actions, story, lines, and overall personality.

idk- i kinda got off track but i just think its a really interesting interpretation to think about because it has some really interesting implications ig- it’s not the full extent of how i view him of course, but i kinda got ahead of myself and its long enough as is so ill just elaborate as i go- Lol i actually have in progress playlists for both him and venti and just- vibes- i could ramble about the playlists alone for hours explaining everything... It’s probably a problem- uh- ill keep going now lol.

anyways! stepping off the angst path for a brief break! Brought to you by their lines in the snow: both waiting for it to get thick enough, Venti for the purpose of a snowball fight and Xiao for the purpose of a tasty and nutritious breakfast.

but its actually something of note that Xiao doesnt actually need to eat so anything he does eat is usually out of obligation or enjoyment- so like.... snow.... like i dont blame him, but of all things- an adeptus who refuses to eat basically anything but almond tofu looks at the freezing-cold-floor-water that yeeted itself from above and decided at some point- damn- that seems more edible than basically ever single actually edible thing ever.... im gonna eat it- like- im glad if eating snow makes him happy but- at the same time...

He probably convinces Venti to eat snow too though and Venti wouldnt even resist I mean he’s wind and has probably consumed worse things in his time so- 2 anemo cryptids with glowing tattoos sitting in Dragonspine monching snow in the dead of night is an amusing thought to me.

- kay, now back to more serious-toned thoughts

One of the things about the ship that i really like is the different contradicting parallels between them:

A lot of how i view Xiao’s character is someone formed largely by the things he cant control and who was forced to accept that accepted that and learned to thrive in it as much as he can.  Venti on the other hand is surrounded by things he cant control and is ever adapting to control as much as he can while embracing whatever he cant as being part of the unpredictability of the world, seeing beauty in it. 

both of them have lost people and do what they do to honor their memory: Xiao continues to do what the Yakshas once did And Venti chooses to do what his friend couldn’t

Xiao’s power coming from himself  and Venti’s from others And both seem to appear to use their power for their own gain while truly helping others behind the scenes

both have killed a lot of people during the archon war Xiao views it as another necessary event out of his control and Venti would likely view it as a tragedy he chose to enact himself

and this is where we meet out balance

Xiao- contrary to how i think a lot of people view him as thinking of himself as a monster- seems canonically to have accepted this as part of his duty, as long as those he killed are not mortals. I dont think he enjoys it no- but someone has to do it and he’s just accepted that its a part of his duty Venti on the other hand-

See the beauty of the ship- as someone with an angst-centric mind- is this- these are two of the most traumatized mfers in the game 

Xiao is by far the one who needs the most help and who can serve to benefit most from the ship- but he is nowhere near self aware enough to recognize that there’s anything wrong or unhealthy about his mindset in the slightest-

whereas you have the contrast with Venti who sorted through most of his trauma with the nameless bard alone during the archon war and while the result appears more healthy- is still really not- but he’s not self aware of that either because i mean- who’s going to tell him? nobody even knows. 

however- venti is aware enough to notice flaws in Xiao’s mindset and “Venti” enough to want to help them through it-

Xiao- while not aware enough to recognize the flaws in Venti’s mindset, can recognize where it contrasts with his own, and is blunt enough to point it out- and then it’s out there to be mulled over- 

they’re so similar and yet so different and a feel just conversing between the two of them, being in each others precense, just being exposed to two mindsets that are so very different could do both of them a whole lot of good.

GEEE THAT BIT OF RAMBLING HAD LITTLE TO NO DIRECTION AT ALL- LET ME-- LET ME MAKE THIS START MAKING SENSE- WITH... DYNAMICS OR SOMETHING

I don’t think Xiao needs to sleep really- and i dont think that sleeping would do anything except make him uneasy at first- he’d probably just get nightmares after all he’s been through- but with Venti he would soon learn that it doesn’t have to be that way, lulled into the first peaceful sleep he’s had in... as long as he can remember.

anywho back to not making sense cuz im fickle and i think most questions about ships are best displayed through character interactions so like- a possible exchange thats cliche but cliches exist for a reason

Xiao: Why do you try so hard to help me, it isn’t easy. I know that much Venti, with the most adoring expression: Because you’re worth it, obviously Xiao: But surely there are others more deserving of- Venti: No Xiao, everyone is just as deserving as the next person, you included Xiao: Then why me above others? Venti: ehe, cuz ur my warrior of course [O//////O oh shit, hes right] Xiao: My contract is with Morax alone [gay panic but in broody yaksha]

it’s kinda difficult cuz neither of them really address their feelings.  I mean Venti does but he does it very indirectly and its rare that he ever does it with like- genuine directness- even spilling his backstory was in the form of a song- and told in the third person- so a lot of their interactions would often have some deeper meaning, especially with Venti being the bard he is. 

I come up with a lot of- errant thoughts about Xiaoven- but this is making me realize that a true analysis of their ship is rather difficult because it just encompasses so many dynamics so its hard to settle on just one and not go rambling about who knows what bouncing from one end of the ship to the other-  Because you truly can and thats the beauty of it

within one moment you can be having a heartfelt conversation about the archon war the impact of lost friends and times past, and the next moment Venti is trying to forcefeed Xiao an apple while Xiao screams about disrespecting the adepti and its just- so lovely

so while they have picnics with nothing but apples, dandelion wine, and almond tofu they can sit down and talk about the dreams Xiao once devoured, and the dandelion wine and apple cider that the first Ragnvindir invented from the plants that never could have grown in Old Mond. The foods that tasted of familiarity, or of the grilled ticker fish Pervases always used to eat, foods that tasted of friends and frankly family that had since passed, glaze lilies and cecilias and qingxin flowers scattered in the surroundings and woven into Xiao’s neat braids and Venti’s now messy ones, rebraided by the steady and inexperienced hands of one unused to gentle action. 

and then of course Venti steals Xiao’s tofu once the mood becomes too grim and replaces it with a bottle of wine that Xiao refers to as “vile poison,” a remark that fatally wounds Venti as he collapses on the floor, proclaiming how he can only be healed by a Yaksha’s kiss. Xiao ignores this of course and simply takes back his tofu with a slight smile on his face, but as Venti persists he soundlessly places a kiss on his own palm before intertwining their fingers and pulling him back up from where he was dramatically sprawled on the floor, grumbling about how such action was “unbecoming of an archon.” A sign of affection only Xiao would ever know about. But Venti is literally wind and I hc his senses work differently anyways so he definitely knows- plus Xiao’s face is red as the blood of his enemies and the way he is pointedly not looking at Venti at all really speaks volumes anyways. 

 -Venti playing epic battle music whenever Xiao goes into fights in what looks like a ridiculously extra performance to anyone else but is actually doing wonders to keep Xiao’s karma at bay

-Venti preaches the practice of “kissing wounds better” and Xiao is unfamiliar with this medical treatment but views it as unnecessary regardless because adepti have accelerated healing, doesn’t mean he’s going to stop him though. 

-Messages whispered on the wind

-Venti’s 1000 year sleep- an accident, not a fun time for the yaksha, and not a fun time for Venti once he woke up. Venti is actually more afraid of restful sleep than Xiao is, hence the sleeping in trees thing, but when Xiao is there, he can sleep restfully with faith that Xiao wont let another millennia slip through his fingertips. 

- Xiao tends to make excuses when doing things that aren’t necessary to his duty, like in his birthday voice line “Have this, it’s a butterfly i made from leaves... Okay. Take it. It’s an adepti amulet -- it staves off evil” because at the current point in his progress it helps him to feel like he’s allowed to do these things. Not wanting to put him off from progress, Venti never comments on his excuse but never fails to whisper a quick reminder of how proud he is of how far Xiao had come.

- Xiao’s karma saddens Venti greatly- not only because of how it effects Xiao but also because its a reminder that as much as Venti tries to honor the memory of those he’s killed, there will always be those who resent him for it, and when he took the option of living away from them, he truly can’t blame them. - And when he gets too wrapped up in thoughts, whether around this topic or similar ones or otherwise, eventually, he’ll hear the sound of a flute on the wind. It’s not divine by any means, but as his own wind connects him to the source, he gets the sentiment all the same. “What impact does one individual’s remaining wrath have on the present. You have done much to help the living in the present” the unspoken idea that Xiao has included himself in that statement, because now, with Venti’s help he’s beginning to learn just how to experience living for himself. 

