#I'm actually 44 years old

[thatuselesshuman]

I ddon't get post nut clarity, I get post yap my ass off clarity

[fuiru]

A 44 year old man goes to a K-Pop Concert

I promised you a report on the K-pop concert that I, a 44-year-old accountant, went to a couple of weeks ago with my wife and daughter in Toronto. So here it is.

The band we saw were Ateez. They're my daughter's favourite band and my wife's second favourite. I know most of my mutuals are similarly aged like me and may not be familiar with them so let me give you a brief primer on Ateez.

Imagine the most attractive eight men you can think of, just unfathomably beautiful specimens of aesthetic perfection, and make them sing songs that somehow combine the subjects of 'dancing like nobody is watching' with 'we live in a dystopian hellscape that we must all work together to overthrow'. Give them an ongoing music video story lore that literally nobody - not even the band themselves - understand, so that online discussion of their visual motifs looks more like the fevered rantings of a conspiracy theorist, complete with speculation about alternate realities and time being a Moebius strip. There is also a giant sand timer, for some reason.

That's Ateez. That's what you need to know.

Now, K-pop concerts are very different to the gigs I've been going to for the last 28 (!) years. There's no support act, for a start. Also the band perform for like, three hours, with breaks for costume changes and interpretive dance. Furthermore, hanging above everything is the constant looming threat of mandatory military service.

So this being my first such concert, I wasn't sure what to expect. What happened was difficult to explain, but I will try as I am already six paragraphs into this write-up and I'm too invested to stop now. Here goes:

In his Wicked + Divine comics series, Kieron Gillen places modern pop icons as deities, feeding upon and gaining strength from the worship of their fans at the altar of musical performance. I thought I understood that metaphor. I thought I understood it AS a metaphor. I was wrong, because that night Ateez WERE Gods with a capital G and we were their worshippers, a crowd emanating adoration (in the religious and non-religious senses), bestowing strength upon them and gaining their strength in return.

If that sounds weird, it probably is. But as pointed out above, I have lived over four decades and never yet experienced anything like the overwhelming passion of that crowd, the utter abandon with which they conveyed their love for the band.

"But Fuiru, what of the actual music?" you ask. Thinking back, there was a moment in one of their songs - I can't remember which - where I watched the stage, and the people around me, taking it in, and I thought, "Man, I just love Music". But that doesn't answer your question, sorry.

Ateez's music is bloody great. As a tiresome indie/rock/metal kid I'm resisting the urge to add the usual tiresome indie/rock/metal caveat of "...for pop music" because honestly that does it a disservice. They have some genuinely amazing songs. Halazia is an absolute fucking masterpiece that descends into furious hardcore breakbeat. Bouncy is a big, brash racket that somehow is also a perfect pop song. Utopia, Wonderland, and Guerrilla are similarly superb. The obligatory boy band slow number is represented by Dancing Like Butterfly Wings which will make you cry because you will forever associate it with your twelve year old daughter being pointed to and waved at by her favourite Ateez member (Seonghwa) because of her Seonghwa-branded lightstick.

That might just be me, though.

So in summary: being a 44 year old dad at his first K-pop concert rules and you should endeavour to partake in the experience if the opportunity arises.

Finally, for any Atiny reading this: my bias would be San or Seonghwa but my wife and daughter said they were taken so it’s Mingi. My concert outfit (designed and created by my offspring) reflects this.

[personnage-neutre]

"Tintin, quel âge as-tu ?"

Today marks 96 years of The Adventures of Tintin, and readers have spent at least the last 78 of those years asking the same question: "How old is Tintin?"

The series is infamously coy about giving a definite answer, as was its creator, but I argue in the first part of this post that 1) there was indeed a specific intended age range for Tintin and 2) it is very much possible, using evidence from many different sources including the albums themselves, Tintin magazine, other BDs of the time, and interviews with Hergé, to say exactly what that age range was. Let me be very clear: I'm specifically making an argument about how old Hergé saw him as and how old Hergé wanted him to be seen as.

The second part is less concrete; it presents how a few scholars have interpreted the ambiguity of Tintin's age, plus some of my own thoughts about it that build on their claims. That part is less trying to find an answer to the age question and more trying to explain why his age is so much in question.

This is a long post.

I. Intent

Official sources

When asked about Tintin's age in a 1960 interview for Cinq colonnes à la une, Hergé judged that "il doit rester aux environs de quinze ans" ("he must still be around 15 years old," 0:33-0:44).

In 1962, he gave a very similar response on the Canadian program Premier Plan: "Une quinzaine d'années ? Quinze ans, seize ans, je ne sais pas, moi" ("About 15? 15, 16, I don't know"). "Donc c'est l'adolescent" ("So he's a teenager"), pursues the interviewer, and Hergé answers with a firm yes.

Nearly ten years later, in 1970, he added some nuance: "What age do I give him? I don't know... 17? In my mind, he was about 14 or 15 when I created him, a Boy Scout, and he practically hasn't budged. Let's say that he's picked up three or four years in forty years... All right, let's take the average: 15 plus 4, 19." (translation mine)

In 1979, his interviewer on Apostrophes preempted him on the age question, saying that "c'est un reporter de quinze ans" ("he's a 15-year-old reporter"). Hergé agreed: "C'est ça, à peu près" ("That's right, more or less").

Today, the official Tintin website run by Moulinsart declares him to be "Seize, dix-sept ans (dix-huit tout au plus !)," that is, "16, 17 years old (18 at most!)."

Responses to reader questions in the Journal Tintin

Early in the Journal Tintin's run, between 1946 and 1954, readers who wrote in with questions had a chance to see the responses to their letters published in the magazine each week. Supposedly it would be Tintin himself who was answering - questions addressed to him would be answered in first person, which probably only increased the urge to ask about personal details. So there were naturally many questions about his age, which provoked a range of responses.

Who was actually answering the letters? It's hard to say. But seeing as the responses were being published in the official Tintin Magazine as the voice of Tintin himself, Hergé would surely have been at least consulted on questions concerning his character, especially as the team running the magazine was still very small when it was regularly publishing responses.

The most common response was to dodge the question entirely. The stock phrases were "Qu'importe mon âge ?" and "Tintin n'a pas d'âge !" ("What does my age matter?" "Tintin has no age!").

In a small number of cases they related Tintin's age to that of his readers; an 11 1/2 year old was told that Tintin can be "l'âge que tu souhaites : entre dix et vingt ans !" ("whatever age you want: between 10 and 20!", 1953), and for a couple others, where the age of the writer wasn't listed, Tintin's age is "un peu plus que le tien" ("a little older than you," 1951) or "un peu moins que le double du tien" ("a little less than twice your age," 1950). The target audience of the Journal Tintin - as it was for the Petit Vingtième, and for comics magazines of the time generally - was 8-15 year olds.

The only definite answer that appeared with regularity put Tintin's age between 15 and 20:

(TIntin nos. 19, May 8, 1947; 26, June 26, 1947; 6, February 5, 1948; 2, January 12, 1950; 9, February 27, 1947. The second and third examples also have Tintin declare that "I've travelled so much that I no longer remember where I was born," a fine example of the de-Belgicanization he underwent after the early years.)

("As I've already told several of my friends, I'm older than 15 but younger than 20." (1947) "My age? Let's say 15… or a little older." (1947) "My age? Between 15 and 20 years old." (1948) "Tintin? He has no age! Seeing him move about, he seems to be about 15." (1950) "I'm not yet 20 but I'm older than 15." (1947))

Real-life incarnations of Tintin

When the end of Soviets was celebrated with "Tintin" arriving at the Gare du Nord in Brussels, the role was played by 15-year-old Lucien Pepermans. When the event was repeated for the end of Congo, two years later, Pepermans was replaced by Henri Dendoncker, age 14. About thirty years after that, Jean-Pierre Talbot was declared Tintin's spitting image at 16 ("Same age, same silhouette, same face, same hair," reads the announcement of his casting in the Journal Tintin). He was 20 at most when Blue Oranges (released 1964) was filmed. Hergé told Numa Sadoul that he unconsciously based Tintin in Soviets on his younger brother Paul, who was 16 when it started. Additionally, Palle Huld, often cited as an inspiration for Tintin, completed a tour of the world in 44 days in 1928 at age 15 (and in plus-fours).

(Lucien Pepermans, Henri Dendoncker, Jean-Pierre Talbot, Palle Huld)

In the play Tintin et le mystère du diamant bleu (1941), which Hergé was very involved in the writing and production of, the role of Tintin was played by Mlle. Jeanne Rubens, a woman - a common theater trick for portraying young boys. He was played by a woman again in Radio Luxembourg's 1950s audio adaptations: Claude Vincent, "qui interprétait à merveille les rôles d’enfants et d’adolescents" ("who played children's and adolescents' roles wonderfully"), was the voice of Tintin. Sadly those broadcasts appear to be lost, but she can still be heard in the likely similar role of Alix.

(Shared on forum-tintinophile.com, "Tintin aux Indes, ou le mystère du diamant bleu." Certainly the only adaptation that got his height difference with the Thompsons right.)

In 1959, the Journal Tintin invited readers who thought they looked like Tintin to send in their pictures; five candidates for "Tintin's lookalike" were chosen by the magazine and presented to the readers for them to vote on. The winner was a 15-year-old, and while the ages of the other contestants aren't listed, they appear to be the same age or younger.

(Tintin nos. 25, June 24, 1959 & 31, August 5, 1959)

Comparisons with contemporary characters

Mainstream BD in the first half of the 20th century was not particularly inventive, especially as it was contending with its relative youth as a medium, a focus on the children's market, and, especially after WWII, heavy scrutiny from both religious and secular moral watchdogs. In the specific case of the Journal Tintin, Hergé's iron-fisted artistic direction in the early years led to a high level of artistic homogeneity across the magazine, while restrictions on the types of stories that could be told (from both the threat of censors and expectations about reader interests) limited variety in plots, characters, and settings.

All that is to say that a lot of what was being published alongside Tintin in the 40s and 50s looked more or less like Tintin, and even was likely directly modeled on it, which makes it useful for comparison. The protagonists of the time can be generally divided by age into children, the "15-20" range, young men, and middle-aged men. Each category is visually distinct (comics are a visual medium!) and each results in a slightly different kind of story with different character dynamics.

Here's Tintin with a couple of the teenage protagonists that appeared alongside him in his magazine:

(L'Affaire Tournesol (1956), p. 51; La Griffe Noire, Tintin no. 6, February 5, 1958; Les Deux Visages de Kid Ordinn, Tintin no. 1, January 2, 1957)

Hergé's no. 2 collaborator Jacques Martin created Alix (center, 1948), a Roman Gaul confirmed to be 16 in the original albums. Chick Bill (right, 1955), who in looks and narrative role is effectively just Tintin as a cowboy, is identified (by none other than Franquin) with the 15-20 age range. Some shared visual markers of their youth are a short and slight build, rounded shoulders, a round head, and a soft jawline. While all very independent, they are all three semi-accompanied by a much older man and a child sidekick.

Now, here are some examples of characters from the next age range up:

L'énigmatique Monsieur Barelli, Tintin no. 44, November 2, 1950; L'ouragan de feu, Tintin (Kuifje) no. 37, September 15, 1960; Défi à Ric Hochet, Tintin (Kuifje) no. 8, February 25, 1964)

Hergé's no. 1 collaborator Bob de Moor had a humor-adventure series using the same style as Hergé, but his character, stage actor Georges Barelli (left, 1950), is a grown man. Martin's second series was required by publishers to somehow be a modern AU of Alix, but Alix's counterpart, reporter in the same way that Tintin is a reporter Guy Lefranc (center, 1952), is clearly older than him. So-called reporter, really amateur detective Ric Hochet (yes, that's his name, right, 1955) is kind of an odd case; he started out a child, then looked basically exactly like Chick Bill (they were both drawn by the same artist, Tibet), then finally settled into his final form as a young man in his mid-twenties - a 1969 album places him at age 26. All three own their own cars (admittedly a moot point for Alix and Chick), and, compared to their teenage counterparts, they're much more likely to have friends and colleagues their own age instead of being supervised by someone older.

It should be clear from these six pictures that Tintin was not drawn in a way meant to make readers think he was an adult. And besides, there's really no reason to believe that Hergé, who once declared that "my primary objective is to be legible. The rest follows," would have chosen to give his main and titular character an appearance that was somehow deceptive. I'm prepared to say with confidence that Tintin looks young because he's supposed to be seen as young.

