#It's such an interesting discussion to dissect as well
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This scene set up gives me such comfort. Look at the snuggles. The implied and explicit intimacy. Urgh. Never over it.
And the way his thumb drops over hers, when she says "I am here". As if he just wants to keep hold of her.
#I imagine Clare just saw the hand thing and was like DO IT AGAIN I WANT A CLOSE UP THAT'S AMAZING#It's such an interesting discussion to dissect as well#(I mean the scene itself is woefully misused in terms of adding to the plot but in terms of just SEEING THEM it's everything)#and the way Steve and Eve play it#I love the fact that this wasn't specified as being in bed in the script#house of the dragon#rhaenys targaryen#corlys velaryon#rhaenys x corlys
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megumi analysis incoming :D while im doing my reread, im gonna do one for each arc bc im very normal abt megumi ofc
#among other topics i'll be dissecting#i have some interesting notes on the soul#as well as the value of life to different characters#and breaking cycles#etc etc etc#also have plans for some rct discussion idk why i've been so interested in that recently
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'...“It’s fun playing bad, but actually he’s not,” the actor says, smiling as he reflects on his character, Crowley. “He’s a villain with a heart. The amount of really evil things he does are vanishingly small.”
...As it always has, “Good Omens” dissects the view of good and evil as absolutes, showing viewers that they are not as separate as we were led to believe growing up. Aziraphale and Crowley’s long-standing union is proof of this. The show also urges people to look at what defines our own humanity. For Tennant — who opted to wear a T-shirt emblazoned with the words “Leave trans kids alone you absolute freaks” during a photocall for Season 2 — these themes are more important now than ever before.
“In this society that we’re currently living in, where polarization seems ever more present, fierce and difficult to navigate. Negotiation feels like a dirty word at times,” he says, earnestly. “This is a show about negotiation. Two extremes finding common ground and making their world a better place through it. Making life easier, kinder and better. If that’s the sort of super objective of the show, then I can’t think of anything more timely, relevant or apt for the rather fractious times we’re living in.”
“Good Omens” is back by popular demand for another season. How does it feel?
It’s lovely. Whenever you send something out into the world, you never quite know how it will land. Especially with this, because it was this beloved book that existed, and that creates an extra tension that you might break some dreams. But it really exploded. I guess we were helped by the fact that we had Neil Gaiman with us, so you couldn’t really quibble too much with the decisions that were being made. The reception was, and continues to be, overwhelming.
Now that you’re no longer bound by the original material that people did, perhaps, feel a sense of ownership over, does the new content for Season 2 come with a sense of freedom for you? This is uncharted territory, of sorts.
That’s an interesting point. I didn’t know the book when I got the script. It was only after that I discovered the worlds of passion that this book had incited. Because I came to it that way, perhaps it was easier. I found liberation from that, to an extent. For me, it was always a character that existed in a script. At first, I didn’t have that extra baggage of expectation, but I acquired it in the run-up to Season 1 being released… the sense that suddenly we were carrying a ming vase across a minefield.
In Season 2, we still have Neil and we also have some of the ideas that he and Terry had discussed. During the filming of the first one, Neil would drop little hints about the notions they had for a prospective sequel, the title of which would have been “668: The Neighbour of the Beast,” which is a pretty solid gag to base a book around. Indeed there were elements like Gabriel and the Angels, who don’t feature in the book, that were going to feature in a sequel. They were brought forward into Season 1. So, even in the new episodes, we’re not entirely leaving behind the Terry Pratchett-ness of it all.
It’s great to see yourself and Michael Sheen reunited on screen as these characters. Fans will have also watched you pair up for Season 3 of “Staged.” You’re quite the dynamic duo. What do you think is the magic ingredient that makes the two of you such a good match?
It’s a slightly alchemical thing. We knew each other in passing before, but not well. We were in a film together [“Bright Young Things,” 1993] but we’d never shared a scene. It was a bit of a roll of the dice when we turned up at the read-through for “Good Omens.” I think a lot comes from the writing, as we were both given some pretty juicy material to work with. Those characters are beloved for a reason because there’s something magical about them and the way they complete each other. Also, I think we’re quite similar actors in the way we like to work and how we bounce off each other.
Does the shorthand and trust the two of you have built up now enable you to take more risks on-screen?
Yes, probably. I suppose the more you know someone, the more you trust someone. You don’t have to worry about how an idea might be received and you can help each other out with a more honest opinion than might be the case if you were, you know, dancing around each other’s nervous egos. Enjoying being in someone’s orbit and company is a positive experience. It makes going to work feel pleasant, productive, and creative. The more creative you can be, the better the work is. I don’t think it’s necessarily a given that an off-screen relationship will feed into an on-screen one in a positive or negative way. You can play some very intimate moments with someone you barely know. Acting is a peculiar little contract, in that respect. But it’s disproportionately pleasurable going to work when it’s with a mate.
Fans have long discussed the nature of Crowley and Aziraphale’s relationship. In Season 2, we see several of the characters debate whether the two are an item, prompting them to look at their union and decipher what it is. How would you describe their relationship?
They are utterly co-dependent. There’s no one else having the experience that they are having and they’ve only got each other to empathize with. It’s a very specific set of circumstances they’ve been dealt. In this season, we see them way back at the creation of everything. They’ve known each other a long time and they’ve had to rely on each other more and more. They can’t really exist one without the other and are bound together through eternity. Crowley and Aziraphale definitely come at the relationship with different perspectives, in terms of what they’re willing to admit to the relationship being. I don’t think we can entirely interpret it in human terms, I think that’s fair to say.
Yet fans are trying to do just that. Do you view it as beyond romantic or any other labels, in the sense that it’s an eternal force?
It’s lovely [that fans discuss it] but you think, be careful what you wish for. If you’re willing for a relationship to go in a certain way or for characters to end up in some sort of utopian future, then the story is over. Remember what happened to “Moonlighting,” that’s all I’m saying! [Laughs]
Your father-in-law, Peter Davison, and your son, Ty Tennant, play biblical father-and-son duo Job and Ennon in Episode 2. In a Tumblr Q&A, Neil Gaiman said that he didn’t know who Ty’s family was when he cast him. When did you become aware that Ty had auditioned?
I don’t know how that happened. I do a bunch of self-tapes with Ty, but I don’t think I did this one with him because I was out of town filming “Good Omens.” He certainly wasn’t cast before we started shooting. There were two moments during filming where Neil bowled up to me and said, “Guess, who we’ve cast?” Ty definitely auditioned and, as I understand it, they would tell me, he was the best. I certainly imagine he could only possibly have been the best person for the job. He is really good in it, so I don’t doubt that’s true. And then my father-in-law showed up, as well, which was another delicious treat. In the same episode and the same family! It was pretty weird. I have worked with both of them on other projects, but never altogether.
There’s a “Doctor Who” cameo, of sorts, in Episode 5, when Aziraphale uses a rare annual about the series as a bartering tool. In reality, you’ll be reprising your Time Lord role on screen later this year in three special episodes to mark the 60th anniversary. Did you always feel you’d return to “Doctor Who” at some point?
There’s a precedent for people who have been in the series to return for a multi-doctor show, which is lovely. I did it myself for the 50th anniversary in 2013, and I had a wonderful time with Matt [Smith]. Then, to have John Hurt with us, as well, was a little treat. But I certainly would never have imagined that I’d be back in “Doctor Who” full-time, as it were, and sort of back doing the same job I did all those years ago. It was like being given this delightful, surprise present. Russell T Davies was back as showrunner, Catherine Tate [former on-screen companion] was back, and it was sort of like the last decade and a half hadn’t happened.
Going forward, Ncuti Gatwa will be taking over as the new Doctor. Have you given him any advice while passing the baton?
Oh God, what a force of nature. I’ve caught a little bit of him at work and it’s pretty exciting. I mean, what advice would you give someone? You can see Ncuti has so much talent and energy. He’s so inspired and charismatic. The thing about something like this is: it’s the peripherals, it’s not the job. It’s the other stuff that comes with it, that I didn’t see coming. It’s a show that has so much focus and enthusiasm on it. It’s not like Ncuti hasn’t been in a massive Netflix series [“Sex Education,”] but “Doctor Who” is on a slightly different level. It’s cross-generational, international, and has so much history, that it feels like it belongs to everyone.
To be at the center of the show is wonderful and humbling, but also a bit overwhelming and terrifying. It doesn’t come without some difficulties, such as the immediate loss of anonymity. It takes a bit of getting used to if that’s not been your life up to that point. I was very lucky that when I joined, Billie Piper [who portrayed on-screen companion, Rose] was still there. She’d lived in a glare of publicity since she was 14, so she was a great guide for how to live life under that kind of scrutiny. I owe a degree of sanity to Billie.
Your characters are revered by a few different fandoms. Sci-fi fandoms are especially passionate and loyal. What is it like being on the end of that? I imagine it’s a lot to hold.
Yes, certainly. Having been a fan of “Doctor Who” since I was a tiny kid, you’re aware of how much it means because you’re aware of how much it meant to you. My now father-in-law [who portrayed Doctor Who in the 80s] is someone I used to draw in comic strips when I was a kid. That’s quite peculiar! It’s a difficult balance because on one end, you have to protect your own space, and there aren’t really any lessons in that. That does take a bit of trial and error, to an extent, and it’s something that you’re sometimes having to do quite publicly. But, it is an honor and a privilege, without a doubt. As you’ve said, it means so much to people and you want to be worthy of that. You have to acknowledge that and be careful with it. Some days that’s tough, if you’re not in the mood.
I know you’re returning to the stage later this year to portray Macbeth. You’ve previously voiced the role for BBC Sounds, but how are you feeling about taking on the character in the theater?
I’m really excited about it. It’s been a while since I’ve done Shakespeare. It’s very thrilling but equally — and this analogy probably doesn’t stretch — it’s like when someone prepares for an Olympic event. It does feel like a bit of a mountain and, yeah, you’re daring to set yourself up against some fairly worthy competition from down the years. That’s both the challenge and the horror of doing these types of things. We’ve got a great director, Max Webster, who recently did “Life of Pi.” He’s full of big ideas. It’s going to be exciting, thrilling, and a little bit scary. I’m just going to take a deep breath.