- Venti’s form and Xiao’s mask are off limit topics though because if either mentions it the other will counter with the opposite and the mood will turn immediately bitter at the idea that both know that what they’re doing is destructive but neither are willing to change

- Venti who has different tells for negative feelings than most people because as much as he likes to pretend it is- this form isnt his, and Xiao who is able to identify those

- many fanfics and headcanons have Venti recognizing when Xiao is uncomfortable and getting him out of those situations. I see that and I love it but i raise you: - Venti taking Xiao to Mondstadt, careful that he doesn’t get to the point that he’s uncomfortable. And nothing goes wrong exactly, but Xiao notices the the way Venti’s cape is blowing in the wind, the way he’s holding his weight, barely on his feet so much as floating on the wind, connected with the ground only for the sake of appearance, all the while he looks just as happy go lucky as ever. And without a word, he grabs his hand and teleports them both out of Mondstadt.  - turns out it was just a slight thing that reminded him of the archon war (cuz i will die on the hill of him having more tragic backstory than just Decarabian), and he of course gives a sincere if not flustered thanks to Xiao, because he’s really not used to people noticing. 

- Venti trying to vent sneakily through fictional stories and Xiao is just like “Didn’t that basically happen to you” and Venti is just like “<_< shit”

- Venti once said affectionally that he wished he had met Xiao sooner and Xiao immediately and seriously shot it down by saying “If you had, I would have been forced to kill you” and both of them now stay up at night wondering who would have won that fight, not sure which result would have hurt more. (because honestly I have no idea who would win in that fight and that terrifies me- I like to think it would have been one of those legends that end with “and the fight persists to this day” or something along those lines)

- “How long have you been together?” “Adepti have no need for-” “1000+ years T^T how dare you deny our love” “O///O our...? ...useless”

- its disney- let me explain- i have this- i have this headcanon inspired by watching too many animatics- - so venti has a human form that isnt his- which he would have had to get used to moving in- and he’s a bard- - uh- anyway- as a third degree black belt in mixed martial arts, i can speak as an authority on this(not really an authority since i havent gone since quarantine but lets pretend). We have a thing referred to as the big three(most things do), and those things are martial arts, gymnastics, and dance. The idea is that they reflect really well off of each other and the best in any one category are good in all three. Timing, balance, form, discipline, technique, hand-eye coordination, grace, ease of motion, they all play a part- anyway-

- Venti taking Xiao’s prowess in martial arts and acrobatics and teaching him how to dance, and as someone who’s extremely skilled in the first two, the third comes easy to him, almost naturally. And it’s delicate and beautiful and lovely and it isn’t hurting anyone. And Venti points all these things out and more and despite how much Xiao insists that he feels ridiculous he truly does enjoy it and it goes a long way towards helping him form more healthy views of himself and his worth.  - Verr Goldett walked in on him once and made a joke about performing at the inn. unfortunately Venti was there and agreed on Xiao’s behalf before he could protest and- and it wasn’t as bad as Xiao thought it would be... he still wouldn’t do it again though without reason, but with good enough reasoning he could probably be convinced. 

- anyways point is he likes dancing to Venti’s songs and i just think that’s really cute - just picture the idea that all the animatics you see actually have the potential to be canon- ugh

- venti tries holding something out of Xiao’s reach since he’s taller and Xiao just fucking teleports 

- both need their space but when they dont, all they have to do is speak the other’s name and they’ll be there.

- and because i just had to.... love languages

- lets start with Xiao- i don’t think he’d view acts of service or quailty time as a love language tbh, and he blunt but really bad with words so affirmation is out, leaving gift giving and physical touch. However, he seems to view most material things as meaningless so- - Xiao who’s love language is in his fleeting touches, something he’s only recently grown comfortable with because of Venti, and now is giving back, which he knows he doesn’t have to do, but that he want’s to, though he’ll still continue to make excuses for each one. “you were shivering” “The inn is high up, you could have fallen..... I said what I said, you’d question an adeptus?”

- and as easy as it is to say words of affirmation for Venti- he does that for everyone- i want to say his is actually acts of service - its the acts of service that let him see just how much Xiao has progressed afterall, from teaching him to dance, to playing another song on the flute, to supplying him with the almond tofu he seems to enjoy so much. Every little thing he does helps Xiao to grow and he couldn’t be happier about that. 

-

- of course most of my headcanons for the ship do take place latter into the relationship because- y’know the less serious unhealthy vibes allow for greater range of thought, but i do still love to think about the serious implications so i kinda hopped back and forth. So sorry about how messy it is btw, i kinda- got carried away- it kinda got some kind of structure near the end tho so- maybe it’s okay. anyway- back to... lol something, we’ll see where thought forests lead. 

[isolationstreet]

22, 44, 65 for Arnoud 🖤

This also got quite long quite quicky so it's going under the cut

22. What is a promise that they have broken.

Honestly that's kinda of a difficult question to answer becuse due to both his lack of people hes close to and his lack of faith in himself making promises is something he actively avoids doing

So instead I will cover the promises he has made and their current status

1. He promised his cousins Darr and Jezzika that he would find out why they have been slipping in and out of time and from location to location having so far been unable to accomplish their task of finding The Black Key for Cecily. They also asked him to let Cecily know that they're still working to accomplish their task if shes asks becuase they all know how cruel she can be when she dosent get exactly what she wants. He said he would try but he never promised he would but it's still relevant.

He found their corpses rotting in a basement two weeks later having signs of having been decomposing for at least six weeks. He's currently still working with them on a daily basis and s big goal they have is to fix the cycle of life/death/rebirth that had been broken 20 years ago because in that time no spirits have been able to move on most getting trapped on the 9th layer of hell but some of which like Darr and Jezzika with particularly stong connections and goals are trapped in the world.

2. Remeber how Arnoud didnt promise Darr and Jezzika that he would tell Cecily that they're on task. Well when Cecily asked he told her that they had been dead for nearly two months. To which she responded by once again reminding him of the importance of withholding information and also her "kindness and mercy" by murdering their parents so they would never have to mourn the deaths of their children.

When Arnoud told them about this interaction they didnt really blame him becuse they know how she is but they did ask he burry them with their family in Wirholme if he ever got the chance. He promised he would the party hasn't made it that far south yet but their corpses are in a bag of holding untill we can get there.

3. Davidian Vanderwall is an interesting character I havent had much chance to talk about and he deserves a few rants of his own but what's necessary here is 500 years ago he met Umbril D'Kane and became obsessed with her immortality. He thought if he could live forever there would be no limit to the lives he could save. He tracked her down and drank her blood. Neither of them are vampires but it was enough to give him her curse.

Over centuries of fighting and watching everyone he knew either die or turn on him for what hed done he became weary and wanted it all to be over he turned to umbril seeking release unable to die untill she does. He became tied and trapped as her errand boy who's only wish became their mutual destruction.

Arnoud even though hes not a grave cleric quite yet he still has always had a very strong belief in decay and its importance in all of its forms. He also knows what it's like to be ensnared and abused by a hot evil magic lady.

So Arnoud promised hed do what he could to help him find a true and peaceful death and when he met umbril he did the same for her.

A bunch of stuff has gone down in the game since then. I suspect that Umbril has fully been murdered by Cecily based off of how shes been acting lately. I'll find out for sure next session. As for the current whereabouts of Davidian it's been at least three months since anyone in our party has made contact with him. As far as we know hes off in the swamp somewhere trying to contact the Cabal of Decay to give them the severed head of the god of Murder. How recent events with Umbril have affected him I'm unable to say.

4. The biggest promise he made was to himself. 23 years ago he promised himself he would destroy the monster that desecrated his mother grave 13 years ago that same monster very directly destroyed his life. That monster being Cecily.

Whether or not he broke that promise by falling in love with her is up for debate. Hes no longer trying to put a stake through her heart but he is softening it and in a very literal way hes trying to save her soul remove the things that made her a monster in the first place.

[misterparadigm]

A Critique of Albert Camus’s “The Myth of Sisyphus”

The following is a brief critical breakdown of Albert Camus's highly influential essay. In it, I explore Camus's implicit meanings as I find them, and question the validity of his conclusions about the nature of suffering and man's capacity for contending with it by will alone.