Textual evidence

For this section, I first look at a few ways that the albums actively present Tintin as a non-adult character. However, most of what follows is about showing that what happens in the albums does not contradict the argument that Tintin is intended to be a teenager. The Adventures of Tintin may be deceptively timeless, but not only is the series nearly a century old, it also was written during a time of extremely rapid and intense social, cultural, and technological change. Consequently, I want to make sure that I'm not judging the past with the attitudes of the present; in order to put the series in its proper context, I try to identify viewpoints and conventions expressed in texts created at the same time (and, when possible, by the same author) to see if a teenaged Tintin fits in with them.

In looking over how other characters refer to him across the albums, one sees that Tintin's most distinctive feature to those around him is his youth. This is, I think, more visible in the original French, where other characters address or describe him with a whole array of words commonly used for children: jeune homme, (jeune) garçon, gamin, galopin, blanc-bec, enfant de choeur, fiston, freluquet, moussaillon, (mon) petit (used as a noun), and morveux, not to mention many, many instances of characters appending "jeune" or "petit" to another word ("reporter," for instance). In English, he's variously (a) young man, (young) boy, kid, boyo, whippersnapper, wonderboy, lad, brat, puppy, young fellow-me-lad, and cabin-boy, along with liberal use of the corresponding adjectives "young" and "little." (I've collected specific panel examples for reference in another post.)

As @professorcalculusstanaccount has pointed out, there's no question of Tintin being called up for the draft as Haddock is in Black Gold; that album also contains the only example of Tintin's competency being questioned because of his age, on page 7: "So you're the new radio officer... You look a bit young to me..." (There's one similar remark, in America, after Tintin is injured in a car accident on page 6: "The poor kid..." "He looks so young...") Him not being called to war is particularly striking because Belgium historically required young men to do compulsory military service at age 18 or 19, after which they would be enrolled in the reserve army (p. 274). Thanks to a hard-to-translate joke in the original French for Emerald (below), we know that military service exists in Tintin's world and that the Thompsons have done theirs; Hergé did his at age 19, and then was called up from the reserves in 1939, interrupting the magazine publication of, precisely, Black Gold. Given his longtime anti-war stance and the peace sign sticker he wears in Picaros, though, one can easily imagine Tintin becoming a conscientious objector after it was legalized in 1964 - but by 1964, most of the series was already over.

(Les Bijoux de la Castafiore, p. 37)

He also doesn't dress like an adult: the plus-fours look very childish after the 1930s, as @illegally-blind-and-deaf pointed out. He also never wears a proper hat, only a flat cap in a few early adventures, and from Temple on (that is, after 1948) he runs around in his shirt and sweater with no tie or jacket. Some of that can be put down to the importance Hergé placed on his characters being maximally recognizable, but it certainly doesn't make Tintin look any older - look at a few of Hergé's crowd scenes and compare how the background characters are dressed.

Next, he doesn't seem to ever need to shave. In fact, in the original French for Black Island, Tintin remarks that the bad guys have gotten away "à mon nez et à ma barbe," an expression equivalent in English to "right under my nose" but literally "at my nose and at my beard," to which Snowy incredulously responds "Your beard? What beard?"

(L'Île Noire, p. 29)

It's true that nearly everyone who meets Tintin, including his adult friends, addresses him respectfully with the formal pronoun "vous" instead of with the informal "tu," as you typically would for someone much younger than you. However, Pierre Assouline attributes this to a dislike of over-familiarity on Hergé's part, citing him as saying that "Le tutoiement est la fausse monnaie de l'amitié" ("Using 'tu' is the counterfeit money of friendship").

(There are a few moments where Haddock slips and uses tu with Tintin, but I won't go into them here. Suffice to say that the majority of them are indeed moments where he's treating Tintin more as a child.)

Much has been made of Tintin's nonchalance about drinking alcohol as proof of adulthood, but evidence from other BDs indicates that this perception is a result of a shift away from historically looser attitudes towards drinking. Early comics for children frequently carried moralizing messages, but there's no marked moralizing present around youths drinking like there is around them smoking.

Compare, for example, the difference in tone between these two Quick & Flupke pages, where the kids are sternly warned off from tobacco...

(Originally published in Le Petit Vingtième nos. 4, January 28, 1932 & 43, October 24, 1935)

...Versus this gag, where Flupke's own relatives getting him drunk on New Year's over his protests is played entirely for humor.

(Le Petit Vingtième no. 1, January 3, 1935. "Tu es un homme et tu dois boire!")

There was even a follow-up comic at the same time the year after, in which Flupke imagines the alcohol he'll be plied with on January 1st and attempts to move to the North Pole to avoid it.

If a kid as young as Flupke is being given alcohol, then Tintin really doesn't have to be much older to be drinking as well. In fact, one might even note an echo between Flupke's reluctance to drink here and Tintin's in Picaros, when he's pressured to take a swig of whisky by Arumbaya custom (p. 34). On the other hand, since Quick and Flupke are so young, the ban on smoking is stronger for them. Tintin is old enough to occasionally be offered a cigarette, but still young enough that he always must refuse: Hergé was adamant that Tintin remain a good model because of the children who identified with him, while Haddock smoking his pipe, for example, never raised the same issue.

Beyond that, for a non-Hergé example and a later one (from 1960), here's child tennis prodigy Jari, hero of an eponymous strip in the Journal Tintin. He's just bicycled from Belgium to the Netherlands and wants a refreshment, so he goes to a drink stand and orders a beer - and no one bats an eye. Similarly, the only alcohol that Tintin orders casually, in a cafe or pub, is beer (Golden Claws p. 2, Black Island p. 41).

(Jari et le Plan Z, Tintin (Kuifje) no. 40, October 6, 1960)

At the same time, this relaxed attitude has limits. Tintin won't share a friendly drink with Haddock, for example when returning to Marlinspike after an excursion (though Haddock pours two glasses anyway in Affair (p. 3)). Calculus scolds Haddock severely when he thinks that Haddock has given Tintin champagne at breakfast in Tibet (p. 4: "Vous avez bien tort de lui faire boire du champagne de grand matin, à ce garçon !…"). Later in that same album, Haddock drunkenly warns Tintin against alcohol, telling him it's "very bad for young people like you!" (p. 38).

Next, while Tintin is undeniably capable of driving a car, there's actually no indication outside of the earliest stories that he can legally drive. (A quick Google search also tells me that Belgium has historically been notoriously lax on road safety.) At no point after the first four albums - that is, after Hergé became interested in telling a story that makes logical sense, a development typically placed at Blue Lotus - does Tintin drive a car that was acquired legally, not commandeered or outright stolen. (In Soviets and Congo he buys a car; in Cigars he drives the two Rajaijah victims to the asylum, though I doubt anyone was worried about him getting pulled over in the jungle.) On the few occasions where there isn't an emergency, it's always Haddock who drives; see for example Crystal Balls or the few pages of Thérmozéro. When Tintin finally gets a vehicle of his own, in Picaros, it's... a motorbike, which one can get a license for at a younger age than for a car. And in Alph-Art, where the motorbike plays a much larger role, Haddock still drives Tintin into town (p. 25) - and then gets left in the car while Tintin investigates!

Hergé also apparently didn't think flying a plane was particularly difficult. In Jo et Zette, one of his other series, Hergé has little Jo be able to fly his father's "Stratonef" and even land it from a glide, despite only ever hearing his father talk about how to fly it. Over the course of the two-part story (Le Testament de M. Pump and Destination New-York), Jo manages multiple successful flights - more than Tintin ever does! - despite unambiguously being a child.

(Destination New-York, p. 41)

And as with the cars, every plane Tintin ever flies is stolen, so whether he has a legal license or not really doesn't matter.

The same goes for his guns. In all but the first albums and Ear where, surprised in his flat, he really does pull a revolver out of nowhere, Tintin's guns are explicitly either given to him or taken from a disarmed enemy. The series doesn't make a point of him owning and carrying his own gun - just the opposite. And while it seems to us now that Tintin has a lot of firearm use for a children's comic, proficiency with guns was honestly a genre expectation for all adventure heroes of the time (just don't put a gun on your cover). For example, Chang, who from his introduction on acts like a second Tintin, wields a pistol at the end of Lotus and is even implied to be the one who makes the shot that breaks Didi's sword despite appearing even younger than Tintin. (See also the previous section of this post; Chick Bill is carrying a gun in the picture I included.) What's more, the gunplay in Tintin is actually a step down from its predecessor Totor, where Hergé's titular Boy Scout kills a man with a rifle shot to the face.

In short, Tintin is able to do a lot of things he shouldn't legally be able to do by simply not doing them legally.

The fact that Tintin lives alone isn't necessarily a mark of maturity either. It's hardly uncommon for a young adventure protagonist to be unusually unsupervised; it's effectively a demand of the genre. Hergé learned why that is from experience when he created Jo et Zette for the editor of the French, ultra-Catholic children's magazine Coeurs Vaillants, who had raised concerns about how unrealistic Tintin was. In Hergé's own (translated) words:

(From Entretiens avec Hergé, reproduced & translated in The Comics Journal no. 250, p. 191)

Parents are a nuisance, one that Hergé was only too happy to dispense with in Tintin's case. And besides, Tintin isn't completely alone forever; with the introduction of the Marlinspike "family," not to mention Marlinspike Hall itself, during the war, he at least ends up with a home and some adult supervision, however dubious it may be at times.

As for his schooling, according to a report on the Belgian education system from 1932, education was only compulsory there (not to mention free) from ages 6 to 14. That same report records that in 1928, the number of students in the higher level of secondary education - corresponding to high school in American terms - was only 1% of the number of students enrolled in compulsory primary school. Even adjusting for the fact that primary education enrolls children for twice as long, the percentage is still a paltry 2.6%. And then the number of students in university that same year was only about three-quarters of the number of students in secondary education.

What that means is that at the time when Tintin was getting started, only very, very few people stayed in school beyond age 14. Hergé himself was one of those few, but to many of his readers in the early years, the idea that Tintin was already working at age 14 or 15 would have been not just reasonable but recognizable - especially as he has no apparent family to support him. (Not that Tintin isn't knowledgeable: judging from the number of books in his apartment, we can presume that he's quite the autodidact.) Of course public education was broadened after WWII, but by then the character was already firmly established.

As for how Tintin is already a reporter, well, Hergé freely admitted that he gave him the job just because that's what he thought was cool at the time. "Of course it was a pretext," he said on British radio in 1977. (The announcer for that interview describes Tintin as "a 16-year-old Belgian boy with a strange lick of hair, a pair of plus-fours, and a terrier." In it Hergé, questioned about the outsize success of his series, responds that for him "he [Tintin] keeps to be a little boy. Only that.") The tone of the series would be very different if Tintin were just an office clerk or a paperboy, after all - and besides, all but the youngest readers of Le Petit Vingtième would have understood that it's not a real newspaper, just a little children's magazine, so the idea of it having its own official reporter was not to be taken fully seriously.

It's important to remember that our current cultural idea of the teenager as a separate, unique stage between childhood and adulthood was largely a post-WWII American innovation - in fact, the word "teenager" only entered popular use in the 1940s. By contrast, fully half of the Adventures of Tintin (up to the first 2/3 of Crystal Balls) were written either before or during WWII. Hergé himself, born in 1907, began submitting illustrations to a magazine (Le Boy-Scout) at 14, was hired at the Vingtième Siècle at 18, created Totor and did his military service, reaching the rank of sergeant, at 19, and before turning 22 had been given full responsibility for creating and running the Petit Vingtième, gotten engaged to his first wife, Germaine Kieckens, and created Tintin. Being young looked different then.

To close this section I'll also note that, as far as I can tell, positioning Tintin as a teenager never seemed to pose much of a problem to anyone reading the series while it was actively running. Anecdotally, nearly every published source I've read takes for granted that he's an adolescent, and an exception like writer of multiple books on Tintin Renaud Nattiez saying on the air in 2016 that he thinks Tintin is at least 22 (~03:30-03:50) seems to be a uniquely 21st-century development.

TL;DR: Everything I can find indicates that Tintin was always intended to be around 15, and never older than 20, years old.

II. Interpretation

Finally, it's important to not overstate Hergé's commitment to realism. At the end of the day, Tintin can do whatever the story needs him to be able to do, because he's the protagonist of a very straightforward adventure serial. He's always been aspirational, even for Hergé himself: "Tintin is me the way I'd like to be: heroic, flawless." And yet Tintin, victim of its own success, has always been held to a higher standard of realism than its fellow comics, not to mention a higher level of scrutiny in general. Even if, as I've tried to demonstrate, Tintin's feats aren't entirely out of the range of possibility (or at least the norm for comics characters) for his time period, I'm not arguing that he's supposed to be a perfectly accurate representation of the average boy of any point in the mid-20th century. I also don't deny that he typically does act like an adult. So the guiding question here is: How can this dual nature of Tintin's - his adolescent status and adult aspects - be interpreted?