Before we part ways, let’s discuss the future of “Good Omens.” Gaiman has said that he already has ideas for Season 3, should it happen. If you were to do another season, is there anyone in particular you’d love to work with next time around or anything specific you’d like to see happen for Crowley?
Oh, Neil Gaiman knows exactly where he wants to take it. If you’re working with people like Gaiman, I wouldn’t try to tamper with that creative void. Were he to ask my opinion, that would be a different thing, but I can’t imagine he would. He’s known these characters longer than me and what’s interesting is what he does with them. That’s the bit that I’m desperate to know. I do know where Crowley might end up next, but it would be very wrong if I told you.
[At this point, Tennant picks up a pencil and starts writing on a hotel pad of paper.]
I thought you were going to write it down for me then. Perhaps like a clandestine meeting on a bench in St James’ Park, but instead you’d write the information down and slide it across the table…
I should have done! I was drawing a line, which obviously, psychologically, I was thinking, “Say no more. You’re too tempted to reveal a secret!” It was my subconscious going “Shut the fuck up!”
#David Tennant#Michael Sheen#Good Omens#Neil Gaiman#Terry Pratchett#Ty Tennant#Peter Davison#Aziraphale#Crowley#Doctor Who#Macbeth#Ncuti Gatwa#Job#Ennon#Bright Young Things#Series 2#Matt Smith#John Hurt#Russell T. Davies#Catherine Tate#Max Webster#Life of Pi#Sex Education#Billie Piper#Rose Tyler#BBC Sounds
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au where Johnny never joined the military (his knee got fucked up before he could and they wouldn’t let him enlist) but it’s okay because that means he got to go to college and study engineering, which is the closest he could get to being a civilian demolitions expert
Anyway, the city his college is in has an army base nearby, which means that every dating app he opens is flooded with army boys looking to marry the first person who so much as looks at them the right way. Johnny’s never been relationship-oriented; he likes hookups too much to settle down like that, but he loves scrolling through to drool over all of the gym pictures
And then one catches his eye. Simon. He doesn’t show his face on his profile, but his muscles more than make up for it. His appearance, though, isn’t what Johnny is most interested in, because his bio says…
Anyone interested in committing marriage fraud?
And that’s… something.
So of course Johnny swipes. He doesn’t expect to match, because Simon looks like a Greek God, and he almost throws his phone across the room when the little heart appears, telling him that he and Simon have both swiped on each other. Which means that Simon swiped on him first. It’s a heady feeling, but he’s not really sure why.
John: marriage fraud?
It’s not his strongest first message, but sue him, he’s curious.
Simon: I’m not interested in a relationship or even sex, but I have a very vested interest in being able to move off base
John: so, what? we get married and then…?
Simon: we don’t have to live together or even like each other. You can finish your studies, get the tax benefits, and live your life as you choose while I get to move off base and maintain my privacy
Honestly, it sounds like a win/win to Johnny. He’s not struggling financially per se, but being able to live exactly as he is while also gleaning tax benefits is… an attractive choice.
John: and if I meet someone else that I’m serious about?
Simon: I have no qualms about an uncontested divorce
John: let’s meet up for lunch and discuss the details
———
Lunch is a simple affair, just a local restaurant, frequented by students and soldiers alike, so they both fit in well. Simon is unfairly attractive, even if he only reveals the bottom half of his face to eat or drink. He’s massive and blond and his eyes do something to Johnny’s insides that he can’t bring himself to dissect further. They chat over their food, sharing details about themselves. Johnny shares more than Simon, and he has a hunch that that’s on purpose, but he doesn’t mind. They click instantly, and Johnny can tell that Simon is taken aback by that. It’s sweet, almost, the way that such a large military man is floundering in the face of genuine human connection. After they’ve finished, they turn to business.
With a quiet, deep voice, Simon lays out his entire plan, and Johnny is fully on board. He’s ready to sign the papers today, but they legally have to wait a month.
It’s the longest month of Johnny’s life.
They text constantly, or as constantly as they can. Sometimes Johnny feels inordinately young and sometimes very inferior; while he’s talking Simon’s ear off about some explosive compound used in building demolitions, Simon is off… doing god knows what, god knows where, serving the country. But Simon always listens, always sounds engaged over the phone when they call, always has follow-up questions that show he’s actually interested. And while Simon can’t talk much about his work, he can talk about details. Small stuff; the awful food, the hot dust where he’s stationed, the day-to-day activities that don’t give away too much. Johnny learns that he’s a lieutenant, a sniper (though that’s more through context clues than anything else), that he wears a mask all the time to protect himself, that he doesn’t like scrambled eggs (or at least, not military scrambled eggs), that he has a very complex skincare routine, that he respects the hell out of his captain. That he’s a good man, or tries to be. That he’s a sweetheart, deep down, despite trying to hide it.
They eventually get married, down at the courthouse, with Simon’s captain, Price, and Johnny’s best mate, Kyle, as witnesses.
And then life goes on. Johnny continues his studies, continues going to parties and hooking up with people every weekend, continues living his life. He assumes that Simon does the same. They keep in contact, for the most part, except when Simon’s in the field and he can’t have his phone, but he always brings back little inconsequential stories when he returns. It’s nice, in a way. They’d never exchanged rings, but sometimes Johnny wishes they had, just so he had something tangible to tie him to his husband.
I’m not sure how it would end, though…
Maybe it would be Sweet Home Alabama style, where Johnny finds someone that he thinks he loves and has to get Simon to sign the divorce papers, only to realize at the last minute that he really doesn’t want to, that he’s been in love with Simon all along
Maybe Simon gets medically discharged and ends up moving in with Johnny, where they both dance around their feelings for each other, despite already being married
Maybe they just… realize one day, that they’ve slowly but surely fallen in love with each other over the years and suddenly, nothing else matters because they’ve got a lot of lost time to make up for
#idk choose your own ending#talking to military boys on tinder has me thinking some thoughts#call of duty#cod#simon ghost riley#john soap mactavish#ghoap#ghostsoap#soapghost#tombstone's epitaphs#tombstone's ficlets#tombstone's skeleton fics
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Yes, not only are they are very similar stories with tightly constructed fantasy ecologies about a hole in the ground that a party descends to in pursuit of a lost female relative, there’s a lot of fan overlap for more reasons than just that imo. People compare the worldbuilding, but beyond that they explore similar themes — s2’s poignant conception of “the forms that wishes and desire take” and “what you long for” is particularly prominent in DunMeshi as well.
This theme, although less overt in s1, is baked into Abyss as a whole; OP1’s line about “this longing will never end”, which is also what the main fan event for MiA is named after, hints at it. All the characters are pursuing a longing, pursuing what they value. This is true of the party members in DunMesh as well, who repeatedly face questions about what it is they “want” in forms that become more and more plot relevant.
And like DunMeshi, MiA S2 even ties this to eating and consumption in a fantastically visceral way. Without spoilers, Dungeon Meshi ultimately pushes this theme to the same approximate place as MiAs2, but with a very different atmosphere. They’re both great tales with a lot to say about value and flesh and longing and wishes and desire, I’m so pleased to have been able to experience them.
Watching Dungeon Meshi is the complete opposite of watching Made In Abyss but they’re built around a very similar structure if you get what I mean.
Most notably and most enjoyably, Dungeon Meshi has fascinating and detailed worldbuilding and all characters involved in stuff that happens (outside of flashback) are adults!
#value as flesh. consumption as love. Both of them do it so well#(OP it sounds like you dropped MiA but this isn’t directed at you I’m just using your post as a discussion jumping off point.)#(since you presumably know tags are checked by fans and put the MiA tag on there i imagine you anticipated/sought fans seeing it.)#MiA’s English speaking fandom doesn’t largely seem interested in this sort of thematic analysis and is more into the gore and action aspect#but DunMesh is gathering a viewership more receptive to analysis and i love the detailed dissections im seeing people do#I’ll just keep doing my own very exhaustive MiA analysis and continue to be a one person pipeline of:#‘hey friend who can comprehend media with Themes wanna analyze this Hole Show with me’#a weird thing about me and MiA is that the story sort of feels over for me though.#I’m in the abstract interested in what happens next but S2 is the part that i tend to think of as the endpoint of what i ponder & reanalyze#this is honestly really stupid especially as my favorite themes and arcs will certainly pan out thru the end#but I just don’t usually…think about the rest. guys I’m in it for the Ganja squad everyone knows this about me lol#orphan hole tag
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The Horror and The Wild [Emperor!Konig x fem!Reader] Medieval Fantasy AU (ch.4)
You had a nice, simple life. Serve the princess, obey the princess, protect the princess with your life. You never thought that this nice, simple life would bring you to be kidnapped by the infamous Northern Emperor. Konig never thought that kidnapping a wife would be much easier than courting one.
CHAPTER 1 CHAPTER 2| Chapter 3| Chapter 4| you're here! AO3 Word count: 3469 Tags/Warnings: Medieval fantasy/Alternative European history AU, Age gap, Enemies(one-sided)to lovers, Hurt/Comfort, Kidnapping, Forced marriage, Size difference(Konig is absolutely huge), Somewhat one-sided slow burn, Yandere Konig Warnings for this chapter: Dub-con oral sex(f!receiving), outdated views regarding sex
— Now, dear princess, your husband will expect certain…qualities of his wife. Please, you must listen to this as closely as possible if we want to avoid…traumas.
You pout, eating the apple that was provided to you by a group of servants who looked way too scared to be appointed to a princess. If Her Highness saw this, she would order them whipped – a servant shall never look unhappy in front of their patron, as not to invoke nasty feelings of sadness, misery, and empathy in the royal rulers. Princess made you smile and laugh through hours of her extensive, albeit a bit improvised and amateur, singing. You were to hold her hair while she was doing it, listening to the melodies of desire to escape the castle.