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

In philosophy, absurdity is defined as the conflict between the tendency to seek meaning in life and the inability to find such meaning with any logical certainty. The question of meaning has been at the heart of many philosophical explorations and treatises. The second half of the 20th century and beyond saw a spread in the acceptance of the notion of life’s meaninglessness, though no definitive and satisfactory cure for the ennui and nihilism that often follows has been laid out.

Perhaps most famous and cherished is Albert Camus’s essay exploring the Myth of Sisyphus and his ultimate declaration therein that, “One must imagine Sisyphus happy.” In this essay, Camus thinks over the myth in brief and lays out an interpretation of it which centers Sisyphus’s acknowledgment of his predicament, acceptance, and most importantly his personal resolve and will to view his burden as something which gives his life meaning. We must imagine Sisyphus finding contentment in his futile labor—an act of will which scorns the gods and denies their effort to break the spirit of Sisyphus with the assertion that a life of eternally futile labor is something torturous. Camus efforts—a bit belabored, in my opinion—to make a modern hero of the one who belittles the gods and their cruel, arrogant, resentful judgments. In Camus’s view, these gods have earned no respect in their dealings with mortals. For Camus, a humanist who would sooner dive headlong into oblivion than seek out a god whom he despises, it is a noble and purposeful pursuit to deny any such god the pleasure of punishing the creature which he created to despise him to begin with—a creature forced to live out a scenario of absurdity concocted by that very god. Camus refuses to respond with devastation, but resolves to make such existence its own purpose. He asks us to grasp our free will, own it, and wield it against any force which seeks to turn the man against himself.

But is this assessment and subsequent assertion valid? A number of factors are at play here which Camus seems not to acknowledge. First, we have to acknowledge context. Sisyphus is dealing with a particular set of gods, so his situation is unique to that scenario. Camus seems to imply that this situation can be applied to the modern man and his relationship to whichever god he believes in. This isn’t apparent, and if one is to assert that it is, one must first take as a given that life is absurd, or else the resentment toward the god who created it isn’t validated. On the other hand, if life is not absurd and is in fact meaningful and purposeful, one must contend with the notion that the god who created it is of some authority on the matter of how best to embody such meaning and purpose. To Camus’s credit, we are given no empirical evidence or common enough experience to adequately, categorically state the purposefulness of existence. What we are offered, rather, is a quiet firmament and a divine hand so subtle that one can barely propose to experience its activity—rarely with any convincing force, despite fervent conviction, and perhaps even considered malevolent rather than benevolent. The suffering of life, after all, makes it easy to resent our very being. Life is discomfort, pain, confusion, and death in greater measure than pleasure and joy. Pleasure and joy, even, seem starkly restricted as vices of desire in the eyes of “modern” gods, so much that to see the beauty of life is to do so in spite of life itself rather than to acknowledge that beauty’s apparentness as we would life’s suffering. Even so, the challenge of life may not then be to grasp one’s own will and deny God, but rather, as Hamlet mused, to suffer the slings and arrows of outrageous fortune. To take accountability for one’s will and wield it, much as Camus suggests, as a weapon—not against God, but rather against the apparent evils of existence, of which we would know nothing were it not for eating from the proverbial Tree of the Knowledge of Good and Evil.

Often, we get caught up in the idea that God created the circumstances in which we exist, and created us to exist within those circumstances. By this musing along we may justify a resentment toward such a god and claim absurdity and cruelty. It’s quite easy to do so. However, we rarely seem to consider that, according to the myth, we were created in a more desirable scenario. Even so, we were created with free will and given direction on what to do and what not to do in order to avoid less desirable circumstances. Our free will standing, we acted in what would seem to be an inevitable manner. We were tempted to know what God knows about existence, and so we consumed the apple and opened our minds to the knowledge of good and evil. In doing so, we betrayed the trust of God and refused his advice, thus we became fully conscious and, consequently, fully accountable for our actions. With the knowledge of good and evil, a being with free will bears a responsibility to act according to the good rather than the evil. This early awakening left us naive—scarcely prepared to contend with the greater evils of the universe—and we’ve been mired in it ever since, rarely even able to see clearly what constitutes good and what constitutes evil. The complexity of such a task of judgment is said to be the court of God, and we are not to engage in such things, but we are yet left with no one but ourselves to hold each other accountable—and so how can we not judge? There is much that goes into this, but it’s a digression of the topic at hand, which is the validity of Camus’s assessment of the transferable lesson of Sisyphus’s fate.

The second factor is the presumption that Sisyphus could have the stamina to will joy out of his futile labor for eternity. It is difficult to imagine how his psychology might evolve over an endless span of time. Is it even reasonable to imagine that he might settle on a particular view of his predicament? How could it be that his view would last forever? It seems more likely that his mind might unravel after so long a labor at a single task, and that he would dissolve into his routine—that he would devolve into a machine. Such a task, it seems to me, is tailored to disintegrate the spirit of a man so that there is nothing left but the laboring organic robot, dead of his animus and dull of mind. His programming, which once explored myriad tasks and evolved in spirit accordingly, is now relegated to the track of a single interminable function, and so his mechanism devolves into only what is necessary for the eternal task. The animating spirit of a free consciousness is defined by that freedom. It is defined by the mind’s ability to explore and learn and adapt and grow. It fills the space in which it inhabits. If that space shrinks, the mind’s environment for operation shrinks. If that space takes a limited form, so does the mind. Sisyphus’s mind, I’d wager, would eventually mold to the well-worn form of his task and atrophy at all other ports of knowledge and behavior. The spirit dies without freedom. It dissolves into oblivion, a gaseous ghost seeping out in small whispers over time, until nothing remains but the solitary circuit. This is, after all, the argument so often levied against the dreadful monotony of a labor economy. One pictures the old cog-in-the-machine imagery—the grey man marching alongside his grey coworkers, seemingly oblivious to his living death. It seems to me that Camus puts an unreasonable and inexecutable responsibility on the creature of Sisyphus: to be the sole perpetuator of his own universe of knowledge, both known and unknown, so that he may propagate the only environment in which he might stave off his spiritual dissipation. This was the environment of free consciousness, which has been robbed of him. This is the plight of the prisoner; the longer a prisoner remains imprisoned, the less likely they are to thrive under freer circumstances. Their mind has adapted to a particular system, environment, and routine. And so it seems naive of Camus to imagine Sisyphus happy.

Camus focuses on the time in which Sisyphus is “going back down with a heavy yet measured step toward the torment of which he will never know the end.” This is the time in which Sisyphus is left truly alone with his thoughts, which can only ever turn to his task, that task being the only thing left of his life and the thing which will occupy his eternity. It is here that the measure of his character—his will and resolve—is on perfect display. “That hour like a breathing-space which returns as surely as his suffering, that is the hour of consciousness. At each of those moments when he leaves the heights and gradually sinks toward the lairs of the gods, he is superior to his fate.” Camus suggests that, “if this myth is tragic, that is because its hero is conscious. Where would his torture be, indeed, if at every step the hope of succeeding upheld him?” The tragedy is that Sisyphus has no opportunity for delusion. He cannot pretend that there is hope of breaking this cycle. He knows that this fate is eternal, and that for every moment to follow, across all space and time, he will only ever be among the moments confined to this task—isolated in his rut. His only hope, I would say, is that over time he might lose this consciousness. In a situation like this, eternal life is an intolerable cruelty, though Camus would claim he has the will to defy the cruelty by reframing it. This Camusian grace seems an illusion to me right on the face of it, and his solution boils down to ignoring the inexorable fact of the situation: there is nothing but the task, and no perfectly repeated task can be infinitely engaging or contenting to the actively conscious mind. The implied grace finds its source in acceptance of the fate, and through acceptance one can neutralize the misery—or so Camus suggests. But again, it does little to truly contend with the eternal element. Camus’s assertion that it is possible to willfully accept such a fate and maintain that flat acceptance for not just an inconceivably long time, but for the most inconceivable length of time, seems itself absurd. Perhaps it is even the very definition of absurd. Camus asks that an actively conscious being spend his infinite life mitigating his misery by perpetually accepting it as the mere fact and state of his existence. He is asking a man who has experienced and loved life (multiple times) so much that he incapacitated Death to simply step back and view his perfectly measured misery as a neutral state of being, and to do this forever, infinitely, perpetually. How absurd is such a demand? He is asking that Sisyphus seek contentment where there is no logical contentment to be sought.