Jean-Marie Apostolidès writes that as "il unifie dans sa personne deux aspects opposés de l’existence, l’enfance et l’âge adulte" ("he brings together in his person two opposing aspects of existence, childhood and adulthood"), Tintin represents "un mythe réconciliatoire" ("a reconciliatory myth") of which the "fonction implicite est de ressouder entre deux générations une confiance brisée" ("implicit function is to mend a broken trust between two generations"). He names this type of child-adult character the "surenfant" ("superchild"), and argues that it is specific to the 20th century and the cultural shock of WWI.

For Pol Vandromme, who wrote the first book of analysis on Tintin (or on any BD), Tintin is simply a perfected version of the teenage boy, one that other teenage boys can aspire to. First, he cites as conventional wisdom that Tintin is around 15, and concludes that "c'est dans tous les cas un adolescent" ("in any case he's a teenager"). While Vandromme accepts that Tintin is presented as a teenager, he also points out that Tintin doesn't represent the experience of being a teenager; Tintin "ne présente [...] que les apparences de l'adolescence" ("only displays the appearance of adolescence") because he's so self-assured and stable, traits antithetical to "l'époque de la métamorphose" ("the time of metamorphosis") that is adolescence.

And yet "il [Tintin] demure malgré tout suffisamment proche pour que les garçons se disent qu'ils auront un jour la chance de lui ressembler, d'imiter son style de vie. [...] Ce que Tintin propose à ces garçons de quinze ans, c'est la figure achevée de leur âge. Il les venge de leurs insuffisances" ("he [Tintin] remains all the same close [i.e. similar] enough that these boys tell themselves that one day they'll have the chance to be like him, to imitate his way of life. [...] What Tintin offers to these 15-year-old boys is the perfected version of their age [group]. He makes up for their shortcomings"). Consequently, having put themselves in Tintin's place, these boys "ont l'illusion d'être déjà de la tribu des jeunes gens qui ont découvert dans leur sac de voyage les clefs qui ouvrent les portes de la fable du monde" ("have the illusion of already being part of the clan of young people who have discovered in their travel bag the keys that open the doors of the world's fable"). In plainer language, being able to identify with Tintin as an apparent peer lets teens imagine themselves as being more capable and powerful than their age allows in reality, an attractive illusion.

I'll add that the static quality of Tintin as a character that Vandromme identifies is dictated by the form of the series. When presented with a teenage protagonist in a work, the novelistic expectation is that what follows will be some kind of bildungsroman, where the events of the story will push the protagonist to change and mature into adulthood. However, I believe that it's a mistake to approach The Adventures of Tintin as a novel when it is fundamentally a serial - even late in his career, when he didn't need to do prepublication anymore, Hergé's approach to plot was still oriented around the page-a-week format. Serial characters, as a rule, change very little. Tintin gets compared to Sherlock Holmes more than once in the series, and it's also true on a meta level: Holmes has a few minor moments of character development, but he largely remains exactly the same over the course of Conan Doyle's stories, which were likewise published in a magazine. In a true serial, the status quo is god, because the main aim of the serial is to perpetuate itself - theoretically forever. And so Watson always finds a reason to return to Baker Street, and Tintin never gets old enough to think of settling down and getting a real job.

Like Holmes, Tintin does change and grow somewhat as a character over the course of the series, but also like Holmes, that growth is not a planned arc with an endpoint, as you would expect in a novel. Instead, it's just a result of Hergé himself maturing and changing. In his contribution to L'archipel Tintin, Benoît Peeters notes that "Grande est la tentation, pour beaucoup, de lire la série comme une totalité, un monument où tout signifierait" ("The temptation is great, for many, to read the series as a totality, a monument where everything has meaning"). And yet he declares that "si accomplies soient-elles... Les Aventures de Tintin se sont élaborées en l'absence de tout grand dessein" ("however polished they may be... The Adventures of Tintin were created in the absence of any grand design"), citing the testimonies of both Hergé and those who knew him at the beginning of the series. Hergé never really had a plan for Tintin as a character; he really did just put him in situations over and over again for a little more than fifty years. However, now that the series is only read in album format and serial publishing is less common, the "temptation" Peeters describes is even stronger. This mismatch in narrative expectations may be part of why modern readers might struggle to view Tintin as a teenaged character.

There's one more element to Tintin's strangeness: the world of the series was built around Tintin himself to facilitate his adventures. Vandromme recalls the fact, so obvious that it's easily forgetten, that "Tintin étant ce qu'il est et ne pouvant être un autre, infléchit l'intrigue d'une certaine manière. [...] Remplacez Tintin par le père Fenouillard et il vous faudra modifier l'album de fond en comble. Dans un roman les personnages déterminent les événements avant d'être déterminés par eux" (Tintin, being who he is and unable to be anyone else, influences the story in a certain way. [...] Replace Tintin with the father of the Fenouillards [character from a 19th-century comic about the misadventures of a French family abroad, n.b.] and you'll have to change the album from top to bottom. In a novel, the characters define the events before the events define them"). This point is especially relevant to Tintin given that the series' beginning was, to put it mildly, haphazard. Starting from Soviets, where Tintin is alone with his dog in a bizarre world where he can sneeze down a sewer grate, cut down a tree with a pocketknife, or fistfight a bear - whatever it takes to keep the plot moving - set a precedent for the character: that Tintin, and nobody else, will always triumph over whatever enemy or obstacle he is faced with.

Because it's founded on Tintin himself, there are no real adults in the Adventures, and in fact there can't be any. Preserving Tintin's Soviets-era boy hero status as the world of the series became steadily larger and more realistic created a kind of 'competency warp' where Tintin, along with his young "doubles," Chang and Zorrino, is effectively always the most capable, the master of the situation, while those closest to him who are much older (the Thompsons, Haddock, Calculus...) tend to act rather childishly. I think it's telling that the 1946 introduction of Blake & Mortimer is often hailed in terms like these: that "pour la première fois, les héros n'étaient pas des enfants, mais des adultes responsables dont la psychologie était en parfaite harmonie avec leurs fonctions" ("for the first time, the heroes were not children, but responsible adults whose psychology was in perfect harmony with their roles," emphasis mine). All the major adult characters in Tintin had been introduced at that point, but apparently none of them qualified as "responsible" or properly suited for their positions.

Apostolidès similarly notes a deforming effect: "Tintin est un adolescent qui, sans jamais entrer dans l’âge adulte, rajeunit le monde en se confrontant à lui. Au lieu que le personnage se soumette passivement au monde adulte, s’intègre dans une histoire, vieillisse et meure, c’est l’univers extérieur qui se fige dans le temps au contact du héros" ("Tintin is an adolescent who, without ever entering adulthood, makes the world younger by confronting it. Instead of the character submitting himself passively to the adult world, fitting in to a history, getting older and dying, it's the outside world that freezes in time at the hero's touch"). Not only does Tintin resist adulthood himself, he also protects others from its effects.

There are characters who escape the warp, but they must stay on the very edges of Tintin's orbit. One example is the efficient and no-nonsense Mr. Baxter from the Moon books. He has a real job: he's director of the atomic center, and every time we see him he's actually doing it. He also remains disengaged from the antics of the Marlinspike crew, often exasperated and confused by them. They don't belong in his serious space program, and he doesn't belong in their funny adventure series - hence the clash. Another (and very different) example is Jolyon Wagg. I wish I could remember where I read it, but I once saw it pointed out that Tintin and Wagg almost completely ignore each other; their only direct interaction in the whole series is saying hello to each other exactly once (Emerald p. 17). The unidentified author's point was that Wagg inhabits a world so intensely banal, so different from Tintin's - one with community organizations, salesman jobs, an old mother, an Uncle Anatole, a wife and (a lot of) children - that the two can't even come into contact. Wagg may be almost preternaturally obnoxious, but he's also a genuinely ordinary man in a way that the major characters really aren't.

Tintin must remain the sole and main driver of action, because if he isn't, the series would have to change fundamentally. That means no other character can threaten his role by being more competent and responsible than him - and so the adults become ridiculous and/or irrelevant, and Chang and Zorrino are only allowed to act for one album each. And yet Hergé created Tintin as a teenager, and suggested that a Tintin who progressed past teenagerhood would also grow out of adventure: "Il est difficile, pour un personnage comme ça, à le faire vieillir. Parce que s'il vieillit, il va avoir vingt ans, il va avoir vingt-deux ans, il va rencontrer une jolie fille, il va se marier, il va avoir des enfants..." ("It's hard to make a character like that get older. Because if he gets older, he'll be 20, he'll be 22, he'll meet a pretty girl, he'll get married, he'll have children..."). Tintin passing into adulthood, 'real' adulthood, symbolized here by settling down and starting a family, would make the series just as unsustainable as demoting him to a more technically age-appropriate role would; both sides of the tension between Tintin's youth and his maturity are required to make him a proper adventure hero for children.

And so he remained, as he remains today, the world's most competent teenager.

[ahllohehn]

HERMITS AND THE OLYMPIANS MASTERPOST (07/31/2024)

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

Hermits and The Olympians/Emperors of Olympus is a Hermitcraft/Empires SMP based Percy Jackson AU based off my art and headcanons!

(Please do not use the tags for other PJO AUs as I use them to specifically label what's based off mine.)

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

Seperated by art/doodles, headcanons/discussion, fanfics:

# 1 MUMBO PORTRAIT # 2 GRIAN, PEARL, SCAR & MUMBO ART # 3 HaTO FAN CREATION GUIDELINES # 4 GEM, CLEO, DOC PORTRAITS # 5 ETHO & BDUBS THANK YOU CARD # 6 STRESSMONSTER THANK YOU CARD # 7 CAMP EMPIRES FIRST APPEARANCE; BAD BOYS DOODLE # 8 OUTDATED CAMPERS GODLY PARENT SUMMARY # 9 CHIBI MUMBO THANK YOU CARD # 10 GRIAN CLOSE UP # 10.5 WATCHERS CAMEO??? # 11 BDUBS & SCAR; DEMETER CABIN'S HONORARY CAMPER # 12 RENDOG PORTRAIT # 13 MUMSCARIAN / RE: AU SHIPS # 14 IS THERE A CANON PLOT? Answer: I stick with what is canon to me, but I do not force others to follow so. As I am too lazy to do an actual plot. # 15 CHIBI STRESS & MUMBO # 16 BDUBS..? # 17 ETHO PORTRAIT / 1ST AU FICLET # 18 I JUST THINK THEATER KID ARES KID REN IS FUNNY # 19 JOEL AND LIZZIE; SOULMATES IN EVERY UNIVERSE # 20 ORACLE GEM...? # 21 oh snappers! (LOW QUALITY ETHO DOODLE) # 22 AT THIS POINT, DIONYSUS, ARES, AND APOLLO SHOULD FIGHT TO THE DEATH TO SEE WHO GETS CUSTODY OF REN # 23 SKIZZ & IMPULSE PORTRAITS / HEADCANONS # 24 ZEDAPH PORTRAIT

# 25 Camp Oracle’s Journal; Hermits and The Olympians # 26 GRIAN - THE DEATHLY ACTIVITIES MANAGER # 27 ISKALL & TANGO PORTRAITS # 28 KERALIS & XISUMA'S PERSONALLY MADE CAMP PIN # 29 I REALLY LIKE MAKING FUN OF REN /AFFE # 30 I ALSO REALLY LIKE INCLUDING MARTYN INTO THE MIX /AFFE

# 31 TREEBARK ARE MY BOYFAILURES # 32 RENDERED CAMP LOGOS (PNGS IN DISCORD SERVER) # 33 SHELBY & SCOTT PORTRAITS # 34 ETHUBS MY BELOVEDS :) # 35 INTRODUCING: GIGGS # 36 RE: CAMP EMPIRES AND CAMP HERMITCRAFT DOUBLES # 37 LET OLD MEN BOND LIKE OLD MEN (ETHO & TANGO) # 38 OFFICIAL HaTO DISCORD SERVER ANNOUNCEMENT # 39 MYTHICALSAUSAGE PORTRAIT # 40 XISUMA PORTRAIT # 41 HaTO FIRST COMIC SHITPOST # 42 FALSE, KERALIS, & BEEF PORTRAITS # 43 WELS & HYPNO PORTRAITS # 44 MUMSCARIAN FIRST MEETING DOODLE # 45 WHY IS WELS AN ATHENA KID? # 46 HOW IS GEM THE ORACLE # 47 HaTO SECOND COMIC SHITPOST (PRIDE MONTH) # 48 DESERT DUO ANIMATIC; INSPIRED BY BEAN'S TRAITOR SCAR FIC

