#It's never quiet or boring

[amethystina]

I'm waiting so excitedly for your updates, old and new, I can't begin to tell you! You are the fandom treasure! And as I'm waiting and biting my nails I wanted to ask something, what do you think about the final scenes of episode 8 where Gaon has dinner with his professor and tells him he chooses Yohan's side. How come Yohan knew where to find them and the precise moment to come in and pick Gaon up, was he following them or did he and Gaon had a deal?

And what's with leaving his car to stand next to Gain and look at professor? I love this scene so much but I don't know if I understand its message right. Was it posturing, laying a claim on Gaon or what? I tend to feel that Yohan was possessive of Gaon when it came to professor and his police friend and I think I feel some of it in this scene but I'm not sure, I just don't have a clear grasp on it. Would love to know your thoughts!

Aww, thank you so much, sweetheart! This is definitely the first time I've been called not just a fandom treasure, but the fandom treasure. Thank you 💜

Ah yes, the "Ga On runs off with his new sugar daddy" scene. Or, as I sometimes like to call it, the "You just don't understand, dad professor — I love him" scene.

I'm joking, obviously.

(... or am I?)

I would say that Ga On and Yo Han made an agreement beforehand, yes. They probably talked about Ga On's choice to switch sides and while Yo Han would no doubt have loved for Ga On to continue on as a double agent (feeding Professor Min intentionally faulty information) Ga On is way too honest for that. So he probably insisted that, no, he'll call Professor Min, meet up with him, and just flat out tell him that Ga On's spying mission is over. He's now going to elope work with Yo Han instead.

And I find it hilarious to think that, most likely, Yo Han was just sitting in his car, perhaps scrolling through his phone, waiting for his newly acquired sugar baby to finish telling his semi-father figure that he's going dark side. Because Ga On gets up and starts walking before Yo Han drives up, meaning that it's not like Ga On saw the car coming and went "oh, better wrap this up now." It was probably the other way around, where Ga On leaving the table was the signal for Yo Han to come pick him up.

So yes, they definitely had an agreement, especially since Ga On seems to know in exactly which direction to walk, even before the car shows up, and doesn't look the least bit surprised by Yo Han's arrival.

They planned that shit.

Brutal.

As for the fact that Yo Han gets out of the car? Well, buckle up, my darlings, because I think we should take a detour to discuss intent.

Now, intent isn't necessarily important when you want to interpret a scene, but I like the extra nuance it can offer. And by intent, I mean what the scriptwriter/director might have intended with a scene. Why is this scene here? What was the plan behind it? How is it supposed to impact the overall story? How does it tie into the rest of the plot?

Which is never something you can say for sure, of course, unless there are interviews expressly stating it, but, a lot of the time, we can guess.

The intent behind this scene, in its simplest, purest form, is to show that Ga On is switching sides. And, with that in mind, it makes sense that he crosses that road to Yo Han's car (if you know me and my metas, you know how much I love lines, characters crossing said lines, and the symbolism of that) and stops to stand next to Yo Han. It's a very simple yet effective way to show Ga On's choice and where it will take him.

Into Yo Han's arms.

NOW. Intent is very useful because, depending on how skilled the person writing is, you can hide a lot of subtext and leave room for a lot of interpretation with a cleverly formulated intent. That's how censored shows get away with so much, because they can point to the perfectly reasonable, heteronormative intent behind a scene and pretend that there aren't also a lot of subtler nuances to the reading.

And, if they're extra bold, they also add hints in the presentation and execution.

The scene where Yo Han invites Sun Ah to the house is a perfect example of this, where the intent is to make her feel lonely, like an outsider, as she's invited to observe this warm, comfortable family. Not a bad tactic as far as manipulation goes, I have to say. So, in other words, very reasonable intent — makes sense with what they're trying to achieve.

The fact that it ends up looking more like Yo Han is proudly showing off his doting, doe-eyed househusband who's passively-aggressively and not-so-discreetly staking his claim is... well, that's just an accidental side effect, isn't it? Not intent at all.