The servants in front of you were sent by the Emperor – König, to…teach you something. You were not too interested in his, way too invested in weird fruits from foreign countries that they provided – still, you are too well-mannered to ignore them.
— Traumas? Is his Emperor’s Illustrosicy going to torture me?
Servants look over at each other, nervous. You tilt your head to the side, trying to see if you can decipher their gazes – but you see nothing but sympathy. Sad, miserable kind. Your blood runs cold as you get another bite of that apple.
— You’re as innocent as Emperor said, your Majesty.
You weren’t, in reality – you’re a liar, a traitor to your nation, the only one of the servants who was too scared to die alongside the royal family and performed that foolish gamble in order for a chance to save your hide. Such silly things like an untouchable hymen between your legs or lack of knowledge of intimacy, saved for a few books, are nothing compared to the life you are saving in your mind, There is nothing innocent about you or your actions.
— W…well, you see…you are of child-bearing age.
That was up for discussion. You might be an adult by all standards, a bit too ripe even, too sheltered for the age in which young men are already taking their family’s businesses and women are giving birth to their second and third children, but it doesn’t mean you want to bear someone’s kid. Definitely not conceive from a man who destroyed your future.
— I won’t do it.
You act like a princess would – bratty and pouty, all the new dresses and the room they place you in acting like a perpetuar of your ego.
— My Lady, this isn’t up for discussion. Please, we need to…we need to teach you how to do it, in order to prevent…accidents.
— What accidents?
The other servant, an older lady with tired eyes and snappy gestures, took out a pile of drawings from the bag she was holding. Quite a lot of drawings. Quite detailed drawings. Quite nasty drawings.
Quite…bloody drawings.
Gods, is this what a woman must endure during lovemaking? Is this even lovemaking, or is this a dissection straight from the medical book? The drawings are lewd and horrifying – whoever was the artist, they didn’t spare the details of the act. Pain, blood, torn flesh…god, if they wanted you to learn how to take your husband properly, they did a horrible job – now you don’t ever want to see him again. Not without armor plates protecting…that thing.
— I w…won’t do it. Behead me this instant.
Your voice is weak, horrified. Servants look equally scared.
— Your Majesty, you must know that it’s just…the worst outcome. If you listen to your lessons and relax, you will escape such a fate.
— How could a living being relax while they are being impaled on a spear?!
— With certain balms and extracts, such fate can be escaped.
— How can a balm prevent this?! Too angry to ever listen to the servants, you drip the drawings from your hands, along with a half-eaten apple. Un-ladylike, but you need to preserve your life – and your dignity – before they would show you even more horrifying things that would never let you sleep again. Tugging on the heaviness of your skirt, you ran to the nearest hallway as soon as possible.
The emperor’s palace is disgustingly big and dark – you’d say it was magnificent in that scary, gothic style, but you don’t have the time to think about all the artistic choices that the architects made by installing so many dark hallways in a place that suppose to protect Emperor from possible assassins. Still, you drop to the nearest dark corner, hoping that no one will follow you.
With a calm sigh, you brush the dust from your skirts. God, you had to bring that apple with you – it was delicious.
— I never heard anyone calling my cock a spear before, Liebling. You’re full of surprises.
Big, gloved hands are enveloping your waist, putting you in the hug you didn’t want. This embrace is all too familiar and too terrifying – you forget that this castle serves the only true owner, and your desire to escape will never be considered an option. Like a rabbit in the wolf’s mouth, you freeze. The worst company you could expect after such a horrifying lesson – your only hope is that, like men from the novels you and Princess were reading sometimes, The Emperor was into his comrades more than he would be into you.
His warm hands, pulling you into a tight hug against his body, however, make you think otherwise.
— Let go of me! Pl…please.
You plead because the drawings installed a new fear into your body. You're not afraid of death – if anything, you wish for it. However, the fait of constant pain and suffering which each nightly visit makes you more terrified than any death sentence would.
König only laughs, holding you as close to him as possible. A warm hand grazes over your stomach, making you shiver from anticipation. You don’t know what he is thinking about – you also don’t want to.
— Why would I let go of my precious wife?
— I’m not your wife yet.
— And won’t be for quite a while, considering the lessons my servants taught you?
Blood drains from your face. Even the slightest reminder makes you whimper – like a puppy without its mother, you let go of a pathetic little sound, and your face finds comfort in the armor plates that Knog wears even in many of his castles. Cold metal makes you slightly calmer, and you can force the dreams of touching his chest instead of deep in your mind. Bane to all the lewdness, as you saw the amount of blood it would drain from your body.
— I will never succumb to such fate.
— I promise it won’t be that bad. I can whip my servants for installing fear in you if you want to, little princess.
No matter how scared they made you feel, you will never bestow such fate on any of the servants – you, perhaps, the only one who knows how hard and horrible work as a lady in waiting might be. You might not be the perfect princess, but you certainly aren’t a cruel one.
— No. They…they shall not be harmed, Your Majesty.
He chuckles, pushing a hand on your face. A few tears fall down your cheeks – he drains them with his gloved finger, making you whimper only more. God, you look divine like this – eyes are glistening with tears, the face is hot from fear and embarrassment, the mouth is open with a sweet little pout…it takes every last inch of his self-control not to simply pick you up and bring you to his bedroom before you could say anything.
— You’re kind for a princess.
There is suspicion in his voice – but you quickly try to brush it away by forcing yourself out of his embrace. Unfortunately, he only holds you tighter, making you bury your face in his armor again. To be honest, it’s not the worst place to be.
— Shouldn’t you be in the courtroom?
— I ran. Never liked to greet new people.
You almost choke on your breath. Is he serious?! His face betrays his emotions – despite how confident his mask is, you can see that his eyes are colder than usual. More nervous than usual. His hands are shaking, if only for a little bit, holding you tight, as you can simply escape through his fingers like sand. You’d love to have such powers.
— I thought the Emperor had responded.
— I do. And an army of men to do these responsibilities for me.
— You’re hiding from my country’s Ambassadors?
— Collaborators and traitors of your people, yes. The only ambassador I care about is in my hands.
With this, he quickly pushes you up in his hands, forcing you to sit on the cold stone ledge. The new dress design makes it possible to manipulate and move the skirt as he pleases – you hate this new fashion because it makes it ridiculously easy for König to simply push your skirt upwards, revealing your legs and your dignity, concealed by only a pair of short, frilly white underpants with so many bows and ribbons, it feels obscene.
You try to kick him in the face, but he catches your ankle before you can do anything. He was a horrible, terrible man – totally unfit for the ruler of half of the world, you have no idea how a man this villainous could still be held in high regard for his people. This place is just as barbaric as their ruler, you presume – no dignity or sense of taste as König holds your skirt up, tearing apart the delicate fabric. God, it probably cost a fortune!
Emerald green fabric lays like green ocean waves under your legs. You must admit, even the cold of the inner parts of the palace does not make you feel uncomfortable – if anything, this moment of exposure of your legs makes you feel a bit more comfortable and fresh. The light breeze caresses your legs, and you almost want to close your eyes and just enjoy wearing clothes without the stuffiness of the full gown.
With your corset, torn skirt, and underpants, you almost feel like you’re wearing pants – an obscene picture, you assume, a lady should never show her ankles to anyone but her husband…and you would do everything to stop him from being marked as one. Still, König places his large imposing body between your legs, and you panic immediately – is this monster terrible enough to show you what those illustrations meant, not even in the comfort of a marriage bed, but in the coldness of the stone hallway? You close your eyes, kicking him to your heart’s content – and he is laughing every time you’re trying to resist, only catching both of your ankles in his grip and forcing them open. God, this is the end. Torture that you never wanted to experience will be bestowed upon you right about…
His tongue goes to rub you through the rough fabric of your underpants. Dispute all the layers of expensive material, your maidenhood feels like it had been set on fire.
You are suddenly aware of the silly things you have between your legs. You can feel them too well right now – every second of movement of his tongue against sensitive flesh makes your legs kick him less and less. Your nails are trying to dig into the stone of a small ledge you were sitting on – but you can’t do anything to stop this sweet torture he is perpetuating. You want for everything to stop this instant, and you want for him to finally take off your undergarments.
— Wh…wha…what are you doing?! You don’t scream as loud as you can, only because you know that the maids are nearby and you don’t want to be making a scene. Putting the emperor back in his place and revealing him as a pervert would be nice, of course – but it wasn’t as nice as having your dignity saved. You bite your lips, feeble attempts to save at least parts of yourself – still, you feel like you’re being boiled alive by his masterful tongue, without even the need to bring your pants down and feel him on your flesh directly.
— I want to show you how nice this could be.
— How nice what could be?! You are still kicking your legs, and he is slowly taking down the fabric of your underpants. You wish he had exposed hair so you could tug on it – you wish he wasn’t afraid of showing you his face, just so you could break it properly. A lady should always protect her virginity from a man with evil intentions, and König was certainly the most evil person of them all.
Still, his tongue felt so good, circling around the parts you were only finding accidentally, blindly searching for pleasure like a dumb kitten, trying every little button in your body to see what would make you squirm. He is masterful at this, every action is deliberate and strong – every little thing in his movements makes you wonder just how many women he bedded.
You can still feel the little tremble in his hands, his fingers that supported you and kept your legs apart are trembling, if only just a bit – you wonder if he truly is nervous about everything he is doing or if he just wants to make everything perfect. His touch leaves a trail of bruises on your inner thighs and you never thought that you’d yearn for a man whose touch is literally hurting you.
— I know how to make… consumation go painless, little princess. Certainly have the experience for this.
— Is fondling my undergarments a part of this experience, Your Highness?
— If you wish for me to lost my control, little princess.
Before you could say anything else about not wanting for him to simply take off your underpants and throw them on the cold floor of the castle, he had already lowered them to hang around your ankles – revealing your sensitive folds, already glossy and wet from all the fondling he performed to make you nice and ready for him.