# 49 MARTYN PORTRAIT / HEADCANONS # 50 IF SCAR WERE TO BE APHRODITE'S.... # 51 REN VS JARS # 52 LIZZIE PORTRAIT # 53 HaTO SCAR & GEM EMOTES # 54 HaTO CHIBIS BOUQUET DOODLE # 55 GRIAN AND HIS SON # 56 KATHERINE ELIZABETH PORTRAIT # 57 MUMSCARIAN MATCHING ICONS FOR PRIDE # 58 HOW ARE YEAR ROUNDERS GETTING EDUCATION? # 59 SHINY DUO MATCHING ICONS # 60 AROACE PEARL (PRIDE MONTH) # 61 BISEXUAL CLEO (PRIDE MONTH) # 62 CAMP CUDDLE SESSIONS # 63 TREEBARK COMEBACK # 64 When Does a Man Become a Monster?; Hermits and The Olympians

# 65 BOAT BOYS MATCHING ICONS # 66 WHAT DOIN'? CAMP HERMITCRAFT EDITION # 67 "I'M A CHILD OF DIVORCE" GESTURES TO ETHUBS # 68 MORE ETHUBS HEADCANONS CUS IM GAY AND SO ARE THEY # 69 DO NOT ANGER THE NON-ZOMBIE WOMAN, MR. ETHO # 70 NATURE WIVES # 71 I COMPLAIN ABOUT THE HEPHAESTUS CABIN'S ABILITIES # 72 TREEBARK MATCHING ICONS # 73 OLI PORTRAIT & HEADCANONS # 74 IT'S NOT ME IF THERE'S NO ETHUBS # 75 WELCOME TO HERMITCRAFT: GRIAN TEXT ADVENTURE # 76 GEM'S ORACLE CAVE TOUR

#77 THE BOYS (+ GEM) GO SHOPPING FOR SUITS #78 PEARL CHARACTER CARD #79 Camper Files; Hermits and The Olympians #80 STRESS PORTRAIT #81 CUBFAN PORTRAIT #82 FWHIP PORTRAIT

#83 PIXLRIFFS PORTRAIT #84 RANCHERS #85 WHY DO I HAVE SO MUCH TREEBARK IN MY INBOX? #86 IDK HOW SAD I'M SUPPOSED TO MAKE SCOTT #87 LONG TIME, NO NATURE WIVES? #88 AREN'T WE ALL A LITTLE SILLY FOR GRIAN SOMETIMES? #89 I HOPE YOU ALL KNOW I JUST BE SAYING ANYTHING ATP

# SECOND MASTERPOST LINK

OTHER HaTO Related Links:

HaTO Roleplay Blogs Masterpost by gem-the-oracle HaTO Archive of Our Own Series HaTO Discord Server

[stellas-and-tonitruses]

these last 3 chapters more than ever have left me wondering about the timeline of spy x family and in particular,

donovan's age.

i'm not going to go too deep into the full timeline because i simply don't think we have enough info to make a real robust timeline, BUT i do think we can very feasibly approximate donovan's age with our current info.

I also won’t be using any precise years like 1964 or whatever bc at this moment in time I find that to be kind of useless, bc the only years we have happen very early in the story in background details and for a lot of those ones, I noticed endo had a tendency to just carelessly put whatever so long as it looked fine from afar, which includes news that were happening around the time of that chapter's release. SO unless he decides to explicitly highlight actual years, I’m not gonna be like “this happened in 1964 and that happened in 1953” and anything of the sort.

now, i shall partake in my least favorite activity.

✨math.✨

so uh buckle up my fellas and feel free to correct me anywhere where i might be wrong bc i am more than aware that math is NOT my strong suit!

SPOILERS FOR CHAPTERS 97, 98 AND 99!

gonna start with the facts!

according to the spy x family EYES ONLY fanbook, henry henderson is 66 years old at the time of the current events of spy x family! in the past three chapters we have learned that there is a 3 year age gap between him and martha, so that would make her 63 years old currently.

as of the events of chapter 99, he is 22 years old (and martha is 19), assuming there wasn't any years-long time gap that was not mentioned within the chapter! which, it doesn’t seem like there were any MASSIVE time gaps, so I’ll be using those ages for calculating.

so, what all this means is that we are (roughly) 44 years into the past at the moment! previous info about the war of loid and yor's childhoods puts it at around 20 years old, so from where we are in the backstory, we still have roughly 20 more years before Luwen is attacked — clearly, because this first war has already ended with donovan still in school.

while we don't have loid's age, we do have yor's, who is 27 years old — meaning she was born around the time of henry being 39 years old, aka clearly neither loid nor yor have been born yet as of the events of chapter 99. too into the past for now!

now, how am i gonna get donovan's age out of all this?

simple! henry's his teacher and has a talk with him after his jail time.

like I mentioned previously, I shall be sticking to 22 for henry’s age here. it may not be fully correct, it may be a year or two off because we aren’t given concrete details on exactly how long he was in jail, so just take it with a grain of salt! it's only going to remain as a rough estimate until we get a definitive answer on donovan's age.

so! henry has a talk with donovan, but the conversation itself, while very important for the plot and especially for our understanding of donovan’s character, is irrelevant for this conversation. no, what's crucial here is what henry is holding. endo even highlights it by focusing an entire larger panel on it!

it's a history textbook for year 7 students!

it being a history textbook is very poignant for the conversation they're having, but the reason this is important to me is because it's very clearly a year 7 textbook.

now, i don't know how much of eden academy's curriculum is based on the uk! but because pretty much all of the architecture of it is based on eton college and endo has literally just returned from a london trip where he showed us he visited a kindergarten, so i think that's grounds enough for me to assume eden academy's year 7 is generally populated by children between 11 and 12 years old. luckily for me, that seems to be the general age for germany's secondary school year 7 too, so even if it's not the british one, it's still close enough!

with all that being said, if donovan is, say, 12 in that moment and henry is 22, that means there is a 10 year difference between the two of them, which, drum roll please, means donovan desmond is 56 years old when our story's events take place! assuming the war of loid's and yor's childhoods took place exactly 20 years ago (when yor was 7 and henry was 46), this would make him around 36 years old when he became ostania's prime minister! it would also mean he had damian at 50 years old, and if demetrius is 12 right now, that would mean he was born when donovan was 44 years old (and his birth would’ve been in the last years of the war).

so, rough events timeline based on all that, focusing on ages!

66 years ago: Henry Henderson is born.

63 years ago: Martha Marriott is born.

~56 years ago: Donovan Desmond is born.

49 years ago: Martha (14) transfers to Eden and meets Henry (17)

47 years ago: Henry (19) graduates Eden.

44 years ago: Henry (22) joins Eden as a teacher, in the same year becomes Donovan Desmond’s (~12) history teacher. Martha (19) graduates Eden and joins the Women’s Defense Auxiliary.

~44 years ago: Martha (~19) is presumed dead. Henry (~22) faces jail time. The war ends, and he marries.

27 years ago: Yor is born. At that time, Henry is 39, Martha is 36, and Donovan is 29.

~27 years ago. [REDACTED] is also born. Same as above, just approximate this time!

~20 years ago: Second war begins. Yor and [REDACTED] are ~7, Henry is ~46, Martha is ~43, Donovan is ~36. Yuri is born.

~12 years ago: Demetrius is born. Donovan is ~44, Yor and [REDACTED] are ~15, Henry is ~54, Martha is ~51, Yuri is ~8.

~10 years ago: Second war ends. Demetrius is ~2, Donovan is ~46, Yor and [REDACTED] are ~17, Henry is ~56, Martha is ~53, Yuri is ~10.

6 years ago: Damian is born (and most other kids in his and Anya’s grade). Demetrius is ~6, Donovan is ~50, Henry is 60, Martha is 57, Yor is 21, Twilight is ~21, Yuri is 14.

5-4 years ago: Anya is born. Damian (etc.) are 1-2, Demetrius is 7-8, Donovan is ~51-52, Henry is 61-62, Martha is 58-59, Yor is 22-23, Twilight is ~22-23, Yuri is 15-16.

1 year ago: Yuri (19) becomes part of the SSS. Anya is 3-4, Damian (etc.) is 5, Demetrius is 10-11, Donovan is ~55, Henry is 65, Martha is 62, Yor is 26, Twilight is ~26.

I HOPE THAT HELPS PUT THINGS INTO PERSPECTIVE?? melinda is not included bc we have nothing to go off of for her age outside of purely subjective things like her appearance.

super glad endo included the year 7 thing JAKLSDFKLSD

anyway thank you for reading!!! :DD

[room-surprise]

Addendum to Dungeon Meshi Age Calculations, and Thistle's age estimate...

This is sort of a sequel to two posts of mine, How to Calculate Comparative Ages of DM Characters and How Old Is Thistle?

I've seen some people claim that the age scale between elves and tall-men where elves age 5 times slower than tall-men can't be used accurately for elves that are very young or very old. I've also seen people claim that the half-foot age modifier is wrong.

I'm not a mathematician, but so far I have not seen any actual evidence that the 5:1 scale doesn't work, and a good amount of proof that it does, and I think the confusion about half-foot aging is a translation issue.

Please keep in mind, information about Marcille's age does not apply to any of this, because [SPOILERS].

WHAT ABOUT VERY YOUNG ELVES?

Here's something we know about the babies from the different races, which comes from Ryoko Kui's blog:

1 year old elven, dwarven and gnomish babies can only lay on their backs. Tall-man and half-foot 1 year olds can both stand, though the tall-man is not as good at it as the half-foot.

This lines up with real-world development milestones, human children can usually stand on their own somewhere between 9 to 12 months. Half-foots age faster than tall-men, so it makes sense that the half-foot would look more balanced and steady while standing.

A 2 year old elven baby has just gained the ability to sit up, while the babies of other races are walking or running. Normal human babies can sit up with help at around 5 months.

2 divided by 5 equals 0.4, that's 40%, and 40% of one year equals 4.8666666 months. That's 5 months.

I think it's very likely Kui herself is using the 5:1 ratio in order to calculate her elven ages in order to get this very specific 5 month developmental milestone to line up this way. So we can confirm that any elf over the age of 2 years old should have an age that is calculable with the 5:1 ratio. I also think it's not crazy to assume Kui may be using the numbers I calculated in my age post to work out other character's ages as well, since she's clearly doing it for the elves.

LET'S TEST IT WITH HALF-FOOTS

Human children learn to run between 18 and 24 months, so around 2 years old, like the chart shows us. 2 years divided by the half-foot age ratio (1.1428571429) equals 175% because they grow faster than tall-men.

175% of 2 years is 1277.5 days... Which is 3.5 years. So a 2 year old half-foot has the maturity of a 3.5 years old human child. 3 years old is when human children are expected to run and jump easily, and climb stairs without help.

That sounds about right to me, since the half-foot child in the drawing looks like they can confidently run around without balance issues. One foot is off the ground, and their arms are pulled in closer to the body than the tall-man child's arms.

Meanwhile the tall-man child is more unsteady, both feet firmly planted, standing with their arms held out as far as they can go to help with balance.

DOESN'T 29=50 FOR HALF-FOOTS?

Kui says that Chilchuck would be about 50 if he were a modern day human (which he isn't, he's a medieval half-foot), and then she says that half-foots in the time of Dungeon Meshi only live to be about 50 years old on average.

I'm pretty sure she's telling us that if Chilchuck were a human in our world, he'd be past middle-aged, and then for contrast, she tells us that most half-foots in Chilchuck's world die by age 50. Not that Chilchuck's 29 years is equivalent to a 50 year old modern human.

Chilchuck is 29 years old, and he had his first child at age 13. The average age of death for half-foots is 50, then that means middle-aged for a half-foot is 25.

Chilchuck is 4 years older than that, which makes Chilchuck past middle-aged. It does not make him developmentally the same as a 50 year old modern human though.

Using the numbers I've worked out, a half-foot would be developmentally 50 years old when they're 44.

Kui says that although Chilchuck wants to retire from going into the dungeons, if he did, it would be premature... Just like it would be premature for a 33 year old to retire.

In the real world retirement ages are connected to the average age of death. As that number goes up, so does retirement age. Because modern humans live until around 72, as a global average, retirement age is somewhere in their 60s.

So since half-foots average lifespan is 50, a normal age for Chilchuck to retire would be in his 40s.

WHAT ABOUT OLD ELVES?

The average age of death for tall-men is 60, however we know that tall-men can live into their 80s because Marcille's father did.

The average age of death for elves is 400, but they can live up to 500 years.

There's no reason to think that DM tall-men aren't like real world humans, and can't live into their 100's if they are lucky and wealthy enough. Even in the real medieval period, some people lived into their early 100's.

The thing that makes average death ages low in real life is usually issues like high infant mortality, starvation, war, lack of medical care, and lack of sanitation.

In the real medieval period, the average age of death was 30 not because people dropped dead at 30, but because SO MANY children died young that it pulled down the average. In medieval times, if you managed to live to 25, you had an average of 23 more years of life ahead of you, which is 48 years old.