And that's true. It's not intent that makes it look gay.

It's the presentation of the intent.

(Sidenote: To be a fly on the wall when Yo Han and Ga On came up with this strategy. Because, clearly, they were both in on it and, I mean, how did that conversation go? Inquiring minds need to know.

Like, how did they go from: "We need to throw her off balance. We'll invite her to the house, show what she's missing out on, but also give her hints that she could have it all, if she's willing to surrender" to Ga On going: "I'll cook a fancy dinner. That'll make her jealous."

I mean, he's not wrong but, like, Mr. Sugar Baby. What? x'D

Also, imagine Yo Han's face. Transcendent.)

Anyway. Intent can also ruin a story. I think most of us have read a fanfic and gone: "... that character wouldn't do that. This makes no sense." That could be a sign that the author's intent is clashing with the characters or the story they're trying to tell. Or, put more bluntly, that the author is so focused on forcing an idea that they don't realise that they're going against the logic of the story or characters' personalities. Things happen because they want them to, not because it makes sense, meaning that the intent isn't tied to the story or characters, but what the writer wants. This is badly planned intent.

And, most of the time, readers can tell when the intent is off, even if you might not be able to put your finger on it while you're reading. But if you're feeling a niggling doubt at the back of your mind, wondering why this scene is here, what this scene even means, or why this character suddenly seems to act so strangely, it could be that the writer didn't plan it well enough.

That's not to say that a reader must always know the intent behind a scene. Ideally, the story should be good enough that they don't have to stop and think about things like that. If the intent and internal logic are sound enough, it should just flow naturally.

Because, when it comes down to it, pretty much all scenes in a story have an intent and that intent should be in harmony with the characters' personalities and how they would choose to behave. And I don't mean that there can never be conflict or that characters can't disagree — I mean that all scenes should have a reason for being there. It doesn't have to be a deep or complex reason, but there should be a reason that ties into the overarching plotline. And characters shouldn't be forced into a scene they have no business being in. Intent is very important from a crafting standpoint.

And intent is one of the things that makes The Devil Judge such an absolute joy. Because while there is always a perfectly reasonable — and very heterosexual, we promise — intent behind most scenes, they often choose to present the scenes in a way that leaves room for a much queerer reading. Now, that can happen with almost any story, but what sets The Devil Judge apart is that it seems to be entirely intentional.

The presentation is by no means subtle or accidental.

Like, they didn't have to make Ga On shuffle up in a soft, comfortable sweater and greet Sun Ah like a caring househusband, but they did. That was a conscious choice.

And this scene you mention, with Yo Han getting out of his car when he's picking Ga On up, falls into a similar category in my mind. The surface-level intent is clear — show that Ga On is switching sides — but he could simply have said so. He could have borrowed a car and driven himself. Yo Han didn't have to come pick him up. And he certainly didn't have to get out of the car.

But he did.

And that might be what you're picking up on when you're saying that you're not sure if you're understanding the message correctly. Because in a drama this clever, that puts so much effort into details and, again, intent, it feels almost a bit odd to leave this gaping hole, doesn't it? Yo Han stepping out of that car should mean something, right?

And, once you've gotten this far, you've got a couple of options to choose from to fill in the blanks. Either you can assume that it was just something the creators chose to do because it looked/seemed cool and therefore might not mean much at all. And considering that this drama does that a couple of times, this could honestly be the case. Maybe they just thought it would be more effective to have Yo Han to step out of the car? To really hammer it home to Professor Min what's happening?

Your other option is to bring in the harmonisation between intent and characters. Because, if the writer is good and their characters consistent, you should be able to pick up on secondary layers of intent, running parallel with the main one. Because while each scene has an intent, each character IN that scene also has one (though perhaps it would be more comfortable to call it purpose at this point?).

In other words: If "it looked cool" isn't the answer, could we find it in the character's behaviour instead? What is their intent, based on their personalities and previous actions? Does that give a more satisfying answer?