If absurdity is seeking meaning where there appears to be none, then certainly seeking contentment where there appears to be none is itself absurd. The assertion, then, is that we can somehow manifest our own contentment through will, which is, in a way, no different than trying to manifest meaning through will. It’s the act of mitigating circumstances through the illusory impetus of pure will. One may be able to bear the illusion for a measured time, but over the course of an eternity the will gives way to circumstance because the circumstance, in the case, is the immutable factor. A free consciousness, however, is defined by its dynamic existence. But if that existence no longer inhabits a dynamic environment, whatever meaning or purpose it may have had is, as a matter of logic, eradicated by the static and immutable nature of the circumstance.

It is merely a matter of logic, which the free consciousness will have determined in short order, and so the emotions cycle in whatever manner they may until the consciousness is dulled by its monotonous task. Sisyphus’s fate, I assert, is the dissipation of his free consciousness over time, until this man who loved his living freedom so much has his mind reduced to a dim, singular function. His punishment is the indignity of the gradual decline in free will until there is no being left, and he is but a moving sculpture signifying the fate of one who refuses Death. His punishment is the denial of rebirth, for he has refused the necessary mechanism which gives rise to it.

[halfwall]

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀❪ ⠀   * ⠀ ─          hello!  i’m  so  excited  for  this  genuinely,  it  is  so  seksi  and  socks  +  soda  did  such  an  amazing  job  with  it.  eunjung  is  my  newest  muse  and  the  best  way  i  can  describe  her  is  if  you  took  a  garden  snake  and  aged  it  up  manually  in  the  sims  and  then  took  it  into  the  spore  game  and  gave  it  lips  and  made  it  a  predator.  in  other  words,  my  very  own  looks  like  a  cinnamon  roll  could  k-word  you  (  kiss?  kill?  your  choice  <3  ).  this  intro  is  a  condensed  version  of  my  goog  dooc  and  it’s  still  long  <3  pls  love  n  plot  w  me  anyway.  love  u  guys.

❪  kang  mina,  cis  woman,  she  /  her,  twenty  one.  ❫    i  can  feel  red  energy,  that  must  be  yun  eunjung.  the  third  year  print  journalism  &  international  relations  major  works  as  a  bookkeeper  at  the  house  of  the  lucky  gander,  and  is  known  around  the  manor  as  the  yellow  wallpaper.  i’ve  heard  whispers  about  how  they’re  critical  and  pedantic,  but  everyone  says  they’re  persevering  and  formidable.  i  don’t  know  what  to  believe...  but  with  cc  pulling  the  strings...

links:    google  doc,  pinterest,  stats,  wanted  connections.

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀𝐚𝐛𝐫𝐢𝐝𝐠𝐞𝐦𝐞𝐧𝐭

full  name  :  yun  eunjung

nickname(s) /  alias(es)  :  emma  yoon  (  english  name,  not  used  ),  tbd

age  /  dob  :  twenty  one  /  apr  18  ‘99

hometown  :  tbd  ,  oregon

current  location :  fortuna  ,  maine

ethnicity :  korean

nationality  :  english

gender  :  cis  woman

pronouns  :  she  /  her

orientation  :  bisexual

religion :  agnostic.

family :  yun  hajun  (  father,  alive  ),  han  minji  (  mother,  alive  ),  yun  eunsang  (  twin  brother,  status  unknown  ),  yun  sangjung  (  younger  brother,  deceased  ).

face  claim  :  kang  mina

language(s)  spoken  :  korean  (  first  language  ),  english

speech :  sharp  tongued.  she’s  a  lot  of  opinions  and  a  lot  of  things  to  say,  therefore  has  never  learned  how  to  phrase  things  in  a  way  that  would  deem  her  polite.  often  blunt,  she’ll  be  quick  to  rip  off  the  bandaid  and  just  say  what  needs  to  be  said.  she  doesn’t  speak  with  much  class  or  extravagancies,  rather  falls  toward  crassness  and  crudeness  due  to  her  upbringing.

hair  :  quite  dark,  a  nice  chocolate  in  the  sun  and  a  cool  onyx  in  the  dark.  often  tied  back,  though  eunjung  is  only  ever  seen  with  her  hair  in  two  distinct  styles:  tied  back  messily  or  let  down  naturally.  her  hair  falls  straight  as  if  it’s  been  flat  ironed.

eyes :  big,  round,  and  doe  eyed,  a  dark  brown  in  color.  quite  the  weapon  to  use  when  she’s  in  trouble  or  when  she  needs  to  talk  her  way  out  of  something  (  to  proclaim  innocence  ).

height  :  five  feet  ,  seven  inches.

build  :  lithe.  as  a  former  volleyball  player,  she  has  kept  her  shape  up  with  rigorous  conditioning  (  mainly  because  if  she’s  to  admit  it,  if  she  doesn’t  she  kind  of  gets  lost  in  the  walls  ).

tattoos  :  none  .

piercings :  only  earlobes  .

scars  :  multiple  from  surgeries  at  sixteen.

clothing  style  :  preppy,  thanks  to  her  settlement  money  and  her  own  personal  taste.  never  a  hair  out  of  place  due  to  her  perfectionistic  personality  and  nature,  though  if  you  catch  her  on  any  given  night,  you’ll  see  her  true  colors  shine  through  with  old  (  very  old  )  sweatpants  and  a  hoodie  that  has  someone  else’s  name  written  on  the  tag  in  hangul.

usual  expression  :  sour,  bitter  –  life  has  handed  her  a  poor  hand  and  she’ll  make  it  everyone’s  problem.  she  has  one  usual  expression  and  it’s  resting  mean  face;  not  the  kind  of  person  to  wear  her  heart  on  her  sleeve,  she  looks  the  exact  same  when  she  looks  happy  as  she  does  sad,  though  –  she’s  great  at  acting  and  lying  and  you’ve  never  lived  until  you’ve  watched  her  go  from  :|  to  :)  in  two  seconds.

distinguishing  characteristics  :  doe  eyes  that  scream  tragedy  –  reflecting  the  stars  in  the  night  sky  if  caught  just  right,  the  tilt  of  her  lips  when  she  clearly  wants  something  to  work  in  her  favor.

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀𝐫𝐮𝐦𝐢𝐧𝐚𝐭𝐢𝐨𝐧𝐬

❪  almost  directly  copied  from  my  google  doc  i’m  sorry  ❫ 

mbti:   istj-a,  the  logistician  /  most  who  know  her  would  assume  her  to  be  extroverted.  not  the  most  reserved  in  a  room  and  always  quick  to  speak  up  when  she  deems  it  necessary.  but,  like  most  logisticians  –  she’s  always  had  a  sharp,  fact-based  mind.  she  has  always  been  self  sufficient  and  hates  relying  on  others,  often  seeing  it  as  a  weakness.  she  is  sharp,  dedicated  and  ambitious  enough  to  accomplish  whatever  she  wants  to  accomplish.

enneagram:  6w5,  the  guardian  /  like  most  of  this  type,  her  biggest  fear  is  losing  her  guidance  and  stability,  which  translates  into  her  skepticism  of  the  world.  therefore,  it  often  leads  to  eunjung  protecting  those  she  is  loyal  to,  but  most  importantly:  herself.  she  will  often  think  logically  and  analytically,  solving  problems  practically  and  efficiently  but  she  will  often  be  selfish  and  can  come  off  as  cold  as  a  result  for  her  actions.

moral  alignment:  chaotic  evil  /  eunjung  has  never  been  the  most  –  angelic  person,  though  she  likes  to  pretend  she  is.  at  the  end  of  the  day,  after  everything  she  has  been  through,  she  has  grown  to  be  selfish  –  prioritizing  her  own  personal  gain  and  pleasure  above  all  good  and  evil,  right  and  wrong.  it  could  be  argued  that  she  belongs  in  chaotic  neutral,  but  she  has  no  care  for  law  and  order,  nor  a  real  feeling  of  her  morality  anymore.

hogwarts  house:  slytherin  /  another  reminder  of  her  selfishness  and  how  much  she  cares  about  her  own  well  being.  all  her  life  as  well,  she  has  been  told  that  she  is  shrewd  and  too  ambitious  for  her  own  good  which  has  only  given  her  an  incessant  drive  to  prove  them  all  wrong.  when  it  comes  down  to  it,  like  most  slytherins,  she  will  try  to  view  every  possible  outcome  until  she  finds  the  outcome  that  will  benefit  her  the  most.

comparable  characters:  juliet  capulet  (  romeo  &  juliet  ),  jennifer  check  (  jennifer’s  body  ),  rosalie  hale  (  twilight  ),  blair  waldorf  (  gossip  girl  ),  sansa  stark  (  game  of  thrones  ).

the  rundown:  as  smart  as  she  is  selfish,  life  has  just  twisted  her  to  be  a  bit  cold.  she  isn’t  cruel  by  any  means,  nor  does  she  necessarily  wish  hurt  and  evil  upon  those  around  her,  but  eunjung’s  huge  main  character  complex  often  leads  to  her  priorities  being:  1.  eunjung  2.  yun eunjung  3.  eunjung yun.  her  biggest  trait  will  always  be  selfishness,  followed  closely  by  her  rash  belief  that  she  is  the  best  in  the  room  at  all  times.

