#ACTUALLY eclipse is also a candidate. she could do it I believe

[leafiion]

actually if neither fern or the MC were there I think the people that would be most likely to do the hero’s journey across reborn would be titania, amaria, cal or victoria.

[ahaura]

my thoughts on sh*v, which is to say how some sh*v fans talk about her and regard her online

to preface: 1) i am not as attuned to the characterizations and machinations of succ.ession therefore i have gotten things wrong before about characters n i am not going to claim i am spot-on or 100% on my analysis of sh*v as a character but 2) i have some thoughts and opinions on how certain (read: probably not you reading this!) sh*v fans regard her and her place within the show

TW for mentions of: sexual assault & harassment, child abuse, etc.

i am 100% aware of the fact that within the confines of her family, within her father's world, gender makes a world of difference and that because she is a woman she is neither treated nor thought of in the same way as her brothers or father or her husband will ever be. that she experiences misogyny is obviously wrong and inexcusable, it has shaped her and shaped her experiences with both her loved ones and acquaintances. i acknowledge all of that.

my point of uh "contention" i guess is when people solely focus on the single axis of marginalization on which she experiences discrimination. it's when the ironic #girlboss feminism comments turn into, almost, painting shiv as THE victim of the roy family. like she has suffered the MOST. like every interaction she has or slight she experiences must ONLY be examined EXCLUSIVELY through the lens of gender, when, as huge as a role her gender plays, there are two things that eclipse that: that she is a white woman - and - she is a member of one of the most powerful and influential families on the entire planet.

i love snook as much as the next person and enjoy shiv as a character but the way in which certain fans engage with her and assess her just rubs me the wrong way. you can definitely say she is a victim of misogyny. you can definitely say that she was harmed and shaped by her father in the same way her brothers were, but also differently because of her gender. but she is also a roy, through and through. there are COUNTLESS posts about logan's abuse (implied, implicit, and speculated) and how it + their upbringing has shaped roman and kendall. they, too, are a product of their environment. but they also made choices. they have the capacity to make choices. the drive/motivation behind said choices can be debated and dissected to the end of time (kendall all but abandoning his daughter and choosing the n*zi candidate because it suits his wants, roman's transformation from a shitty guy who sexually harasses one of his employees into a neo-n*zi (whether he actually believes what menken believes is irrelevant; intention does not negate outcome)) but the fact is they still made choices.

shiv may have tried to make different choices and maybe she does have different, more respectable principles than her brothers but it only goes so far. skin deep. i can't remember which season it was but when a (iirc) a SA victim was going to come forward, sh*v was conflicted about it! you could tell that she didn't want to! but it doesn't matter, because she went to that victim - someone who was also a woman, btw - and silenced her on HER FATHER'S BEHALF. you may want to say "what about the game logan made his kids play" or "she felt she had no choice if she wanted to win" or "someone else would have done it if not shiv" and im telling you that ultimately none of that MATTERS when, in REAL TIME, shiv CHOSE to SILENCE A VICTIM TO PROTECT HER FATHER. TO PROTECT THE COMPANY. TO PROTECT CAPITAL. and while, yes, her working against her brothers would have been BETTER for everyone, she wasn't doing it out of the goodness of her heart. she stuttered when talking about convictions the only time she brought it up. she was in it for herself, for her own gain, and you can argue that's just how it is in their world, that she was programmed to think of it that way, etc etc, it doesnt matter, i do not care.

every single utterance of convictions, principles, and morals ring hollow for me especially after watching that unfold. shiv CHOSE TO DO THAT. i think we can all agree that silencing a victim of sexual assault is NOT FEMINIST, YES?

as a character, shiv is very interesting. there's a lot of nuance and analysis to be had and i enjoy her as much as anyone else. but i regard her in the same way as i regard kendall (like shiv, trapped in his father's playground, an addict who was broken down by his father, but ultimately a man who will never be held accountable for killing someone and still decided the fate of the world), and roman (like shiv, trapped in his father's playground, abused by his father physically and perhaps otherwise which shaped him into the person he is, who CHOSE to sexually harass gerri and has WILLFULLY supported the n*zi candidate), and connor (excluded from his father's playground, or at least put in a different corner, a man whose mother was institutionalized, is the firstborn of logan roy but never treated as such or remembered, never counted among the real roy siblings, but is still absolutely a scumbag whose power and money most DEFINITELY govern his and willa's 'marriage'). they are human, with their own traits and pitfalls and wretchedness, but they are also members of one of the most powerful families in the world, which means that they can go through all of that, and it all can be bad and horrible, but their decisions do not just affect them and their inner dynamics, the fate of entire countries, the whole planet. on a whim, for capital, or personal gain, whatever. the roy children fall on 2 scales: the human scale, onto which we can identify with them or identify their humanness (good or bad), and the grand scale, which is to say that the troubles of the children of billionaires are WHOLLY eclipsed by how their decisions affect the entire world.

and i'm not saying you can't like or enjoy these characters! this is television, yes, but 1) remember their place in the world at large and 2) seeing as how these characters and the show itself is based off of a very real family who has very real control over media and has caused very real harm in real life, i would just... idk, caution you not to woobify your faves too far.

[soulventure91]

Rook questionnaire asks: 1, 5, 6, 14, 17 and 29.

rook questionnaire! | gonna do these for Seht yesyes

1: Where in the Thedas is your Rook from? Seht was born in Par Vollen, and grew up in the Qun until the age of 16. Seht is short for her full 'nickname', Sataare (from qunlat 'sataareth', defender), which she started using after she escaped from being bound as saarebas. From Par Vollen, Seht managed to cross much of Seheron to eventually reach the Thedasian mainland, somewhere along the border between Tevinter and the Anderfels. A group of Grey Wardens (probably including Antoine and Evka) found her, starving and half-mad, and helped Seht recover from her long journey. Seht remained a recruiting candidate as she trained to use her magic, and underwent her Joining - perhaps the only known qunari to survive the ritual with her sanity intact. Prior to meeting Varric, Seht was probably a junior Warden of two to three years.

5: What emotion did they usually pick? Despite starting her off with my personal default of snarky, Seht's nature is really more diplomatic (DA2 Blue) with shock and regret/mourning. She might not follow the Qun anymore but Seht does believe in people being able to work together and find their place, and takes every loss suffered by the Veilguard as a personal failing on her part - imagine how badly Seht was doing after Ghilan'nain's assault on Weisshaupt, not only suffering the direct consequences but also managing Davrin and Lucanis's self-doubts! Of course this doesn't mean she doesn't get angry easily, or set aside her emotions when work needs doing; by the time Elgar'nan forces the eclipse, Seht is just about done with being kicked in the teeth and knuckles down to ensure the best comes out of her team and their allies.

6: What companion are you platonically close with? Davrin! (even if Seht picked him to lead the distraction on Tearstone Island... T_T) With the both of them as Wardens, they have a lot in common just in that alone, and also bonded in the notion that they're both outsiders (Davrin being Dalish, Seht qunari) that found a home, of sorts, with the Wardens. Seht wasn't expecting losing Davrin in the showdown with Ghilan'nain, and his presence in Solas's Fade-prison stung her deeply. Seht also built strong friendships with Bellara and Lace, thanks to Seht's ongoing curiosity (though paired with healthy qunari wariness) regards unfamiliar magics. Despite the Venatori takeover of Minrathous, Seht did her best to rebuild bridges with Neve - which paid off when Elgar'nan captured Neve and Neve ended up driving Elgar'nan's influence out of Minrathous for good.

14: What hobbies does your Rook have? Seht is actually still working that out! Her childhood under the Qun, her mad hike across Seheron, and eventual recruitment and Joining to the Wardens, all mean Seht has very little idea of what she, herself, enjoys outside of the things she's done to survive. She does enjoy exploring and traveling; her two favorite 'walkabout' missions were exploring Treviso and Minrathous with Lucanis and Neve, respectively. I think she's also intrigued by history and theology, esp since the latter is a field that would speak to her familiarity with the Qun and slow adoption of Andrastianism.

17: Do they enjoy life as an adventurer? Since a lot of Seht's adult life has been on the move, I don't know if enjoy is the word she would use. Adventuring proved a necessity, especially since tal-vashoth are often mercenaries; being a tal-vashoth saarebas, even more so. I think the flavor of adventuring Seht is exposed to in traveling with Varric and Lace is definitely her speed; just maybe with a little less of it resulting in 'we're doing this to save the world!'

29: If you could choose a different faction for your Rook, which one would they have joined and why? OOOOOO good question. Of the ones offered in-game, probably the Lords of Fortune would make the most sense at least for Seht being qunari. There are probably a lot of tal-vashoth and runaway antaam that the Lords take in, so Seht would have that support community as she's recovering and finding her footing. For a faction not in the game? I would have loved an actual vashoth/tal-vashoth-centered group, kinda like the Valo-Kas mercs were suggested to be in DAI if you played as Adaar. Not only do you get a direct mirror of the antaam that way, but you could also get a direct view of how non-qunari would (or wouldn't!) be welcome - whether or not you're of the race or philosophy. Starting there as Seht would lead to a very different set of choices.

[bscully]

I know this is a bit of a broad and hard to answer ask but, as a fan of Berserk and someone who knows really in-depth into the intricacies of the story and characters, how do you think Berserk might have ended in your mind?

Hey there Anon, thanks for the ask!

I have a few finale scenarios in mind, or at least a few points that I think would matter in its outcome. How it exactly to write all of this out, is actually really difficult to achieve, so it's not surprising to me Miura entered into a stage of not knowing how to continue and stalling as a result (which may have been one reason why he stopped working on it for a long time).

First off, the driving force of Berserk will be Casca figuring out what happened to her and figure out a way to deal with her trauma. As she does so, Guts & Casca likely will figure out what happened to their son together. It's already insinuated in episodes 359 and onward, as the Birth Ceremony is heavily referenced there. It will also band their swords together for a common purpose.

Dannan & Farnese will contribute greatly to Casca's healing process. Remember that Dannan specializes in mending the soul and Farnese would have learned from her, as insinuated in episode 360.

Griffith's short absence due to moonlight boy might affect Falconia as whole, leaving Charlotte in command who might be overwhelmed by this task (similarly to how Casca was back in the Golden Age)

A possible encounter between Casca and future Queen Charlotte might turn out extremely interesting, considering what Griffith did to Casca during the Eclipse, and the fact that Charlotte also was assaulted by her own father.

This common understanding Casca and Charlotte share will be important if Casca ever decides to confront Griffith as she figures out what happened to her. If the truth ever comes out, Casca might cause Charlotte to question everything she believed in regarding to Griffith (which is why she is a potential candidate to triggering a Behelit)

An "Idea of Renewal" might be in the making considering Magnifico, Roderick, Daiba, Silat all appear to have have dreams to create their own nation or kingdom, and shape it to their liking. If Falconia should ever fall for whatever reason, and a lot of people die as a result of this or some kind of second giant sacrifice happens this might actually threaten the Godhand/IoE (Falconia is the last haven of mankind where people can live in safety. If 99% of humans lived in Falconia and Falconia were to be eradicated and only "enlightened" people like Guts/Rickert to survive, this might cause the energy source of the Godhand/Idea of Evil to vanish)

If the Behelit Guts is carrying was ever used by whoever in a world that has merged with the astral realm, it might have dire consequences: such as the resulting dragon road to be able to reach much deeper into the astral world than usual. This might give access to extremely powerful astral beings, such as the Idea of Evil itself (or whatever left of it that is canon) or even the Four Lords, potentially even both. Under certain conditions a lot of berserk characters could activate a behelit in THEORY, as each has something they value (for Guts it's to be able to protect Casca, for Casca it'd be her Boy….)

After all we have seen of Skull Knight, I can see him sacrificing himself to defeat Femto in a future calamity (which may be the reason why Guts will survive instead)

Considering the rather independent nature of Zodd, he may turn against the Godhand if he sees fit (such as when SK dies, Femto is defeated, or Griffith's facade stopped working on people)

[young-dumb-and-vaccinated]

Cult Girl: Doctorate (Hannibal x Female!Reader) pt. 8

Cult girl and Hannibal go through an exhaustive list of potential adoptive couples. 

@wisesandwichshark

Trigger warning: sexual harassment, christianity, discussion of pregnancy and family planning, adoption, murder and cannibalism 

Step two: find an adoptive family.

Some would say your list of expectations for potential adoptive parents was too extensive. Impossible for any human to reach. But it was really just the bare minimum.

Regardless of if they were two men, two women, one of each, or a few people, the parents had to be trustworthy. It wasn't easy to earn Hannibal's trust, but he could recognize those who had the capacity to right away. It was a little instinct you had dubbed 'friend or food'.

On paper, the apostolic pastor and his wife of 19 years seemed like the perfect candidates. The adoption agency tried to push them on you, as they had a great track record with adopting from them prior. Three boys, all of which were honors students.

Hannibal insisted on a formal introduction, during which you could conduct a proper, though surreptitious, interview. It was an invitation to dinner.

He invited the couple into his office, where a pot of tea and an interrogation was waiting for them. Then there was you. Barely-pregnant little [F/N], feeling entirely safe so long as your fiancé was beside you.

"You're doing the right thing, y'know." The woman, who introduced herself as Mrs. Landon, said upon meeting you.

"How do you mean?" You asked, already knowing the answer.

"All god's life is precious." She said, placing a hand on your not-even-remotely-showing-yet stomach. "You're walking in obedience to the lord by giving this child a shot at life."

Strike one: bringing up religion unprompted. Strike two: touching me without asking first.

You wanted to swat her hand away, but remembered that patience was a virtue. She and her husband took a seat across from you.

"Y'know," The man began, his mannerisms eerily similar to those of his wife. "I don't usually begin with the god talk, but I think a higher power had to have been involved in the conception of this- well, our child. I'd like to think the good lord brought us together today."

Strike three: already believes he is entitled to my child. You're outta here.

"Don't flatter the adoption agency like that, Jacob." Hannibal chuckled, placing his teacup on the side table.

"I'm serious, Dr. Lecter." Jacob interjected. "Faith and I really do believe that god put us on this earth to prepare his smallest soldiers for the spiritual war."

You shot Hannibal a side glance that said 'can we please just eat them now?'.

The answer was no. Hannibal liked to play with his food.

"And your adult children have all moved out?" He asked.

"That's right." Jacob nodded. "We have plenty of room in our five-bedroom house for the new little slugger to run around in."

"And if it's a girl!" The wife interrupted. "We have enough closet space for all the denim maxi-skirts money could buy."

Strike four: arbitrarily genders the behavior of a nine-week-old embryo.

The man then returned the teacup to the table, not bothering to use the saucer and instead leaving a nasty ring of condensation on the polished mahogany.

"Okay." Hannibal huffed, resignedly rising from his seat. He pulled two hypodermic needles from his back pocket and carefully, subtly stuck them onto the couples' necks. They couldn't even scream.

The tacos al pastor that followed (after a few days of marinating, of course) were exquisite.

The next week brought a new couple to your doorstep. Frank and Angela, they were named. Their claim to fame was that their oldest son played football for one of those big southern party schools. Either Auburn or Alabama. There was hardly a difference.

You sat for what felt like hours listening to the man speak in unintelligible football babble, waiting for him to take a breath. Surprisingly, it was the mom who got him to finally shut up.

"Frank, please." She said with more frustration than this one situation even remotely warranted. Either she had enough intuition to know she was being tested, or she’d spent the last decade putting up with this. Possibly both. "You're boring our hosts to death."

"What? No way! She loves it!" Frank replied, then turned to you. Not to Hannibal, just you. “Aren’t you having a great time, sweetheart?” 

Strike one: takes advantage of the female socialization to be passive and polite, allowing himself to take up the most space.

You shook your head. “I hate football.” 

His wife looked quite pleased with herself. 

“Angie, I just wanted her to know what good breeding her son is going to have.” He said, without a lick of irony or self-awareness. He eyed you up and down and licked his lips. “And it is mutual, I see.” 

The room went quiet as everyone tried to determine whether he was serious or if it was just a fucked-up joke. The longer the silence lingered, the more you realized he wasn’t kidding. Angela looked like she wanted to crawl into a hole and die.

“I don’t know what the agency told you, Mr. Wyatt,” Hannibal said, trying not to grit his teeth. “She isn’t a surrogate. She’s already pregnant.” 

Frank’s jaw hung dumbly open. “I thought you were looking for a sperm donor? I just-” 

“No.” You cut him off, raising your hand and covering your face. “I don’t want to know what you thought.” 

“Well, I would!” Angela interjected, righteous fury eclipsing what should have been crippling embarrassment. “What exactly did you think this was, Francis?” 

“The file said that he was over fifty, so I just assumed--” Frank rationalized, his voice far too loud for the room. “Y’know? That she wanted a baby that wouldn’t come out all funny-looking?” 

“You’re disgusting.” You blurted out. 

“Francis Howard Wyatt,” Angela scolded as if she were talking to her son. “You are forty-eight and the only increasing part of your body is your blood pressure. Why on Earth would any woman choose you over her smart, handsome doctor fiancé?”

This made Hannibal sit up a little straighter. He wanted Francis on the butcher’s block yesterday, but he momentarily considered letting Angela live. 