What reason would Mr. Kang "Abyss" Yo Han have for stepping out of that car?

I, personally, think that the answer is pretty simple.

He is absofuckinglutely staking a claim.

He's stepping out of that car because he's a Possessive, Dramatic Bitch and wants to rub it in Professor Min's face. He wants to show that he's won, that he's turned the spy Professor Min sent, and that he's, quite literally, taking Ga On away.

Yo Han is basically going: "Thanks for the sugar baby — I'll make sure to ravish savour treasure him."

So while the main goal of that scene is to establish that Ga On is switching sides, the intent Yo Han adds with his actions leaves room for a very gay reading. In fact, I'd argue that doing so only makes the scene more believable, since Yo Han's actions are otherwise kind of... unnecessary? He has no reason to step out of the car and make himself known, unless it's for the dramah.

Again, the presentation of the intent is where the magic happens.

So, why this long, godawful rant about intent, you ask? When I could just have answered the question right away?

Because while I know that I'm preaching to the choir in terms of this drama being gay as hell, I just want to highlight the importance of intent and how it can change the reading of a scene. I think intent — or specifically the harmony between characters and intent, and the various layers of intent — is absolutely fascinating, especially in this drama.

Especially if you want to argue that it's gay.

Because there is, in fact, some scenes where I just... I can't. The intent and characterisation don't match at all — unless you add a queer element. Like, this drama is so clever. Not perfect, mind you, but so clever. And so careful with especially Yo Han and Ga On's characterisation. Very little is left to chance.

And so, if you keep everything I've said about intent and characters in mind, and I ask you to explain the intent behind this one, singular shot, can you do so without making it gay?

I'm not joking when I say that this scene, right here, was the one that definitively made me go "oh fuck, this is gay gay."

Because in most others — if not all — I can find that safe surface-level intent which means that the people behind this drama can claim plausible deniability. Of course it's not gay! Look at this perfectly reasonable, heterosexual intent!

Except this one.

There's no explanation for this. Ga On has no reason to look this jealous unless his jealousy is the main intent behind this shot. There just isn't. And it's only made worse by his huff and the way he clenches his jaw a couple of seconds later. Not even the argument that Sun Ah is their enemy so letting her fix Yo Han's tie might be dangerous can justify this, since that's not a look of concern or alarm — that's jealousy.

The intent is jealousy. Plain and simple.

And that's why intent is important. Because, if push came to shove, the intent behind this one, singular screenshot could, theoretically, be the only evidence you need if you wanted to defend a queer reading of this drama.

Because there is, quite frankly — in my humble opinion as the fandom treasure — no other way to explain the look on his face in a drama this meticulous and obsessed with details.

In this scene, unlike all the others, the queerness isn't just in the presentation anymore — it's in both the intent and presentation.

So, if you want the scene that says "this shit's gay, fam"?

This is the one.

Thank you for coming to my TED talk.

[tapakah0]

[vaguely-concerned]

my capacity to see a bad fandom take and just blithely say 'okay! I disagree' internally and move on because it's not my responsibility or concern that someone else thinks that has leveled up so tremendously over the years. I haven't quite escaped the pit of misery yet but I think I'm getting there

[thwispsings]

the idea came to me in a migraine induced dream but now im obsessed with the concept of a mu qingfang who knew the abuse bunhe was going through at the hands of og!shen qingqiu/shen jiu and did his best to treat the kid whenever he could (and bring his concerns to zhangmen shixiong, which were obviously very much ignored) and his constant worry over the situation means that when the qi deviation happens he is suspicious of shen qingqiu’s changes for all different reasons and very much protective of luo binghe -who is a sweet child and an earnest disciple who seems to always find the most incredible medicinal herbs to bring to his mu shishu as thanks for the care bestowed upon him- which means that when the whole shen qingqiu dying thing happens instead of bad mouthing luo binghe or fighting him at every chance he does his best to come over and keep an eye on things to try and help him and make sure luo binghe won’t kill himself trying to bring shen qingqiu back because he remembers that earnest kid and he’s witnessed luo binghe’s devotion to this shen qingqiu first hand and knows there is no way that the kid who cried when ning yingying found a bird with a broken wing and begged mu qingfang to fix it and the kid that would always borrow medical texts and try to find new herb combinations as if it was a game between him and qian cao disciples is actually doing anything nefarious to shen qingqiu’s corpse.