I think Kui raised the average death age to 60 for tall-men to account for the fact that even tall-men have access to more advanced medicine and healing magic in DM, so infant mortality isn't as high and the adults live more than a decade longer.

The elves naturally have a longer lifespan since they live 5 times slower than tall-men. However they also probably have a far more advanced society than any of the other races in Dungeon Meshi. Fleki calls the Eastern Continent a "primitive land", and it's mostly populated by dwarves, gnomes and tall-men.

If elven culture was developmentally the same as tall-man culture, I bet elves would only live to about 300, which would be 60 for them, maturity wise.

WHAT DOES THIS MEAN?

80x5 is 400. That seems correct to me, a 400 year old elf would be considered elderly and getting close to the end of their life. An 80 year old tall-man would be considered VERY old, having lived past average expectations... But those expectations, as I said before, are based on poor living conditions, not biological certainty. 100x5 is 500, so the two maximum ages (100 and 500) also line up when you use the 5:1 ratio.

POSSIBLE MAXIMUM AGES FOR OTHER RACES

Using the same math, if gnomes and dwarves had the same culture as tall-men, they'd only live to be 150-ish instead of 240/200...

This is only a theory, but dwarvish and gnomish maximum possible ages should probably be around 250, if you multiply their age modifier (2.5) x100 like I did with the elves.

The current difference between their average age of death is probably attributable to lifestyle and cultural differences (gnomes use a lot more magic, and so they live longer).

Then, just to do the rest of the races:

Half-foots and orcs theoretical maximum age is 88. Ogres theoretical maximum age is 94. Kobold theoretical maximum age is 81.

Keep in mind, these numbers are based on the idea that "around 100 years old" is the oldest a human being can get. The oldest human to ever live survived until they were 122 years old... But obviously that is rare, and happened in the modern era.

Point is, there's wiggle room at the top end of the age limit, for some of the races that may be a matter of extra days or months, for others it could be an extra decade or two. But I'm using 100 for simplicity's sake.

Sorry for the long post! I hope this answers people's questions, and if I messed something up let me know!

[contemplatingoutlander]

Patel is a very dangerous conspiracy theorist. Putting him in charge of the FBI will destroy the independence of that institution. Patel will likely turn FBI agents into 'enforcers' for the Trump agenda that will be used to investigate and intimidate his critics.

“We will go out and find the conspirators — not just in government, but in the media — yes, we’re going to come after the people in the media who lied about American citizens, who helped Joe Biden rig presidential elections. “We’re going to come after you. Whether it’s criminally or civilly, we’ll figure that out. But yeah, we’re putting you all on notice, and Steve, this is why they hate us. This is why we’re tyrannical. This is why we’re dictators.... Because we’re actually going to use the Constitution to prosecute them for crimes they said we have always been guilty of but never have.” Kash Patel (Dec. 2023) on Steve Bannon’s “War Room” podcast

Indoctrinating Children Into MAGA Beliefs

I don't know if Patel is just corrupt or he actually believes the conspiracy theories about the 2020 election having been rigged, or that "federal bureaucrats in the 'deep state' tried to overthrow the former president."

Regardless, Patel actually wrote a series of children's books whose purpose was to indoctrinate children into the belief that the Democrats had created terrible "plots" to prevent Trump from becoming and remaining president

Here are the book series titles: The Plot Against the King (April 1, 2022),The Plot Against the King 2000 Mules (Aug. 29, 2022), The Plot Against the King 3: The Return of the King (Sept. 9, 2024).

Furthermore, the article above claims the book series features Patel "as a 'wizard' defending “King Donald.'”

Below is the cover from the third book. You can see Patel as the "wizard" on the left:

I'm sorry, but anyone who stoops to indoctrinating children regarding MAGA conspiracies should NOT be in charge of the FBI.

For a humorous take on the second book in the series, by a left- leaning TikToker SnoozeAlarmMom, see this POST.

[Below the cut are some excerpts from the article. It's one of the more thorough articles out there about Kash Patel, so I highly recommend reading it.]

President-elect Donald Trump announced Saturday he would pick Kashyap "Kash" Patel, a 44-year-old loyalist with little significant experience in federal law enforcement, to serve as director of the Federal Bureau of Investigation. [...] A former senior law enforcement official who interacted with Patel in the past said he was not qualified for the position.

"It’s ridiculous. He’s arguably the least qualified person ever nominated for a senior position in federal law enforcement," said the former official, who asked not to be named citing fears of retaliation from Trump. "I don’t know anything significant that he achieved at the DOJ. He was not well regarded as a prosecutor." [...] Patel has promoted the falsehood that the 2020 election was stolen from Trump as well as the baseless conspiracy theory that federal bureaucrats in the “deep state” tried to overthrow the former president.

Patel has called for replacing “anti-democratic” civil servants in law enforcement and intelligence with “patriots” who he says will work for the American people. In his memoir, "Government Gangsters," he described the current political moment as “a battle between the people and a corrupt ruling class." [...] Patel has also echoed Trump’s rhetoric labeling journalists as traitors and calling for “cleaning out” of allegedly disloyal federal civil servants. In an interview last year with longtime Trump ally Steve Bannon, Patel vowed to go after “conspirators” who he claimed had abused their positions in government.  “The one thing we learned in the Trump administration the first go-around is that we have to put in all-American patriots top to bottom,” Patel told Bannon. 

“And the one thing that we will do that they never will do is that we will follow the facts and the law and go to courts of law," he said. "And correct these justices and lawyers who have been prosecuting these cases based on politics."  “We will go out and find the conspirators, not just in government but in the media — yes, we’re going to come after the people in the media who lied about American citizens who helped Joe Biden rig presidential elections," Patel said. "Whether it’s criminally or civilly, we’re going to figure that out — but yeah, we’re putting you all on notice."

A “wizard” defending “King Donald”

Patel joined Trump on the 2024 campaign trail and has promoted his memoir, a film adaptation of the memoir and a line of children’s books featuring him as a “wizard” defending “King Donald.” [...]  A former senior federal law enforcement official who served under Trump during his first term said that the Patel and Gaetz nominations were signs of Trump's disdain for the DOJ and FBI and both agencies' efforts to not be used to settle political scores.

"He's just going to run roughshod over them," predicted the former official, who asked not to be named due to fear of retaliation by Trump. "He’s thumbing his nose at the DOJ and FBI with these nominations. He’s going to effect his will regardless of our norms."

[afinestoutlove]

things i love about heartstopper 44/?

The pacing. The inclusion of little moments like Charlie being sad in bed after Nick runs away from the ballroom. It isn't strictly necessary to get the point because we already saw him crying, but it makes the emotion so much more clear and real. The visual of him nearly hidden by his duvet with his little old soft toy is so poignant and not strictly necessary but absolutely necessary.

And it's not just extra scenes, it's the scenes that hold just a beat or three longer, that force you to sit with them and really feel them. Some are big scenes, the real major plot beats, some are smaller, building the world. In all of them, I just love these little extra moments that set the scene, that make the people and the world feel real.

This might sound obvious, especially to anyone who's a writer, but I think a lot about how much story pacing has changed over the last 20 years. We used to open a movie with 10 full minutes of establishing shots and music before we met any of the characters, and now we're told that you have to grab the audience in the first 0.0006 seconds or you're a failure. And books used to be slower too - think LoTR, Jane Austen, Charles Dickens (all great btw). And we tend to blame audiences for "shorter attention spans" (and social media or whatever), but I think it started with corporate media prioritising cOmPeTiTiOn over quality stories and then audiences learnt that stories were "supposed" to happen that fast - even those of us who are writers and who should know better.

When I first watched Heartstopper and then when I first read the comic there were a couple of bits where I was like “why am I watching/reading this?” (because I'm not immune to the corrupting effects of shitty corporate media) and then I’d get to the next part and even though I didn’t actually need to see the earlier bit to understand the plot, I needed it to feel the story, and I was so glad it was there. None of it is gratuitous either, it's not bloated or pointless or self-indulgent, there's a very clear reason for every part of the story existing. Alice Oseman is a really good storyteller, what else can I say?

[puripurin]

Again, thanks 4 da idea, @littlekohai77!! Now this is the one where cute yan monster's darling is meeting his mother.

Tw: rape (a person mentioned in an ask.)

— "You have a human mother??" You said in confusion. I mean, you could see it, but was there anyone who could survive this long with a hanging jaw? It's been a few weeks since you met Aimilios, but you've never seen his mother roaming around.

"Yeah! You've never seen her because my mama is always in the basement of the building now because in recent years, many people have come and tried to "save" her, I don't know why, though. She looks safe and happy! She enjoys running around, hiding from my father, and loves being tossed around him. They're actually trying to kidnap her and experiment on her because she's very pretty. That's what I've come up with. How horrifying." You tried your best not to look skeptical, though. You didn't want him to burst out crying because you told him what people actually see when a woman is running around in an abandoned building being manhandled by a monster. So you kept your mouth shut on that part and changed the topic to his father.

"Wait, but your father is that crazy horned bastard who doesn't like me?" You furrowed your eyebrows as Aimilios tilted his head, trying to understand what you mean.

"Yeah, and he and my mama love each other very much! Just like you and me, we love each other very much, mh! You are my one and only." He hugged you and snuggled into you before grabbing your hands.

"Because papa finally trusts you enough. He finally allowed me to show you where mama is staying and meet her. So can we meet her now?" He smiles at you and grips your hands tightly. Although you go swooped up into this ridiculous situation by force, you could tell that it means a lot to him to see his mother.

"I-... okay, we can see her." He squeezed your hands tightly and hugged you one more time before leading you down a flight of steps to the basement. He breathed in before opening the door too fast and hit himself in the face and slammed his hand on the wall when he pulled the door open. He slowly crumbles to the floor in pain.

"Oh! Amy, is that you– ACK!" You heard a harsh thud as the woman fell to the ground. You slowly led Aimilios inside the room with the hand that wasn't swollen with pain and saw the woman covering her mouth in pain. How unfortunate is this family that they get injuries at the same time??

After a couple of minutes, it was silent. Aimilios' mother was looking away in embarrassment as she held an ice pack to her lips while Aimilios, who was sitting next to you, held an ice pack to his nose and his hand was on the table with an ice pack resting on top of it.

Now that you're looking at her, you can see where Aimilios' cuteness came from. This woman looks young, almost similar in age to Aimilios, and has the exact same eyebrows, eye shape, and nose as him. The eye colour came from his father, but his hair? You have no idea where it came out from.

"R-right. I'm sorry about that you had to witness that, (Y/n)... My first impression of you must be bad, so I'm sorry about that." She lifted the ice pack when she needed to speak and was extremely embarrassed by the situation.

"Ah, no worries. I can see where Aimilios got his clumsiness from. My name is (Y/n) (L/n), and im 23." You smiled at her and gave your hand for her to shake, to which she obliged to.

"You can just call me mom. I'm the mother of Aimilios and the wife of that grumpy little beast. Im 44 years old." She smiled as you looked surprised.

"44? You look the same age as Aimilios!" His mother just chuckled and put her hand on her cheek from the compliment.

"So how did you meet Aimilios because I have a feeling that he's lying to me about saving you from one of the ruined rooms in this place." Aimilios' face exploded into a bright red blush.

"N-no! I wasn't lying! Mom!" Aimilios covered your ears, but it was too late, you burst out in laughter.

"T-that's what he told you!?!? Hahahahaha!" You wiped your nonexistent tears as Aimilios put the ice packs into the bowl on the table and covered his face from embarrassment. His mother let out a couple of chuckles.

"Well, I was exploring this place because I was bored, and when I was walking when all of a sudden, he came out only to hit his face on a hanging piece of metal. He was going to cry--" You laughed, but Aimilios covered your mouth.

"I-I'm going to get water." He said in embarrassment and shuffled to the makeshift kitchen to open the tap. He huffed turned back.

"Mom... There's no water. I'll go outside to turn on the water..." He quickly left with a set of keys. As soon as you heard the door clicked, you turned back to the mother.

"Why are you not telling him the fact that people are really trying to save you out of concern??" You spoke out, really wanting to know the reason why she hasn't told him anything. His mother slapped a hand over her mouth and closed her eyes out of embarrassment.

"You don't know how hard it it to go up to him and say, "Oh, it's not because people want to kidnap me because they want experiment on me, it's because when i have fun with my husband, they either think he's mauling me to death or raping me! Sorry, son!" It's not easy-" There was a drop of keys both you and his mom eyes widened in horror as Aimilios was standing at the door, tears welling in his eyes.

"Mom! (Y/n)! How could you lie to me!!!" He cries and runs away.

"aMy NOOOOO!!!"