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀𝐜𝐡𝐫𝐨𝐧𝐢𝐜𝐥𝐞

trigger  warnings:  alcoholism  +  death

this  is  a  rundown  on  the  biography  /  death  /  back  room  /  glass  person  in  the  google  doc,  also  better  written  /  explained  because  it’s  not  prosey  <3

hajun  is  not  a  good  father,  he  never  has  been.  from  a  very  young  age,  all  eunjung  has  heard  from  him  are  his  drunken  spirals  about  how  great  they  used  to  be.  his  surname  was  once  held  in  a  high  regard,  the  name  of  an  empress  and  he  has  always  dwindled  about  to  the  three  yun  children  that  because  of  the  greatness  he  has  passed  onto  them,  they  must  be  great  too.  

eunjung  has  only  ever  viewed  his  spiels  as  hypocritical  though.  she  has  only  ever  known  her  dad  as  a  mean  drunk  who  lives  in  the  dirtiest,  most  run  down  house  in  town  with  his  poor  three  kids.  her  twin  brother,  eunsang,  her  younger  brother,  sangjung,  and  her  spend  their  childhoods  taking  care  of  each  other  because  nobody  else  will.  their  mother  does  something,  they  never  know  what  because  she  only  arrives  with  enough  money  for  groceries  and  bills  and  then  she  leaves.

it’s  that  way  for  most  of  her  childhood  and  most  of  her  life.  it’s  a  continuous  cycle  of  eunjung  +  eunsang  taking  care  of  sangjung  (  who  starts  going  my  samuel  when  he’s  ten  and  the  twins  are  twelve.  the  twins  have  english  names,  too,  but  eunjung  has  too  much  pride  –  like  her  father  –  and  eunsang  is  the  eldest  and  will  do  whatever  his  twin  does  out  of  love  )  and  eunjung  is  just  –  quite  the  difficult  child.  she  speaks  her  mind  and  all  of  her  opinions,  as  well  as  letting  the  festering  anger  within  her  too  grow  because  she  doesn’t  know  what  else  to  do  with  it.

death  tw.  anyway,  by  sixteen,  she’s  just  this  bitter  girl  that  the  boys  hook  up  with  because  she’s  the  poor  girl  from  the  dirty  house  on  the  rundown  street.  she’s  got  a  reputation  as  a  shrew  around  town,  but  she’s  fine  with  being  a  shrew  if  she  still  gets  her  way.  samuel  is  much  more  popular  than  either  of  the  twins  (  who  are  epitome  of  bad  boy  /  bad  girl  from  the  wrong  side  of  the  tracks  )  and  is  invited  to  a  party  at  fourteen.  it’s  tradition  to  party  in  this  abandoned  mansion  out  in  the  woods  and  basically,  an  accident  happens  and  samuel  is  pushed  from  the  second  story  balcony  into  the  foyer  and  d-words.

he’d  called  eunjung  before  dying  though,  asking  for  a  ride  so  the  twins  had  went  to  go  get  him  but  instead  found  him  dead.  while  trying  to  figure  out  what  had  happened,  she  spots  some  kid  that  doesn’t  like  her  still  lingering  around  so  she  tries  to  chase  him  and  he....  like....  pushes  her  off  too  and  she  d-words.  end  tw.

her  back  room  is  just  this  little  room  and  she  still  to  this  day  doesn’t  know  how  much  time  she  spent  in  there  because  it  was  just  so  confusing,  all  she  remembers  is  that  she  (  or  someone  )  was  trying  to  convince  herself  that  she  was  home  and  that  everything  was  fine.  but,  she’s  a  bitch  and  was  like  “uh,  actually,  i’ve  never  had  a  home  <3″  and  broke  out  of  whatever  spell.

her  glass  person  is  just  her.  identical,  but  trapped  in  the  walls  underneath  the  ugly  yellow  wallpaper  in  the  room  she  was  in.  same  as  her,  just  more  lifeless  and  it  is  really  the  only  thing  that  still  scares  her  –  and  it  tried  to  escape  the  walls,  but  it  couldn’t.  the  lasting  effect  is  that  if  she’s  alone  in  a  room  for  more  than  an  hour  she  swears  the  walls  start  stretching  like  someone’s  behind  it  and  just  always  feeling  like  she’s  being  watched.  she  also  doesn’t  like  looking  at  her  own  reflection  that  much  anymore  because  it  just  reminds  her  of  her  glass  person.

anyway,  she  survives  miraculously  and  after  testifying  and  blah  blah  blah  (  i  did  research  on  settlements  and  i  still  didn’t  understand  so  ),  the  family  of  the  kid  who  pushed  her  off  –  and  probably  samuel  –  gives  the  yun  family  a   huge  sum  of  money  for  their  troubles  and  calls  it  a  settlement.  it  comes  with  the  condition  that  eunjung  doesn’t  sue  or  bring  them  up  ever  again  and  she’s  like  fine  that’s  cool,  whatever,  i’m  rich  now.

but  her  parents  still  aren’t  happy  and  before  samuel’s  funeral,  eunsang  runs  away  from  home,  leaving  them  with  only  the  daughter  that  neither  of  them  really  wanted.  she  still  pushes  forward  though  and  ends  school  as  valedictorian,  prom  queen,  etc.  and  heads  to  fortuna  because  she  really  doesn’t  think  she  can  go  anywhere  and  also  her  counselors  are  ass  <3

she’s  studying  international  relations  +  print  journalism,  her  hopes  are  diplomacy  or  something,  but  she  just  chose  the  majors  that  she  tested  highest  on  on  that  career  test  i  can’t  choose.  yeah.

please  plot  w  me  i  have  my  wc  linked  up  there  or  at  /w.  i  love  u  all  i’m  sorry  this  was  long.

[norrrington]

Hi, I came from AO3 because I LOVED Calluses! Can I ask where you got the idea for James’s dad putting him in the brig? It was really interesting.

oh my goodness 🥺 well first of all, thank you SO much for reading my fic, and even more for taking the time to come to my blog and leave such a sweet message! that act of kindness and your interest in my writing process are so touching and mean the world to me. i can’t thank you enough.

to answer your question, though: i can’t say there was any specific impetus for that plot line. i believe i mentioned this in the author’s notes at the end of the work, but the intention of crafting and including that concept was never to paint james’ father as cartoonishly cruel; that is, writing such outlandish acts of abuse and malice that inadvertently strip the moment of its emotional impact and instead render it punchy and done for shock value. i never wanted that, and i certainly hope it doesn’t read as such.

instead, it was largely (and almost solely) influenced by the smattering of details about lawrence norrington that we are given in the jack sparrow novel(s), and specifically the extremely formative event in which a young james falls overboard his father’s vessel and is rescued by captain teague. lawrence is grateful, of course, but states that he would rather his son have drowned than be rescued by a pirate. this is an event that affects james for the rest of his life; no doubt a direct catalyst for his extraordinary professional ambitions and his legendary reputation as the “scourge of piracy” in particular.

basically, my thinking was that lawrence perceives rowdiness, misbehavior, and rabble-rousing (no matter how innocuous and natural to a child of james’ contemporaneous six years) as piratical behaviors, or at the very least conduits to them. so in his own twisted and authoritarian manner, he thinks that punishing his son’s insolence with such a severe course of disciplinary action will curtail these habits at a young age, effectively “saving” him from a fate he genuinely views as worse than death. he doesn’t see it as cruelty (abusers never do, do they?), but rather a necessary evil to “protect” his son.

james sees through this, of course, hence his wry response to elizabeth (despite it also being an obvious deflection of his vulnerability). and though it is a trauma he undoubtedly carries with him, he does what pragmatic, resourceful, astute james norrington always does: he strips it of its parts, extracts the components that are useful, and utilizes them to become a far more skilled, effective, merciful, and benevolent commanding officer. in this way, lawrence does save his son from a terrible fate; however, the fate in question is james replicating his father’s cycle of abuse and authoritarianism.