“They’re not married?” Frank whispered, or whatever the loud-aggressive-toxic-masculinity version of whispering was. He paused, as the dead hamster on the wheel powering his brain crept back to life. “That actually makes sense.��� 

Angela loudly smacked her hand against her face. “Dr. Lecter, Ms. [L/N], I am so sorry.” 

“It’s quite alright, Mrs. Wyatt.” Hannibal stood up, readying the next batch of needles. “It just makes what I’m about to do easier.” 

It took quite a bit of restraint to not make their deaths hurt, but he made up for it when it came time to carve. He had fun running his fittingly small penis through a meat grinder. Not with any intent to cook it, though. Just because. 

Hannibal wanted to make Francis Wyatt into the least dignified meal imaginable. You quickly recalled going to a friend’s barbeque in Georgia and encountering a horrendously Southern delicacy known as Frito Pie. You proposed the idea to Hannibal, who, after reviling in abject horror at the notion of eating something out of a bag, agreed that it was the most fitting end. He could spare a few pounds of flesh to grind up and make into chili. 

The third week brought yet another couple. They seemed smart enough to realize your invitation wasn't the friendly olive branch the others had interpreted it as. Their healthy skepticism was refreshing, to say the least. Then, you met them: Max and Archie.

"You'll have to forgive my partner's paranoia." Max said upon entering the house. He tugged playfully at Archie's hand. "We watched Get Out recently, so an invitation to the suburbs sounded some alarms in his sleep-deprived brain."

"I love that movie." You chimed in. "It reminds me of my family."

"Oh no." Archie's eyes widened in only half-pretend fear. He shot an I-told-you-so look in his partner's direction. 

"But my favorite horror flick has to be Midsommar." You added. "My friends and I saw a midnight screening and we didn't sleep at all that night."

"But have you seen Hereditary?" Archie posited.

"Of course." You shrugged. "Aster is totally genius."

You made more than just polite conversation with the couple. Max, despite his young age, was a skilled data analyst and day trader. He attributed his success to the hard work of his immigrant parents. Archie was an environmental lawyer and land activist. He was also a bit of a thrill junkie, indulging in everything from scary movies to bungee jumping.

It didn't take long to realize that you wouldn't be eating them. They were far too pleasant of company to eat.

"So when is this baby planning to make its entrance?" Archie asked, gesturing to you. "You don’t look all that pregnant to me."

You put your hand over your slightly-protruding stomach. "Late August, I believe. If everything goes according to plan."

"You're not far along at all, aren’t you?" Max observed. "That gives us plenty of time to prove ourselves to you."

"Believe me." You put up your hand. "You're doing a great job so far."

“If you like horror stories, we might have to indulge you in the last two encounters we had.” Hannibal commented, leaning back comfortably in his chair. That was a good sign. “No blood was spilled, thank god. Would have ruined my carpets. But believe me when I tell you it came very close.” 

The couple laughed along. Archie leaned in like he was about to tell a life-shattering secret. “You wouldn’t believe the hoops we had to jump through to even have the chance to adopt. And I don’t want to say that it’s because we’re an interracial gay couple, but...” 

“Agencies aren’t exactly colorblind.” You finished, via his prompting. 

“She gets it.” Archie pointed to you. “See, Maxie? She agrees with me.” 

Max pushed his glasses up his nose. “I never said I disagreed.” 

You spent the rest of the afternoon waiting for the conversation to take a sharp left turn off a cliff, but it didn’t happen. They were wonderful company; polite, intelligent and articulate. Exactly the kind of people you’d want to see taking care of your child. 

You’d have to look for you next meal elsewhere. 

[smeraldos]

Love by Daylight (1/2)

➸ characters: Seokjin x Reader

➸ genres: Sailor Moon!AU, fluff, sort of e2l

➸ tags: sly friends, petty enemies/secret crushes, running away from the mortifying ordeal of being known

➸ words: 2K+

➸ summary: The day you find out who your suave partner in saving the world is, you're absolutely, positively, without a doubt sure you'll be over the moon. You'll be so happy you'll think you're dreaming. Turns out you're right. You do think you're dreaming. Because this? This can't be real. You're being pranked. Someone, somewhere, is going to jump out and say you're on Candid Camera. (Please.)

>> PART 2

When the lights fade and the facades fall, this is what you’re left with: Tuxedo Mask without a mask, you without your moonlit glamor. Tux the civilian is handsome, you can tell, and this is it—the moment you’ve been waiting for.

He lifts his face.

The youma's words come rushing back: Let the truth be known, the city’s deepest secrets shown.

Tuxedo Mask is none other than Kim Seokjin.

Suddenly, you’re reminded of a crystalline city; people bowing before you; Seokjin taking your hand, your matching rings gleaming in the light. Was it a memory or a dream?

You stand there, dumbfounded, until Tux/Seokjin dons his mask and brushes past. “Come on, Sailor Moon,” he says, sensible enough to use your alias. “The coast is clear. We’ve got a fight to finish.”

☾

“Why does it have to be Seokjin?" You whine, collapsing into bed and disturbing your sleeping cat. (In your defense, he was on your pillow. Which you’ve told him numerous times not to lay down on because his fur would shed.) Luckily, Agust is acquainted with your dramatic side and simply gets up to move.

“Well, why do you have to be Sailor Moon?” He points out. “It could have been someone less bothersome.”

“Hey,” you retaliate. “You’re the one who came to me. You could have given anyone the Lunar Key.”

“I didn't have a choice.”

“What do you mean you didn’t? You could have walked away and picked someone better, just like that.”

He scoffs. “Not when it’s the Queen.”

“Queen-schmeen." You flop back onto your bed, the springs creaking in protest. "I bet Her Royal Highness is on her throne right now, all nice and comfy. She couldn't care less."

Agust doesn't reply.

At first, you think it's because you've won and nothing else can be said, but when the silence stretches on, you know something is off. You sit up to see Agust no longer curled into himself, but sitting. He stares out your window into the night, his normally keen eyes empty. "She's dead."

Judging by his somber tone, she'd meant a lot to him. "I'm sorry," you whisper.

Agust sighs. "No need to apologize, kid. She was your mother, after all."

"My mother?"

"Not now," he amends. "But she was a long time ago, when you were the princess of the moon and Seokjin the prince of the earth.”

☾

The next morning, you head to school on time.

Your mom—present day mom—was surprised to see you up early, and Jeongguk called you out like the bratty brother he was (wow, no morning run today?), but the truth was you couldn’t sleep.

Last night, Agust recounted your past, how the dark eclipsed the moon. Although the queen tried her best to protect the kingdom, it was to no avail. Seokjin died in the fray, and you fell shortly after, helpless to save your beloved. In the end, the queen sacrificed herself to give you and Seokjin another chance at love, her people another chance at happiness.

A chance to rebuild the Silver Millennium.

The thing was, you didn’t know if that was what you wanted. Not that you’d want the Dark Kingdom to reign, but you weren’t sure whether you wanted to rule in your mother’s stead. Or marry Seokjin. Past you might have wanted to, but the you now could barely stand him. And neither could he. Or so you thought. You’d gotten along just fine with Tuxedo Mask, even grown a crush, but that wasn’t enough to warrant a marriage.

“Hello? Veen to Selene*?” Someone nudges your shoulder, and with a start, you notice Mina looking at you in concern.

“Sorry, what did you say?”

“Nothing yet, but it looks like you’ve got something on your mind. What’s up?”

You’re about to tell her when you see Seokjin approaching, his uniform blazer neatly pressed.

“Morning, ______,” Seokjin says. “Mina.”

“Morning,” you reply, ready for whatever biting remark he’d say next. But once Namjoon comes up, he leaves. That's it.

Even Mina, who hardly sees the two of you interact, notices. "That's the first time I've seen you guys polite. It's weird. What happened?"

After a discreet look around, you grab her by the elbow. “He's Tux,” you hiss, but Mina doesn’t look the least bit shocked. Her face breaks out into a giddy grin, like a child who’s finally tall enough to get on the big kid ride.

“You knew?” You ask, a little hurt she didn’t tell you.

She pouts, squishing your cheeks together. “Don’t be mad. You don't know how hard it was to keep it a secret.”

◑

You don't blame Mina, for the most part. It would have been better if you hadn’t known who Tuxedo Mask was, and vice versa. You felt like Cinderella running away from the ball, her beautiful dress giving way to rags and ratty shoes. If the prince caught up to her then, she’d probably be humiliated.

Just like you are now.

Tuxedo Mask has seen you at your most embarrassing moments, fighting to have the last word (or milkshake) as Seokjin, and also at your best, saving civilians with grace. You've only wanted him to see the best of you, for him to think of you as the perfect wonder-girl heroine everyone else saw you as, but he's seen almost every side. You don't know what he sees in you now, if anything. And frankly, you don't want to know.

"Have you ever thought that maybe he's thinking what you're thinking?" Mina asks. "You've seen all the good and bad in him, too."

"But it's different when he doesn't have a crush on Sailor Moon!" You say, exasperated.

"Oh, I wouldn’t be sure about that if I were you."

Seokjin thinking of your alter ego that way is embarrassing, but considering he's also Tuxedo Mask...now your face is red, you can feel it. Red as roses in bloom. "You're joking, right?"

"Why don't you wait and see," Mina replies, as cryptically as when she was Sailor V and you hadn't known any better. Having sympathy for you, she gives you a warm smile. "Don't stress out too much, Moon. You're amazing either way. Just talk to him."

◑

You think there's some reconnaissance to sort out first. When you walked into Crown Arcade and saw Seokjin talking to Jimin pretty intently, you didn’t want to interrupt...okay, who were you kidding? You chickened out.

But Jimin is his best friend, so he'll know how Seokjin feels the most, right? It's the next best alternative to actually speaking to Seokjin, which, well, you aren't ready for. Case in point: you've done the impossible and made yourself scarce. You aren’t about to break your streak now.

So the instant Seokjin leaves, you walk up to the counter. Jimin looks up from sprinkling a milkshake. "Hey. The usual?"

"Yeah, just double on the chocolate."

"You got it," he says, passing the drinks he finished making to a server. You watch him blend milk into ice cream, then reach over for a new cup to pour the mixture into later. It's all done with practiced ease, and you marvel at how quick he is, not to mention how beautiful the finished milkshake looks after. The chocolate is perfect, the whipped cream a cloud of snow drizzled with dark syrup.

Jimin slides it over with a grin. "Mademoiselle."

"Why, thank you," you say, digging in with gusto. This is exactly what "stressed is desserts spelled backwards," meant: Jimin's milkshakes never fail to kick your worries down a notch.

"Good?" He asks.

"Mhm," you mumble, more to your milkshake than to him, when the thought that you haven't paid yet crosses your mind. Oh gosh. You pull your purse onto your lap, but Jimin chuckles, stopping you.

"I've got it covered. Besides, I heard you weren't yourself lately."

"Really?"

He shrugs. "From the way you're devouring that, it's kind of hard to believe…"

You take an extra large mouthful to prove his point.

"But you only lay on the chocolate when you're bummed," he finishes, and you’d protest if you hadn’t made it a habit to drown your sorrows in his milkshakes. They were just too good to resist. Not to mention Jimin is a great listener. Your girls, although you love them, aren't always the best. You'd catch the moment they crossed over from attentive to "Is she done yet?" but with Jimin, you've never had that issue. Turns out you have a different one.

"I hate how perceptive you are."

He laughs. "You're just predictable."

"You know what? You can take back your milkshake and go back to work," you say in a fit of grumpiness, pushing the glass back to him.

"Are you sure you want me to do that?"

You meet him eye to eye. After a minute—a long, impressive minute might you add—you take it back. "Fine. What do you want to hear?"

"Anything you want to tell me. And if it's something you can't share, please tell someone you can. It's not great to keep things bottled up, trust me."

You sigh.

"Here's the deal," you begin, feeling a little weird telling your old crush about your new one, but marching through nevertheless, "I met someone on...online. He's nice and funny and understands me even though he's different. I just click with him, and eventually, I want to tell him I like him. The thing is, I don't really know who he is. We've been chatting on Discord and his profile picture is Tuxedo Mask, but he can't be Tuxedo Mask. Or maybe he is, who knows?"

Jimin laughs. If only he knew.

"Anywho," you continue, "I meet him and find out he's someone I actually know...but he's a pest. He always gets on my nerves and it's like he's a completely different person! I don't even know how that's possible, but apparently it is and it's just so frustrating."

Jimin doesn't speak for a while, which is fine by you. You take the time to jam spoonfuls of chocolate and cream into your mouth.

"You know," he finally says, amused, "that sounds a little like the plot to You've Got Mail."

"That isn't funny.” You huff. “Joe Fox was a jerk and I don't know why they played him off as charming."

"Isn't that what you think of the guy?"

"I never said he was a jerk."

"But you said he was a pest."

"That isn't the s—" You pull at your hair. "Ugh. I don't know anymore."

"Did you talk to him?"

"And what? Spill my complicated feelings?"

"No, just talk to him. You don't have to confess right now. Just air out the laundry and see where you guys are at. Chances are, if you're confused, then he's confused, too, and there's no way either of you can get out of it without talking to each other."

"I can't talk to him, Jimin. I avoided him for three weeks! He's going to hate me."

"He isn't," Jimin says firmly, and you wish you could have the same conviction. "Sure, he'll be upset, but if he's really someone who cares, he'll listen. Look, during that time you avoided him, did he try to reach out?"

"Well, I told him I didn't want to talk and he stopped asking."

"So he'll listen. If it turns out he hates you, give him a piece of your mind and I'll give you triple chocolate milkshakes on the house."

When he puts it like that, talking to Seokjin doesn't seem as dreadful. "You're not just saying that?"

"Have I ever said something I didn't mean?"

You get your answer when someone comes trudging in, holding up a bag from your go-to fast food joint. "Jimin! You better be grateful I drove all the way downtown to get you these burgers. Since when did you like ______'s favorite, anyways?"

"Since now," your traitor of a friend says. You glare at him, which he conveniently ignores.

"You're the best," he tells a surprised Seokjin, leaving with a pat on his shoulder. "Enjoy your meal!"

>> NEXT

...

note:

*Venus to Selene, like "Earth to [insert name]?" but replace Earth with Venus and [name] with Selene, Greek goddess of the moon

[squirrelcrow-po3]

SOOO this will be a long post

context: during night whispers in oots, feathermist (jayfeather equivalent) is overwhelmed with stress and emotion that he decides to go with stormheart (stormfur) and brook to go to the mountains, despite boartusk screaming at him not to. while there, he has a nightmare of the clans being destroyed and goes home without telling anyone. he finds that because he was gone, the dark forest has taken over the clans. basically, in my rewrite, there is a 'head' of starclan and the dark forest. they dont fade away, but the existence as they know it of starclan and the dark forest hinges on them. if they are killed by another cat from their afterlife, they ake over. but if they are killed from an outside source.. bad things happen. for awhile, this cat for the dark forest was one eye. but when tigerstar died, he killed one eye and took over. this cat for starclan was gray wing, but as he tried to defend the clans against the dark forests' surprise attack, he was killed. this banished starclan away forever, and made them unable to come into the living world or send dreams to living cats (though later, leaders find out they still get nine lives, they just don't have a ceremony. they fall asleep at the moonpool and wake up without seeing any starclan cats). anyways, the clans were merged into one big clan under tigerstar's rule, forced to worship the dark forest. most cats were brutally killed, especially old cats and cats deemed by tigerstar "not fit to serve him". the one good thing sunchaser has done was hide briarlight in the twolegplace so she wouldn't be harmed. okay so the prophecy cats are trying to figure out what to do. dovewing begs ashflake to do SOMETHING to help her. and he actually does, for once. he tells her that before he came into her body, he witnessed something: cherryflight was alive in the tunnels. dovewing tells feathermist and sunchaser, and they do to find cherryflight. ivypool stops them, still loyal to the dark forest. but dovewing convinces her to let them go. they find cherryflight and kill tigerclaw. the end! except literally most of the clan cats are dead :[

alive cats:

thunderclan: thornsnap (thornclaw, who is elected the clan's new leader), mousewhisker, feathermist, squirrelflight, sunchaser, cherryflight, icecloud, dovewing, ivypool, rosepetal, honeyfern, molepaw, pepperpaw (cherrypaw), brambleclaw (though mortally wounded), daisy, sandstorm, antkit (honeyfern's kit)

windclan: gorsefire (gorsepaw who lives, is elected the clan's new leader), heathertail, kestrelflight, crowfeather, nightcloud, squallstrike (breezepelt), hootwhisker, sedgewhisker, featherpaw, oatpaw, leaftail, harespring, slightfoot, tigerkit (sunchaser and heathertail's kit), frecklekit (sunchaser and heathertail's kit)

riverclan: willowshine, mothwing, hollowflight, minnowtail, havenpelt, sneezecloud, beetlewhisker, reedwhisker, podpaw, curlpaw, lakeheart, harekit, gorsekit, dapplekit, softkit

shadowclan: murkystar (blackstar), tawnyspark (tawnypelt), spruceheart (tigerheart), snowbird, sparrowtail, wasptail, berryheart, sleekkit, juniperkit, strikekit, needlekit, pinenose, puddlekit, slatekit, birchkit, lionkit

outside of the clans: briarlight, brook, stormheart, fern (fernsong, who is a kittypet), flip, bristle, lark, thrift, stem, sol, earth

with that out of the way. these are the 'books' though i imagine them more like novellas within the same big book

book one:

pov character: antkit

thunderclan is in ruins, but has the most surviving warriors out of any clan. brambleclaw gives up his place as deputy, as he is incredibly injured. he asks squirrelflight to be leader, but she refuses. everyone agrees that thornsnap should become leader, as a surviving senior warrior. thornstar wants everything to return to how the clans once were. antkit becomes feathermist's apprentice. he soon realizes that squirrelflight is pregnant again and tells thornstar, who is outraged that she is still in a half-clan relationship. squirrelflight decides to leave and join windclan.