Okay, okay, that ending was super fun to write 💀💀 this is better than the storytelling one cus this is goofy asf. Anyways how do yall like the names ive picked out for cute yan monster and his father? I better hear amazing, Googling shit is hard /j

Also the hair colour thing is intentional cus i have an idea with that 🤭 sorry if your oc has blond hair thoughhh.

Note prooftread.

Edut: forgor tags again. Mb

[anghraine]

I was talking to my students and then some family members about how the death of Elizabeth I and succession of James was necessarily an occasion of upheaval, even when it wasn't necessarily violent or flirting with treason or whatever. For one, the death of a monarch that will lead to a new dynasty (even a related one!) is not quite the same as a familiar figure inheriting the country's rule from their parent or grandparent. It's usually a bigger change, with dynamics of loyalties and affiliations shifting around—that's part of the reason Elizabeth delayed acknowledging James as her heir.

Typically, you'd see courtiers etc deserting a dying monarch in order to signal their loyalty to the new monarch, even if the old one wasn't actually dead yet. Elizabeth's reluctance to share royal power was fundamental to her reign and her public image, so it's not at all surprising that she would be loath to encourage that kind of desertion in any particular direction.

Of course, another thing that complicates the Elizabeth -> James succession is that she had reigned for a long time (44 years iirc). By the time she was dying, a good number of English people had few personal memories of life under any other monarch, and those who did would remember the abrupt and unstable reigns of her predecessors, Edward and Mary. So James's accession came with uncertainty about what exactly it would entail, and a lot of late Elizabethan/early Jacobean drama in English is very concerned with questions of what obligations the governed owe to their monarchs (obedience? loyalty? are those always the same thing?), but also what obligations monarchs themselves have to their people.

This seemed especially pertinent to Lear, in which multiple characters defy capricious orders from a monarch or other authority out of loyalty: Kent challenges Lear and is banished, so skulks around in disguise to continue serving him, Edgar also skulks around in disguise after Gloucester renounces him and ends up offering what comfort he can to his father, and Cordelia returns to Britain with the French army in her ultimately futile attempt to help Lear. Meanwhile, Lear loses everything, is driven to take shelter in a peasant hovel, and starts to contemplate how his own failures as a king resulted in, well, peasant hovels.

Anyway, now I'm thinking about what a wild figure Elros must have been as, specifically, a monarch to the Númenóreans. He lived for five hundred years. Even his own children (also half-Elves! sort of!) and other descendants who benefited from his lifespan didn't live as long, and most Númenóreans during his earlier reign wouldn't have come near to it. Undoubtedly there were Elves who had known Elros in the First Age who were baffled at him choosing mortality and DEATH, and meanwhile on Númenor, there are all these people living out their extended lifespans under the reign of a half-Elf king who was ruling their people at their birth and would still be ruling after they died of old age. We know Elros retained his half-Elvish characteristics as well, so they've got this visibly Elvish, barely-aging, eternal king who looks like Lúthien as part of the fabric of life for centuries.

Yes, he's literally the first king—but for a lot of earlier Númenóreans, he's also the only king they will ever know. It takes him an incredibly long time to weary of the world as other mortals do. By the time Elros finally gets weary of Arda, and willingly lays down his life and passes to the unknown fate of mortals, Tar-Amandil is stepping into some very big shoes.

[hils79]

Hils Watches Tibetan Sea Flower - Ep 1

Yeah, sorry to The Spirealm but I've been very upfront about my intention to drop everything as soon as Tibetan Sea Flower came out.

I wasn't expecting it to drop overnight while I was asleep with zero warning but here we are. The DMBJ fandom is the embodiment of chaos and that extends to the way they release things too.

Also apologies to Choi San. I was going to gif you today but, well, see the above.

Apparently the official English title for this is Adventures Behind the Bronze Door but we've all been calling it Tibetan Sea Flower forever and that's also the title of the novella so I'm using that for my liveblogs. I'll use both titles in the tags.

Right, I've rambled enough. I'm going in.

Oh, god, I'm not ready.

Okay, first of all OMG LOOK AT HIS CUTE LITTLE FACE! But, also, I love that this flashback has him still looking older than he does in the retirement era movies

I mean he is not a skilled tomb raider, this is true. That doesn't stop him from trying though

Wait, that's the baby triangle! Are you telling me a 27 year old and a 44 year old are playing a character at the same age? I know I shouldn't expect logic from DMBJ but come on

Wait, is this a completely different actor? At first I thought they'd just used special effects to make Zhang Luyi look younger but I don't think that's actually him at all

Aww it's nice to see Wang Bowen back too. I do enjoy his Pangzi

Okay, but why is Young Pangzi being played by the same person who played retirement age Pangzi in the movies. MAKE IT MAKE SENSE!

I don't know who this is because the drama doesn't even had a MDL page yet but I like him. He's a good baby Wu Xie. Look at his little face when Pangzi says they need to go and see if Xiaoge is still alive or not

There's our special boy!

Starting with the whump early. Love to see it.

Only 20 mins into the first episode and Pangzi is crying because he thinks he found Xiaoge's body. I'm fine. This is fine.

FFS I know he's not dead and this is still devastating

Take a drink! It's the standard DMBJ hallucination!

Oh, not even that! It was all a dream!

Bleeding himself to lower his heart rate enough to fake being dead is definitely a very Xiaoge thing to do

I guess that's one way of describing what happened

Is he...using his architecture skills to map out the Zhang ancestral home that he went to? IS HE DOING ACTUAL ARCHITECTURE?

And wipe out an entire family so it was safe for Xiaoge when he got out, but we don't need to mention that small detail

I do like that this one shot shows you how obsessed and unhinged Wu Xie was during the time Xiaoge was gone

AH HAH! Now he's Zhang Luyi!

SURPRISE JI XIAOBING XIAO HUA????

A NEW XIUXIU??? Everything happens so much!

Baby, do you know what franchise you're in?

So weird seeing Xiaoge without his hood

Well, that was a lot. And I still have another 2 episodes to watch. Good thing it's a bank holiday here today

[puc-rewrite]

Event: Musical Wanderer

(Note: I'm going to put the English translation and not the actual Japanese lyrics for The song just so you can know what the song is saying without going the English translation yourself. I got the lyrics for Risa Shinozaki's cover of the song.)

Music can be heard from outside late at night. It was a Shamisen playing outside. Then you hear a soft haunting voice singing Edo Lullaby in Japanese.

"Hush-a-bye Hush-a-bye,

Good baby go to sleep,

Where has the nanny gone?

Beyond that mountain to the village-"

You slowly went out to see a 16 year old girl sitting outside. Fair skin, closed eyes, and lavender hair that fades to rosy red. She was maybe 5'7ft tall. Her hair was in a high ponytail and her bangs were swept to the right. She had a 44 time signature on the back of her neck tattooed in black ink. She also seems to have a few 16th notes on her jewelry and tattoo on her left thigh on red.

She had only had the Shamisen with her it seems. No bag for food, water, or an umbrella. Just the Shamisen. She was amazing at playing it, and singing.

"-What was the souvenir?

Pellet drum and sho flute

Roly-poly toy and hand drum"

Do you say anything?

Tags:

@mikado-sannoji @would-you-like-a-scooby-snack @edens-garden-au @human-monokuma @ask-the-otonokoji-twins @the-sxrens-sxng @unknown-ultimates @excitement-to-consumption @ultimate-rider @after-neo-world @chaoticblogofmuses @pizza-for-my-friends

[calumsrockstar]

Bunny - Ashton Irwin

a/n: DADDY ISSUES NATION RISE! This is my longest fic until now, and it´s inspired by @rip-quizilla.

word count: 3k

Where you find a mysterious hot neighbor.

Contents: MAJOR AGE GAP (reader is 19 and Ash is 44), perv!ash, spanking, pet names, praise, unprotected p in v, oral (f and m recieving) masturbation (f and m), corruption kink, daddy kink

Older!Ash x Reader

You entered your brand new house, it was small, but spacious considering it was your first. Your mom and your dad finally let you move out, giving you all the privacy you needed.

For the first month everything was normal, until you heard almost every mom in the neighborhood talk about a handsome and mysterious Mr. Irwin. Only to notice that he was living right next to you.

You were curious, since moving to the neighborhood, you´ve never seen what he looked like, your window was right opposite his, but he always kept the curtain closed.

Adjusting yourself, you looked at the mirror and flattened your yellow sundress. It was a hot summer day, and what better way to quench your thirst than to deliver lemonade to your supposedly hot neighbor?

You opened the fridge to get a large jug of your homemade lemonade, and left the house, leaving the front door unlocked.

Walking to his house, you took deep breaths, and knocked on the door. Now you wait.....

A tall man opened the door, looking to be in his 20s. His light brown hair looked soft and curly. his skin sunkissed. "Hi there." He smiled. Making you forget why you were there.

Holy shit.

"Um-hi." You smiled. "I moved here a month ago and I ́ve never said hello, I decided to bring you some lemonade. Some friendly neighbor activity." You chuckled.

He looked you up and down, basically devouring you with his eyes. "That's awfully kind of you." You detected some kind of accent. "It 's no problem." You replied.

"Sorry if this is too direct but, how come i´ve never seen you before?" You asked him. "At my age, I don't go out of my house much honey, I like to read, play music." You raised an eyebrow. "Your age? Like 25?"

He let out a throaty laugh. "You flatter me." Making you smile. "How old are you?" You asked. "If you don't mind me asking of course." He grinned. "Guess."

"28?" He shook his head no. "30?" He shook his head no again. "35?" You asked, hoping you didn't say he was too old. "More." He grinned. "No fucking way." You replied. "40?" He clicked his tongue. "You're getting closer." Your mouth was practically on the floor. "I´m 44, sweetheart."

"What? That's insane." You smiled. "You definitely don't look or act 44." You said. "Hey, how is a 44 year old supposed to act?" He chuckled. "I don´t know, smoking cigars on your front porch, maybe?" You smiled. "I´m young at heart, you know." He leaned down to talk to you.

"How old are you, little lady?" He grinned. "I'm 19." He widened his hazel eyes. "19, wow. Basically a baby." You fake pouted. "I'm not a baby." You smiled, teasingly. "You are to me." He replied. You frowned. Did he actually think of you as a kid?

"What´s a young girl like you doing living all by herself?" He asked. "I just moved out, I wanted some privacy." You replied, making him raise an eyebrow. "Privacy, huh? You sure you´re not gonna throw any parties?"

You laughed. "That's not what all kids do these days, by the way. Maybe in your time, Mr. Irwin." You put your hand on your forehead. "That was rude, i´m sorry." He laughed. "How do you know my last name?" He smiled.

You turned pink. "Well, you must know that women talk about you." He raised an eyebrow. "Do they?" He chuckled. "Yeah, all the time." You replied.

"Can you tell me what they say?" He smiled, making you turn an even deeper shade of red. "Well, they all say you're really handsome and stuff... And how they wonder if you have a wife." You smiled. "No, I don't have one, sweetheart." He grinned.

Oh god yes.

"Oh, that's good to know. I mean, that's cool." You stuttered. Making him chuckle. "Well, I guess I´ll see you around, Mr. Irwin." You said turning your back. "Please, call me Ashton." He blurted out. "What's your name?" He asked. "It´s y/n." You smiled. "Nice to meet you y/n." I hope to see you soon." You looked over your shoulder and nodded.

When you turned around, Ashton couldn't help but look at your ass. It was sculpted and it drove him crazy. He could tell you were definitely trouble.

Ashton closed the door, and smiled. You were the only thing he could think of for hours. He wanted to get to know you, to know what your interests were, your life. He already was utterly obsessed. He felt like a teenager again, with hormones blossoming inside of him.

You were sweet and innocent, like a bunny. Something deep inside him wanted to ruin you.

You could not help thinking of him too. His tattooed arms, his curly hair, how his tank top hugged every place of him. How his shorts were tight around his bulge.

Shit. You wanted to fuck your 44 year old neighbor.

Ashton let his curiosity get the best of him. He finally opened his office window, to see if he could peek inside your house. Fortunately for him, this was the window directly opposite your bedroom.

After a long day, you decided to go to your bedroom to relax. Kicking off your shoes and getting out of your sundress. It was hot, so you absentmindedly left your bedroom window open, not knowing you had a spectator.

"Holy fuck." Ashton thought, his jaw was on the ground. You were wearing a lacy pink underwear set. The dim lighting in your room made you look ethereal.

Ashton was getting harder by the second. He knew this was wrong. Spying on his innocent little neighbor. But at this moment, he could care less.

You took off your bra, slowly. Ashton watched your breasts slip out of them, he thought he was dreaming. You were the most beautiful girl he's ever seen.

You reached in your bedroom drawer and found a pretty pink vibrator that you've stashed there. You laid down, tracing circles over your panties with the vibrator, letting out little whimpers.