[ultimaa]

About Shingeki no Kyojin 125 - Theories and ramblings.

Annie and her New Year's resolutions.

More than one we looked forward to Annie's return and I am deeply glad that our favorite blondie has already left her glass prison, but why has Annie returned? What are your purposes? Well, she makes it clear in her conversation with Hitch: go back to her father. We know that Annie appreciates her father more than anyone in the world; if she had to do all the atrocities she did to return to her father, she would do it again. It's not that Annie is bad, but, as Nietzsche said: “Whatever is done for love always occurs beyond good and evil.” Human nature is like that, and Annie knows that she has committed unforgivable sins. She is not proud, but she will not punish herself. SnK's world is cruel, but if there is something that represents love and kindness, it is family: Eren swore to avenge his mother; Mikasa lost her parents, but found similar figures in the Jaegers; Armin lost his grandfather; Reiner wanted to become a warrior for his father to return to his mother; Connie, who lost his family because of Zeke, is willing to sacrifice Falco, a poor child, to recover his mother... Annie's motivation is deeply human and reminds me of John Marston, protagonist of Red Dead Redemption. John had only one goal: to hunt his old friends, who were outlaws, so that the Government would return him to his family. If Abigail and Jack, his wife and son, had been killed, what would have happened to John? We will never know, but when John is killed by government agents, his son Jack takes revenge a few years later, continuing the cycle of violence and death. In the end, John... loses, because his son has become a criminal.

If Mr. Leonhardt dies, something I see very possible under the circumstances, what will happen to Annie? Her great goal has vanished. Nothing makes sense anymore. If even the most sacred and beloved has died, what should Annie do? We meet like this with someone whose life has no direction. Someone who has lost beauty in a devastated and corrupted world. It is the seed of nihilism. Isayama is not characterized by fulfilling the dreams of his protagonists, not in the way that the viewer wants: yes, Armin reaches the sea, but what does this mean? It is the beginning of the end. The human being needs to cling to dreams, turn his back on reality to continue existing in it; however... What happens when nothing makes sense anymore? It is absurd, it is hopeless. It is something that could knock the strongest. According to Albert Camus, someone who has lost the meaning of his life has only three options: suicide, clinging to God or... continuing in the absurd, rebelling against it, turning life into an act of rebellion against nonsense. So, in the hypothetical case of his father dying, what should Annie do? Should he act like Jack Marston and continue the violence? I do not think so. Annie doesn't enjoy killing. Her face witnessing Marco's death is good proof of that. Annie must find a new purpose: end the violence, with that barbaric world that takes away what you love. Understand that she has lost everything, but not everything is lost. While something is at stage, we must continue fighting. In Red Dead Redemption II, Arthur Morgan knows his end is near; the love of his life has left and Dutch, the man who gave him a home and a direction, has become a mad and heartless man. However, not everything is lost. He can still save some (including John Marston and his family, as RDR II is a prequel to the first game) and he succeeds. Arthur finishes his story as a redeemed character; he, who had spent his entire life killing, lying and stealing, ends up redeeming himself. However, Arthur Morgan was not seeking self-redemption, but a future for others. It's something we can apply to Annie. His final role cannot consist in returning with his father and being happy. We know Isayama: God is more likely to come down to Earth.

Connie, Falco and a decisive meeting.

And if Annie can aspire to redemption, Connie is willing to morally condemn himself. Come on, we all know that Falco is not meant to be titan food. Connie, in addition to the prankster par excellence with Sasha, is a character with a story as tragic as any other: he lost everything, but the possibility of recovering his mother gives him hope. But sacrifice Falco? Is Connie able to do something like that? I do not think so. Connie is human; Anger and revenge are very human things, but so is understanding. Connie will abandon his plan sooner or later, when he accepts that, beyond the vessel of one of Titan's powers, Falco is just a child. A child, like his siblings. A child who is not guilty. A boy who, like him, has lost his brother and his friends. Taking into account that Connie, along with Sasha, cried when they faced Reiner during the Return to Shigansina, we must understand that he is a sensitive and empathetic character, blinded by anger and the possibility of recovering a loved one. Armin and Gabi go in search of them, but will their intervention be necessary? Mikasa warns Armin that they won't be able to reach Connie; indeed, I don't think they reach it. Armin, Gabi, Hanji, Levi, Magath, Pieck, Connie and Falco are more likely to meet. Remember that, because when it happens I will come to brag hehehe. What if they meet? The cocktail would be fantastic. They may be Paradise's last hope. Also, I want to see the reunion of Falco and Gabi; because they are very cute and deserve it. How much do we bet that Gabi ends up crying like a baby while hugging Falco? And with that confession at the last minute, I wouldn't be surprised if Isayama felt romantic and gave us a kiss between them. Imagine the faces of adults. I may be delirious, but if it happens... here I will be, again, with ‘I told you so’.

On the other hand, such a reunion can return hope to Armin. Levi, who is the strongest soldier of all time, the Messi of Paradise (yes, I had to make the comparison sorry CR7), is alive; fatally wounded, but alive. In addition, Hanji, who represents leadership, is also fine. With these two pieces again on the chess board, it is possible to trace the game. In addition, Hanji and Levi's encounter with Magath and Pieck constitutes a point of union between Erdia and Marley. In the end, it seems that yhe idea of Eren as the final and unifying enemy of humanity begins to make sense, even if he has not proposed it. After all, if you can't with your enemy... join him against something much worse.

Jean and Mikasa: replacements.

While we know that the commander and the eternal captain are alive, Jean and Mikasa believe otherwise. Well, if I were one of these two, I could only think one thing: WE'RE FUCKED. Fortunately, Isayama has wanted these two to receive the fatal (and false) news. It's not by chance. Nothing is. We know Jean Kirstein and Mikasa Ackerman well; I could say that we have grown up with them. Jean, a guy who started out as an arrogant bastard and who soon revealed his impressive leadership ability; Mikasa, a woman with a force only inferior to Captain Levi. Well, here I go: Jean must take over from Hanji and Mikasa from Levi. We have seen a practically shattered Jean, almost subjected to Folch; However, Mikasa, despite her situation, remains more or less well, keeping a level head. Don't get me wrong: she's pretty screwed, but she seems better than Jean now. During the battle of Trost there is a critical moment: the gas is running out and everyone is going to die. Then Mikasa arrived and, far from being blocked by Eren's supposed death, he tried to motivate them in her own way, you know: I am strong, much stronger than you. We already know that Mikasa is a woman of few words, but her message was enough to encourage Jean and the others. Yes, the current Mikasa is not the Mikasa of ninety chapters ago, but her character has reached a key point: she has to take the reins, think for herself. Only they can stop Folch and handle the situation in Shigansina. Their characters need it. Hanji is a leader, yes, but Jean has much more potential; Mikasa is not Levi, but she is an Ackerman, the only one capable of fighting, and in these four years she has been able to perfect her skill. If these two start working well together, they can be a lethal and decisive combo.

Louise and the scarf.

Well, if a scarf is not in your closet on a cold winter day it may not mean anything important: it may be in the washing machine, with the other clothes. However, Mikasa Ackerman's scarf is not just any scarf, but it contains crucial values ​​and stories for her... and for Eren. The scarf has taken a very important role during the last arc and has now disappeared, Louise has taken it. And it's normal, because Mikasa is her idol. Well, we all know what meanings the scarf has, which represents positive values ​​in a world like Shingeki no Kyojin. The scarf has no place in the current situation; everyone is hopeless and crestfallen, dejected and defeated. And when will the scarf return? I have read the following theory out there: Eren will find Louise's unrecognizable corpse and believe it is Mikasa, recovering the scarf and feeling like real shit. Yes, that would be a possibility of fulfilling what our boy said in chapter 50. The scarf will return when the barbarity ceases, when that beauty returns, in the words of Mikasa, who lives in a cruel world. And we know that it will return due to the first panel of chapter 1 of the manga, Eren's mysterious dream.