at the next medicine cat meeting, antpaw realizes that riverclan is doing worse than thunderclan because they have no leader or deputy. they cannot agree on who should become leader: reedwhisker, mistyfoot's son and the most likely candidate that she would choose as her deputy, or mothwing, who was once deputy. shadowclan also has no trained medicine cat.

brambleclaw is dying, and squirrelflight returns with crowfeather to witness his last moments. thornstar relents and the clans agree that half-clan relationships should not be against the new code. squirrelflight has her kits, two toms. who she names maplekit after her father, and bramblekit after her dear friend.

feathermist and antpaw go into the twolegplace to bring briarlight back. he learns she had been taken care of by a kittypet named fern, alongside his four kits. fern agrees to join the clan with briarlight.

book two:

pov character: tigerpaw

in windclan, tigerpaw and his sister frecklepaw have recently been made apprentices. ever since he was a kit, he felt as though heathertail didn't like him. and with the new rules, tigerpaw is excited to go to thunderclan to meet his father. but he soon realizes that sunchaser is an aging, bitter tom, nothing like the hero he thought he would be.

suddenly, news comes out that shadowclan has annexed riverclan by force. but murkystar isn't working alone. two strange cats named sol and earth have come to shadowclan, claiming to be in contact to starclan. sol predicts the eclipse to prove this. he says that starclan wants the clans to become one strong clan. the other clans are outraged, claiming that that's what tigerstar wanted to do. but murkystar is too far gone to listen.

tigerpaw decides that he isn't wanted in windclan or thunderclan, so he joins shadowclan, much to frecklepaw's horror. there, he meets needlepaw, sleekpaw, and juniperpaw (who is training under willowshine to be a medicine cat). he especially bonds with sleekpaw and juniperpaw, who were orphaned in the great battle. as well as earth, who is his age. and was also abandoned by his mother and father, and was taken in by sol. tigerpaw relates to this. needlepaw is the only cat that tigerpaw doesn't get along well with, mostly because she doesn't necessarily trust sol.

however, riverclan is suffering under shadowclan. they aren't treated fairly, and are thought more of as soldiers to do murkystar's bidding than clanmates. but tigerpaw thinks this is for the best. but with needlepaw, he begins to question why starclan would want this. but juniperpaw and sleekpaw shame him for thinking this. he sees minnowtail sneaking out of camp, but keeps quiet for now.

third book:

pov character: frecklepaw

in windclan, frecklepaw is coping with her brother's absence. soon, skyclan appears at the edges of the lake territory, and frecklepaw convinces gorsestar to allow her to greet them, desperate to escape the clan and her family situation.

there, she meets hawkstar (hawkwing) and leafdapple, who retired before the journey. she tells them about the clans' situation, and about sol. leafdapple is shocked, and recognizes him as the kittypet that she turned away in the gorge. she realizes that he must have come to get his revenge on the clans by turning the clans against each other.

frecklepaw returns and realizes that gorsestar and thornstar plan to raid shadowclan to forcefully release riverclan. frecklepaw tries to get tigerpaw to listen to her and return home before he gets hurt, but he refuses. but he does believe that sol is a fraud. frecklepaw gains her warrior name, frecklecreek. she realizes the only thing left to do is help riverclan by herself.

in secret, she meets with minnowtail to plan an uprising.

fourth book:

pov character: minnowtail

minnowtail tries to drum up support from her riverclan clanmates, but they refuse out of fear. she is turned into murkystar, but manages to escape before she is killed. she shows up in thunderclan to gain help from them and windclan. frecklepaw fears for her brother's safety, and wishes they could peacefully do something. but minnowtail assures her that they will try to avoid too much death.

the clans try to warn murkystar to surrender before fighting happens. but sol assures him that starclan wouldn't let them lose. with no other options, the battle begins.

im getting kinda lazy at this point, but shadowclan is defeated and riverclan is released. sol is chased out. earth surrenders. murkystar is demoted to an elder, and tawnyspark earns her nine lives. riverclan agrees that minnowtail should be their new leader. they begin to start to revise the code, but recognize that the clans will always be changing and adapting.

[thereaderstea]

Hello tor-mon!

I just saw your response and honestly you flatter me too much, you re-read it ten times? This is the highest form of praise!

Secondly, I was wondering what things you personally like to see in the horror/yandere genre? I have been trying to come up with ideas for my next fic and am a little stumped. So, I figured who better to ask than my favorite reviewer in the whole world?

What is a fic you always wanted to read in this genre? AUs you don't see too often? Something you just really want to see! I'd love to hear your thoughts 💜💜💜

Merry meet, deliciae! Of course! Your writing is the perfect material to reread! I reread your fics all the time, and your writing never loses its effect! True beauty!

First, I’m honored 🥺 And second, I’ve got you, deliciae! A lot of these ideas are supernatural/paranormal/magical because that’s my usual realm and I am wholly unoriginal and empty-headed when it comes to the Normal world 😅

Yandere AUs

Among Us au: I believe this is a potent au filled with lots of possibilities, especially with the addition of the Town of Us roles (Imposter Lovers immediately screamed yandere at me). The two possibilities that stuck out to me was 1) the classic yandere is the imposter and mc is a crewmate (and mayhap the crew think the mc is sus 🤭), and 2) the mc is the imposter with a yandere crewmate (i.e. the yandere!crewmate simps for the mc). 

Battle Royale au: I remember you mentioning a long while back about starting your blog in part because of chinkbihh’s Quarter Quell but wasn’t sure what else to bring to the table? I have a singular idea and some alternate settings that employ a similar taste of the Hunger Games (because I, too, love chinkbihh’s yandere Hunger Games idea):

Hunger Games: game designer and hunger games survivor. The yandere is on the game’s designing team and the mc is a survivor in the games. The yandere does all they can to ensure the mc’s safety and victory in the games, and well, the mc may escape the games unscathed but they can’t escape the yandere’s clutches. 

S.O.S.: This is a game on Steam. You’re on La Cuna island, where you have to fight monsters, avoid becoming infected by the monsters, yoink a crystal on the island before other players do, call in the helicopter, and secure your spot home. There are thirty-two players, only three seats home, and you definitely didn’t sign up for this fight to the death 😅

Dead by Daylight: This is a game on Steam. There’s one killer and four survivors (but who says it has to be those numbers?). The survivors have to fix the generators to open the gates and escape, and the killer is having fun chasing the survivors, messing with them using their special abilities, taking them down, throwing them on hooks, and sacrificing them to the Entity. It’s ten times more terrifying to play with friends, and while I love the teaming up, I love a shameless, no-regrets betrayal between good friends more 🙂 (sacrifice, sacrifice, sacrifice)

Witch au: I believe there are a few aspects of the witch-y world that could be brewed with yandere, namely:

love potions

curses, hexes: anyone who tries to get between the mc and the yandere is cursed

a case of an accidental summoning of a djinn, demon, or some other being who becomes rather fond (and possessive) of the witch (or vice versa!)

empathy (specifically feeling others’ emotions): this could create some good internal conflict. If the mc is an empath, then what if they feel the yandere’s ‘love’; would the mc also become a yandere? 

fortune telling/scrying/clairvoyance or claircognizance/psychometry: you’ve actually hinted at this concept in Solar Eclipse and it’s such an intriguing concept, so here’s another version

dream walking/lucid dreaming/astral projecting: I read a book where the mc dreams of a town and her duty is to protect the town from the djinn. She loses her brother and so when the djinn approaches her in her dreams she makes a deal with a djinn to get him back (sort of like Persephone :D), but she didn’t think it was a real deal until she woke up. The interesting part was that she was chained to the djinn, and the djinn could use those chains to summon her to him, even across dimensions.

Tuatha Dé Danann/Sidhe/Fae au: besides the Unseelie being cool candidates for yanderes (glamour, master manipulators, and typically violent? perfect grounds to make a yandere), there are aspects of Fae folklore that I love and think would be pretty cool in yandere:

names: names hold power and if you tell a Faerie your name (specifically your full, true name), they hold power over you. the Fae are tricky, so it can be easy to literally hand your name over to them. 

faerie rings: if you step in a faerie ring, you’re trapped until the Faerie who created the ring comes to collect their trappings. But faerie rings are also rumored to be portals into the Fae realm

selkie: in folklore, men would convince a selkie to marry them and hide their seal skin as a means to trap the selkie with them. if the selkie ever finds her seal skin, she’ll dip on the man and return to the ocean.

Slaugh Sidhe, or the Wild Host/Wild Hunt: the Slaugh Sidhe are hosts of restless, unforgiven dead, sometimes rumored to be Fallen Angels. I believe the Headless Horseman is in the Hunt as well. They roam the Earth on Samhain and hunt during the night; they prey on humans and will steal their souls. You can also inadvertently call the Slaugh to you by saying their name during nightfall or feeling hopeless (they prey on sadness, broken hearts, and the depressed). 

each-uisce, or each-uisge: a shapeshifting water-horse; it typically takes the form of a man on land and a horse in water. Though if in the form of a horse on land, a human mounts them, and they smell water, the uisce will drag the human down into the water and eat them

zombie apocalypse au: I haven’t seen too many yanderes in the zombie apocalypse, but it sounds pretty cool (way I see it, the yandere is prepared to keep mc alive and the mc gets to kick some zombie booty! win-win!)

Yandere Situations

Storyteller: this is the perfect place to crack out fairytales! the Storyteller forces the character to live out retellings of fairytales (best if used with people the character knows). 

Shapeshifter: the yandere!shapeshifter shifts into a new person every time their relationship with the mc goes wrong. Doesn’t matter how many times it takes, the shapeshifter can become as many people as they have to be to end up with the mc :)

Resurrection: the mc kills the yandere plenty of times, but the yandere resurrects themselves every time. In the time it takes for the yandere to resurrect themselves, the mc runs/escapes, trying to get as far as they can away from the yandere. The yandere is rather amused with the game of cat and mouse; how far will the mc get this time?

Necromancy: the yandere is a necromancer and perhaps didn’t get to save the mc in time (or killed the mc themselves) and so they reanimated the mc. Maybe the mc loses a little bit of their soul with every revival, maybe they don’t, but one thing’s for sure: death isn’t an escape :)

Phasmophobia: this is another game on Steam. you are on a team a paranormal investigators, and you’re trying to document what type of ghost is haunting a location. This time may be your biggest break yet, but your latest ghost is a huge puzzle and also rather keen on keeping you...

Yandere Pairings/Characters

human and angel (bonus if there are clipped wings ☺)

witch and familiar

serial killer and grim reaper

forgotten deity and lone follower

thief and detective

time traveler and immortal

~*~

I hope this helps spark something even if you don’t use any of them, and lmk if I should clarify something or if you need more assistance! I’m happy to help ☺

Blessed be, deliciae! and may writer’s block not plague you!

your lil monster delight, tor-mon 🖤

[sheikah]

Folklore is a literally perfect album and I love it for a million reasons. But here is a compilation of my thoughts on my favorite lyrics that make it a Darklina anthem </3

I wouldn’t call myself a Swiftie and I don’t really blog about Taylor but I love this album so much. Bon Iver is one of my favorite artists of all time and I always listen to his music while writing. To me folklore has big Bon Iver energy haha (obviously, he collaborated on “exile”). Maybe it’s because I was finishing up my Darklina fic when folklore dropped but I just connected so many of Taylor’s lyrics and stories with them. I feel a lot of bitterness in this album that’s balanced, precariously, with hope. I’d say the same thing about canon!Darklina. You know, until Alina killed him :X

Anyway, here are my favorite bits!

If my wishes came true, it would’ve been you.

You know the greatest loves of all time are over now.

-”the 1″

This is textbook Alina to me. It reminds me of, “ Why don't you just admit that you wanted to belong to him? Why don't you admit that part of you still does?” The lyrics are like her bitter admission, an acceptance of her own feelings, but too late.

You drew stars around my scars, but now I’m bleeding.

-”cardigan”

I often see the fanon version of Aleksander as pure seduction and arrogance. I see those parts of him and they’re a huge part of his appeal, but I’m more interested in his vulnerability. We only get glimpses, but it’s definitely there. His long life has included a lot of misery, and he tells Alina in S&B that she’s “the first glimmer of hope that [he’s] had in a long time.” I think their relationship was helping to heal him, that he was starting to let go of some of his anger and bitterness. But when she left that all fell apart. Also, there’s so much star imagery in descriptions of and about Aleksander. 

You didn’t even hear me out. 

You never gave a warning sign. 

All this time, I never learned to read your mind.

-”exile”

“Exile” is a duet so it’s fitting that I feel like these lines apply equally to both Alina and Aleksander :( So much of the central conflict of the trilogy could have been avoided if they’d actually had a candid conversation about Aleksander’s plans and intentions. But Alina (understandably) leaves immediately after Baghra’s warning, and for most of the trilogy they’re just trading out who is deceiving who. Tbh this whole song works so well for them. There’s a lot of jealousy and betrayal laced through the words but I just picked my favorite bit.

Even on my worst day, did I deserve, babe

All the hell you gave me?

'Cause I loved you, I swear I loved you

'Til my dying day

I didn't have it in myself to go with grace

And you're the hero flying around, saving face

And if I'm dead to you, why are you at the wake?

Cursing my name, wishing I stayed

Look at how my tears ricochet

We gather stones, never knowing what they'll mean

Some to throw, some to make a diamond ring

You know I didn't want to have to haunt you

But what a ghostly scene

You wear the same jewels that I gave you

As you bury me

And I can go anywhere I want

Anywhere I want, just not home

And you can aim for my heart, go for blood

But you would still miss me in your bones

And I still talk to you (When I'm screaming at the sky)

And when you can't sleep at night (You hear my stolen lullabies)

And so the battleships will sink beneath the waves

You had to kill me, but it killed you just the same

Cursing my name, wishing I stayed

You turned into your worst fears

And you're tossing out blame, drunk on this pain

Crossing out the good years

And you're cursing my name, wishing I stayed

Look at how my tears ricochet

-”my tears ricochet”

I’m pretty sure the whole fandom already connected this song to Aleksander. It’s just too easy, and too heartbreaking. I can’t even... It’s just so fitting? The bit about wearing the jewels (amplifiers???), cursing his name (”no one knew his name to curse or extol”). The whole thing, really. I’m in PAIN.

Look at this godforsaken mess that you made me

You showed me colors you know I can't see with anyone else

Look at this idiotic fool that you made me

You taught me a secret language I can't speak with anyone else

And you know damn well

For you, I would ruin myself

-”illicit affairs”

Alina and Aleksander’s connection was something unique that she always remarked upon every time they reunited, and it wasn’t something that could be replicated (not even when Leigh randomly made Mal an amplifier too :|). Alina also constantly blames herself for not seeing through Aleksander sooner in S&B, like he made a fool of her. The “ruin myself” line is so similar to the, “You could make me a better man,” “And you could make me a monster,” exchange. Alina can see the darkness that would come with loving him. In S&S she willingly faces death with him just to stop him, thinking they’ll die together. THE ANGST OF IT IS JUST *chef’s kiss* 

Time, curious time

Gave me no compasses, gave me no signs

Were there clues I didn't see?

And isn't it just so pretty to think

All along there was some

Invisible string

Tying you to me?

Something wrapped all of my past mistakes in barbed wire

Chains around my demons

Wool to brave the seasons

One single thread of gold

Tied me to you

-”invisible string”

This just screams Aleksander and his belief that he and Alina were destined to meet, that his long life was going to turn around when she came around :(

It's obvious that wanting me dead

Has really brought you two together

-”mad woman”

If this isn’t scorned Aleksander after finding Mal and Alina kissing in the forest near the stag in S&B then I don’t know what is.

But I’m a fire and I’ll keep your brittle heart warm

All these people think love's for show

But I would die for you in secret

I'd give you my sunshine, give you my best

But the rain is always gonna come if you're standin' with me

Would it be enough if I could never give you peace?

-”peace”

Alina knowing deep down she loves Aleksander but that it would never really work between them :(

My only one

My smoking gun

My eclipsed sun

This has broken me down

My twisted knife

My sleepless night

My winless fight

This has frozen my ground

Stood on the cliffside screaming, "Give me a reason"

Your faithless love's the only hoax I believe in

Don't want no other shade of blue but you

No other sadness in the world would do

My best laid plan

Your sleight of hand

My barren land

I am ash from your fire

My only one

My kingdom come undone

My broken drum

You have beaten my heart

-”hoax”

This one seriously just speaks for itself. I mean, “eclipsed sun?!” Taylor is a Darklina stan CONFIRMED.