anyways in this essay i will-

[fromtheseventhhell]

"Sansa = Ned 2.0 and Arya = Catelyn 2.0" is one of those takes where you can just tell people are more attached to the aesthetic than anything. "The Stark girls are most like the parent they look least like" sounds good on paper and people run with the idea, regardless of how it actually fits into the story. A majority of the justification relies on misinterpreting all of their characters + a healthy dose of fanon. What gets me is that this is the same fandom that insists that Lyanna, only compared to Arya in the text, is equal parts Arya and Sansa but Ned and Catelyn, two fully fleshed-out and complex characters, have to be more like one girl or the other? There's just nothing in the story to justify being so adamant about these comparisons. Arya and Sansa have parallels with both of their parents but at the end of the day, they are unique characters with their own stories. I'll never understand why people want to flatten these complex characters down to their most basic tropes and fit them into restrictive boxes just for a "poetical~" comparison.

[zytes]

a glimpse of a piece I’ve been working on for an upcoming glitch artist collective show; I am tentatively calling it ‘tantric meditations in a factory that smells like cat piss’ but I’m gonna see how the vibe develops before I pull the trigger on that. anyways, here’s a slice.

[tillman]

one daaay i will put my stb era toxic yaoi thoughts into a coherent form and by that i mean an incoherent mess of a comic but know i do genuinely think about them constantly . they were always worse .

[gale-force-storm]

Feel free to ignore this but I think I might take a couple days. Just been feeling really shit about my writing the last day or two. Like it's... fine. But that's all it is. Bland one-shots, lukewarm takes, and overwrought poetry. And then I look at what everyone else is doing and I'm just... yeah

Anyways. I'll likely still reblog a bit here and there, but I'll probably be pretty quiet the next couple days

[vulturevanity]

normal thing to say about your dear friend who you think is really cute and charming and hard-working and basically the perfect wife material

[fangsandfeels]

Whenever I try to put Astarion and "domestic life" in the same sentence, this is the only result i can imagine:

[captain-noir]

how can you ship loustat when loumand exists? im not being rude im just curious because armand is the love of louis life and they have been longer together than lestat and louis. armand doesnt cheat on louis he doesnt beat louis so i dont understand how someone who claims to love louis would not want him with the better man. again not being rude

anon please please please and i cannot stress this enough please realize that i realy dont give an iota of fuck about whats supposedly good better or healthy for louis you know why because louis doesnt exist he isnt real none of this is real its fiction the only thing i care about is if im getting an interesting and stimulating story personally im indifferent to loumand because both anne and louis were indifferent to them i can appreciate their anti-romance their unfulfilled aborted love story on like an intellectual level but it leaves me emotionally dead and cold but also crucially i came for the operatic drama and only one ship is delivering on that front maybe if louis tried to kill armand and maybe if their hearts were to beat in tandem and maybe if there was an invisible cord tying them together and maybe if they had their second honeymoon in the midst of a murder plot and maybe if they had apocalyptic jealousy fits at the mere thought of the other with a third and maybe if they created a vampire child to trap and doom each other for eternity and maybe if the spectre of one haunted the other post murder attemp and maybe if their divorce led to the near extinction level genocide of the vampire species and maybe if and maybe if and maybe if .....

[faunandfloraas]

honestly being a seungmin and lee know enjoyer from the very get go of my getting into skz makes seeing comments like "wow I thought seungmin was the most boring serious guy in the world for a long time but hes actually kinda funny" "I thought lee know was very standoffish and quiet but he's actually really funny and nice" so hilarious but also ????? to me bc like... did you only watch 3 videos...