I'm sorry if I have grammatical mistakes: English is not my mother tongue.

[disastrcl-a]

Death Tags

Death: your mind is your greatest foe (musings)

Death: the beauty and wonders of earth (aesthetic)

Death: ive come so far yet im still growing (muse)

Death: soothing melodies (music)

Death: hidden secrets never uttered before (headcanons)

Death: they say death is cruel but it is a necessary evil in the cycle of life (ic)

Death: im not as wise as you may thing (asks)

Death: where you go this time is ultimately up to you (starter)

Death: lets hope we dont meet again soon (reply)

[disastrcl-a2]

Death Tag Dump

Death: your mind is your greatest foe (musings)

Death: the beauty and wonders of earth (aesthetic)

Death: ive come so far yet im still growing (muse)

Death: soothing melodies (music)

Death: hidden secrets never uttered before (headcanons)

Death: they say death is cruel but it is a necessary evil in the cycle of life (ic)

Death: im not as wise as you may thing (asks)

Death: where you go this time is ultimately up to you (starter)

Death: lets hope we dont meet again soon (reply)

[lcnelymccn-moved-blog]

@partumby ♥ SC

      “I see you’re no stranger to DEATH.” His statement vague. Not elaborating in the slightest on what he’s referencing entirely as it the meaning would be different depending on who you spoke to. None the less, he’s tilting his head at him. As if waiting for a response. 

[giorgiastastes]

Cidade De Deus (2002)

“Why return to the City of God, where God forgets about you?”

 Let’s start from the title, which is certainly enigmatic. Calling city of God, a suburb that is the scenario of a reality abandoned by God is not a mistake, nor is the frequent recourse to religious faith seen as the only motivation, the last hope of these young men for a better life, that does not lead them in a coffin before the age of twenty. I am in favor of full religious freedom and belief, but I cannot fail to notice how, if faith can lead to extremism, bigotry and fanaticism, very often it is also the only light of those who have already touched the bottom or are about to do it.

Speaking of the plot, the film begins in medias res, in the Cidade de Deus, one of the most dangerous favelas in all of Brazil.

The initial scene, so frenetic and almost surreal, is part of the history of cinema, with the chicken running away through the alleys of the neighborhood, while at least twenty boys chase her, trying to catch her with guns and rifles, as if it were Pablo Escobar reincarnated.

The chicken finally ends up clashing with our narrator, aspiring photographer, now stuck between the street gang and the police.

 Masterfully we see the camera rotating around this boy, over and over again soon becoming an hypnotic rhythm, while at the end of the last turn we find ourselves in another time space, in the 60s, accompanied by the phrase A PHOTO COULD HAVE CHANGED MY LIFE, BUT IN THE CITY OF GOD IF YOU ESCAPE YOU ARE DONE, AND IF YOU STAY YOU ARE DONE, IT HAS ALWAYS BEEN SO, SINCE I WAS A CHILD.

The protagonist, faced with such a difficult choice, returns to the past with his mind and begins to tell us about a naive gang of thieves in order to narrate with their story, also the reality of the favela, which, using the the film’s wording, is too far from the idea of a Rio’s postcard that the government wanted to portrait at the time.

After a series of episodes that I don't want to spoil, we will move on to the next decade. This initially will seem like a positive turn and then will turn out to be only a patination of the neighborhood, which in the end is even more socially structured and cruel than how it used to be.

 Finally, let’s move to the strongest part of the film, the children. They are the ones who make the choices that will most mark them.

In the city of God you cannot live your childhood with carefree, you must immediately decide which side to stand on, and this childish decision, you will take to your grave.

Among the children there are those who immediately think of themselves as an outsider in that climate of crime and violence, but according to them, not because of a sense of morality,but simply because they’re afraid of getting a bullet.

Then we find those who were born for it, and even plan for new robberies, who feels strong and great showing off a gun often bigger than their head.

To say that the film offers us several times the philosophical doubt of WHO ARE GOOD ONE AND WHO’S THE BAD would be redundant and perhaps too direct even to be discussed, with the police who often behave worse than the bandits, and the only “non silent” citizen is the one acting the most violent crime, so I want to focus on other points.

 

Can you choose which side to fight for or are you facing a one-way street? And then, badness, evil and violence are innate or you learn them, you discover them with living?

Answering the first question, the most objective and direct of the two, there is certainly no doubt that in such ill-famed neighborhoods, it is the crime that pursues us and not the other way around. When you are so abandoned by institutions and authorities, often even with a lack of reference figures from which to take example, Crime is not a choice, simply because there are no choices, it is the only option, even if unjustly glorified.

About the second question, on the other hand, in my opinion, the evil is innate, but not because it is to be considered hereditary, more because but it is part of the human nature, of the animal part in each of us, which, unfortunately, is not held back by human intelligence, but brought to extreme sadism from this intellectual capacity which other animal species lack.

It is morality that then represses these instincts, but if we left the world to anarchy, only a few would stop, and as Plautus says, Homo homini lupus.

To better explain my thoughts, I must refer to another masterful work.

I'm talking about Dogville by the controversial but brilliant Lars Von Trier. I won't talk about this film, but just to summarize the idea, we are faced with a town where cruelty is so eradicated in the population that it is a same child who starts the cycle of violence and abuse. This episode perfectly reflects how human’s evilness is, in my opinion as much as that of the director, genetic, and that can also be seen in City of God.

The undisputed head of the city, Ze Pequeno, begins his rise to power at the age of eighteen, as soon as he realizes that he wants to become the absolute king of the favela.

But if we were to talk about his desire for blood, that was born much earlier, when he was still a child and, as the narrator tells us, "he wanted to act out his whim of killing" and then took advantage of the robbery at the motel to make a massacre.

Certainly the number of its victims grows with its age and so its desire for power but, however questionable this choice is, it was not homicide for futile reasons. In fact, he decides to exterminate all the main drug dealers in the area with the intention of becoming the only owner, when he begins to understand that it was necessary to switch to the drugs field.

What makes me reflects is that, although the character will always be easily triggered, and it is not uncommon for them to put a hole in someone’s head, the reason why he killed as a child was not even money, it was just an innate desire to kill, to take the life of another human being and watch him take his last breath.

 

His disturbing laugh proves it.

Even the punishment, albeit excessive, that will lead him to death, inflicted on children who had robbed a rotisserie, is still part of his plan to be the owner of a favelas that respects him because in good or bad it is he who protects the city.

And it is precisely in that scene that we see how the cycle begins again, when Ze Pequeno forces a child to kill another child, or when those same children make up any type of story just to receive a weapon or the same one who will then take control of the city at the end of the film, probably taking the man they killed as an example.

They are always the victims and executioners, as well as the heart of the story. Of course, in the seventies we see the protagonists grown up, but of adult men they only have the appearance.

Their character is still that of the decade before, as well as their choices and behaviors. One of them was marked by the sight of a camera as a child and this became his greatest passion as a teenager and then an adult. The same one, despite knowing who his brother's killer is, decides not to take revenge in order to respect the choices he made years before, that is, to abstain from evil.

I don't even need to dwell on the exceptional and impeccable shots because, although there are unforgettable scenes such as the death of Benny between the screams and the intermittent lights of the disco, each shot would have to be studied and likely more than that, the transitions between one and the other.

The plot remains a rhythmical crescendo, we never get bored and the story remains in evolution: we don't have a real incipit, a problem that upsets the balance, a resolution of the problem and then a conclusion, it is a story that it follows changes without actually being a real beginning and end, just like a cycle.

Another and final theme is the power of art, the only means of escape from such a difficult reality, but art itself can often be used improperly to advertise and almost glorify this underworld. In this case we are talking about photography, but it could be any type of art from poetry, cinema to music.

The film must be said that it has no clear defects, but if I could have put my own I would have made the symbol of the camera even more important, since mainly we see it in the very first scene and in the change of decade, and then obviously for the whole last half an hour, while I would have made each photograph part of a chapter of the story, which did not happen.

All in all, I went too far and if you still didn't get the message, run to discover this masterpiece of cinema.