Anyway absolutely no one asked for this and I’ve made myself sad typing it up but damn if I don’t absolutely love this pairing and love this album. I love pain D:

[wesleyhill]

Holy Tuesday: The Hope of the Resurrection

A homily on Mark 11:18-27, preached for the Cathedral Church of the Advent, Birmingham, Alabama, on Holy Tuesday 2020, Coronatide

I would speak to you in the name of God, Father, Son, and Holy Spirit, Amen.

Death is always in the headlines, in one form or another, but now, it seems, it is all that is in the headlines. Just before sitting down to write this sermon, I visited four or five prominent news outlets, more or less at random. The virus death toll was the leading story at all of them, and at one of the sites, virtually every headline on the main page was somehow about death and dying.

Of course, so many of you face your mortality courageously each day as you deal with various life-threatening conditions, but it seems we are all pondering death now in a way that I can’t remember doing before in my lifetime.

“In the midst of life we are in death,” says the Prayer Book.

Friends, the Christian hope in the face of so much death is the same as it has always been. And although we will not be gathering together on Easter Sunday to celebrate that hope together, we will still be celebrating. The Lord is risen from the dead, and because of that, we know that we will rise too. Death will not be the end of us. We will live again on the other side of death.

On Tuesday of Holy Week, after his demonstration in the temple, Jesus is approached by some religious leaders who don’t believe that. The Sadducees know that Jesus does believe in the resurrection, and, like candid-camera pranksters, they want to humiliate him in public by drawing him into a debate he can’t win. They want to expose how absurd it is for thoughtful, educated, politically savvy people to believe in a bodily life after death. And so they pose a scenario which, they think, will show the ridiculousness of it.

Suppose, they say to Jesus, that a husband dies, leaving his wife childless. The man’s brother then marries the widow, and he ends up dying too. This happens to five more of the man’s brothers. And then, after enduring the loss of seven husbands and still having no children, the woman herself dies. At that point, the Sadducees spring the trap: “In the resurrection whose wife will she be? For the seven had married her.”

They think they’ve stumped him. If Jesus says, “None of them,” then isn’t he in effect denying the doctrine of the bodily resurrection by cutting the link between this present bodily life and the next? If we aren’t raised as the same people we are now, then we won’t really be raised, will we? But, on the other hand, if Jesus says that she remains married to all of them, then he exposes the doctrine to ridicule: is everything that was true about our earthly lives somehow going to be reinstated in the resurrection? If so, that demonstrates how implausible and naïve the doctrine of the resurrection really is.

But Jesus evades the trap by denying the key assumption the Sadducees make and seem to think that Jesus must share with them. The Sadducees think that resurrection means taking up our old bodily life just as before, hence the reason why they cannot imagine believing in the resurrection. But according to Jesus, the resurrection means a transformation of our present bodily existence. The apostle Paul would later compare our present bodies to a seed awaiting its transformation into a great tree: “What is sown is perishable, what is raised is imperishable. It is sown in dishonor, it is raised in glory. It is sown in weakness, it is raised in power. It is sown a natural body, it is raised a spiritual body” (1 Cor. 15:44, NRSV alt.). That is what Jesus too indicates when he says that in the resurrection, people “neither marry nor are given in marriage, but are like angels in heaven”: in other words, trying to extrapolate from our present life to what our risen life will be like is not at all straightforward. We believe that we will still be ourselves — Jesus still had the nail scars in his resurrected body — but also “what we will be has not yet been revealed” (1 John 3:2).

I’ve always loved C. S. Lewis’s humorous way of trying to explain the disconnect between our present, limited perspective on the resurrection and what it will actually be like. In his book Miracles, he writes: “I think our present outlook might be like that of a small boy who, on being told that the sexual act was the highest bodily pleasure should immediately ask whether you ate chocolates at the same time. On receiving the answer ‘No,’ he might regard absence of chocolates as the chief characteristic of sexuality. In vain would you tell him that the reason why lovers in their carnal raptures don’t bother about chocolates is that they have something better to think of. The boy knows chocolate: he does not know the positive thing that excludes it. We are in the same position. We know the sexual life; we do not know, except in glimpses, the other thing which, in Heaven, will leave no room for it. Hence where fullness awaits us we anticipate fasting.”

We are awaiting a future transformation of our bodies that will represent, as Lewis says, a “fullness,” a satisfaction of our truest longings, that will eclipse the timebound longings whose satisfaction we spend so much of our life chasing.

But after having made that point, Jesus turns to the real issue at hand. Why should he believe there is new bodily life after death? His answer has to do with who God is: “[H]ave you not read in the book of Moses, in the story about the bush, how God said to him, ‘I am the God of Abraham, the God of Isaac, and the God of Jacob’? He is God not of the dead, but of the living.”

Readers of Mark’s Gospel have often wondered why Jesus doesn’t quote a clearer prooftext for the doctrine of the resurrection of the dead. For instance, he could have quoted these words from the prophet Isaiah: “Your dead shall live, their corpses shall rise. O dwellers in the dust, awake and sing for joy!” Instead Jesus quotes a passage that isn’t so much about the future resurrection but about the new life that the dead have with God even now.

Thinking about the relationship between time and eternity is a guaranteed way to get a headache — fast. But Jesus here seems to point us in that direction, not simply to who God will be for his people in the future but to who God is now. He insists that God is presently the God of the dead — who are at this moment alive to God because of the hope of the resurrection. God, Jesus says, will one day raise his people. More than that, God has made the dead to live already. Those who have died “have not been lost but are hidden from the living by the thinnest and most permeable of membranes” (Joel Marcus).

“In the midst of life we are in death,” says the Prayer Book. Yes, and also: In the midst of death we have the hope of eternal life because God is not the God of the dead but of the living. And God will prove it in five days’ time.

In the name of the Father, and of the Son, and of the Holy Spirit, Amen.

[artemis-entreri]

[[ This post contains Part 7 of my review/analysis of the Forgotten Realms/Drizzt novel, Boundless, by R. A. Salvatore. As such, the entirety of this post’s content is OOC. ]]

Genre: Fantasy

Series: Generations: Book 2 | Legend of Drizzt #35 (#32 if not counting The Sellswords)

Publisher: Harper Collins (September 10, 2019)

My Rating: 2 out of 5 stars

Additional Information: Artwork for the cover of Boundless and used above is originally done by Aleks Melnik. This post CONTAINS SPOILERS. Furthermore, this discussion concerns topics that I am very passionate about, and as such, at times I do use strong language. Read and expand the cut at your own discretion.

Contents:

Introduction

I. Positives I.1 Pure Positives I.2 Muddled Positives

II. Mediocre Writing Style II.1 Bad Descriptions II.2 Salvatorisms II.3 Laborious “Action”

III. Poor Characterization III.1 “Maestro” III.2 Lieutenant III.3 Barbarian III.4 “Hero” III.5 Mother

IV. World Breaks IV.1 Blinders Against the Greater World IV.2 Befuddlement of Earth and Toril IV.3 Self-Inconsistency IV.4 Dungeon Amateur IV.5 Utter Nonsense

V. Ego Stroking V.1 The Ineffable Companions of the Hall V.2 Me, Myself, and I

VI. Problematic Themes VI.1 No Homo VI.2 Disrespect of Women VI.3 Social-normalization VI.4 Eugenics

VII. What’s Next (you are here) VII.1 Drizzt Ascends to Godhood VII.2 Profane Redemption VII.3 Passing the Torch VII.4 Don’t Notice Me Senpai

Note: This was written before the unveiling of the final book’s title. As such, the predictions are outdated.

What’s Next

While Timeless inspired confidence I haven't had in Salvatore for a long while and made me hopeful for the future, overall, Boundless hammered my heart back down into my stomach. Whereas Timeless felt like Salvatore actually had some degree of emotional attachment to what he was writing rather than making a bid to have his characters stick out in Forgotten Realms lore, Boundless backpedaled from this quite a bit. He has some solid turns of phrases in Boundless, but unlike the ones in Timeless, I wouldn't have remembered them if I hadn't specifically noted them down during my reading. In Timeless, we explored more than the constantly-revisited areas of Menzoberranzan, Gauntylgrym, Luskan and others, delving into Ched Nasad. In Boundless, we're back to Menzoberranzan, and furthermore, with most of the action happening in the same area of Menzoberranzan, specifically, in and around The Oozing Myconid tavern. This is reminiscent of how basically all of the action in the city of Helioglabalus during The Sellswords trilogy is condensed to one area, around the cul-de-sac Wall Way. The small but interesting bits of detail that we were treated to in Timeless about characters that we're so familiar with already, such as Jarlaxle, Malice, and the rest of the Do'Urden family, did not continue in Boundless. Gone too is the Realmsian feel that Timeless achieved, for Boundless feels very much like a standard Salvatore insular and tweaked Forgotten Realms. Boundless hammers the lore-rich and location-rich Waterdeep into something with fewer dimensions than Salvatore's current timeline Luskan. While the scenes from the past are still more interesting than the ones set in the present in Boundless, they don't hold a candle to their counterparts in Timeless. There was heart in Jarlaxle and Zaknafein's past in Timeless, and it felt as though it was something that Salvatore had thought about for a long time. By contrast, in Boundless, those scenes feel rote and rehashed, cobbled together from half-formed ideas. Those scenes only manage to not be sleep-inducing because they don't focus on the Companions of the Hall. While Timeless seemed to take a break from the disagreeable conclusions made in the novel preceding it, Boundless is right back on that track again.

All of the above is pretty bad, but things may even get worse. There are in fact many indicators that suggest some of my darkest fears concerning this franchise will come to pass, and  I sincerely hope that's not the case. That said, much of what I say in this section about what might come in the future are speculatory. They are extrapolations based on what I've learned from reading almost all of the over three hundred novels published for the Forgotten Realms, D&D sourcebooks through the editions, and talking with Ed Greenwood and other creatives who have officially worked on the setting. 

Drizzt Ascends to Godhood

Boundless still doesn't tell us where Zaknafein's soul had been. It isn't specifically stated, but I think it's fair to say that it definitely wasn't with Lolth, otherwise, she wouldn't send one of the two souped-up version of the Retriever after him. One could argue that Lolth might've done so because she is fickle and chaotic, but there's fickle, and then there's impractical. Bringing something as powerful as Salvatore's Retriever is supposed to be would tax her no small amount, and even a goddess of chaos, especially one whose resources are already spread thin warring with other demon lords, would not do something that's simply foolish. So, Lolth didn't return Zaknafein, and Yvonnel knows that she isn't getting spells from Lolth but she doesn't know who is granting them to her. If Salvatore weren't obsessed with erasing Eilistraee, the obvious answer would be that the Dark Maiden is looking after Yvonnel. That would be the most logical in-universe explanation, but as far as Salvatore is concerned, Eilistraee doesn't exist unless using her as the subject of ridicule and denigration. Eilistraee's brother Vhaeraun is similarly ignored, but at least is spared the dismissal that Salvatore places upon Eilistraee. It's possible that Yvonnel is getting her spells from someone in the elven pantheon, for aside from Eilistraee and Vhaeraun, the drow pantheon doesn't have any other non-evil members. While some of the Dark Seldarine might want to help Yvonnel simply out of spite for Lolth, that's also unlikely, because it's been clearly stated that Zaknafein was in a good place, and in the realm of one of those evil deities would not constitute a good place. But, it seems unlikely to me that someone from the elven pantheon is granting Yvonnel spells, for while Salvatore doesn't erase their existence, he doesn't acknowledge them either. A person who only reads the Drizzt books wouldn't know the existence of even Corellon Larethian, the patron god of all elves, including at one point the dark elves who were turned into drow. 

So who, then, is granting Yvonnel cleric spells? It might very well be left as a mystery forever, but what I suspect and fear is a rather convoluted scenario. Specifically: Drizzt, the god of goodly drow in the future, is granting the spells to Yvonnel in the present. Sounds crazy, right? I totally agree, but sadly, despite how many D&D creators warn about how bad of an idea time travel is in D&D, it's not implausible, and in fact, many things hint at the possibility, especially in Boundless. First, there's Drizzt's strange disappearing act at the end of novel that I discussed earlier. This could very well be him ascending to godhood. Second, it's been building up throughout the novels that Drizzt has become a beacon to all male drow, including a maverick like Jarlaxle. In the Realms, the power of belief is what grants gods power, and it is so strong such that races like the kuo-toa have believed gods into existence without there even being an individual to elevate with that belief. Drizzt, as represented by Salvatore, certainly would have enough "followers" to elevate him into demi-god status at the very least. Furthermore, Salvatore has demonstrated an eagerness to do everything possible to his golden boy, and while Drizzt himself, if he were true to his character, wouldn't want to be a god, making him into an actual god is getting pretty near the only good thing that Salvatore hasn't done to Drizzt yet. 

What has me the most suspicious that this is where Salvatore is going is the talk between Quenthel and Sos'Umptu about a "spark", one that "resided in Zaknafein before Drizzt". The word "spark" is often used in Realms material when referencing godly essence, for instance, Chosens are imbued with the sparks of their gods, mortals ascend to godhood when a divine spark is passed onto them, etc. The mention of the spark that father passed to son happens amidst a discussion between two very powerful priestesses of what was pre-fated and the intervention of higher powers. It feels very much like the Child of Prophecy scenario in the Naruto franchise, with Zaknafein being the parallel of Nagato and Minato in that his superiority marked him as a potential candidate to fulfill a great prophecy, but ultimately he failed to do so and the responsibility is passed onto the next worthy candidate, in this case, Drizzt. I'm not fond of this possibility because it's completely unnecessary and uncharacteristic. The only reason for Salvatore to elevate Drizzt to godhood is to further erase Eilistraee, to write his own name over the tapestry some more, and I suppose to garner more money from unthinking sycophantic fans who lack the ability to critically examine anything. Drizzt as a god would also be superfluous, for what he'd stand for is already covered by Eilistraee, with what she doesn't cover instead handled by Vhaeraun's portfolio. It isn't uncommon for gods' portfolios to overlap, but those overlaps are more like the intersection between circles of a venn diagram rather than a nigh-total eclipse. I suppose Drizzt could be the patron god of sanctimony, melodrama, preachiness and self-congratulation, but those traits hardly deserve a patron god. Realistically, if Drizzt is to be wedged into the drow pantheon, what would happen is that he would weaken the already goodly forces there. People of the Realms are polytheistic, but many have a main god that they worship, and with that taken away from existent gods, so, too, is the power they get from their followers' belief. At least it's consistent with how Drizzt is written, if not how he is supposed to be, for him to, yet again, be a damaging force to true good.

Profane Redemption

Salvatore seems to have this notion that Artemis Entreri needs to be "redeemed", and his definition of redemption is to become similar to Drizzt and the Companions of the Hall. It's as though he only knows how to write one character archetype, and seeing how he forces all of his characters down the same path, I honestly don't know if Salvatore simply can't write other archetypes, or doesn't feel like he should out of some sense that there is only one "correct" way for people to be. The idea that Entreri needs to be "redeemed" at all is questionable. What, exactly, does Entreri need to be redeemed for? For killing many people? Certainly, this is a sin, but Drizzt and the Companions of the Hall have killed many more, and yet they are celebrated heroes whose every action is unquestionably right. One could argue that Drizzt and the Companions only killed the "bad guys", but by whose definition are "bad guys"? Salvatore's definition of good versus evil is as inconsistent as his work is with itself, and comes from a position of privilege. We're told that Entreri never killed anyone unnecessarily, so really, is he deserving of the same fate as the old lecher, who at best was a child trafficker, and at worst, a child molester? Salvatore apparently believes so, with how the adjudicator "demon" possessing Sharon subjects the two to the same fate. I'm not arguing that Entreri did nothing wrong. He was absolutely a villain. Whatever his reasons might be, he did murder people. He did kill innocents for his personal gain, for instance stealing the life force from passed out drunks in alleyways to heal himself. He does have sins to atone for. However, what troubles me is Salvatore's stated reason for the need to redeem Entreri in an interview during the release of Timeless: 

Artemis Entreri surprised me quite a bit in the Sellswords trilogy, in Road of the Patriarch. That was supposed to be the end of Artemis Entreri. Road of the Patriarch was the perfect redemption, that redemptive moment where you could have hoped that Artemis Entreri ended on the right track. But after I wrote the book I got so many letters from people who had gone through similar traumas that Entreri had gone through when he was kid. They said, “You can’t end it here. We have to see him redeemed.” I got dozens of letters from people saying, “Please continue this character. This is personal to me.” And I was like, well, maybe I’ll learn something by continuing with this character. And I did. That��s a good thing.

What I came to realize about Artemis Entreri is that a driving force in him was why he couldn’t look at himself in the mirror without self-loathing: it was guilt. And it was guilt over things that had been done to him, not things that he had done. I don’t think I ever understood that until after I put him on the road of redemption.