König knew he shouldn’t be doing this – losing control would be too easy in this case. Little princess, out of her own depth, can barely stop him when he wants to take something precious from her – still, he wanted to at least try to be slower, softer, to make everything perfect and make her his precious trophy. Her dread over bedding him would prove horrible for their marriage – if she didn’t wish for the workers to be saved, he would already sent those dumb maids away.
Princess is adult enough to learn the pleasures of being a woman – still, he understood why a king would want to hide a precious flower like this. You don’t behave like a spoiled brat would, no matter how much you want to make him think you were nothing but a pouty face and frowned brows, and he wants to see your true self – your inner nature, revealing itself in front of him. And he knows just a way to do this…
Your cunt is perfect – he is a soldier, a man of war and little romance, he can’t sing you a song of how beautiful and perfect your maidenhood is, but he can lick it and tease it and make you come on his tongue more than you ever could with that dainty fingers of yours.
He isn’t ashamed of touching your sweetness when he is burning his face between your legs. Not even caring that his hood, which he had to draw back as fast as possible, is going to get messy with all o your juices, he licks and tugs on your clit, your folds, on every sensitive bit of skin of your body.
And, by god, are you sensitive?
Soon, your little cries of pleasure are turning into moans that you are pathetically trying to hide. Soon you are marking his rough, rugged face wet with your juices – his nose is pressed on your clit constantly, and that well-mannered, perfectly bred royal woman in your body is moaning like a common whore.
König isn’t trying to be too gentle – his mind is filled with that boyish nerves and anxiety, the fear of getting spotted not because anyone would have anything to say to the literally fucking emperor, but because he doesn’t want anyone else to see how easily he can drown little princess in pleasure. She is a perfect girl, so pretty for him, so nice and wet when he pushes his tongue in and out.
He forgot the last time he experienced such pleasure – his dick only grows with each gentle stroke of tongue in your folds, and he doesn’t even need to touch himself. You’re perfect for him, writhing under his touch, he had to force himself to stop putting too much pressure on your poor swollen clit. König almost forgot just how sensitive you are – he had to introduce you slowly to the world of pleasure, not pushing you into the depths before you could even get married, but…well, he was never one to follow the rules – and you, as his precious bride, deserved something nice outside of the wedlock.
— St…stop, it’s t’ much…
You are mumbling, holding his hood in your hands, and he is almost afraid you are going to pull it to reveal his face even more – but even your ruined skirt is enough of a cover to make his identity concealed, and he isn’t afraid of pushing your gummy walls with his tongue, gently caressing your insides.
You are clenching around his tongue, the intrusion is unfamiliar to you – he makes sure he kisses your clit from time to time, holding the sensitive bud between his teeth so as to threaten you gently. He usually involves a lot more biting and would love to put some permanent marks on your thighs and soft lower tummy, but if you were scared of the drawings those dumb maids put on to you, he doesn’t want to fuel your fear any further. He could try later, making your perfect body into a canvas for his desire.
— Patience is a grace for a princess, ja? Be patient, Meine Liebe.
— Pl…please, stop, I don’t…
— What is it?
— It’s too much, you shouldn’t…
— I’m not claiming you yet. God won’t be against a bit of fun, Schatzi.
— I’m against it…
— Your moans tell another story, little princess.
He knows you don’t want to be patient – he tugs at every nerve inside your body, his tongue swings in and out, and his lips caress your soft folds, collecting any juice that might be escaping. He will have to gift you another dress after this – but he is so used to seeing you in torn clothes it becomes a thing that stirs his manhood again and again. You look perfect when you’re not perfect – by god, he is unable to control himself.
You whine lightly as he presses a final kiss to your clit, catching your orgasm and drinking your pleasure. He is a messy eater through and through – his stubble makes you whimper from sensitivity, you sob lightly as he pushes back, a hood returning to conceal his face before your dazed eyes would be able to catch him.
Hell, you look precious.
Panting, with sweat beads glossy on your skin, with your lips open and moans escaping it – with your face completely turned into an expression of enormous pleasure, he doesn’t know what to do with himself as he watches you breathe heavily, chest going up and down. If he could, he would chain you to a bed in his bedroom, not ever allowing your precious figure to escape.
He might just do this when you’re married.
You whimper under him, your eyes are still glazed with that pleasurable expression, making him smile under his hood. You may hate him all you want, but he sees the truth – knows just how perfect you are in your stubborn desire to defy him.
— Wh…what was it?
You are still shocked but regain some of your senses – you take on your underpants quickly, stubbornness spreading across your warm, embarrassed face. How he loves that expression.
— I wanted to show you that our wedding night wouldn’t be as bad.
— I would rather live without a wedding night, Your Majesty.
— Now, was it that bad?
You tilt your head to the side.
— I am not here to feed your ego.
— You’re sure it is feeding my other senses.
He brushes his hand over your face. You allow him to – not because you wanted his touch, but because you needed some time to think, and his touch was gentle enough to ignore. Yes. That is the truth.
#cod#konig x reader#yandere konig#konig#cod x reader#call of duty#cod x you#yandere cod#konig mw2#reader insert
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Glad to see that Tim being a giant Dick Grayson fanboy is finally being highlighted again, and sparking more discussion especially on their early relationship! (Please gimme more!!! I love them so much, augh!)
Probably as a result of that surge, there seems to be reciprocal chatter on the topic of how young Tim actually felt towards Jason, too. It's honestly pretty interesting, because it's more nuanced than it appears at first glance.
Which means it's very fun to dissect! ✨
There's a degree of subjectivity to keep in mind, because readers are going to have different interpretations of the same scenes, or will pull from entirely different scenes than one another to form their individual view on this topic. That's just how it is in comic book fandom, for many things! Regardless, in this case... if the scale ranges from the extreme of "Jason was Tim's Robin" to the other extreme of "Tim actually hated Jason [as Robin] or thought he was a loser that got himself killed" — the actual truth is closer to the middle, as is often the case.
At least, in my opinion.
Mainly I want to focus on those relatively early days with this post, to highlight Tim's initial(-ish) feelings towards his heroes, and touch on the point at which they really begin to change. This turned into a very long post, though. Brevity is beyond my skill, so grab snacks and water lol. Transcripts for each image will be posted at the very end under the cut.
So, the two storylines I want to cover are "Rite of Passage," which is rolls into "Identity Crisis." (NOT to be confused with the major crossover event "Identity Crisis™" which came years later, and is where Jack Drake dies.... But it sure is an interesting coincidence that Tim deals with the loss of each parent in two similarly named stories!) These take place before Tim is even Robin, and I'll be considering them as one arc for this post.
Detective Comics vol. 1 #618 (July, 1990) -- Pages 1 & 2
"When Gotham needed him, he was there. When the Batman needed him, he was there. He was a hero."
"One day, I'll be as good as Jason. One day I'll wear the suit."
To start off, we have this opening from "Rite of Passage." Tim is still in training here, mainly helping Bruce with minor stuff from the cave. His parents are off traveling, alive and well as of these next few pages. He's still bright-eyed and full of wonder. An extraordinarily weird but ultimately innocent kid.
So his view on Jason is positive and fairly simple: a hero, and someone to look up to as Robin. Clearly, Tim here doesn't think Jason was deficient in his role, either as a protector of Gotham or as Batman's trusted partner.
Moreover, Tim already held Dick in very high regard because he was amazingly skilled before he became Robin. To Tim, that's not something he'll ever be able to achieve. Meanwhile, Jason wasn't like that. He was a regular kid without crazy acrobatic training since practically birth. Yet he still went on to be a hero—which is obviously motivational for Tim who finds himself in similar shoes.
It's true that Tim only ever knew or thought of Jason as Robin, and idolized him in that regard. But that's kind of all that mattered to him at that point, because he was this kid who was utterly star-struck by his heroes. Even if he's technically aware of their shortcomings as people, it's overshadowed by the hero-worship.
It was kind of the same with Bruce as Batman at first. (Which was still enough for Tim to risk life and limb to help his beloved hero, before Bruce even knew his name.) Dick was the only one Tim had any sort of "personal" relationship with beforehand, so there is an extra level of attachment—and hence why it was the nidus for his obsession with Batman. Yet even then, it wasn't like he actually knew anything about Dick as a person until later. Until then, Tim's ideas of him were all he had, too. With Jason, Tim just didn't get to know him at any point before his return (oof), apart from what he heard over the years secondhand (also oof).
Ultimately, it's the loss of innocence—along with the ricocheting bullet that is the unresolved guilt of those around him—that begins to change Tim's perception. Not just of Jason, but of things in general.
Batman vol. 1 #455 (Oct., 1990) -- Page 13
"I know why they do it now. Why they put on the suits, and the masks, and go out into the night. They're angry, they're full of rage. They want to hit back."
Losing his mother was a major shift for Tim, obviously. This is right after the previous storyline, and Tim's had the worst week or two of his life (so far). His monologue here is a reference to what happened to both Dick and Jason. The unbearable pain of loss, the rage masking the grief underneath. And importantly, that he feels both of them were justified in their anger. (And Bruce too, indirectly.)
The major theme of the aptly named "Identity Crisis" is to mirror aspects of Dick and Jason and Tim's lives—to show how they converged onto the same tragic road. It's something that Tim notices early in the story, and was frightened by. Now, horrifically, it's become a part of him as well. His parents are gone, and he was entirely helpless to do anything about it. Dick was the same way, Jason was the same way. The cycle is repeated.
In particular, the part about him wanting to go to Haiti for revenge—for his mother—sort of struck me as being an intentional parallel to Jason and Ethiopia. It's a bit of a stretch, especially in isolation, so others may see it differently (e.g. the angry ramblings of a grieving child that does sound like something anyone might say). But it always stuck out to me because of how much Tim is compared directly to Jason in this arc. More on that below.
It's not something I can really give an accurate feel of because it's a lot of subtle things that begin to add up, so I'd encourage folks to read this arc themselves to see what I mean. (Or maybe you'll still disagree which is fine too lol.) Again, many things are in reference to both Dick and Jason in relation to Tim, but it's weighted more on Jason's side.