"No fucking way." Ashton mouthed. He couldn't take it anymore. He took his cock out of his pants, bubbling with pre-cum. He felt like a pervert, but this turned him on even more.

Little y/n wasn't as innocent as he thought.

Taking off your panties, your pussy was on full display. Making Ashton´s mouth water.

You pressed the vibrator on your clit while you inserted two fingers inside of yourself, curling them. The shock made your back lift off the mattress, with a moan so loud you were sure your neighbor could hear.

All you wanted was Ashton. You wished his fingers were inside of you, you wished he was fucking you.

Ashton started to rub himself, watching intently. So what if you saw? He thought. His cock was throbbing, he was desperate to be inside you. Every muscle in his body ached for you.

You started to squirm, your clit throbbing with pulsing sensations that made you convulse in bed. While Ashton was shivering. This is the most turned on he´s been ever.

"Fuckfuckfuckfuck." You moaned while you bit your lip, feeling that familiar feeling in your stomach. Ashton started fucking his fist, harder and faster.

"Fuck! Ashton!" You screamed when you came. Putting your hand to your mouth when you realized what you said. At the same time, Ashton came all over his hand, panting hard. His curls were sticking to his forehead.

Did she just say my name? She couldn't have.

-----

In the morning you decided to lounge by the pool, and get some sun. You put on your favorite blue bikini and put your hair in a bun and headed out to the garden.

You opened up the door to your yard, secretly hoping a certain hazel eyed man would stumble in.

Sitting on a lounge chair, looking at your phone you noticed a tall figure looking down at you.

"Fuckin´ hot today, eh?" It was Ashton. A shirtless Ashton. Looking you up and down with no shame. "Good morning Mr. Irwin." You smiled. "You're finally out of the house." You added. "I wanted to see you, darling." He replied. Your mouth turned dry.

"You wanted to see me?" You repeated, making him smile. "Why do you want this old man out of your garden?" He chuckled, making you giggle. "Nah, c´mere." You told him, making a "Come hither" motion with your finger.

Just to think those were the fingers that were inside you last night made him shiver.

You tucked your legs in and motioned for him to sit at the tip of the lounging chair. When he sat, you spread your legs to fit around his thighs.

The only thing separating your pussy from his back was a flimsy piece of fabric.

"So, where are you from?" You asked him. "I´m originally from Australia, but I moved here a few years ago." You nodded. "Why´d you move?" You asked, picking at his sunburnt shoulders. "I think I just wanted to move on with my life, start a new chapter." He looked back at you and smiled. "Fair enough." You smiled back.

"I haven't noticed your tattoos." You said, stroking your hands on his arm. "Yeah got a few of them, love, years of experience." He smiled. "This one's my favorite." You pointed at his snake tattoo on his bicep. "It's one of my favorites too."

"Do you have any more tattoos?" You asked, rubbing both of his thighs. "y/n..." He melted into your touch. "I'm just asking." You grinned, placing a kiss on his neck. "Jesus Christ." He chuckled in between shallow breaths. "Are you sure?" He asked. You muttered an "mhm."

"I´ve seen you eye fucking me, Ashton, when we first met, when I was taking out the trash, right back then..."

He stood up, turned to face you, and sat back down."Dirty girl... When I was in college you weren't even born yet." You shrugged your shoulders, smiling. You could feel a wet patch growing in your bikini bottoms.

"I was touching myself thinking of you last night." You whispered, making him grin. "Me too." He chuckled. "You just looked so pretty yesterday... Your window was open." Your mouth dropped. "You perv!" You smiled. "Hey, you´re the one touching yourself thinking of an old man fucking you." He grinned.

"You looked so cute squirming, bunny." This sent shivers down your spine.

"Please kiss me." You pleaded. He wasted no time. He held your face with his two hands and kissed you, the kiss was fervent, urgent. Your tongues battling between each other, barely giving you space to breathe.

"Do anything you want to me, Ashton." You told him. "Anything?" He asked. "Anything." You smiled. "That´s a very bold claim to make." "I mean it." You smirked.

"Stand up." He ordered, doing the same as you. "You brought this upon yourself." He smiled, as he picked you up and threw you over his shoulder, making you scream and giggle.

He unlocked his front door and carried you inside. You observed three guitars and a huge drumset in his living room, complete with 10 pairs of drumming sticks.

He placed you on the couch that was big enough to fit four people, putting enough force for you to land with an "oomph."

"You look so cute, babygirl." He smiled, making you blush. You decided to make a risky move. "Thank you, daddy." You replied, waiting for his response.

You could see his eyes visibly darken, and his mouth turned into a grin. "Holy fuck, y/n." He smiled. "Want me to be your daddy?" He asked you. You could only mutter an "mhm." Your clit was throbbing, practically begging to be touched.

He trailed a finger through your bikini bottoms, making your whole body shiver. "So wet for me, and I haven't even touched you, bunny." He whispered in your ear. "Please, Ashton." You mewled.

He tugged at the strings of your bikini top and undid them. "You have such perfect tits, princess." He said, while fondling them. Placing his mouth on one and nipping at it, making you whimper. "So sensitive, too." He smiled.

Kneeling in front of you on the couch, he tugged on your bikini bottoms taking them off. You clenched your legs together, by instinct, blushing. "No need to be shy, princess." He smiled, gently pushing your legs apart and peppering little kisses on the inside of your thighs.

"Such a pretty pussy." He cooed. "Fuckin´ perfect."

He kitten licked your clit, making you let out a breathy moan. He looked up at you, waiting for your approval. You nodded and smiled, making him grin.

He grabbed your lower back with his big hands and pulled you closer to his face, making you gasp.

His pupils were blown out with lust. Dipping down to face your sex. Without warning, he dives in and you feel him licking a long strip between your wet folds.

"Fuck! Ashton." You exclaim, grabbing his curls and digging your fingers into his scalp. He winced at the pain, but he definitely enjoyed this.

You grind against his mouth, while his tongue draws circles around your clit. Throwing your head back into the couch, your eyes rolled into the back of your head.

The sensation was almost too much. His eyes never left you, enjoying the sight of you convulsing on the couch. Your pretty moans were like music to his ears.

He licks faster and faster. Groaning inside of you. "I'm getting- I'm getting close." You said in between shallow breaths. He starts sucking on your clit harshly, the sounds were borderline sinful.

You felt a tightness inside your stomach, like a cord waiting to snap. "Don´t stop, please." You mewled.

Your orgasm washes over you, making your whole body shake, clenching your walls around Ashton´s tongue. "Oh my God." You smiled.

Ashton surfaced, his lips were puffy and his mouth was covered in your slick. "Hi." You giggled. "Hi." He repeated, smiling. You covered your face with your hands, and blushed.

"Can I taste you?" You asked. "I-um, fuck yes." He stuttered. "Yeah, you can taste me."

He takes off his shirt and gives it to you. "Here baby, for your knees." You smile and bunch up the soft cotton material on the ground.

You kneel down in front of him, pulling his shorts down and snapping the elastic band of his boxers, finally freeing him. His erection sprang up at you. It was the longest and thickest cock you´ve ever seen.

"See how you make me feel, bunny?" He asked, making you smile. You pumped his shaft a few times to test the waters, making him groan deeply. "Fuck, y/n..." He moaned.

You kitten lick his tip, tasting his salty pre-cum, making Ashton´s whole body shiver.

Sinking down, you took his whole length, gagging. Ashton gently grabbed your hair, holding it to get it out of the way. Bobbing your head up and down, swirling circles around his tip.

"Fu-uck..." He moaned. "You're so perfect." He breathed deeply.

Soon enough, he was moving his hips, increasing his pace while his head was thrown back. "Makin´ me feel so good, sweet girl." He groaned.

He pulled himself out of you, grabbing you by the hair. "I´m not gonna be able to fuck you if we continue this." He chuckled. "Want daddy to fuck you, bunny?" He asked, making you nod. "Please, that's all I want, please." You begged, making him smile darkly.

You both stood up. "C´mere." He said, picking you up bridal style. You were still surprised as to how he could pick you up like you were nothing.

Taking you up a big staircase, you found yourself in a huge master bedroom, complete with another drum set, and vinyls hanging on the walls.

He plopped you down on the bed, a bit more roughly this time.

He looked around, opening a few drawers. "What 's wrong?" You asked. "Shit, I don't have a condom." He muttered. "I'm on the pill." You smiled, making him grin as well. "That's all you needed to say." He replied, taking off his shorts and underwear.

He climbed on top of the bed, hovering over you. "Daddy's gonna make you feel good, sweetheart." He smiled, you watched his eyes darken.

He puts a hand on your throat and pushes his mouth in for a kiss, hard, sloppy, hungry.

"You okay?" He smiles. "Yeah, just please fuck me Ashton." You pleaded. "Atta girl." He responded.

He grabbed your hips and slowly pushed himself inside of you, hissing at the feeling. The initial stretch burned, but slowly but surely you got adjusted to his size.

"Fuck, you´re so tight, bunny." He groaned, starting to pump in and out, guiding your hips, making you arch your back off the mattress, if they could, your eyes could roll into the back of your head.

"Please, faster." You exclaimed. You were lightheaded, becoming cockdrunk, letting out little moans that made Ashton go wild. "Want to ruin you, so nobody but me gets to use this pussy."

"Fuck! Just like that!" You exclaimed, feeling the pulsing wave of pleasure continue to grow inside of you, clenching around his cock. "You're taking me so well baby girl, won't last much longer with you clenching around me like that." He breathed rapidly.

"I'm close, Ashton." You repeated. "Cum for me bunny, let me feel that perfect fucking pussy." Those words were enough to make you cum alone.

You felt a familiar feeling inside your stomach. You felt Ashton´s cock twitch inside of you, meaning he was close as well.

You released yourself, gushing all over his cock, "Mphhhh.." You mewled and he filled you up to the brim with his cum, with a deep groaning sound,almost animalistic. he pulled out of you, letting his cum spill all over the sheets.

"Give me a second." He said, getting up and going to the bathroom, retrieving some wipes to help you clean up, discarding them in a trash can next to his bed.

"Was that okay?" He smiled. "It was perfect, Ashton." You grinned, looking up at him, pulling him into a kiss.

"Jesus, y/n, you´re gonna be the death of me." He curled his lips up into the kiss.

[silverwhittlingknife]

Good morning. I'm fairly new to batfamily comics and I was wondering if you know what the design inspirations for the nightwing black and blue suit are? Is it mentioned in the comics? I live in New Zealand and all the robins here are all black, except the south island robin which has a splash of white on its chest. To me the nightwing suit looks very reminiscent of New Zealand robins, though I'm sure that's just familiarity bias.

GOOD MORNING!!! I had no idea there were blue robins!! That is extremely cool & these birds are my friends now <333 There are (tragically) no blue robins in comics AFAIK, but the Nightwing costume design is still fun to trace...

The Nightwing Costume: A History

Nightwing I, Nightwing II, and a 1980s punk rocker.

Short version: The Nightwing black+blue+yellow costume is something Clark Kent wears in 1960s Superman comics, where the colors are inspired by Batman's costume - both in-universe and out-of-universe. So when Dick originally takes on the costume, it's an homage to both Batman and Superman. <3 The exact history gets tweaked a few times, but those basic vibes are usually consistent.

Long version: IF YOU WOULD LIKE TO HEAR SO MUCH MORE THAN YOU WANTED TO KNOW re:a bunch of Doylist comics history followed by the various Watsonian explanations for Dick's costume choices, I have rambled about this below the cut in three parts:

1960s and 70s: Nightwing I: Superman and Jimmy Olsen, the Dynamic Duo of Kandor!!

1980s and Onward: Nightwing II: Dick Grayson's New Teen Titans & Gen X Influences

In-Universe Explanations for Dick's Costume: A History

1960s + 70s: The DYNAMIC DUO OF KANDOR

Superman 158: The first appearance of Nightwing I!

Nightwing I - he's actually just Superman in another costume - was created for adventures in the Bottled City of Kandor! Kandor was invented in 1958 by Action Comics writer Otto Binder; it was a Kryptonian city shrunk by Braniac and kept as a trophy. Clark rescued the bottled city from him, kept it in the Fortress of Solitude, and sometimes used a shrink ray to shrink himself down to visit the city. (This was the 50s and 60s! Goofy sci-fi was in!) Kandor was a great setting for Superman stories because Clark could interact with a Kryptonian city without time travel. Plus, since Kandor had a miniature red sun, Clark could have adventures there where he didn't have powers.

In 1963, Superman writer Edmond Hamilton got the idea of having Superman and Jimmy Olson go undercover in Kandor. They have to come up with superhero disguises -- so naturally, Clark "takes a cue from his old friends Batman and Robin, and he and Jimmy Olsen become - The DYNAMIC DUO OF KANDOR!"