I am honestly not sure what to think regarding Salvatore's claim that people who had gone through similar traumas as Entreri wants to see Entreri "redeemed". Young victims of physical abuse, sexual assault, parental neglect and betrayal have not done anything wrong, and while Salvatore is right about people that go through such horrors carrying guilt over what happened to them, I'm skeptical about whether Salvatore correctly understood his fans. My own background falls into that category, and I've interacted with others like me as we desperately tried to make sense of why the universe apparently deemed we deserved what happened to us. With the internet bringing greater connectivity between people, I found countless others like me, and have managed to arrive at a point in which I at least logically believe that what happened to me wasn't deserved. What I know from my own experiences and what I've learned from others differ so much and so consistently from Salvatore's recount that I can't help but wonder if some words got crossed with him. With people like me, "redemption" isn't what we fundamentally want. We want our scars to heal and we want to do it at our own pace, in our own way, to feel valid even though we have trouble fitting societal norms. Trauma victims are often misunderstood and dismissed because they are different, and really, all they want is for that to not happen. Salvatore's "redemption" of Entreri is to make him more like the very social-normative Drizzt, which is the opposite of what a trauma victim would want. In reality, a trauma victim who is being pressured to conform to another's perceived notions of normalcy, like what Drizzt does to Entreri, would react very badly to it. Furthermore, traumas, especially childhood ones, don't simply go away through the performance of some deeds, or even a great amount of deeds like helping others, which those privileged enough to have never experienced abuse at the hands of another seem to believe is the key to salvation. Traumas go away only with the passage of time, and the presence of people in one's life who understand the individual and accept them for who they are, who try to help them be the best version of themselves rather than the best societal model of a person. It's only normal for victims of trauma at the hands of others to resent and distrust people as a whole, and their traumas tend to be exacerbated by being told that they won't recover unless they help others, which often translates into, "I need to help those who will hurt me" in a trauma brain. Salvatore represents Entreri as having gotten past his childhood traumas because he received some degree of fulfillment from helping the people of Port Llast. Furthermore, Salvatore makes it appear that Drizzt's influence in Entreri's life is what led him down the path of "redemption", but realistically, what Drizzt has done is push Entreri to be like him. The reality of what should be happening is actually very damaging to Entreri. If Entreri isn't self-aware enough of what he truly wants, which is the case for a lot of trauma victims, he might be going along with Drizzt, even earnestly, because he's led to believe it'll help him feel better. The thing is, each person's recovery from trauma is unique, and has to come from within; following someone else's path more often than not leads to more damage, especially when it's the path that someone who doesn't bother to understand them lays out for them, as is the case for Drizzt with Entreri. If Entreri is self-aware enough, he should be resisting Drizzt, but he doesn't, which suggests it's the previous example, and that in turn has a lot of dark and problematic undertones, with one standing out in particular: Drizzt's behavior is abusive towards Entreri. 

While many were unhappy with the way that Road of the Patriarch concluded, especially back when it seemed to be the last that we'd see of Entreri, it was, in so many ways, a much kinder treatment of him than what's being done in continuing his saga. Over seven decades of enslavement by the Netherese would've deepened his trauma and made them more difficult to dislodge, but Salvatore doesn't seem to understand this at all. It would be less cheap and contrived, not to mention less invalidating, if Salvatore had Entreri's issues cured via magic or psionics. By espousing the belief that anyone can be "fixed" through a set approach, or needs to be "fixed" at all, Salvatore damages more than his own character, he helps spread an idea that will further hurt and invalidate real trauma victims. Sadly, things don't seem like they will get better. The artificial "development" forced onto Entreri in Hero was so depressing to me that it made it hard for me to read anything for almost two years. Timeless was a break from that, and indeed seemed like Salvatore was abandoning that tack, but Boundless dashed those hopes thoroughly. Entreri gets caught as a result of putting others before himself, and while it's conceivable that he'd save Dahlia before trying to escape, him doing the same for Regis without a second thought is a Drizzt characteristic, not his. Furthermore, he'd saved Regis before saving Dahlia. Without intending it, the events that Salvatore creates are actually an accurate metaphor for what happens to a damaged individual who is made to believe that another's path is their own: they unsuccessfully see it to completion, and get themselves mired in greater suffering. 

What appears to await Entreri in the future, as suggested by Boundless, is pretty disheartening, to say the least. As we see in the case of the old lecher, "Sharon"'s cocoon, in addition to killing its victims, apparently ensnares the victims' soul and damns it to an eternity of suffering. Furthermore, that cocoon apparently also informs the victims the reason why they are thusly damned. I can't help but feel that the cocoon is more than an analogy, I suspect that Salvatore is employing it as yet another cheap and lazy character development device. By the end of Boundless, Entreri has realized that his agony will be an eternal one, and is due to his many victims. I suspect in the final book, Entreri will be saved from the cocoon, but he'll emerge as a redeemed butterfly, changing the last of his non-conforming ways and becoming another boring good guy Drizzt clone. His reasons for doing so might be due to his realization in the cocoon that he'd have suffered for eternity unless he changes, which Salvatore could pretend is more in line with Entreri's character. However, the entire thing is incredibly artificial. Whatever "demon" possessing Sharon is doesn't exist in FR lore and was made up solely to use as a cheap plot device. Furthermore, the "demon" just randomly finds Entreri and Dahlia. Its own affiliation with the Margaster plot is that it happens to possess a Margaster child, but otherwise, it wasn't an obstacle to a specific goal. It was just sort of there. If there was a situation in which the conflict of judging good versus evil was relevant, then the creature could've been a meaningful obstacle. For example, if Entreri or any other character on a path to "redemption" exposes how the kind of judgment the creature passes is flawed and arbitrary, and then manages to make a step towards overcoming that internal conflict, that would make Salvatore's definition of "redemption" more palatable. As it is, it's just really random and being shoved down our throats. The fact that Entreri doesn't casually toss about the word "friend" like he does in Timeless is little consolation if Salvatore is indeed using the cocoon how I suspect he is using it. Entreri the redeemed butterfly would be truly a tragic and terrible closure for his character, or any character for that matter.

Passing the Torch

The title of the next book hasn't been revealed yet, but I've got a feeling that it will be "Endless". Thus far, "Timeless" and "Boundless" both suggest something without constraint, and "Endless" would fit this as well as following the -less format. I'd like the Drizzt books to end with the Generations trilogy, but it seems unlikely with the name of the trilogy, and even more so if the title of the last book is indeed "Endless". I do wonder if perhaps there's more truth to Salvatore's words that the legend of Drizzt is over and that a new era has begun. He might not have been successful with that in Timeless, nor was he with the endless amounts of tedious recaps in Boundless, but the allusions to the Stone of Tymora series, as well as "Generations" for the trilogy title, makes me wonder if he intends to pass his legacy to his son, Geno. Catti-brie is very pregnant and will give birth soon, so perhaps Salvatore means to pass the torch down to his next generation as his characters do the same. Geno's writing style as displayed in Stone of Tymora wasn't anything to brag about, but there was at least a refreshing quality to it. Furthermore, Geno has shown himself to be what his father isn't, a true ally to LGBT+ folks, through actions such as posting publicly in defense of fans who ship same-sex characters of the Drizzt series. While Entreri doesn't need to be redeemed, the Drizzt books certainly do, and perhaps Geno is the one who will bring that redemption. I certainly hope so, for as it is, I'm back to dreading a reality in which the Drizzt books are the only Forgotten Realms novels that we'll get forever.

Don't Notice Me Senpai

I've been very critical of Salvatore, but I don't hate him. What I'd really like is to respect him, but as his work currently is, I'm unable to do that. In my review of Timeless, I wrote, "I suppose it wouldn’t be fair to Salvatore to completely attribute all of Timeless’ writing improvements to his editor(s). He had to be willing to listen, to accept that what he’d written could be improved". Boundless did backpedal quite a bit, but perhaps he did listen. My significant other has long suspected that Salvatore reads my long ramblings that I doubt anyone reads, for there have been some really startling coincidences between how his writing changes and the stuff I point out in my reviews. I'm not exactly nice about Salvatore, so I wouldn't be surprised if he didn't read my criticisms of him, as he's always seemed really thin-skinned. Still, it is a bit scary how things line up, and really, he doesn't have to like me, he can even hate my guts, but if he did indeed decide to even read one of my articles about him and his work and took some of it to heart, I'd completely redo my evaluation of him. To give a few examples of the coincidences, in the past, I'd mock him quite a bit for how often he'd use "six hundred pounds of panther". This has wholly disappeared. I'd criticize him harshly for gratuitous lesbian sex scenes, which have also disappeared. I pointed out that he'd failed at making Timeless an appropriate starting or restarting point due to how much it ties into so many past events that aren't explained, and Boundless took explaining the past to a ridiculous level. I criticized Salvatore for how "magnificent" is used in Timeless, and it's greatly improved in Boundless. I'd chastised his weird use of "fashioned", and it doesn't appear at all in Boundless. These are just some of the many coincidences, and ultimately, I do think they are coincidences, even if the amount of them and how well they line up freak me out more than a little.     

On a final note, since I'd berated Timeless' cover art, I wanted to note that the cover art for Boundless is an improvement. The artist has changed, Aleksi Briclot did the covers for the Homecoming Trilogy as well as Timeless, but the artist credited with Boundless' cover is "Aleks Melnik/Shutterstock". I can't help but wonder what happened. Boundless' cover seems to have abandoned the attempt at Sumi-E, which I described as, "if you're going to appropriate my culture, at least do it justice". There's still a wispy and abstract feel to the cover of Boundless, but there's no longer that pseudo brushstroke work. I don't personally care for the art style, but I have no strong feelings about it either. I'm not too worried about my brutal honesty having had any affect on Briclot. While I felt the cover for Timeless was only slightly less of a travesty than the novel preceding it, I have a great deal of respect for Briclot as an artist. His technical skill is solid and his attention to detail is superb. Briclot's Artstation portfolio shows pieces from major franchises like Thor: Ragnarok after his work for Timeless, so most likely, he's too busy with higher visibility projects to bother with Drizzt anymore.

If you've made it to the end, congratulations and thank you for tuning in! As always, I'm happy to discuss your thoughts and feelings about these books, but fair warning: in case you haven't garnered from this piece, I'm far from an unconditional Salvatore fan. I care deeply about the world as a whole, and would love to share with you its beauty. I care deeply about doing justice to the characters, but am not above goofing off with them. My views are my own. I am not affiliated in any way with Wizards of the Coast or HarperCollins.

[scratchface]

Yusaku and the Rejection of Fear

Part four of the Yusaku character analysis! And more! Like discussion of some of the more subtle themes in Vrains, and what they mean.

Part 1, Part 2, Part 3

This is pretty long and image heavy, but it was by far the most fun.

Wariness

I’ve already talked about Yusaku and first impressions and how he analyzes everyone he meets for potential threats, but that says lot about Yusaku in regard to the first encounter. He trusted a stranger once without taking the due caution, and it’s not a mistake he’s going to make again.

That means with Yusaku, we can probably assume you’re a “bad guy” before you’re proven to be a “good guy”; not necessarily in terms of good vs evil, or guilty vs innocent, but In untrustworthy vs trustworthy.  

But despite his wariness, Yusaku disregards most people entirely; they don’t factor into his perception of the world as important at all. He doesn’t recognize a classmate on sight, and when he sees an out during the conversation with Naoki, after establishing that Naoki knows little about Playmaker besides rumors, he tries to take it.

But the confirmation Yusaku sought is actually quite interesting, because the only way Naoki would have seen Playmaker at this point was if he witnessed a duel between Playmaker and a Knight of Hanoi, or was a Knight himself. Yusaku was making sure the person approaching him had no connection to Hanoi, and had no leads on Playmaker. You can see this in how he actually asks Naoki two questions, despite being completely disinterested: he was prompting Naoki to give him more details about himself to work with, while never once giving away anything about himself.

In fact, this is a common tactic Yusaku uses in his IRL conversations; he always let’s others do the talking, and only briefly interjects to get them to talk more. He does it to Aoi, but mostly does it to Naoki.

This is how Yusaku monitors the people around him; Yusaku likes to know and control how much others know. He eavesdrops and investigates, but never gives away anything of himself except occasionally his name. Yusaku wants to know as much as possible while limiting the knowledge base of everyone else, which isn’t just a tactical decision on his part. When speaking of the incident and what came afterwards, Yusaku focuses a lot on how little he was told, and it’s clear that it still bothers him.

Yusaku seems to have a complex about knowing information regarding his current situation. The situation involved torture and starvation, but what may have scarred Yusaku the most what the lack of control and knowledge, the inability to understand his situation. Or rather, ignorance is intrinsically linked to powerlessness in Yusaku’s mind. That’s what leads into his obsession with finding the truth:

It’s fair to say that in Yusaku’s mind, knowledge absolutely means power. The one who uncovers the most is the victor, which is also why he’s jealously keeps his own secrets, except for when he’s lashing out at Hanoi.

In order to control the distribution of knowledge, Yusaku’s behavior is rather manipulative, but he almost never lies. When he himself is questioned, he gives a vague answer or none at all, and let’s the other draw their own conclusions. He carries a fake deck entirely for the sake of subterfuge. He takes the necessary steps to make sure he’s never pegged as a candidate of Playmaker’s true identity: no reputation as a duelist or a hacker in real life, or as someone invested in the matter of Hanoi. 

But despite how careful he is, Yusaku doesn’t hide his identity when breaking into Vyra’s apartment, despite the likelihood of her actually being in it and seeing him. There was no guarantee she would be in Vrains at the time. Yusaku was fully prepared to come face to face with a Hanoi General in her own home. Had she not been purged, Yusaku likely fully intended to interrogate Kyoko when she awoke. But then what? She still would have seen him, even if he sent her off with the authorities.

This all leads to a single conclusion:

Fearlessness

Yusaku is fully prepared to be found. He doesn’t want to be, but he doesn’t want the conflict with Hanoi to stay just in Vrains either. Yusaku wants justice beyond stopping Hanoi’s online activity; which is why he struggles to uncover the IRL identities of Hanoi’s knights, and also likely the reason Vyra was in jail. Kusanagi and Yusaku must have made sure the authorities found evidence of her cyber terrorism and the Another’s virus when they called an ambulance for her. Yusaku is careful, but he’s not afraid of confrontation. In fact, the character in the series least wary of the battle entering the real Den City may actually be Yusaku.

Let’s not forget, Yusaku has a hidden compartment in his apartment. One that protects his unconscious body from being found while he’s in Vrains. Yusaku included this because he thought him being found out and tracked down to his apartment was an possible eventuality. By staying within a secret room, if his identity was revealed and his apartment was raided, he could wait out the raid in hiding. Yusaku was anticipating taking the fight IRL, and properly preparing for it. That’s why he doesn’t hide his face, why he reveals himself as a victim of the Incident, and more.

Which brings new insight to these words:

This isn’t just a mocking reply; this is the truth. Yusaku really wants this fight. He’s completely unwavering before the possible IRL consequences and the dangers ahead.

Quite a bit of emphasis is placed on just how much time Yusaku has spent preparing for his revenge. That’s how much he’s been wanting it. 

Lots of characters in Yu-Gi-Oh express faith in their decks, but Yusaku especially focuses on how he built the perfect weapon for challenging Revolver and Hanoi.

It’s not just his cards Yusaku is confident in:

Yusaku won’t lose, because he won’t accept failure. After ten years of suffering and scheming, Yusaku isn’t going to let any of it go to waste. So much so that even when faced with what he admits is pitifully low odds, Yusaku considers victory the only possible result. For someone who was once caught and tortured by the people he’s now confronting, that’s nothing short of incredible. It’s like Yusaku has banished all his fear.

And because of his faith in himself, Yusaku purposefully takes risks and injures himself in order to gain advantage over his opponents. Yusaku doesn’t play safe; he carefully measures the danger of his every action and does it anyway. Whether it’s risking a limb or psychological trauma, Yusaku will do it if it means gaining leverage over Hanoi. His identity is just another chess piece he’s prepared to lose if it gets him closer to taking the king and knowing everything.

With Yusaku’s obsession with knowing the truth of the past and his struggle with making sense of his history, its really no surprise that the next villain has the ability to alter memories. In fact, its hard to imagine someone that clashes more with Yusaku on an ideological level.  

Humanity

Yusaku thinks people are the same as they were in ancient times. And the context of this line is the fear and superstition triggered by the eclipse in Vrains. Yusaku considers fearfulness inherent to mankind.

What does that say about Yusaku, who has no fear? Nothing absolute, but the implications are certainly there. No wonder Yusaku is unable to affirm his own humanity in the duel with Bohman.

But, there’s a little something more to all of this, that ties back in with a rather contradictory trait of Yusaku’s: his forgiveness.

So, @breakdawn-avenue asked a while back:

“I’m just re-reading your first part of Yusaku’s analysis (the abyss and his special person) and was wondering if it may change (a little bit, if anything) considering episode 58.”

I think the biggest shift in our perspective of Yusaku coming out of 58 is that he’s incredibly forgiving. We already knew this, seeing how he shrugs off Akira’s torture and maintains a relatively good relationship (not trusting, not friendly, but not bad either) with him and Ghost Girl despite how many times the two of them have screwed Yusaku over. But this is on another level.

I think Yusaku’s incredibly forgiving nature isn’t just compassion and empathy for others, it also comes from a place of apathy and mistrust as well. I mentioned Yusaku initial character bio before, but a huge part of that is “He only seems to trust Kusanagi.”

And it’s true. Kusanagi is one of the few people Yusaku expresses faith in, through out the series.