Batman vol. 1 #455 (Oct., 1990) -- Page 18
"You think my anger will boil over, the way Jason's did. I can assure you, it won't!"
Tim's grief has begun to pull away the veil of idealism that enshrouded his heroes in his mind. It doesn't apply only to Jason, but to the rest of them. Plus add the fact that Tim's keenly aware that he's being managed, even if the adults around him are careful to not outright say certain things. He still knows.
Bruce, Dick, and Alfred are all worried about Tim potentially turning into "another Jason." They (and mainly Bruce) caution Tim to not ignore his emotions, but they're still concerned that he may be overly eager to prove himself in order to cope, and could get hurt or killed as a result. While they aren't wrong for their caution—especially at how unsettlingly similar all the circumstances are—they aren't very subtle about the elephant in the room.
Imagine how that would affect Tim's perception of his predecessor, especially when he's in the midst of a traumatic event he hasn't had time to fully process. The negative association is pretty much inevitable.
Tim's known from day one that he's walking in Jason's shadow, and now it's become inescapable. Tim went from seeing Jason as a goal to reach, to feeling that unless he surpasses him, he wasn't going to be taken seriously by anyone. However, as of this arc, Tim doesn't even fully come to that point yet.
Batman vol. 1 #456 (Nov., 1990) -- Pages 14 & 15
"Drop-outs don't make it. And dead heroes are no use to anyone!"
It's really easy to take away "Tim totally thought Jason got himself killed" as the main thing here, but I think that's missing the forest for the trees.
First some context: Bruce has gone out on a mission to get Scarecrow, and expressly forbade Tim from doing any shenanigans. Meanwhile, Tim is grappling with wanting to prove himself and trying to help Bruce from the cave, all while trying to deal with his emotions. At some point, he falls asleep and ends up having like... exhaustion-grief hallucinations of Dick!Robin and Jason!Robin who confusingly caution yet encourage him. The main theme of this part is facing your fears.
Depending on how you want to interpret the intent of Jason's dialogue here, you could go several ways with it. Ranging from "writer's feelings towards Jason" to "a peek into Tim's mind as his fears manifest as visions of his heroes" or some mixture thereof.
Though Tim argues with Bruce that Batman needs a Robin, we're shown that Tim is understandably scared of joining Batman's "war." He's still not willing to let Bruce go it alone, though, and that's something he feels more strongly than his fear.
Meanwhile, hallucination!Jason's warnings are a lamentation of what happened to him in a way, but it actually exactly describes Tim's current situation even more so. Unlike Jason, Tim is under-trained, under-experienced, doesn't even have a suit of his own yet. But like Jason, he can't sit by and do nothing while someone he cares about is in danger. Tim knows that if he goes out there, he will probably get himself killed, and it will be his own fault. So he's about to disobey Batman's orders, and fly right into danger. If that got Jason killed, then Tim—who is in a way worse position experience-wise—has every chance of ending up the same.
Like... it's about Jason, but it's also about Tim. It's Tim's worst fears made manifest, via the representation of why he is even here in the first place (Jason's death).
That's my theory anyway, but perhaps this is an overly charitable reading of this scene on my end. (Not that I think that makes me wrong lol.) However given that Grant wrote both parts of this arc, and the beginning of which is especially favorable towards Jason, it certainly is something to ponder. I have a lot of thoughts on it I can't expand on here tbh but perhaps that'll be another post.
Anyway, returning to the point of the similarities vs differences between Tim and Jason: since this is the arc that solidified Tim as the next Robin in comic continuity, it makes sense that the writers really pushed the comparisons between the two of them, specifically. (Even though Dick was pretty similar, as going against Batman's orders is the Robin thing to do, it's not his shoes Tim is directly filling.) So making Tim's "debut" story arc mirror Jason's "swansong" is an obvious narrative choice.
To drive home the parallels, I wanted to include this panel from just a few pages prior to the "daydream":
Batman vol. 1 #456 (Nov., 1990) -- Page 9
"The suit is magic."
That so distressingly close to Jason's famous "being Robin gives me magic" line (Batman #385, page 6). Given all the previous context, it's hard for me to just dismiss it as pure coincidence. Even if it is, the point still stands. Tim is shown having the some of the same heartbreakingly naive views as Jason once did, right in front of Jason's memorial, just as he's about to go and run off into the night against orders.
I think that speaks for itself. There's a lot to take away from it, if you so choose. Especially given the context of that specific Jason arc.
Alright, back to the main course:
So in the end, Tim actually goes out in civvies and a ski mask because if he fails, then at least he wouldn't bring shame to Robin's legacy™. When he gets fear gassed saving Batman, it's once again both Dick and Jason that he hallucinates encouraging him to push past his fear. (Shout out to the fact that he's literally more afraid of tarnishing the legacy of Batman & Robin than he is of dying.... I'm sure this will not be a recurring thing for him in the future.)
Tim's ideology is shown to be similar to Jason's, and the actions Tim ultimately takes are similar to Jason's... but the outcome is different. And it really isn't just "Tim succeeded where Jason failed." At least, that's not what I took away from this. Rather, Tim had no reason to succeed any more than he had to fail, just that he did. Luck combined with caution because he knew what happened to his predecessor, and the fact that Batman was there to finish the job all made the difference.
You could say (and I know some will) that it's just classic Jason character assassination and the writers trying to implore readers that this new kid is different we promise pls don't hate us look how much better he is! But in this case, that feels like it undermines the whole point of this story. It doesn't fit with what the characters actually say.
Thus, we return to the question of how Tim felt towards his predecessor. And the answer is different from where we started, because Tim is different. Not that different though. Because even though at this point Tim—like all the adults around him—has probably attributed Jason "going off on his own" being what led to his death, Tim still thought of him as a hero to look up to. It's about Robin, first and foremost, yes. But Tim is fully aware of the people who made that suit mean what it does, because it's all intertwined.
Batman vol. 1 #457 (Dec., 1990) -- Page 20
"I mean--Dick made it into a symbol the whole world knows. Jason gave his life for it."
Even further, Tim thinks of it in terms of Jason having given his life for what he believed in, for the legacy that now falls to Tim. There's a sense of gravitas there. He's afraid of failing both the Robins who came before him.
Ultimately do I think Tim adored and loved Jason on the same level as Dick or something? No. It's not comparable. (Dick was like part of some of Tim's earliest memories and everything! They have a really unique bond ok.) Yet Tim was also far from thinking poorly of Jason so early on. Frankly, it seems that Tim thought of Jason as a noble hero and a cautionary tale. Yes he took risks and sometimes went too far, generally stuff that Tim doesn't want to repeat and all that. At the same time, Tim still saw him as someone whose legacy and memory was worth honoring.
It's complicated, which is why I like it so much—because it feels real. Having conflicting feelings towards someone is... so human. Especially someone you never got to know, yet who plays such an integral role in your life via the shadow of their death. How can you feel anything but complicated towards them?
It has to be said that, yes, Tim's views—even before Jason's return—change over the years. He becomes more jaded as a person and is surrounded by people who are even more jaded than him... and who often mention Jason as the "failed Robin." It's something that's hung over Tim's head all the damn time. The curse of the Robin mantle.
So it shouldn't come as a surprise that Tim's idea of him becomes more akin to "sounds like a skill issue" as the years go by. All bets are off after Jason's return, and the Titans Tower Incident™. At that point it's firmly "I am better than you, loser" lmao.
And... that's all without getting too into things like authorial intent and general "moods" of different DC writers towards Jason at a given point. Or retcons that played a role in his characterization and how other characters talk about him, depending on what "era" you're reading. That's way beyond the scope of this post though!
TLDR; even though young Tim Drake was obsessed with Dick Grayson as Robin, he still looked up to Jason Todd as well. He didn't think of Jason as a cringefail loser until later. :)
(image dialogue transcripts under cut ↓)
Dialogue Transcript for Image 1 (Detective Comics vol. 1 #618 -- Page 1):
Narration box (Tim): When Gotham needed him, he was there. When the Batman needed him, he was there. He was a hero.
Dialogue Transcript for Image 2 (Detective Comics vol. 1 #618 -- Page 2):
(Scene continued from previous page)
Narration box: But he was nothing special, really. Just a boy, who was taught--trained--brought to his full potential by someone who knew how. Just a boy... like me. I know I can do it. I know I can. One day I'll be as good as Jason. One day I'll wear the suit. One day I'll be a hero.
Dialogue Transcript for Image 3 (Batman vol. 1 #455 -- Page 13):
Tim: I hate him! I hate him! I know why they do it now. Why they put on the suits, and the masks, and go out into the night. They're angry. Full of rage. They want to hit back. They want to fill the hole that's burning inside them.
Bruce: There's more to it than that, son. Much more.
Tim: I know. It's just--I feel--like going to Haiti myself and strangling that creep with my bare hands!
Bruce: The Obeah Man will spend the rest of his life in a prison hospital. He's history. Forget him! But don't fight against your anger. It's natural. Accept it. Live with it. One day it'll be your friend.
Dialogue Transcript for Image 4 (Batman vol. 1 #455 -- Panels from page 18):
Tim: Because you think my mother's death has upset me too much. Well, it did. But I've taken your words to heart. I can cope. You think my anger will boil over, the way Jason's did. I can assure you, it won't. But that doesn't make any difference, does it? Why can't you have a little faith in me?
Dialogue Transcript for Image 5 (Batman vol. 1 #456 -- Page 14):
Narration box (Tim): Blast it! My head's starting to swim. I'm about ready to give up. I almost wish I'd never heard of Batman and Robin!
Vision Dick: Heroes never give up, Tim.
Vision Jason: You know that.
Tim: Dick--! Jason Todd!
Vision Dick: You're training to fight in a war, Tim. It'll last all your life. No matter what, you have to go on fighting.
Vision Jason: Drop-outs don't make it. And dead heroes are no use to anyone! I thought I knew better than Batman. I thought I could run before I could walk. I killed myself, Tim. Because I couldn't wait. Because I couldn't think it through.