[gilgil-machine]

.

[mister-eames]

I know it’s been said before, but you spark so much joy with your headcanon & arthur/eames discussions 🥺 also! Still thinking of that pic of Tom Hardy in a muscle tee & other recent photos of him where he is lots of grey in his beard. Idk if you saw JGL at the ceremony where he presented rian Johnson with an award but he had a deep velvet plum suit on, a beard and his hair is long & wavy. & now I’m thinking about older eames/Arthur who are comfortable happy and still sickeningly in love

Nonnie!!!!!!! Thank you so much for stopping by, these asks always are so thought provoking and indulge me so much, I'm always happy to talk about Arthur/Eames and Inception in general!

Okay so, I had not seen that video and I am SO GLAD you brought it to my attention. JGL LOOKS SO FREAKING GOOD!!! THE SUIT!!! THE BEARD!!! THE CURLS!!!!!! Oh my god. If anyone has not seen the video check it out here you wont regret it.

And, you said it -- "Comfortable, happy and (still) sickeningly in love" is all I want for Arthur and Eames (and my life tbh). My headcanon is that they settle down and retire and while they still dabble in a little criminal action here and there (like being criminally sexy!!!) they live quieter lives a handful of years after the Fischer job. They love each other, right? They want to be safer because they want to build a life over building dreams, because life can be so short, you know, and I think in the film you learn just that--anything can happen at any given moment and you just...slow the hell down. Even when that means taking life in the slow lane and changing course - and so they do.

I imagine Arthur and Eames in their forties and fifties, teaching and consulting for work - Eames being disgusted every time he does his taxes and Arthur being disgusted with himself for wearing polo shirts in the summer and secretly loving it. They are starting to go grey, more grey with every handful of years - they are starting to go soft in places. There are crows eyes and forehead lines and heartburn and creaky bones. Diets to manage IBS and blood pressure. Worse, they start to do things their parents used to do -- like watch the news on TV and mutter into their dinner about idiot politicians and neighbours who park like dickheads on the street and wont trim their trees back out of their yard, and they reminisce about how things were different when they were kids and seriously why the fuck are they the only normal people who live on this street?

They keep busy. They learn new things. For his forty-fifth birthday Arthur builds Eames a library in their Philadelphia home with his bare hands. Eames buys the battered skeleton of a '67 Ford Mustang and restores it for Arthur. They read books and watch movies in bed and keep guns in their bedsides just in case. They go on long drives together and still sometimes travel the world to see old faces and so they still remember what it feels like to be homesick and miss the good life. Eames' knees play up. Arthurs back has seen better days. They're uncles to their siblings kids and to Phillipa and James. And they take that job very seriously.

They still have their domestics and spats every now and then. But they make up and move on. They're partners (in life and crime) and they get their thrills out of making the other happy. They're the people the other cannot wait to come home to.

They have always attempted to manufacture their own luck and they finally did it because here they are, content and happy.

[terryboot]

not to sound like an old biddy but handing kids ipads and phones from the minute they're born does such a disservice to them.

[lywell]

I kind of completely disappeared from social media a while ago (and I'm sorry about that. I just deleted everything and it wasn't the best idea) because my health was getting bad. It's a bit better but there's still a very long way to go. I'm positive though.

I logged back on twitter to see if people made some cool rhaayn art while I was gone and I saw so much drama in the end I'm glad I got out of fandoms in general now ah.

I hope I will be able to go back to creating stuff for rhaayn (my fic is not abandonned !! And there's one in progress that I hope to post someday lol) but I will stay in my little corner for sure !

And in the future I mostly want to write. I don't know what to do with art. I will never be a splash artist and I lost so much time for nothing with noctysart, but better late than never right. My artstation will stay up and I think I will post the rest of my wips. We'll see how it goes. We never really know.

See you very soon on ao3