Besides Kusanagi and a few more arguable exceptions like maybe Ryoken and Takeru, Yusaku doesn’t trust anyone. He doesn’t have faith in anyone. He has no belief in the nature of other people, and no expectations of being treated with kindness. He thinks people are fearful, and what does fear do to people? Makes them focus on self-preservation. So when people betray him, hurt him, put him under the bus for their own self interest, Yusaku isn’t offended, because he expected as much. To Yusaku, it seems, people are just like that: cruel and selfish, and because he’s accepted it, it doesn’t seem to bother him much. Yusaku expects to be hurt.

Why? Because he once tried to make friends with a boy and got kidnapped and tortured because of it. The last time Yusaku believed in the innocent intentions of others was the start of his own living hell. 

And because Yusaku thinks everyone is like that, he doesn’t really resent it. He’s been through worse, so the petty hurts don’t bother him. He only trusts his own abilities, so the betrayal of others is just a minor inconvenience. 

Yusaku thinks all people act in their own self-interest, and he has yet to be proven wrong. Even Go, who stunned and impressed Yusaku with his compassion, his attentiveness to his opponent, and his sportsmanship has turned out to be as self-motivated as the rest. Aoi and Ema have been selfish characters from the start, and Akira has shown on multiple occasions that his own self-righteousness comes before all else. Yusaku doesn’t hold any of this against them. To Yusaku, selfishness is not a “bad” trait, its inherent within everyone. And he doesn’t hold Ryoken’s mistakes and crimes against him either, because while Ryoken had a hand in destroying Yusaku’s faith in humanity, he was also the only one to try and fix it. 

Speculation, Fear, and Life

But is Yusaku right? Within the world of Vrains, does fear and struggle make the average person selfish and cruel?

So far, yes, and ain’t that something? Dr. Kogami supposedly started all of this out of fear of mankind’s inevitable mortality, and committed atrocities in the name of alleviating that fear. Then, scared of the what his creations were capable of, he formed the Knights of Hanoi and tried to hurt and kill millions of people and destroy all computer-based technology. And the Ignis, the most “human” of all AI, are notable because of how they fear for their own lives, and may destroy humanity because of it.

The further you look, the more you see fear leading to selfishness or cruelty in Vrains, in the name of self-preservation. Go, afraid of losing his acclaim and the reverence of children, challenged Playmaker. Aoi, afraid of being unloved and left alone by her brother, challenged Playmaker. Akira, afraid for his comatose sister, tortured Playmaker. SOL, afraid of being unable to maintain their tech empire ordering the manhunt for Playmaker. There are more reasons behind all of these, but fear is an undeniable factor. 

Even more, we have Blood Shepherd, who seemed like a nice person before tragedy occurred and he became callous and cruel. He’s a representation of the “human” side versus the “AI” side. If Kengo and the Knights and SOL all represent humanity, it paints a pretty ugly picture, doesn’t it?

But let’s look at the opposite. If the desire to live in Vrains leads to selfish actions that harm others, what does it mean when people risk their lives?

What happens when people overcome fear, and decide there’s something worth risking their lives for? Sacrifice, almost every time. That is the entire basis of the Tower of Hanoi arc: every single character in Vrains besides Playmaker sacrifices their life, purposefully or not. All of the Hanoi generals, Ema, Aoi, Akira, Spectre, Go, Ai, and Kogami all sacrifices themselves and “die”, however briefly it lasts. And they do this because they’ve overcome fear and selfishness. Ryoken attempts to follow their example. Even the news crew put their lives at risk! Now, in season 2, we see Takeru overcoming his fear to join Playmaker, and repeatedly using himself as a meat shield for Yusaku’s sake, particularly in the most recent episode. We’re seeing similar progress with Aoi, Ema, and Akira too, as each explores their own different ideas of putting aside their self-interest and safety. 

So fear is linked with life, and courage is linked with death.

Except in the case of Yusaku. Yusaku is the exception, as his unwavering courage leads him to victory. 

If fear is what keeps people alive, is fear the result of free will, the drive people have towards life? Ryoken and Kogami insist free will is essential to life, after all, and the inclusion of free will in the Ignis allows them to fear for their lives. 

When Yusaku has a dream about Revolver talking about the lack of free will equating to a lack of life, he wakes up yelling “I…”.

As if something about “free will” causes Yusaku subconscious distress, enough that he wants to defend or explain something about himself. “I” what, Yusaku? Does Yusaku subconsciously feel like he lacks something essential to life? We can’t forget that Ai has pointed out that between them, it’s Yusaku that seems more like an AI. Ai is the “human” one between the two of them, and is certainly the one who possesses the most fear and sense of self-preservation.

Is Yusaku really missing some essential component to free will, to life, one that was lost to the Ignis, or is he purposefully leaving it behind and gradually becoming less human than the Ignis themselves? And is that why he isn’t sacrificed? What isn’t “alive” can’t “die”?

The further I get into this, the less likely it seems Yusaku is really “human” in the same way the other characters are, going by the recurrent themes. Is he from another dimension? A reincarnation? An advanced AI? An alien? Or, is he a human in the process of becoming something inhuman?

And what of the other six? Takeru’s arc is clearly addressing how he’s currently learning to abandon his fear, just like Yusaku already did. Spectre seems to have cast aside his fear as well, while Jin wallows in it. Eventually, though, we can assume Jin too will overcome his fear. Where is this all going? What makes the six kids exempt from the basic nature of humanity, a nature so pervasive it even infects the artificial creatures based on them? And if they lose the fear that keeps life-forms alive, what are they?

Will Yusaku’s rejection of fear, and therefore self-preservation, catch up with him in the end, claiming his life as it did the others’? His quest for revenge has been impressive, and successful, but there’s something self-destructive in his relentlessness.

[gdelgiproducer]

DOTV AU: An Exercise in Alternate History (Part V)

Parts I, II, III, and IV offer more detailed context. (To briefly sum up why these posts are happening: alt history – as in sci fi, not “alternative facts” – buff, one day got the idea that DOTV could have turned out hella different if Jim Steinman looked for a star lead in other places, decided to reason out how that might work.) This is still getting a good response, so I’m gonna keep the train rolling.

Parts of the AU timeline established so far: instead of stopping at recording two songs from Whistle Down the Wind on a greatest hits compilation, Meat Loaf wound up taking more of an interest in Steinman’s new theater work than he did in our timeline, and through a series of circumstances found himself volunteering to play Krolock in the impending DOTV when Jim poured out his woes to him about needing to find some sort of star to attract investors. At a loss for any better ideas, Jim accepted Meat’s impulsive proposal, but not without resistance from his manager, David Sonenberg, who proposed Michael Crawford as an alternate candidate. Through quick thinking on Meat’s part, and inspiration on Jim’s, Crawford left the room accepting an entirely different role than he walked in hoping to get, leaving Krolock still open for Meat. There was a brief speed bump, when Meat disliked Jim’s English script for the show, but after meeting with the original German author Michael Kunze and convincing Jim to compromise, things were on the road to being back on track... at least until 9/11 occurred. Following a brief hiatus, everyone involved is meeting to re-assess their options.

Continuing the alternate DOTV timeline:

February 2002: After completing the Night of the Proms tour and taking a holiday break, Meat Loaf requests a meeting with co-star Michael Crawford, composer Jim Steinman, co-author Michael Kunze, and the other creatives on DOTV to assess where things are at. Obviously, people have other commitments, so the creative team may not shape up exactly the same as initially planned, but at least they’ll see who’s still coming along for the ride and get a bead on where the show is at. A dinner is planned at Café Carlyle, a cabaret space housed within the hotel of the same name, on the Upper East Side of NYC.

The dinner begins as any dinner involving Jim begins: with Steinman’s ordering disorder on display, and his manager, David Sonenberg, smiting his own forehead so hard it turns purple. Imagine the headwaiter’s surprise when he takes everyone’s order and hears Jim say, “For starters, we’ll have the entire left half, plus two each of the chicken hash, Dover sole, and seafood salad.” “Excuse me, sir... the entire left half of the menu?” “That’s correct. And for the second course, I’ll have another order of the roasted halibut and the filet mignon. What looks good to you guys?” Meat is not at all surprised; with Jim, you get everything and then everything else. “And for dessert, sir?” says the headwaiter, anticipating the massive tip. “Well, why don’t you bring us some New York cheesecake. And, heck, how about an order of the chocolate opera cake? And profiteroles. For everyone to share.” Meat can only laugh at the incredulous expressions of everyone who doesn’t already know Jim. He  orders the table a round of fifty dollar Côtes du Rhône. This’ll be a long one. 

First order of business: is the new script ready? “Not quite,” says Jim without even missing a bite. Meat rolls his eyes; typical Jim. His method is seduction. Jim has ideas for new stuff; he doesn’t always have the results to back them up. If he can talk you into it, he can do it -- eventually. “Don’t roll your eyes at me, it’s a cut and paste job anyway. I do have a synopsis so everyone can see what the show will be like. Rest assured, everything’s back the way you want it.” Steinman gestures to Sonenberg, who passes pages around the table.

We now pause to read said synopsis:

ACT ONE

Some time in the late 19th century, Professor Abronsius, a rather intensely wacky vampire killer, stands trial before the Governors of the University of Heidelberg. He has made a mockery of the school’s good name with his “ridiculous writings and insane theories,” insisting that he can prove vampires (and other supernatural creatures) actually do exist. For this “crime against science,” he is sent packing by his colleagues. His assistant Alfred, handsome if sweetly dim, with an ardent and Byronic underbelly, resolutely stands by his mentor and guide. Now gifted with -- however unwelcome -- free time, they set off on an excursion, hoping to prove the professor’s theory correct, and become lost in a blinding snowstorm (Overture).

We are now in a dark forest, three nights before Halloween, near a remote Transylvanian village somewhere in the Carpathians. Sarah, the beautiful teenage daughter of the local innkeeper, is out picking mushrooms with her easily frightened friends when they come upon an abandoned graveyard in a clearing. To reassure them all is well, she says a prayer (Angels Arise). Suddenly, a pack of very cool young vampires appears out of the mist, dancing with rapturous abandon (God Has Left the Building). Sarah is entranced as a coffin rises from the ground containing the mesmerizing and extremely cool Count Von Krolock, an immortal suitor whose call she finds strangely irresistible. The Count introduces himself to Sarah in a most charming way, sings to her seductively telling her of another world (Original Sin), and promises to return for her at the total eclipse of the moon. The lure of the night is strong, as is the promised deliverance from the mundane world she knows.

Back in the village, at the inn, we meet Sarah’s father, Chagal, his long suffering wife, Rebecca, and his beautiful voluptuous chambermaid, Magda, whom he spends most of his free time lusting after, much to Rebecca's disdain. Together with the local villagers, they demonstrate that nothing perks up men like wine, women and song -- and Garlic. Into the midst of the hustle and bustle burst two strangers, the first in twenty years: Abronsius and Alfred, who have nearly frozen to death in the nearby woods. Although the villagers deny any knowledge of vampires in the proximity, the professor cannot be fooled and becomes increasingly suspicious.

After exploring the rooms upstairs in which they are staying, Alfred meets Sarah. He is instantly smitten by her and vice versa, but having noticed the attraction between them, Chagal, very protective of his child, literally boards-up the door separating them (Don’t Leave Daddy). Since the budding passion of the young is highly flammable his solution proves to be as effective as spit on a forest fire. Unable to sleep, Alfred and Sarah sing of their newly awakened desire for each other (There’s Never Been a Night Like This), but they are not alone in their yearning: Chagal sneaks away from Rebecca -- who swiftly knocks Abronsius on the noggin in a case of mistaken identity -- to pay an unwelcome visit to Magda, and the Count returns to invite Sarah to a grand ball at his castle, offering her a chance to make her wildest dreams a reality, an opportunity to quench her thirst for more (The Invitation). How can any small-time girl resist?

The next day, the idyll of a winter mid-afternoon (Everything’s Fair) is broken when Abronsius witnesses a small business exchange between Chagal and Koukol, a hideous hunchback who lives somewhere in the woods. He inquires about the odd fellow, but Chagal refuses to discuss the matter. This does not deter the professor (Logic). For every question there is an answer and no truth that defies understanding -- or so he believes.

But no law rules the human heart and desire is quite an immeasurable emotion. Alfred also offers Sarah a way out: he begs her to run off and make a new start with him (Braver Than We Are). Too little, too late. Unbeknownst to Alfred, Krolock has sent a gift for Sarah -- a pair of red boots and a vision. Alfred leaves Sarah alone outside for a moment and she puts on the boots; she has a fantastic reverie about dancing with vampires (Red Boots Ballet) and can no longer control herself, try though she might (Say a Prayer). Torn between Alfred and the Count, Sarah runs off to Krolock’s castle, pursued by Chagal, who is in turn pursued by Rebecca and Magda who are concerned for his safety, who are in turn followed by Alfred and Abronsius, reasoning that they will be shown the way to the Count’s lair.

At the giant castle in the woods, they are greeted by watchful eyes in the darkness (Something to Kill (Our Time)), and by the mysterious Krolock and his flamboyant son, Herbert, who is instantly attracted to Alfred (Bless the Night). In the same breath, Krolock taunts Alfred and invites the two men into his domain (Come With Me) and the two reluctantly accept his invitation.

ACT TWO

In the great hall of the castle, Sarah reconciles what was once just a fantasy with her new reality, seduced by and embracing her inevitable indoctrination to this family (Vampires in Love (Total Eclipse of the Heart)). Sarah is entranced as Krolock makes his way down the staircase toward her. What has long been just a notion inside her is now a man before her. She willingly offers him her throat, although he resists the urge to bite her there and then.

Meanwhile, given a room, Abronsius sleeps soundly while Alfred is tormented by a nightmare (Carpe Noctem) that is a peculiar reflection of reality. In the dream he is a creature of the night. The following morning Alfred bravely swears that above fear and beyond doubt he will stay there in the hope of saving her (For Sarah).

But Abronsius is more concerned with capturing the Count and his son as specimens to prove his theory. Alfred and the professor make their way to the crypt, hoping to locate the two vampires, but instead they encounter the freshly dead Chagal. Before Abronsius can think of something else, Alfred hears what he believes to be Sarah singing and the hapless duo flee the crypt just as Rebecca and Magda arrive. Encountering Chagal's bitten body, Rebecca grieves while Magda gloats (Death Is Such an Odd Thing). In death she finds him to be far more bearable than in life. Chagal wakes-up and bites them both.

Truly, love is in the air. As Chagal cements his eternity with the women he loves in tow, Alfred has a close encounter with Herbert, who has set his sights on him. The smitten Herbert waltzes with an unwilling Alfred singing a song of love and longing (When Love Is Inside You). Herbert’s attempt to draw blood from the young man is thwarted by quick thinking, but to add insult to injury, Alfred then finds Sarah bathing in preparation of that evening’s ball. He begs her to flee with him, but his plea falls on deaf ears -- she is dying to go.

Meanwhile, Abronsius’ search through the castle has taken him to the library, which he enthusiastically discovers is stocked with every book ever written (Books, Books). The Count, who initially pretends admiration for the professor and offers him eternal life, confronts him, taking the opportunity to boast that the the battle for Alfred’s soul is already complete and that he is the victor.

To his horror, Abronsius, joined by Alfred, watches as, in throngs, the vampires crawl from their coffins, cursing the redundancy of their existence and eager to devour (Eternity). At the same moment, stung by Abronsius’ rejection, Count Von Krolock laments the truth of his being (Confession of a Vampire) and makes a bleak prediction: before the turn of the next millennium mankind, overcome by greed, will know only one god -- the god of appetite.

Speaking of appetite, the moment has arrived! The Count and his brethren are eager to proceed (The Ball: Never Be Enough). Sarah is presented while a disguised professor and Alfred wait for an opportunity to rescue her -- a chance that unfortunately comes only after she is willfully and gloriously bitten. In the midst of the climactic vampire dance (The Minuet), they take hold of Sarah and run.

Stopping in the woods to rest, Alfred once more professes his love to Sarah and the two lovers embrace, singing of their born-again freedom (Braver Than We Are (Reprise)). He believes all is well until the second she sinks her teeth into his neck. Once bitten the couple takes off to begin a life that will know no end. Meanwhile, oblivious to what is happening around him, Professor Abronsius revels over the information he has unearthed about the existence of vampires, unaware that their numbers have grown. As the Reign of the Undead begins, everybody somehow manages to find happiness... Transylvania-style (The Dance of the Vampires).

Back to our regularly scheduled program:

Meat is forced to admit Jim’s right. Based solely on this synopsis, it would be a cut-and-paste job, and it does answer all of the objections he had. Moving the Heidelberg scene to the top of the show reorients things just enough so that at least the focus is shared between Alfred and Sarah. On top of that, every song is where it should be, “Is Nothing Sacred” has been cut from Act II (it appeared in both earlier versions as a duet between Alfred and Sarah lamenting the loss of their love, but for once everyone was in agreement that it slowed the show down and there was no way to make it work), and no climactic shape-shifting transformation to be found (Jim has never been one to hide spoilers). As soon as the actual script is put together, this could be a working product.