Dialogue Transcript for Image 6 (Batman vol. 1 #456 -- Page 15):
(Scene continued from previous page)
Vision Dick: Think, Tim. Concentrate!
Vision Jason: You can do it.
Both: You can do it!
Tim, waking up: What--? Robin...?
Narration box (Tim): I must have been daydreaming. They're right, though. There's a solution to everything. I can find it! So here I go again... Whim. Caprice. Doing something without forethought.
Dialogue Transcript for Image 7 (Batman vol. 1 #456 -- Panel from page 9):
Narration box (Tim): The suit is magic. It gives you power. It hides your weakness. It makes you give it everything you've got. It makes you a hero. If only I could!
Dialogue Transcript for Image 8 (Batman vol. 1 #457 -- Page 20):
Bruce: Are you afraid of it?
Tim: No. It isn't fear. It's more... the suit carries so much history. I mean--Dick made it into a symbol the whole world knows. Jason gave his life for it. Failing them--what they fought so hard to build--that's what worries me!
Bruce: I appreciate that, Tim. That costume weighs a whole lot more than any symbol should... and I'd be failing you if I expected you to bear that weight. So... let me know what you think.
Narration box: A mask has a double edged, he said. It hides your own anxiety as it strikes fear into your enemy.
#tim drake#jason todd#dcu#dc comcis#batfamily#meta#I'm so sorry this post got out of hand fr#it was meant to be a quick drabble with some comic panels and instead i just...... kept going#this post is specifically for my one (1) bestie who cares and the like 2 ppl who might be as insane as me about Timmy#idk why I'm like this im just obsessed with Tim's relationship with early Batfam & co lately???#late 80 and early 90s comics my beloveds......#anyway if this gets more than 5 notes i'll be shocked and scared lol#nyerus.txt#text post#long post
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Well, I'm finally done with DATV.
I promised myself I would write something more significant when I was done. That I would gather all of my thoughts, and write something more substantial.
But I'm here. And I'm just feeling so cold.
I could dissect. I could take time. But what is the point? I could go into more detail about how every positive comes with a negative, how even in the third act, which was significantly better in a lot of ways, the payoffs never really gel together, but again. What is the point here? What is the point, after fifteen years of love for a franchise, of deep engagement and discussion, of wasting my time in pulling apart something which is simply just overproved and underbaked?
I know others will feel differently. I was really hoping against hope until the very last seconds that I would be one of them. But I'm here, cold, feeling like something has been taken forcibly from my heart.
If it were completely without merits, that would be something. But there is so much trace of something else in here that it makes it truly horrible to have landed here, with a game that to me is maybe a 6.5/10, a game that I will probably never play again.
I'm happy to answer questions on it. But I truly cannot believe that this is the end of my love affair with my special interest.
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Right, I think it's time for some positivity, and also a reality check (and I mean that in the most loving way possible) regarding the campaign to save OFMD. I've seen a lot of people saying 'it's been nearly a month, we should have been picked up by now', and whilst, yes, some cancelled shows have received very quick movement to other streamers, it's absolutely not the story for all of them. We've seen numerous shows follow different journeys from cancellation to pick-up, and there's no way of knowing what journey we might be going on.
Are we in the fast lane where we get picked up the next month (lookin' at you, Lucifer and The Expanse)? The middling lane where it takes months for a pick-up deal to be hashed out (lookin' at you, One Day At A Time, The Tourist, and Warrior)? The slow lane where we keep pushing for years and then eventually crowdfund a film (lookin' at you Veronica Mars)?
I think we have to consider the fact that OFMD being cancelled was a last minute thing that blindsided the cast and crew (and shocked people across the industry). So we're going into it in a different position to other shows that had maybe had a hint/suggestion that cancellation was coming before it happened. This is because if there are rumours of cancellation circling, it gives a chance for feelers to be put out to other networks/by other networks before the actual cancellation is confirmed. That didn't happen here. Which is important.
It's not just wham bam thank you ma'am and now you've been picked up by Netflix (or insert streamer of your choice). It's a negotiation. It's a process. It takes time. There is a very good reason that people heavily suspect that Brooklyn 99 had already been picked up before the cancellation was officially announced, and that the cancelled-to-new-home-in-24-hours thing was pretty much just a marketing stunt. No way was that all negotiated to the point of announcement within a day,
There are many reasons why any potential pick-up elsewhere might take a bit more time. For example, if David is (hopefully) juggling interest from multiple different networks, then that has to be hashed out and negotiated to make sure the best deal is reached for everyone. Also, OFMD is potentially a more complicated show to negotiate than we imagine: at a very basic level, it has a large ensemble (a large international ensemble), which would need to be discussed and negotiated, and it's filmed in New Zealand, which would need to be discussed and negotiated. That doesn't work against it in terms of 'it's more complicated, so it won't be picked up' but it could very well mean that the time needed to negotiate a pick-up is longer.
Remember: One Day At A Time had a much smaller cast (which wasn't an international cast) and it basically had one single studio set (being a sitcom), and that took three months to be saved.
I chatted with my friend, also a fan, who has worked in television production previously and is currently working as a screenwriter, and she confirmed just how much time, discussion and negotiation this stuff takes. She basically said: yep, this all takes time and this is very normal. And this is coming from someone who is very firmly in the 'I am refusing to get my hopes up because I can't bear to get hurt again' camp of trying to save the show.
On that note, I think it's important to address David's silence, because I've seen a few people panicking about that. There's a very good chance that if he is in negotiations right now (and I do not know if he is, he might not be!) then there would be a lot he wouldn't be able to talk about. And he knows that we dissect every single syllable of his posts, so posting anything would be risky. Negotiations are tricky things that involve juggling multiple balls (and torches and knives and chainsaws), and a lot of push-and-pull, back-and-forth, variables-upon-variables, and so going silent on social media would be absolutely what I would expect from him if that was happening.
It's eerie for us because we had a burst of activity from David, a lot of noise and a lot of confidence, and then...nothing. That's jarring, and anxiety-inducing. But I want us to think of it this way: David did a big post about being back in New York, about things looking up, and then he went uncharacteristically silent, which is what would happen if things were going on that he couldn't talk about. I have no idea what, if anything, might be going on, but it's important not to see this as a bad thing.
As someone on Twitter, who also works in the industry (they work as an actor) said the other day: in this business, no news is good news.
(also important to note: if he suddenly reappears on social media, that also doesn't mean that any negotiations have fallen through, and we should all panic; anything could be happening, and I know we're little anxiety gremlins - me included, bigly - but until we are definitively told that this is over and there's no hope, then it's not over and there is hope)
There's no way of knowing what is going on, or how long whatever is (or isn't) going on might take. This might be a sprint, but it could just as easily be a marathon. The show not being picked up immediately does not mean there is no hope, as we have seen with numerous other shows. Look at fandoms like Shadow and Bone, who are still fighting tooth and nail for their show because they refuse to give up on it. They haven't given up, and neither should we.
We need to decide if we love OFMD enough to fight for it long-term, to settle in for a long battle, and keep pushing for as long as it takes. And I think, as difficult as it might be, we all know that this show, and its cast and crew, is worth it.
#ofmd#our flag means death#save ofmd#save our flag means death#renew ofmd#renew our flag means death#adopt our crew#be a lighthouse
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The HUGE analysis - This season starts and ends with a discussion, doesn't it?
Ok, my loves. This was one of the really long metas I've been working with, and probably the one that has taken me the longest (because it depended a lot on rewatching the season time and again).
I couldn't help to notice that the fist interaction Aziraphale and Crowley have in season 2 is a fight, really. Yeah, we have the beautiful “in the beginning” sequence, with both of them being angels and happy and all the such (oh, how lovely, Neil Gaiman planting the seeds of why it will matter to us that Aziraphale will not be fighting the idea of inviting Crowley to Heaven, because he remembers that happy, careless guy). But after the intro, we see them having a big disagreement… And we end the season in the biggest disagreement they have had, probably, in 6,000 years.
I love over-analyzing and dissecting narratives and characters, and more so if I can use only what we’ve been shown in the screen. Therefore, I believe that the first fight of the season tells us a lot of the things we will need to know to understand the final fight of the season between them. Let’s take a look, shall we?
The first fight is motivated by having an amnesiac Gabriel in the bookshop.
They see the same circumstance: Gabriel in the bookshop means trouble with Heaven. He is also an individual risk, because he has menaced Aziraphale directly (well, Crowley under the visage of Aziraphale).
It affects each of them differently: even when they both panic, Aziraphale feels compelled to be kind to Gabriel (gives him a blanket and hot cocoa) while Crowley has a full-on panic induced reaction and gets defensive.
They propose opposite solutions: Azi wants to do the Good thing, taking the “higher road” (help Gabriel), while Crowley wants to do His Own thing: “Protect the precious, peaceful, fragile existence I have carved for myself”
At that moment, Aziraphale corrects him and marks a “we”, which is very interesting. But immediately after that, Aziraphale gets all "my way or the highway".
Crowley asks for clarification, with a well-leveled tone of voice: “Is this how it is going to go?”
Azi clarifies "no, I want you to help me!" But then he does the passive-aggressive thing: "if you won't, you won't". (oh, Aziraphale, how you triggered me here, my dear chap. I was angry at the character the first 6 times I saw this)
Therefore, Crowley is out. He marks a clear limit: “I won't. You are on your own”, and then storms out. No Eccles cakes would help him: he needs a breather and counting to 10. That doesn't help either.
Crowley only comes back after gaining an extra perspective: the "extreme sanctions" talk with Beelzebub.
When he comes back, Aziraphale will stand his ground: he feels he deserves an apology, which is delivered via a “I was wrong, you were right” literal admission (even when he probably wasn't "right", but that's their way... And they've been doing it since 1650, or so they say). Then they are able to work together again.
Now, let’s see how this dynamic plays out in their last discussion of the season:
They come from different sides of the same experience: Crowley went to Heaven to investigate and learned about the plans to continue with the end of the world, while Aziraphale stayed defending the bookshop. Then Crowley saves the humans, while Aziraphale solved the Beelzebub + Gabriel affair.