[bazz-b]

THE BIG BLEACH HC MEME centering around politics, repost & fill out! For anyone who wanted to explore those aspects more, considering it played a big role in the story. Some things may be unknown to your Muse, just think in WHAT IF then & well, have fun and take your time!

BASICS

Name:   Bazzard Black (former: Bazz-B)    / / /    Age:   1000+    / / /    Gender:   male Race:   Shinigami / Quincy / Hollow / Fullbringer / Visored / Human / Other Currently lives:   Soul Society / Hueco Mundo / Silbern / Living World / Hell Exact Location:   Unknown, last known: America  Group(s): Wandenreich (former)

QUESTIONS

- Would your muse consider themselves more: GOOD / BAD / NEUTRAL ? - Would your muse consider their group more: GOOD / BAD / NEUTRAL ? - How does your muse think others see them: GOOD / EVIL / NEUTRAL ? - How does your muse think others see their race: GOOD / EVIL / NEUTRAL ? - How does your muse think others see their group: GOOD / EVIL / NEUTRAL ?

- Is your muse considered a threat: YES / NO ?  From whom?:  Soul Society, Hollows, Quincy remnants - Is your muse powerful: YES / NO ?  Could they be considered OP:  YES / NO ? - Did your muse any crimes: YES / NO ? - Does your muse think they are doing mostly the right thing: YES / NO ? - Would society think the same: YES / NO / MIXED OPINIONS ?

- Does your muse think they are treated unfairly: YES / NO ? - Does your muse feel understood from others: YES / NO ? - Is it important for them what others think of them as a person: YES / NO ? - Would they welcome death:  YES / NO ? - Will they ever find peace:  YES / NO ?

01.0.  Do they fully stand behind the group they are part of? YES / NO. Why is that? Explain: Bazz-B has never fully supported the Wandenreich. It is a necessary cause that they fight for, a cycle that must be broken. The Quincy have teetered on the verge of extinction and must fight tooth and nail for their right to exist. But when the battle is won, they can not persist with Yhwach at the helm.

02.0.  Do they like as things are in Soul Society? YES / NO. 02.1.  Is there anything they would change? Explain here: It is a misguided opinion that all Shinigami should be purged, just as the Quincy were. They were more than enough to defend humanity from Hollows-- what business do Shinigami have interfering with their lives anyway? Those that have passed should have no say in those that remain’s affairs.

03.0. Would they ever actively try to bring change (in general)? YES / NO. 03.1. Is your muse more: passive / active ?  Introverted / Extroverted ? 03.2. Does your muse care more about: other(s) / themselves ? 03.3. Do they trouble their mind over a lot of problems, others? YES / NO. 03.4. Do they mostly involve: the world / everyone / themselves / comrades / friends / family / elderly / kids / teenagers / home / workplace / strangers / souls / humans / quincy / shinigami / nobles / fullbringer / visored / hollows / espada / arrancar / (former) boss(es) / pets / animals / zanpakuto spirit / enemies / partner / lovers / soul king / god / other…(add more) 03.5. Name (up to) three which are the most on their mind (optional, adding names): - Liltotto Lamperd  - Giselle Gewelle - Meninas McAllon

04.0. Do they think frequently about politics? YES / NO / SOMETIMES. Why is that? Explain: After the war, it was left ambiguous what the fate of the remaining Quincy would be. Whether or not the Soul Society decides to send Shinigami after him, or if other Quincy should come seeking vengeance for his betrayal of their God. These decisions often hung on the whim of a single person.

05.0. How do they feel in their current location, more: POSITIVE / NEGATIVE / NEUTRAL ? 05.1. Why is that?:  Bazzard hasn’t had a home since Yhwach took it from him, alongside his parents. What did it matter which scenery you traded for another when the faces and places blurred together?

06.0. Does your muse have any goal: YES / NO ?  BIG / SMALL ? 06.1. Does it involve anything world-changing: YES / NO ? 06.2. If goal or not, any future plans? Share here:  Survival. With the Quincy population once again on the verge of collapse his death would be a waste, and after all that died it would be selfish to walk aimlessly to the grave.

07.0. Does your muse know about the original sin of soul society*: YES / NO ? * curious? Read about it here. 07.1. If they knew, would it change their views on Soul Society: YES / NO ? 07.2. More: POSITIVE / NEGATIVE / NEUTRAL ?

08.0. Who is the worst person in their eyes?:  Yhwach. 08.1. What should happen to them?  Execution (quick / slow death) / Imprisonment / Stripped of their powers / Torture / Repay for their sins / Pay a Fine / Social Work / lose their loved ones / Exile / other… (add more). 08.2. Explanation:  Without Yhwach, Bazzard had a chance at a normal life, with a normal family, and a normal shot at happiness.

09.0. Thoughts on the Quincy Massacre if they knew: POSITIVE / NEGATIVE / NEUTRAL ? 09.1. Would they be alright with such thing happening again: YES / NO ? 09.2. Would they try to prevent it: YES / NO / DEPENDS ? 09.3. Explanation:  No matter where your allegiances lay, it is every able-bodied Quincy’s duty to take up arms and defend those among them who cant. Guilt cannot be assigned at birth, and why should a child pay for the crime of existing?

10.0. Would they ever switch sides: YES / NO ? 10.1. If yes, What could bring them to do so?:    - 10.2. Would they create a new one: YES / NO ?  or join a current one? If so, which:  Bazzard tried following another’s agenda, even just to reach his own. He’s flying solo now.

11.0. Does your muse follow a certain moral code*?:  YES / NO / GRAY AREA ? * (ethics) A written, formal, and consistent set of rules prescribing righteous behavior, accepted by a person or by a group of people. 11.1. What does it involve?: At the moment, his own survival 11.2. What does it NOT involve?: the likes of Shinigami and Hollows are without their own rights while operating in the World of the Living.  

YOUR MUSE’S VIEWS / OPINIONS ON THESE GROUPS ?

Central 46:   positive / negative / neutral.   ━   because: They were most likely the organization that orchestrated the first Quincy massacre, and all the following blunders of the Gotei 13

Four Great Noble Clans:   positive / negative / neutral.   ━   because: Nobility exist to better the lives of the common folk, and should protect them, not step on them.

Royal Guards / Gotei 13:   positive / negative / neutral .   ━   because: The blades of cruel oppressors, the architects of death and the self-proclaimed arbiters of life. Most of them should be put to death.

Fullbringer:   positive / negative / neutral.   ━   because:  The nature of their powers are still unfamiliar to him, but they’re humans capable of defending themselves. If they stand against the Shinigami they should be given support. Should he fully understand their hollow natures.. that makes thing tumultuous.

Visored:   positive / negative / neutral.   ━   because:  abominable hybrids concocted by Aizen, freak mixtures of everything wrong in the world-- Shinigami and Hollow

Espada:   positive / negative / neutral.   ━   because:  The biggest, baddest Hollows there are. If at all possible, he’d like to kill them all. Demoralize the Hollows and remind them not to look down on humans.

Quincy:   positive / negative / neutral.   ━   because:  In their previous iteration, the Wandenreich was problematic. However they exist now.. as a collective he has no place among them.

YOUR MUSE’S VIEWS / OPINIONS ON THESE (IMPORTANT) PEOPLE ?

Aizen:   positive / negative / neutral.   ━   because:  What an absolute ass hat. Dangerous even to the Shinigami, if that guy ever gets out everyone is in trouble.

Yhwach:   positive / negative / neutral.   ━   because:  Literally the worst dude, as stated above: Without Yhwach, Bazzard had a chance at a normal life, with a normal family, and a normal shot at happiness.

Mayuri:   positive / negative / neutral.   ━   because:  Second to Yhwach, Mayuri is the worst bastard ever to exist. The crimes he has committed to the Quincy population are inexcusable, not including the ones he’s currently committing without Bazzard’s knowledge. If there is to be a lasting peace between the two groups, it should begin with his death.

Kurosaki:   positive / negative / neutral.   ━   because:  Brat had a chance to join the Quincy, yet once again sided with the Shinigami. No helping that moron.

Soul King:   positive / negative / neutral.   ━   because:  some guy in a crystal? Yhwach hates him, so maybe he’s alright. At the very least he’s necessary to keeping the worlds around so how about don’t torch this fella.

CONGRATS, you managed till to the end, now tag your fellow bleach partners!

TAGGED BY: @skyvar​ & @senboago​ TAGGING:  ALL QUINCY MUSES PLS