Crawford is momentarily rattled by the Alfred-and-Abronsius prologue. “Bit like Phantom to start with foreshadowing and then plunge in?” he mutters under his breath. But Meat counters, with a grin: “I think it’s more like the opening of Psycho, wouldn’t ya say, Jim?” Meat, of course, knows what’s coming. Jim has seen Psycho 23 times; he thinks that if you’re learning about film, you don’t have to go beyond Psycho, because you can watch it a thousand times and find something new each time. All he has to do is settle in and let Jim talk Crawford’s ear off: “Psycho begins, if you watch it, with a long shot of Arizona, a satellite view of the whole state of Arizona, or at least the city of Phoenix. Long shot of the whole city. And then, the camera goes into one area. Then one block, and then one building, and then through the window of that building, to Janet Leigh and John Gavin in bed, nude, having sex. You start at an extreme distance, and it keeps getting closer and closer until it ends up where the story begins.”

Crawford is flummoxed. “...but... how is that...” Before he can get another word in edgewise, Jim is off on a stream-of-conscious flight of fancy: “Lost inside a blinding snowstorm, an innocent boy and a man of science... an unspoken certainty -- where something is shattered, something is breaking through... then their suspicions are proven correct... the wilds of Transylvania... the shadow of a dark knight looms large... you set up the hero first, and then right at the beginning, you need the big horror scene, like when the shark attacks the girl in Jaws, and then in the next scene everything is fine and you go on to tell the story.” Twenty minutes of free association from film to film later, his head spinning, Crawford stops Jim: “Jim, I, uh... I think I get it. Sounds grand. Let’s move on, shall we?” Meat, with a grin: “Waiter? More Côtes du Rhône for my English friend here.”

It’s Sonenberg’s turn to speak about the financial picture, and unfortunately, he is pretty much the bearer of bad news: “We’ve got nothing.” “What about your share of the investment?” Jim shoots back. “I raised my share, but that’s all I raised! Andrew Braunsberg threw in his share, too, but ours combined won’t bring you this show! This is gonna cost at least 12 million, it’s not like either of us has a small fortune tucked away! Do you know how much it will cost for that fucking coffin to rocket out the floor? And let’s say we keep the designs from Europe, which -- by the way -- we can’t afford to do even if we get investors, who’s paying for the six-ton graveyard to come down from fifty feet in the air? Shows cost four times as much on Broadway as they do in Europe! And this is before we get into the fact that we had readings and workshops that didn’t come cheap, even though we had other people shouldering the burden with us. When they walked...” “When they walked, I did what you said! You said we needed stars to boost the box office -- we have two of them! You said we needed the show to have more of a balance between horror and comedy -- we’re nearly there! We’ve done readings, we’ve done workshops, there should be a list of interested investors by now! You’re telling me I followed every instruction you gave me and we couldn’t attract producers?!” “Jim, that happens. The odds of failure in any show biz endeavor are astronomical. You know this. I have this conversation with you time and time again.” “So basically you called this meeting to raise our hopes and then tell us it’s a wash, is that it?!”

Meat can’t bear to see Jim like this. He never could. Jim is always within steps of achieving his dream and never quite getting there, and it’s usually due to Sonenberg’s interference. “Guys, guys, before things get too heated and we say stuff we might regret... look at who is at this table. We’ve got a major arena rocker, two Grammy-winning songwriters, we’ve got the biggest box office star in musical theater, we have a music manager with a list of clients as big as my ass. We know promoters, theater owners, rich people with cash to burn, we make more contacts shaking hands at industry parties than we know what to do with. Between all of us, we’ve got to be able to rustle up some investment coin!”

Meat turns to Crawford. “Michael, I know you were up for my part for, like, twenty seconds. Were you bringing any investors to the table for that?” “Now that you mention it, yes, there were a handful.” “Call them. Explain the situation. Tell them we’re looking to cut costs and bring this show in tight, so they can look at our numbers, offer suggestions for a way forward.”

He swivels in his seat to the other Michael at the table. “Mr. Kunze, was there any interest from other American producers before the show started on this path?” “We had this husband-and-wife couple who were major producers book tickets to opening night in Vienna, but they canceled last minute.” “Any chance you remember who they are?” Sonenberg cuts in: “Barry and Fran Weissler, but...” “The Weisslers? As in the Weisslers who did Chicago? The license-to-print-money Weisslers? We need a meeting with them ASAP.”

Meat now focuses on Sonenberg. “Look, Jim is pissed at you right now, and understandably so, but we need all hands on deck. David, is there anybody you can think of that might come to the table?” “Well... I am about to have lunch with Jerry Weintraub about a film project. You win an Oscar, they all come knocking.” “I remember Jerry, he started in talent management and concert promotion. Theater is a good way for him to combine those interests. He may not bite, but bring up the project anyway.”

Jim weakly tosses in, his engines beginning to rev again: “I could talk to Leonard Soloway. He’s never been major on Broadway, mainly a house or company manager, but he’s produced before, and he’s been looking to move back into that sector. He was very interested in this at the reading last April. He called it a gem.” “The worst that he can say is no, and we’re already starting a list to go down, so give him a buzz,” Meat says. 

“As for me, I’m gonna talk to Michael Cohl.” Sonenberg is skeptical: “The concert promoter?” “He’s handled packages as big as this, you know who he’s worked with, it’s practically an encyclopedia of the business. Maybe he wants to move into producing.” “He also wants to put his hand in the till. He’s a chiseler. A bunch of managers complained about him a few years back; he was working this scheme where he told their clients playing this festival in Toronto that there was a sales tax that was coming out of their pay, and a gate charge reflected in the ticket price. Festival’s exempt from that tax and the organization that runs it has no gate charge. He was putting hundreds of thousands in his pocket.” “So,” interrupts Jim, “you’re saying he has money to spend, and he knows how to cut corners and get more.” “Oh sure, Jim, because we want to line up with a whiff of anything illegal on a high risk investment. I’m just saying, if we bring him on, there have to be stringent safeguards. We’ll need to double- and triple-check every transaction that comes through him.” “Well,” says Meat, momentarily unable to check his inner self-control, “he can’t do any worse than the advice I was getting in 1981.” “Oh sure, dig up that dead horse and start beating it again!” Sonenberg fires back.

Before the conversation can get out of control, Meat somehow manages to rein himself in: “Alright, look, let’s not get off the subject at hand here. We thought things were hopeless only moments ago, but now we have a list of... Michael, how many investors were interested again?” “Three.” “Okay, and that plus Cohl, Jerry, Leonard, and the Weisslers -- not to mention Braunsberg and David -- puts us at 10, if everyone signs on. Even if some of them say no, we should still be farther ahead than we were on the producing front. This project is not dead.”

“It might as well be,” Sonenberg grouses. “John Caird’s off attending to other commitments, Ezralow’s doing a Josh Groban TV special, and we need a new set of designs. You tell me where we’re gonna find a whole new creative team.” “David, I don’t have the highest opinion of you, but I know you’re not stupid. You’re not seriously implying that this production only looked into one person for each position, right? Surely we can look around at a few people and get some opinions.” “Besides,” Jim chimes in, “the director problem is already solved. I was co-directing, now all I have to do is call Barry [Keating, Jim’s right-hand man and a Tony-nominated composer in his own right] in to be my assistant and we’ll whip this into shape.”

A deathly silence descends upon the table. Meat is brave enough to be the first to speak: “Actually, I think we need to interview some directors, too.” “Why go to the trouble? I have it under control.” For once, Sonenberg agrees with Meat and says so: “You think you have it under control. Things have been pretty serious in this conversation so far, let’s be real right now: you’ve never directed a musical this big in your life. You and Barry are fine for a workshop, but this is a spectacular with a lot of moving elements.” “I can’t believe I’m hearing this! Half the show in Vienna I had to talk Polanski into doing. Or did it behind his back. A lot! He had a totally different vision.” “Jim, giving notes and making contributions that people agree with is not the same thing as directing.” “I’ve directed music videos!” “You’ve story-boarded music videos.” “What about that one I directed for Bonnie that was nominated for seven Billboard Video Awards?” “Did it win any?!” Meat once again has to halt the argument brewing: “Look, Jim, we need to be serious about this if you want it to work. It can’t hurt to just talk to a few other people. We’re not committing to them.” Steinman is momentarily silenced, but his sour expression betrays he’s still displeased with the present turn of events.

“Now, as for the choreographer...” Meat says. Jim perks up again: “Barry could...” Sonenberg slams his fist on the table: “You shut up or you lose a toe! Go on, Meat.” “Alright, we’re not opening till October, and that means we’re not starting in earnest until August. That’s after the Tony Awards. Let’s see if any real talent emerges this season, and if worse comes to worst, we’ll just hire whoever won.” “That doesn’t solve our problem with the design team, though. Even if we get them signed by June or July, that’s not nearly enough time to design, approve, and execute a whole show.” “Well, we can start talking to people now, and maybe they’ll even give us some clues about a choreographer or director, if there’s someone they’ve worked with who they really liked.” At a loss for any other way to proceed, Sonenberg nods gravely.

At meeting’s end, everyone is in concurrence on the next course of action: actually finish the script, schmooze with potential investors or producers, and put together a new creative team. Preferably not all at the same time, but with the crunch on, they’ll do whatever needs to be done.

Didn’t expect this to be so short or focus on one event, but our heroes have lots of ground to cover. Catch you next time!

[billyagogo]

A survivor. A funeral director. A marriage divided. How Americans' COVID experiences shape their votes

New Post has been published on https://newsprofixpro.com/moxie/2020/11/03/a-survivor-a-funeral-director-a-marriage-divided-how-americans-covid-experiences-shape-their-votes/

A survivor. A funeral director. A marriage divided. How Americans' COVID experiences shape their votes

In Wisconsin, a funeral home director who has watched the COVID-19 pandemic rip through her community can only blame President Trump.

In Texas, little can change one woman’s loyalty to the president — not even her own struggle for breath as she lay in a hospital bed.

In New Mexico, an underemployed firearms instructor plans to cast his vote as a rebuke to Democrats he says were overzealous in closing businesses.

In Arizona, a Joe Biden voter found political detente with his Republican wife as the lingering effects of infection continue to cause them pain.

In Michigan, a school bus driver won over by the president before the pandemic deepened her devotion and took up arms to protest shutdowns.

Even before the coronavirus sunk in its teeth, the United States was deeply polarized. Facts mattered less than feelings and political parties acted like tribes.

The virus — a shared, microscopic enemy that demanded a unified response — offered the nation a chance to come together. But from face masks to shutdowns, the pandemic quickly became the main thing Americans were fighting over.

As the death toll grew so did anxieties about who would win the presidency.

Election day arrives as the virus surges like never before, with an average of more than 80,000 new cases reported each day last week — well over previous spikes and up more than 44% from two weeks earlier.

Once concentrated in urban centers like New York and later in Sun Belt states, the virus is now ravaging the rural Midwest and Rocky Mountain states.

Field hospitals have been pitched in parking lots from Texas to Wisconsin. In the past week, hospitalizations reached new highs in 18 different states.

Treatment is improving and infections are increasingly concentrated in younger people with high odds of survival, but experts predict a significant rise in the U.S. death toll, which now tops 230,000.

The surge poses a dilemma for officials trying to balance health concerns with economic ones as the public grows wary of more forced shutdowns.

Polls suggest that most voters have made up their minds — and record numbers have already cast their ballots.

All of the issues that divided America before coronavirus have been eclipsed.

This is the pandemic election. And these are the stories of five voters.

The funeral home director The first call came in late March.

A 70-year-old had died shortly after being taken off a ventilator. Michelle Pitts sent a hearse to pick up his body from the hospital.

Michelle Pitts, owner of New Pitts Mortuary, stands outside her Milwaukee funeral home.

(Kurtis Lee / Los Angeles Times)

There would be no funeral, just a burial at the cemetery attended by three relatives. The family was too worried about contagion.

Pitts was left with the feeling that “this virus was going to be bad.”

The calls kept coming, at all hours. Pitts could only watch as the coronavirus spread through the neighborhood. As owner of the New Pitts Mortuary, she has been serving the predominantly Black northside of Milwaukee since the 1990s.

The disproportionate toll the virus was taking on Black people was obvious to her. The two dozen victims her funeral home has handled included bus drivers, nurses and grocery clerks — essential workers who didn’t have the luxury of sheltering in place.

“If you live in this community, you know someone who has either contracted the virus, or died,” she said. “It’s an American tragedy plain and simple.”

As the months wore on, Pitts couldn’t stop thinking about the ages of the deceased. Early 50s. Mid-40s. Late 30s.

She herself was 60.

Pitts remembered the expression of the parent standing over the oak casket of a beloved son, who days earlier was taken off a ventilator. She recalled the woman whose husband died before he could line up a life insurance policy to help take care of the couple’s two young children should something happen to him.

How are they doing now, she wondered?

To sustain herself, she often recited her favorite scripture, a section of Psalm 23: “Though I walk through the valley of the shadow of death, I will fear no evil: for thou art with me; thy rod and thy staff, they comfort me.”

In late October, she filled out her ballot.

There was never any doubt that she would vote for Biden. In her view Trump had only responded to the pandemic with callousness.

She deposited the ballot in a nearby drop box.

“I felt like a weight was kind of lifted off my shoulders,” she said. “As if it was my time to be heard.”

— Kurtis Lee

The survivor It had become her evening ritual: Order dinner from Doordash, mix a cocktail, draw a bath and pretend she was swimming in her complex’s off-limits pool.

“It just became very lonely,” said Jaime Vollmar, 35.

Meanwhile, her hours as an operating room technician at two plastic surgery clinics were severely cut.

It all seemed overblown to Vollmar. She knew friends who had contracted the coronavirus, but nobody who died from it.

Then, in early October, Vollmar and her boyfriend decided to take a risk and get together for dinner with another couple. The woman hosting began to feel ill that night, and within days called to tell Vollmar she and her husband had tested positive for the virus.

Vollmar also tested positive.

After two weeks of feeling “like death” at home, Vollmar was admitted to United Memorial Medical Center in Houston. During sleepless nights, she struggled to breathe as she watched a monitor showing her blood oxygen level drop.

She began to wonder: “Am I actually going to survive this?”

Her second priority was making it to the polls to vote in person.

She had supported Trump in 2016 and appreciated all he had done on immigration, the economy, even the pandemic.

“He did a great job. He’s human,” she said, adding that her bout with the virus “gives me more appreciation for him.”

Jamie Vollmar was admitted to United Memorial Medical Center in Houston after contracting COVID-19.

(Molly Hennessy-Fiske / Los Angeles Times)

Vollmar was released from the hospital Friday. At the polls, she plans to “be a dork” about safety and wear a mask, keep a distance of six feet and encourage others to take more precautions.

Looking back, Vollmar believes that she might have contracted the virus when she tasted the dinner host’s new vaping flavor — watermelon strawberry bubblegum.

“It was a heavenly flavor,” she said from her hospital bed. “But not worth all this.”

— Molly Hennessy-Fiske

The expectant father Marcos Sanchez was irked.

Driving by the local hardware store in the early days of the pandemic, he’d see lines of hundreds of people waiting to get in.

Yet Sanchez, a 35-year-old firearms instructor in Española, a small city tucked in the mountains of northern New Mexico, wasn’t allowed to work after an order from the state’s Democratic governor closed all businesses except those deemed essential.

Sanchez, who had been steadily growing his business for two years, had no income for three months straight.

“It’s frustrating because they’re raking in money and I’m struggling,” he said.

The way Sanchez sees it, the pandemic was an act of God. The shutdowns were an act of man.

Under current restrictions, he can work again, but must limit his shooting and self-defense classes to a quarter of normal capacity. With a second child on the way, he’s now contemplating whether his business can continue.

“I’m not blind or ignorant to the damage that the virus has done, but I see the damage it’s done economically and that leads to a whole lot of other problems,” he said.

Rio Arriba County, where Sanchez lives, went for Hillary Clinton in 2016 — 64% versus 24% for Trump. But Sanchez plans to vote for Trump, like he did four years ago.

His decision is largely based on his opposition to firearm restrictions and his religious beliefs, particularly his objection to abortion. But the pandemic has also played a role.

Trump is not a perfect candidate, he said. He thinks no candidate ever is. But most important for him are the kinds of policies a person will enact once they are in office, and Trump has opposed widespread economic shutdowns in the face of the virus.

“You have to ask what’s worse,” he said. “The virus or the constant anxiety we’ve been putting ourselves in?”

— Kate Linthicum

The activist Bill Whitmire had to leave for a doctor’s appointment, but his keys were nowhere to be found.

It’d been months since he felt clear-headed. Lapses in memory and reasoning — so uncharacteristic for a 56-year-old who prided himself on being organized — had become the norm.

He chalked it up to the coronavirus, which he believes he contracted back in January, before testing was available in the United States.

His wife, Ann, came down with the virus in June. She still faces bouts of nausea, body aches and feeling like she has no energy.

The pandemic brought the couple closer together — and not just in their shared suffering.

She is Republican and he is a Democrat, which seemed like less of an issue when they got married back in the 1980s than it did in 2016, when she voted for Trump and he went for Clinton.

“Sometimes we have to agree to disagree,” he said.

Whitmire kept an open mind about Trump in the beginning but grew increasingly disenchanted with him — especially after the pandemic struck.

As a former high school biology teacher, Whitmire was appalled by White House news conferences, in which Trump repeatedly contradicted his own health experts.

“He acts like he’s cured the virus: ‘We’ve rounded the corner, it’ll be over soon, live your life,’” Whitmire said. “Yeah, right.”