They haven’t had time to talk, as they get interrupted by The Metatron. While he takes Aziraphale, Crowley receives a visit from Maggie and Nina.
Each one of them gained an extra different perspective: Azi, the Metatron proposal (and veiled menace); Crowley, the pep talk/scolding from the couple they were trying to get together.
This makes them develop different solutions:
Crowley wants to finally admit what Azi has been saying all the season: they are a "we" (Azi said so when Crowley talked about his “precious, peaceful, fragile existence”; he said it again when talking about “our car” and reinforced it with the bookshop)
Azi wants to take the "higher road": go to Heaven, reinstate Crowley as an angel, so they can still work together.
Crowley sees the “usual dynamic” of their disagreements coming: it will be Azi’s way (or the highway). That has happened before, in front of our eyes, and not only in this season: it happened also in season 1, but we have already attested that it is still happening, and it is even “worse” (Aziraphale being a little “petty” with the “if you do, it is fine, but if you won’t, you are on your own” in the Gabriel discussion).
Crowley gets indignant. He asks, tentatively, if he told him where to stick it… And then he reinforces his belief. We are better than that, YOU are better than that, you don’t need them, I don’t need them; then he makes the first mention of the offer of getting back to Hell (which he hadn’t shared with Aziraphale), and makes a new point: I said no, neither should you!
Aziraphale goes back to the “you are the bad guys!” thing. Heaven being the side of Truth, of Light, of Good… It is not the propaganda Crowley needed for this move.
Crowley then clarifies the fallacy in his logic: when Heaven ends life on Earth, it’ll be just as dead as if Hell ended it.
Aziraphale then sees the "undesirable result" coming: Crowley is not going to accept, not with that argument.
Crowley makes his plead grow in urgency: Tell me you said no.
Aziraphale’s pitch of voice goes high (usually used as a sign of distress): “If I’m in charge, I can make a difference.”
Crowley understands. This is his “my way or the highway” moment. That’s why he comes up with the courage to make his half-proposal-half admission.
Crowley never gets to state out loud the “I want us to be together in a formal way” part. His voice breaks before he does so. He mentions all of the reasons they have to stay together, which Aziraphale already knows: we have been together for a long time, we’ve been a group (“our own side” was the way he always said it before) and we’ve spent our existence pretending that we aren’t (Azi also knows that! He has been working hard into making Crowley notice it!)
You can see, when they shoot Aziraphale’s face, he squints a little during that moment: maybe questioning, a little disbelief? As usual with Michael Sheen, it is a blink it and you’ll miss it moment.
After the grunt, Crowley proposes his alternative solution: going off together, using Beelzebub & Gabriel as an example that they could.
Therefore, what Aziraphale has just listened is what he already knew: yes, they are a “we”. Crowley wants to run away (he had proposed it twice during the Armageddidn’t, another pattern they have already established).
The next step is the usual way for Aziraphale: he reinforces his proposal: come with me, to Heaven. Ill’ run it, you can be my second in command. This idea has rubbed me wrong since the first time I watched this scene. Why remark the hierarchy? (not to say that I’m in Crowley’s side in here, but… It was weird and uncomfortable to think of them in a vertical power structure; they have always been equals).
Then, he goes back to making a difference, only it is “we” this time. Crowley is noticing he won’t back down… But Aziraphale usually doesn’t.
“You can’t leave this bookshop” works as a representation, a figure of speech. “This Bookshop” is “This life we have been building”, and they both understand it as such.
“Oh, Crowley… Nothing lasts forever…” For Aziraphale, it means he can leave this for something greater. For Crowley, it means… Actually, the same. But without him. Because he knows the “my way or the highway” side of Aziraphale, and none of them will budge. Aaaaand… that’s Crowley heart breaking. The rest of the scene happens with Crowley in “breakup mode”.
Aziraphale is used to “the discussion dance”. He Insists, “Crowley! Come back, to Heaven, work with me! We can be together, Angels! Doing good!”. He promises all he can: “come back, work with me, we can be together”, which have always been Crowley’s triggers to change his mind. However, the problem lies within the “angels doing good”. That’s the part that Aziraphale would need to let go before getting back to Crowley.
And then, he breaks down: “I need you!!” That has always worked! Aziraphale knows that Crowley loves being needed, he won’t leave his angel when in need, right?
And then, he gets angry. And he questions if Crowley has understood what he is offering, which transforms in an “I don’t think your exactly and my exactly are the same exactly” all over again.
Crowley is already brokenhearted, so he answers truthfully, as far as he knows. He understands how terrible the offer of going back to heaven is for both of them, and is not aware of the veiled threat in Metatron’s offer. He knows that going back to Heaven is a non-negotiable boundary, and Aziraphale is absolutely determined to cross it.
Aziraphale, then, does his passive-aggressive shit again: “I guess there is nothing more to say”. My guy, my love, you need to become better at negotiating with your loved one.
This is where Crowley decides to show, don’t tell, the hurt: no nightingales. And then… The “You idiot. We could have been… us” (no, you couldn’t, it was always too late!!! First the pandemic, which I’ve decided to treat as canon, then Gabriel. They never stood a chance).
In this context, Crowley’s kiss is a desperate way to say good-bye to the person he cared most for the last 6,000 years; also an angry way to regain some semblance of control and affect Aziraphale; and a final way to get some “closure”. Is there desire? Is there love? Maybe. But they are lost in a cocktail of emotions that have been stated during the rest of the discussion.
The angry “I forgive you”, which is also a usual dynamic for Aziraphale when he is angry with Crowley, gets there too late for Crowley to react to. He has already “checked out”. That’s why the “don’t bother” feels almost like an afterthought and comes after a small sigh.
After watching this 16 times, I’m pretty confident that the first thing Aziraphale mouths is a “no…” and then… he sobs a little. Michael Sheen, you’re a beautiful actor. The rest of it is a masterclass in using microexpressions to convey a whirlwind of emotions in under 2 minutes.
Sooooo... Did I hurt my own emotions while writing this? Yes. Did I absolutely need to do so? Also yes. Even when I like doing intertextual readings (and that's why I like bringing some theology to some of my musings), reading what is in "the text" (in the scenes we have watched, in the dialogues we've been shown) gives me an enormous amount of pleasure, and I find a lot of comfort in believing that most of the things that I'll need to understand and enjoy a great piece of media are being given to me inside it. And I believe Good Omens is a great piece of media!!
I have no Shakespeare to offer you this time. Let me know what you think!!
#good omens 2#good omens meta#good omens spoilers#ineffable divorce#the final fifteen#narrative analysis#character analysis#good omens#anthony j crowley#aziraphale#If I was into Academia this should be counted as a journal referenced publication#Making my Comms Sci degree useful for something
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Danganronpa: Despair Time Chapter 2 Episode 13 Dissection
Jesus CHRIST, the hits keep on coming (/pos). I don't think anyone could have predicted everything that came to light in this episode. But, hey, at least we're finally cooking on the murder method a bit more...?
SPOILERS for Danganronpa: Despair Time though Chapter 2 Episode 13! Also, CW: discussions of suicide.
Similarly to last time, I tried not to look at too many other people's major reactions/theories as to not influence my opinions as they were when I watched the episode. (Although I think I failed to do that more than last week...) Here's what this episode got me thinking about!
Genocide Jack, Junko, Mukuro, Peko, and Korekiyo:
On that note, though, this is... debatably relevant lore about Hope's Peak as it exists in DRDT? We know from Chapter 2 Episode 2 that Veronika (and likely all of the non-Terukos as well) don't remember Trigger Happy Havoc, and, based on this, it's likely that they don't remember much of the history of the old HPA either. Ace being so adamant that HPA wouldn't scout a murderer implies that the new HPA has fully regained its spotless reputation, potentially even more than the Tokyo school ever had.
I want you all to know that I tried to write out a little theory about whether or not Levi could have killed any plot-relevant characters here, but I came to a dead end at every venture. Levi killed Mai? No, he has no motive, and the murder happened before everyone attended Hope's Peak. Levi killed Elliot? No, Ellie was probably killed by dogs, and the timing is all wrong. Levi killed someone at the North C and Chariton incident? That didn't even happen. I was just getting that confused with my theories about what Xander might have done at that incident in FF's DRDT Milgram AU. Not even what actually happened in the AU. Just my theories on what might happen.
The only option I couldn't fully rule out was the idea that Levi killed some of the ~5 missing members of the altDRDT cast, but, holy shit, can you imagine how funny that would be? Teacher and the gang get to the sixth Class Trial and ask all dramatically, "so, what happened to the rest of our class that didn't make it to the killing game...?" and Monowhatever is just like "actually, Levi Fontana just straight up merced those dudes years ago." Hilarious.
Anyways. That goes to show that I do think these were just random guys, and the only specific relevance they would have is in the realm of Levi's backstory specifically.
RIP to the "Levi used to be an assassin" theory. I actually kinda liked that one myself.
(Also, hijacking this image to point out the background music here. You hear the ticking clock motif? Very suspicious indeed...)
Yup, even more confirmation that HPA highly valued having an incredibly pure and righteous image. Of course this HPA was also corrupt. Is it even possible to make an HPA without some level of corruption?
(Levi. My guy. I need you to use a different sprite; the quadruple image combo is starting to look ridiculous.)
What I find really interesting here is that, even in the realm of forgetting about murders, Levi remembers the three random guys before his father. Like, I know that Levi says that he kinda equally doesn't care about everyone (and I believe him to be telling the truth on that), but you would think that, just by virtue of having spent more time with his dad or the people around him's reactions, Levi would have remembered killing his father before offing three random thugs.
I don't know if this is meant to A) really drive the point home that Levi sees no difference between those he "knows" and those he doesn't; B) imply that Levi might have sustained some greater amount of trauma from killing his father that caused him to block that memory out more; C) suggest that killing the guys was more recent than killing his dad, which might lead him to remember it with more clarity; or D) some combination of the former three. However, I think it's an interesting detail to note.
The foils are foiling........