Nightwing and Flamebird's names got linked to newly-invented Kryptonian birds (you can see the birds in the cages behind them) - therefore paralleling Batman and Robin, inspired by Earth's bats and robins!

Readers loved Clark and Jimmy's buddy-movie adventures as Nightwing and Flamebird, and the story conceit stuck around for quite a while. If you're curious, you can read a bit more about the stories here! I like them; they're goofy but adorable.

Kandor eventually got written out in 1979, when a writer who was bored with it "fixed" the city and had Clark find a way to make all the people normal size. No more adventures for Clark and Jimmy...

This meant that the Nightwing name was up for grabs.

1980s: The NEW TEEN TITANS & Gen X Influences

In 1984 - five years after Kandor, Nightwing, and Flamebird had gotten written out of Superman comics - Marv Wolfman and George Pérez wanted to give Dick a new name and costume in Tales of the Teen Titans 44. They landed on Nightwing. It was a perfect legacy identity, representing an homage to both of Dick's role models: an identity that was used by Superman, but modeled after Batman.

Although the name stayed the same, the costume changed quite a bit! The design changes are IMO revealing both of the era in general and of some characterization choices Wolfman and Pérez were making for Dick.

Pérez - the artist, and therefore the guy who redesigned the Nightwing costume - gave a 1987 interview where he said this about Dick:

Robin/Nightwing, I like him a lot because of his history, he’s been around so long, and there’s a certain sleek sexuality about the character. He’s got a certain sense of everyman, a young swashbuckler type...

IMO you can see those elements in Pérez's design - it's got vaguely piratical/swashbuckler vibes, and my extensive research (...okay, this article on 80s fashion trends) suggests that this very silly-looking Halloween costume may indeed be riffing on edgy sex symbols of the 1980s.

And both those choices are in keeping with the vibe of New Teen Titans, an aggressively not-kid-appropriate comic that was trying to do a more mature / edgy / adult take on superheroes.

What does that mean, "more mature"? Partly, it just meant, uh, sex. Dick and Kory were actually the first DC couple to ever be implied to be having premarital sex (in NTT 28 in 1983, where they're shown in bed together); in earlier eras, this would've been forbidden by the Comic Code Authority, which banned "illicit sex," sympathetic criminals, and a bunch of other things.

But it's not just about sex. In the 80s, comic readers were getting older and more impatient with moralizing in general; wholesome role models were out and sex, drugs, and rock-and-roll were in. Wolfman and Pérez were reinventing Dick as an aged-up, angsty, angry young man who was part of a more soap opera-esque team, with characters sleeping with each other and getting jealous and getting married and fighting with each other and generally making a lot of understandable-but-edgier decisions.

The switch to the Nightwing costume, a few years in, aesthetically mirrors Dick's shift in characterization from preppy good kid to angsty rebel:

Nightwing II, or, "What would happen if you took Superman-pretending-be-Batman and stuck him in a blender with Billy Idol?"

Pérez started with the blue-and-yellow color scheme of the original Nightwing - which is just copying Batman, right down to the utility/antigravity belt. But for Dick, Pérez tweaked it to add 1980s fashion details that were Hip With The Edgy Youth, like a deep V-neck showing the chest, bling-y accents, and big flaps for the shirt collar.

(Billy Idol had become a huge success in 1983, the year before Dick became Nightwing; the punk rocker was a college dropout and fashion icon for Gen X's edgy young men ... Look, I'm not saying he's a direct inspiration for Dick's costume, I'm just saying!! Similarities, no?? The other obvious point-of-reference is 70s disco - thus the fan nickname "disco-wing" - which had been popularized by John Travolta, another celebrity dropout.)

You can see a parallel shift in Dick's relationship to education - in the 1970s, he was basically a Good Role Model And Responsible College Student at Hudson University, where AFAIK he stayed in his first semester of college for about a decade. By contrast, in 1980, the first issue of New Teen Titans kicks off with Dick having dropped out of college and having tensions with Bruce about it - not a stereotypical "good kid" choice.

Dick in New Teen Titans 1, looking... a little bit dopey, let's face it; he may be a cool & edgy college dropout now but his motorcycle kinda looks like it belongs to a middle-schooler

By NTT 34 in 1987, Dick's costume had gotten more dramatic and his motorcycle had gotten significantly cooler-looking:

Over time, the Nightwing costume got tweaked in various ways to get more sedate and to add a more birdlike V-shape to the chest, but that's the Nightwing origin story!

Okay, so that's out-of-universe. But what about IN-UNIVERSE EXPLANATIONS for Dick's costume?

WHAT A GOOD QUESTION. There are three you can choose from!

FIRST OFF, in the original 1984 story, Dick says he got the idea from a costume Clark wore - a reference to Clark and Jimmy's adventures in Kandor.

BUT THEN, in the post-Crisis reboot, the Bottled City of Kandor got deleted from continuity for a while, along with Clark and Jimmy's history of being Nightwing and Flamebird. (Crisis on Infinite Earths was a late-1980s event that merged DC's Earth-One and Earth-Two, retconned a lot of backstories, erased a lot of goofier story elements, and tried to create a more streamlined DCU. Fans usually call the comics that were published after this event "post-Crisis comics," because "thecomicsthatwerepublishedpost-CrisisonInfiniteEarths" can't be said five times fast.)

With Kandor gone, the name's origin had to be tweaked a bit. In post-Crisis, Dick still gets the name idea from Superman, but it's from a Kryptonian legend that Clark knows, as opposed to a costume Clark wore.

And then in Nightwing: Year One, a retcon/retelling midway through post-Crisis, Dixon tweaks things a bit further, so that instead of the Robin costume being an homage to the Graysons' costumes (a Wolfman retcon in LPoD), it's instead the Nightwing costume which is an homage to the Graysons' costumes, and it's deliberately modeled after something John Grayson wore.

... So in-universe, the possible explanations are basically:

Pre-Crisis: Dick got both the name and the costume design from Superman, who came up with them in order to imitate Batman, OR

Post-Crisis: Dick got the name from Superman, and Dick came up with the costume on his own - probably still deliberately imitating Batman's color choices, OR

Post-Crisis: Dick got the name from Superman and the design from John Grayson's acrobat costume.

(The post-Crisis period ended in 2011 with Flashpoint, so for a while people called post-2011 comics "post-Flashpoint," but nowadays it's usually divided into DC's branded eras: new 52, Rebirth, and Infinite Frontier. I don't think those eras have any significant retcons to Dick's costume origin, but I'm not 100% sure.)

ALL THAT SAID, I love the idea of "it's Robin, but blue," so thank you; that's adorable and it's gonna live in my heart forever now <333

[helenofblackthorns]

I'm so excited to see how the family dynamic of the Fairchilds will end of developing in twp. like how will Ash fit into everything. because while technically speaking Jocelyn & Luke are his grandparents and Clary is his aunt and Jace (& Simon) are his uncles but like. none of them know him and he's like 16/17 years old. Clary and Jace are 24 in twp like they're barely older than him and Jocelyn's 44, I can't imagine he'll feel like a grandson or nephew yknow. add on top of that the only decent parental figure he has is Janus, an alternative version of Jace who's evil... like idk how he's going to feel about them and I don't know how they're going to feel about him once they actually meet him.

plus I don't think Ash likes his dad or identifies with him if the absence of Morgenstern on his flower card is anything to go by so.... idk what to expect actually

[felixcloud6288]

Dungeon Meshi Chapter 46

What does this look like from an outside perspective? Laios is the only one who can see the ghosts.

I'm going to guess this is somewhere out of bounds of the normal dungeon space. Maybe it's something similar to the dimensional space the living pictures create.

Senshi did not take well to the teleportation at all.

One speculation about unicorns is they were actually a species of rhino that got mythologized into horned horses. Taking that into account, Kui's depiction is putting the horn closer to where it is on a rhino's head. The tip of its horn is also filed off. I guess the pointy horn was deemed too dangerous even if it is docile.

All the monsters in the village are playing the role of the closest possible equivalent to a standard farm animal. Unicorns are horses, basilisks are chickens, direwolves are dogs, minotaurs are cows, and Izutsumi is a house cat.

Senshi tied a little ribbon on his helmet.

The party showing up is the most exciting thing that has happened in this village in the last 1,000 years.

It would have been awesome if at least one of the villagers was someone in one of the paintings Laios jumped into and they recognized him as that drunk who jumped on a table during Delgal's wedding.

This is the second being I've seen in the story with clearly drawn nipples. The first was a harpy in chapter 38.

What happened to this boy? Are those burn scars or is this some effect of the magician's immortality spell?

The farmer mentioned that they give some of their crops to the orcs. So this means the magician is well aware of and tolerates their presence to the point that he's okay with the orcs making contact with the people of the village. There's also apparently have some way for the orcs to reach the village. Maybe the sane ghosts on the fifth floor aren't quite ghosts and are more like projections of a villager and they can teleport outsiders into the village?

This dress is so black that you can't even see any of Marcille's outline.

The brewer started brewing when he was 600 and has been making ale for 400 years. So was he born after the Golden country was turned into a dungeon?

Same pose.

There is one way I can think of where Laios's thoughts went from milking a minotaur to wandering where Marcille and Izutsumi are. It goes "Milking minotaur -> milk -> cats like milk -> Izutsumi is a cat -> I should give some to Izutsumi -> Where are Marcille and Izutsumi?"

Of course, the simpler path is he was thinking of minotaur breasts and then remembered his breasted party members.

The jewel of Marcille's necklace is a treasure insect. It might be possible all the jewelry she's wearing is some variants of pearl necklace.

From her antics this chapter, I think it's clear that Marcille is Izutsumi's favorite and she does not like Laios. Her chat with Marcille and the rescue from direwolves in chapter 44 must have endeared her to Marcille.

Marcille can just see the magic barrier and its incantation?

Something about how Yaad carries himself makes him seem more like a local lord rather than the grandson of the king to me. Maybe it's the lack of royal regalia.

I love Izutsumi just staring at the table and eating while everyone else is freaking out over the lore drops.

Delgal was old when the magician turned the kingdom into a dungeon it seems. I can definitely throw out all my speculations that the magician wanted to resurrect him or anything like that. Since Delgal wanted the magician to learn black magic, I guess this whole situation was done at his bidding and he was hoping to set things right.

When Yaad said everyone who tries to leave the village loses their bodies, does that mean their bodies turn to dust, or does that mean they get ejected and the body becomes a zombie? The zombie Kabru's party killed in chapter 10 seemed to be wearing a sort of aristcratic garb, so what if the magician decided to not give immortality to some of the nobles since they might have opposed Delgal's rule?

I don't think Yaad would be bothered that the party exorcised some of the spirits who had gone mad. He probably would be a little freaked out that the party used them to make sorbet.

Finally! Some backstory on the Winged Lion. It's a guardian deity of the Golden Kingdom, and it's a real creature that the Magician is holding captive. Since wings are on the magician's grimoire, he probably draws his power from it as well.

The prophecy...

Yaad didn't exactly say how long ago that prophecy was made. He said the Winged Lion gives prophesies through dreams, so for all we know, the lion declared that Laios would beat the magician a week ago. Like Kabru noted last chapter, Laios has been the most successful at navigating the lower levels of the dungeon. And rescuing Falin will require he confront the magician. So he's the lion's best bet in being freed so it probably just conjured up a "profecy" to get the villagers to rally around him.

At first, it looks like Marcille is gasping at Laios being the person the "profusy" is about. But on closer inspection, she's actually trying to not laugh at this ridiculous "prufsy".

Everyone in the party, including Laios, knows the "pruey" is a bad idea.

I had noticed that Kensuke had a lion head on the hilt in recent chapters, but I kind of thought it had always been there and it was just more noticeable because Kui was getting better at putting more detail into her drawings.

Looking back at chapter 33, Kensuke did not have the lion head on its hilt. Meanwhile it did have the lion head in chapter 37. So yeah, the cleaners did alter Kensuke's appearance when they tried to eat it in chapter 36. And I thought the liquid on Kensuke in that panel was supposed to represent Kensuke sweat panicking, rather than the hilt melting and being reshaped.

This is the third being I've seen in the story with clearly drawn nipples.

I speculated back in chapter 13 that Senshi sleeps without a shirt on. At this point, I can confirm that is true.

In chapter 39, Marcille said prolonging your life with your own magic is like trying to live a long time by eating your own flesh. It's not the exact same scenario, but the people of the village are suffering from the effects of immortality. Even just disregarding the monotony of being trapped in this one place for a thousand years, their senses have grown dull and they don't get hungry. Laios said Yaad's hand felt cold. Senshi noted that there are no elderly, but there also don't appear to be any young children either. The immortality the people have seems more like they're piloting corpses that are kept from rotting. They exist, but they're not really alive.

back