For the most part, Whitmire and his wife avoided conversations about Trump and kept focus on their common values of compassion and helping the less fortunate. But it was clear that Ann was losing faith in the president too.

Whenever her husband would turn on a presidential news conference, she would leave the room in disgust.

Anger and grief turned Whitmire into an activist. He joined Marked by COVID, a support group for people who have lost relatives or suffered other effects of the virus. On Friday at the Arizona state Capitol in Phoenix, he lit candles honoring victims and listened as a woman who survived — but lost her sister — sang a haunting rendition of “Amazing Grace.”

“I will never forget it,” he said.

Ann, still ailing, did not attend.

When they they both filled out their ballots in mid-October, he enthusiastically marked his for Biden.

She made him promise not to tell anyone who got her vote, only that it was not Trump.

— Richard Read

The militia member Michelle Gregoire stood guard outside Karl Manke’s Barber & Beauty Shop with a 9mm semiautomatic pistol and a flag emblazoned “Don’t tread on me.”

Manke had no intention of following state orders to close this past May as coronavirus infections were climbing. Gregoire and dozens of other members of a militia known as the Michigan Home Guard were there to keep out the authorities.

She had long been disillusioned with both major parties. But Trump’s outsider status and unusual political style had appeal.

She reluctantly voted from him in 2016, the same year she made a failed bid for a seat in the Michigan state house as a libertarian.

“I was scared when he took office,” said Gregoire, now 29.

That changed when she got a $16-per-hour job as a school bus driver, plus a bigger tax refund. She and her husband were saving to ditch their rental in Battle Creek to buy a house big enough for them and their three children.

Gregoire was growing more political. She decided to run for a state house seat again — this time as a Republican.

Last November, she joined the militia, which claims to have at least 1,000 members and says on its website that it is preparing “for tyranny, social discord, natural disasters or anything else that may arise.”

The pandemic only fortified her faith in Trump, whose downplaying of the virus reflected her own experience.

“I don’t social distance, I don’t wear a mask,” she explained. “If anybody has COVID, I should have COVID… Nobody around me has tested positive.”

Gregoire lost badly in the August primary for the house seat. She is still jobless, saying that she has not been allowed to return to driving school buses because she is facing charges of trespassing and resisting arrest stemming from her militia’s occupation of the state Capitol in Lansing for a week in May.

But she paid off mounting credit card bills using the $2,400 her family received in checks as part of the federal stimulus package, each accompanied by a letter signed by Trump.

She was planning to vote in-person because it feels more “patriotic.”

— Jaweed Kaleem

Read More

[feynites]

Vivienne is such a complicated character.

Like, here you have this woman who has heard for her entire life that she is dangerous. That’s one consistent thing which almost all mages, whether they’re born to a noble family in Tevinter or peasants in the Anderfels or traders in Rivain, are told. Even Dalish and Avvar mages get this message to some extent. You’re a mage - you’re dangerous.

And especially for Circle mages, being dangerous is expected to eclipse everything else about you. The Circle requires a phenomenal balancing act from people. If you’re not good enough at magic, there’s a chance you won’t even be deemed capable of taking your Harrowing, and you’ll just be made Tranquil. This was what prompted Jowan to start using blood magic, in fact - if you go through Irving’s notes in the Circle Tower, you will discover that, in order to meet certain quotas for how many Tranquil the tower has and to maintain the status quo (wherein mages never forget who is holding their leash), the head enchanters single out mages who aren’t talented enough to profit the Circle and chantry as Harrowed mages, and they are basically set up. Instructors warn that they’re not meeting their skill requirements, temptation is offered in the form of books or tomes that provide illegal knowledge, and if the mage takes the bait, all they have to do is slip up. Then the templars move in, no one can really argue the point because blood magic is considered both illegal and immoral, and no one has to worry that Owain is getting too old to carry down the higher boxes in the store rooms anymore.

This is the kind of atmosphere in a good Circle, too. If you can’t prove that your magic would be a profitable commodity for the chantry, then you start to look like dead weight - or the potential materials for a docile labourer, who will just work and work until told to stop, and never offer up protest or a potential lack of compliance.

But, if you’re too powerful or talented, you become worrying for other reasons. A skilled mage can make a lot of coin, healing and entertaining nobles who can afford to pay for the expense, or serving in a military capacity. Powerful mages are also more likely to gain the kind of worldliness and mobility that would enable them to act upon any revolutionary impulses they might have, though, and can threaten the templar’s authority by challenging their ability to pose a physical threat. Again, if we go back to DA:O, Jowan was perfectly set up to be branded a blood mage and made Tranquil for his transgressions. But he was singled out, most likely, for being the least adept among his peers - that didn’t necessarily mean he was actually that bad at magic. And he proved to be adept enough at blood magic itself that the plan blew up in Irving and Greagoir’s faces when he successfully disrupted the templars enough to make a run for it.

The downside for the chantry in making sure templars are indoctrinated to fear mages’ power is that, on the instances when they’re actually called to fight, they do seem to hesitate an awful lot. Kinloch Hold saw the supposed anti-mage elite barricading themselves into the front entryway while the main force opposing Uldred was actually made up of mages; DA2 saw Hawke cleaning up the majority of magical incidents, while Meredith’s goons mostly just bullied the already-legal-and-complacent mages within the Gallows, or else occasionally ventured off to things like torture Dalish kids on Sundermount.

So, the tightrope which mages have to walk. If you’re too weak, you’ll be targeted for Tranquility. If you’re too strong and not compliant enough, you might actually scare the Templars, and face the same treatment. And if you’re just middle-of-the-road, you can probably get by with only the standard danger in your life - but you’ll also probably never venture far from the Circle’s walls, unless some disaster or another calls for all mages on deck, like the Blight.

That’s a pretty grim prospect, overall. Tranquility hanging like a blade on both sides of the accepted skill range, and lifelong imprisonment nestled securely in the middle.

But now we have Vivienne, and unlike... pretty much all of the Circle mages we’ve met before her, Viv has figured out how to navigate the very narrow space left open to her, and actually succeed. She’s skilled enough at magic that no one doubts her prowess, and anyone who tries to tempt her - demon or scheming enchanter or templar alike - is going to be faced with nothing but a firm denial. I think that was probably so essential to her initial survival among Orlais’ cutthroat Circle politics that it more than explains how unnerved she is by the likes of Cole. Tolerance of things that are even remotely questionable by chantry standards is evidence of ‘corruption’, and that could be used to condemn her, or halt her progress. For Vivienne to succeed in the environment she was brought up in, she had to be skilled, and there had to be no question that her skills came from purely acceptable schools of magic. Anything else could be ammunition for rivals, or an excuse for the templars.

Of course, such things could still be manufactured, if anyone had a sufficient reason to frame her. So Vivienne not only had to be squeaky clean, she also had to make herself a vastly preferable mage for the positions she aspired to than any other candidate. How does she do this? By cultivating the reputation required in order to alleviate any and all suspicion that she would be reckless, that she would challenge templar or chantry authority, or that she might use any freedoms granted to her to that end. The kinds of mages who leave Val Royeaux’s Circle to go and entertain the nobility, are almost certainly the kinds of mages who say things like ‘templars are a necessary precaution’. 

They’re also the kinds of mages who can be charming, and entertaining, and make nobles feel good about themselves. They’re likely full of assurances. ‘Of course Circle life isn’t perfect, but it’s hardly a prison. There are opportunities for those who have the right temperament, the right mindset, to go further in life than they otherwise would have. Why, just look at me - my family wasn’t rich. If not for the Circle and my magic, I would hardly be standing in the greatest city in all of Thedas, speaking to some of the most powerful people in the world’. Vivienne went from Circle politics to Orlesian politics, and those are both environments where the truth is something that people will use to destroy you, trust is a fool’s gambit, and you are constantly surrounded by people who want you dead.

But, what really gets me about Vivienne, is that she’s compassionate. And it’s funny because I don’t think she wants to restore the status quo to the Circles because she doesn’t believe she could hang onto her power and influence without it - although I do think she considers the prospect very daunting. I think she’s a compassionate pessimist. She sees the worst possible outcomes in any situation as the most likely. No guaranteed, but certainly most likely. She doesn’t want a war, in that case, because if you look at the Circle’s revolution from a pessimistic angle, the most probable outcomes are either ‘a bunch of people die, and then everything goes back to Square One anyway’ or ‘a bunch of people die, and then Southern Thedas becomes like Tevinter’. The rebellion early on already causes a lot of death, and destruction, and leads to things like the mass kill of Tranquil mages for nefarious purposes. Vivienne genuinely hates this.

Now, mages and Tranquil were already suffering under the existing system - that’s kind of the whole point of the rebellion. But it’s understandable that Vivienne herself has moved far enough away from Circle life, and is accustomed enough to those kinds of horrors, that I don’t think she’s considering the factor of ‘people were already suffering and dying, they were just doing it more quietly and where fewer people could see’. And that makes sense, to me, because people are often expected to just overlook certain kinds of suffering as inevitable. Since she was taken to the Circle, Vivienne has learned that magic is a threat, and I think that’s also why she uses so many ‘villainess’ trappings, despite not being in any way villainous. She has had to balance the perception of her - and all mages - as inherently dangerous, inherently threatening, with the need to seem skillfully dangerous (because if magic is dangerous and being talented in it is still the only way to get ahead, what else can she be?), and also totally reasonable, and not at all inclined to step out of line.

Like. Holy shit. No wonder she and Solas are the best companions at understanding how stressful being Inquisitor probably is.

But back to the matter of her compassion, I think explains a lot about how Vivienne wants to go about things. Because she does want to shift the balance of power between mages and templars, but she wants to do it in a way that’s virtually unnoticeable to the general public. She wants to keep the templars, and the Circle, and the same titles and systems for the most part. But she wants to utterly nerf the templars’ behind-the-scenes authority, and hand it over to the enchanters instead. She’s aware that the majority of people in the south have no clue what goes on in the Circles, and she wants to turn that to her advantage, to assuage hysteria and panic by providing them the  balm of ‘no look see everything you know is entirely back to normal, here are the mages in their towers, here are the templars in their shiny armour, you just go back to planting turnips or whatever you were doing in your village’, and then just totally upend things in a way that even most nobles probably wouldn’t have to pay attention to.

Of course, to do that, she also needs to keep appearances just right. There can’t be other factions of mages sprouting up, because that will destroy the impression of chantry authority over them. And ultimately, I don’t think her plan would really work, because the system is too entrenched in favouring the templars and has too many inherent flaws - I don’t think you can keep the presentation of it, and change the back room dealings, and actually solve Thedas’ issue with mages. But you could make the every day lives of mages already in the Circle much better, and as with Orsino, I think Vivienne has prioritized that. She doesn’t want to see Bill-the-Mage-Who-Lights-Chantry-Candles or Bess-the-Tranquil-Shop-Assistant die in a bloody conflict, and her approach is actually better than a full-out revolution for preventing that.

So that’s really interesting to me, because I think one of the prevailing ideas about her is that her ambition is throwing other mages under the bus - that she wants to preserve the status quo because this is the system she’s mastered. But, while that might be part of it, I don’t think it’s the whole picture for her. She wants people to be safe. She wants to turn the templars into a pretence. She can’t escape the lesson she’s spent her whole life both learning and proving, which is that magic is a thing worth fearing. She’s very aware of just how precarious her own position is, all this while, not only in terms of this one event but also with regards to the future. A failed rebellion could spell her doom, signing on with the Inquisition is a gamble, she’s spent her whole life having to be charming, beautiful, approachable, formidable, to restrain her anger, but to rebuke anyone who tries to treat her as a doormat in ways that deter repeat offences without also inviting retribution onto herself. She’s masterful at dancing on the head of a pin, but it’s also brutally unfair that she has to. And one can only wonder what kinds of things she’d be doing in Thedas if she didn’t have to devote 50% of her energy to not being killed at any given moment, or rather, if she hadn’t had to spend her whole life doing that.

[marymosley]

The Curse Of Eugene Debs: Sanders Loses On The 100th Anniversary Of the Demise Of The Last Major Socialist Candidate For President

Below is my column in USA Today on the significance of March 10th as the likely critical blow to Bernie Sanders in his campaign for the presidency. That was the day — 100 year ago — that Eugene Debs, the last major socialist presidential candidate, lost his bid for freedom. He would run his final presidential campaign from jail. Sanders seems to have fallen to the Eugene Debs curse not just in terms of the calendar but the response of the establishment. Liberal icons like Louis Brandeis would join in condemning him to prison and his presidential campaigns were harassed by a wide array of political and police forces. For Sanders, the only thing that has changed is the threat of criminal prosecution. The united front against his campaign remained the same.

Here is the column:

“That old man with the burning eyes actually believes that there can be such a thing as the brotherhood of man. And that’s not the funniest part of it. As long as he’s around, I believe it myself.” That quote could have come from any of the number of Bernie Sanders supporters that I interviewed Sunday at his “yuge” rally at the University of Michigan. The statement however was about a man who last ran 100 years before Sanders: Eugene Debs. Not only is Sanders the obvious political successor to Debs, but the future of his candidacy may rest on the decision on Tuesday — the very anniversary of the final demise of Eugene Debs.

As the candidate for the Democratic Socialist Party, Debs was an ardent believer who led a national movement against the capitalist establishment. He was a dangerous man precisely because, when he spoke, others believed what had long been denied was possible to achieve. For his convictions and his following, Debs was arrested for sedition and, with the help of a shockingly complicit Supreme Court, he was convicted and sent to prison.

Alan Haber in the rally

Thankfully, Sanders is not facing prison for his principles, but he is facing the same type of concerted attacks from establishment figures. That is why I decided to attend Sanders’ rally at the University of Michigan on the eve of a primary that Sanders badly needs to win if he hopes for an upset in the Democratic race. What I saw is precisely what that Debs supporter described: palpable and contagious hope among as many as 10,000 supporters packed before the library at the University of Michigan.

I walked along lines that stretched around the campus to hear Sanders. In the crowd, I spotted one older man with a SDS button. The Students for a Democratic Society was a student organization for radical change in the 1960s whose national secretary was a young man named Bernie Sanders. The elderly man turned out to be Alan Haber, the first president of the SDS. Haber told me that Sanders was the only candidate who was not owned by corporate interests. Like Sanders, Haber has remained unbowed and undeterred through decades of struggle. Now his former SDS colleague is still in the running to be the Democratic nominee for president. What was unimaginable seems tantalizingly close to reality for both Sanders as well as Haber and millions like him.

In speaking with supporters in Michigan, you could not fail to get caught up in the sheer energy and passion of the crowd. This is not a political campaign, it is a movement. That is what his supporters believe that Biden and the Democratic establishment are united to prevent. However, Biden will have a tough time getting many of these people to the polls after bashing Sanders as a socialist supported by thuggish “Bernie Bros.”  Haber said that he would reluctantly vote for Biden over Trump but his wife Odile Hugonot Haber was not sure she could get herself to pull the lever for Biden. 

It was a view repeated by many. Sanders has extended the horizon of what is possible for many. And these people are not buying the usual compromise of the “art of the possible.” It was notable that the biggest boos in Sanders speech from the crowd came first at the mention of ICE and then at the mention of Biden and his “billionaire backers.”

Many supporters have been fundamentally changed by Sanders and his ideology of Democratic Socialism. One such supporter wore a self-made jacket showing Bernie and a cat with “Socialist Butterfly” emblazoned across the back. She said that she became a socialist after hearing Sanders in 2016.  She also balked at the notion of supporting Biden and the establishment.

Similar rhetoric

Sanders may be the candidate that Debs wanted to be. Their rhetoric is strikingly similar. Roughly 100 years ago, Debs told similar crowds that “I may not be able to say all I think; but I am not going to say anything that I do not think. I would rather a thousand times be a free soul in jail than to be a sycophant and coward in the streets.” Sanders for his part mocked the establishment figures and billionaires lined up behind Biden and against the Vermont senator. He declared himself unabashed and unbowed to the thrill of the crowd.

Tuesday could not be more symbolic for Sanders. It is not just the “mini Super Tuesday” that could break the momentum of his campaign. It is also the anniversary of the Supreme Court’s decision in Debs v. United States, a decision viewed by many of us in the free speech community as one of the lowest moments in the history of the Court.

In the case, the Court upheld the conviction of Debs under the Espionage Act of 1917 for opposing World War I. Oliver Wendell Holmes wrote for a unanimous Court that included the great civil libertarian Louis Brandeis. The Court dismissed the obvious protected speech under the First Amendment. In directly addressing the jury, Debs repeated his opposition to the war as the product of capitalism and corruption. The Supreme Court said that that was enough since the words had the “natural tendency and reasonably probable effect” of deterring people from supporting or enlisting in the war. Debs would never fully recover from his prison stint even after Warren Harding later commuted his sentence.

Voters will go to the polls on the anniversary of that decision to determine the fate of a man who has followed and eclipsed Debs in a way that would have been unimaginable 100 years ago. His critics have declared him too old, too feeble or too radical. But for his supporters, Sanders is also one thing that Biden is not: authentic. To paraphrase the Debs supporter, he is simply the “old man with the [Bernie] eyes.”

Jonathan Turley, the Shapiro Professor of Public Interest Law at George Washington University, is a member of USA TODAY’s Board of Contributors. Follow him on Twitter: @JonathanTurley

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