This was hilarious. And lowkey evidence that Nico was the one who tried to kill Ace.
You know, I actually almost made a theory once that the clauses "you're a murderer" and "you have no remorse" could be read as two separate secret statements! Not to say that Levi didn't have no remorse for the killing part, but that having no remorse was a state of being not solely tied to the murdering.
Alsoooo... just gonna say, Levi on Drawing Pins is looking better and better all the time...
Eden: But you're a good person. Why are you saying these things when it's clearly not true? You're so kind to everyone. You're always helping others out, even when it'd be easier not to. Like that time Ace almost died. You kept trying to help him, even if he always pushed you away. Isn't that what "a good person" does?
WE ARE BACK AT IT AGAIN!!! "GOOD PERSON" SPECIFICALLY IN THE LEVI/EDEN CONTEXT AAAAAAAAA
Beyond the further "good person" jumpscare, I found this line interesting due to how Eden describes Ace. Someone who "always pushed [Levi] away." Sounds a lot like Arei, huh? In fact, a lot of it sounds like Eden is applying it to herself.
"But I'm a good person. Why am I thinking these things when it's clearly not true? I'm so kind to everyone. I'm always helping others out, even when it'd be easier not to. Like that time Arei yelled at me. I kept trying to help her, even if she always pushed me away. Isn't that what "a good person" does?"
Obviously, I'm reading into this in the "Eden is the blackened" context, but I think that it's still an interesting read of Eden's mental state even if she isn't the blackened. We know that, to some extent, Eden blames herself for both Min and Arei's deaths. Therefore, despite likely feeling like she's fucked up, she wants to cling onto the idea that she's a good person so she doesn't lose faith in herself.
That leads into some super interesting parallels when it comes to this speech versus what Arei said, but I'll talk about that more once we get to the Arei monologue.
This week, acevi shippers take the L. Really, Levi x anyone shippers, but I think acevi shippers got the worst of it.
Except, they also took the W. "Ace lowkey confirms he once had feelings for Levi" was NOT on my bingo card. Or Star's.
(Also I LOVE this new sprite)
I saw some people talking about Ace's friend (Taylor?) but I do not remember and cannot find any information about this character (so I can't even tell if they're just fanmade :( ). If anyone knows what I'm talking about and has a link, please send it to me. Anyways, "insult to his memory" definitely makes it sound like Ace's friend is dead. I wonder if the way in which he died has anything to do with Ace's fear of horses/cowardice in general.
I want to see more Levi and Veronika interactions so bad. It's no surprise that Veronika was the first to pick up what Levi was putting down. Both of them don't have the "normal" way of processing their feelings and interacting with others, but while Levi has decided to try to be what society deems as "good" anyways, Veronika has decided to fully live by her own creed. I wonder if Levi could be at all convinced by Veronika to go back to his old ways.
Veronika: You're always guessing as to what a normal human would do in your situation. You're so awkward in social settings because you can't tell what other people want.
I'm excited to see Levi and Nico interact too, obviously. I suppose Nico is kinda like the midpoint of Veronika and Levi-- doesn't understand people and wants the world to work the way they perceive it, but also has been bullied enough to feel forced to play along with how others want them to be. Characters like these have become some of my favorite archetypes to discuss. I'm so glad that DRDT has so many of them!!!
The foils are foiling AGAIN...
Why the fuck are you so pressed about the secrets now??? I thought you were all about privacy?????
Well, thank you for "confirming" that swap, ladies! This talk of a pact is very interesting, though. I guess Hu must have gone to Veronika pretty early to ensure that her secret wouldn't get out-- makes sense, as without that there's a good chance Hu could believe that Veronika would reveal her secret at the most unflattering time to create drama.
It does slightly recontextualize Veronika's "A little mystery makes this Trial more exciting, don't you think?", though. I wonder if that was just straight up a lie, or if that was the rationale Hu used to appeal to Veronika. I doubt we'll get a flashback of this scene now that this moment's passed, but I'd love to see it. FTEs...? 👀
David you have to stop this right now or you're going to become my new favorite character. Dude's been dying to don the mantle of the comic relief character, apparently.
Is The Motive Scoreboard Accurate?
I'm including this because I've seen some other people say that it is, specifically on Teruko's front. I strongly believe that this motive board is incorrect, and Teruko and Xander's secrets are swapped.
The blaming yourself secret mentions parentS and siblingS. Back in Chapter 1 Episode 4, Teruko says that she never knew her parents (and therefore may even just be assuming that she has two), and she only had one biological brother. Furthermore, she has no idea if they're dead or not. On the parents front, she could assume that being sent to an orphanage is confirmation enough that her parents are dead instead of just not wanting her. Being sent there with her older biological brother is a further implication of that.
However, Teruko specifically says that her brother "left with some other family." She makes no mention of believing he's dead at all. Therefore, for Teruko to have the secret she claims to have, Teruko would have to be constantly mourning parents and an additional sibling that she never knew, and to believe that all of them are dead despite having no reason to believe that her known brother died.
Obviously, all of these things were said aloud to Charles and Whit, so there is a possibility that Teruko lied about or concealed parts of her past to keep her walls up around those two. However, what does this face from David mean if not "I've caught you in my trap?"
(DRDT sprites are SO GOOD--)
To me, this sprite clearly indicates that David knows that Teruko is lying about something, but has chosen not to bring it up to save it for later purposes. I don't know if he has something specific in mind or just wants to hold the potential blackmail over her head, but I strongly suspect that we'll come back to this someday-- either in later daily life or a post-Trial scene in this chapter.
It's also interesting to note that, while David knows that this is Teruko's for sure, Charles and Whit also have the opportunity to recognize the discrepancy. I definitely wouldn't be surprised if Charles kept notes about what he knows about everyone somewhere. We'll have to see if either of them ask her about it down the road as well.
Eden: I know that she's dead!! I know that she's dead and that she's never coming back. I know that I'll never be able to talk to her ever again. But even then... I have to know that when she was alive, she was still trying to become a good person. That if she lived, then maybe there'd be a world in which we would both be friends. If you really say that you lied about making Arei kill herself, then tell me the truth. Tell me that you didn't make her lose hope. Please! Tell me what happened last night between you and Arei!
Oh boy.
Can Eden Still Be the Culprit?
Look. I understand if you look at this and believe that Eden couldn't possibly be the culprit-- or at least, not without being a completely different character than we know her to be. Because I almost did. Zel's performance did a really good job of selling Eden's heartbreak in a way that makes it feel like she couldn't have possibly been the one to end Arei's life. However, upon further review, I do think that Eden's words could be that of the killer, with minimal levels of intentional manipulation thrown in.
If it would cause you emotional distress to listen to me continue to accuse Eden, I'll write the rest of this section in purple so that you can skip it if you'd like. I don't want to make anyone sad, so I fully understand if you want to avoid these bad vibes. However, for those of you who are still on the fence, and those who have stuck with Eden!culprit all along, here's my justification. I think it'll be easiest to break it down block by block.
Eden: I know that she's dead!!
Okay, well, maybe skipping this section a bit. More points for Arei truly being the one who's dead, I guess?
Eden: I know that she's dead and that she's never coming back. I know that I'll never be able to talk to her ever again.
Alright, so, this can fairly easily be read as the same thing as what Eden was doing back when she was talking to Levi: reassuring herself.
Well, maybe "reassuring" is the wrong word. Basically, she's repeating the same mantra that she told herself when she was trying to justify her decision to kill Arei. When making the decision to kill anyone, the killer (if they care) has to process that they will have to kill every other person in the game if they want to escape for themselves. Therefore, if Eden is the killer, she already had to grapple with the fact that she can't turn back time. ("You can't go back, no matter how hard you try.")
I think that Eden might have it in her head that, even if it wouldn't fully erase her wrongdoings, as long as she doesn't just forgive and forget the whole affair, it makes things slightly better. That's why she was yelling things like "You forgot about all the things you did just because you didn't face any consequences for them? That's incredibly selfish!" at Levi.
Feeling bad about things is her punishment to make sure that Arei is never fully forgotten. She knows that, if she goes through with killing, she'll never be able to talk with any of these people again. However, if there's something more important to her than these 13 lives that she has to escape the killing game to reach, it's a consequence she'll have to accept. She knows it's selfish-- but she at least won't be so selfish as to also forget everyone else's sacrifice.
Eden: But even then... I have to know that when she was alive, she was still trying to become a good person. That if she lived, then maybe there'd be a world in which we would both be friends.
This is probably the part that feels the most damning. Why would Eden care about whether or not Arei was trying to become a good person if Eden is the one who killed her? Wouldn't it be better for Eden if she wasn't?
Well, that's what Eden is trying to figure out, too. In Venus' Narrative Defense of Eden Culprit Theory, Venus says that Eden didn't believe that Arei actually changed and wanted to be her friend. And, it really makes complete sense if she didn't-- Eden had no idea that David and Teruko continued to talk so seriously with Arei after her departure, and Arei saving Eden from Arturo literally happened the same day that Arei had her breakdown. It had probably been, like, 4 hours since Arei chewed her out for her worldview being stupid, and then Arei's suddenly turning around and declaring that she wants to protect Eden at all costs. Of course Eden might just believe that Arei was setting her up for a fall! (Murder pun not intended.)
Venus also adds that, at this point in the Trial, David knew something that Eden didn't: namely, that Arei actually wanted to change, and saw Eden as her inspiration for doing so. Under the assumption that that revelation has been bothering Eden the whole time, it makes perfect sense that Eden would want to know more about what David knew about Arei. She needs to know exactly how terrible she needs to feel for doing this terrible thing.
I think the quote becomes a lot less defendable if you just swap out the "that" for an "if."
"But even then... I have to know if when she was alive, she was still trying to become a good person. That if she lived, then maybe there'd be a world in which we would both be friends."
Now, obviously, you could say that this is an unfair point-- Eden didn't say "if," she said, "that"! How can you excuse Eden based off of evidence that isn't actually real?
My point is that, even if DRDTdev didn't have Eden phrase it that way, it would be an incredibly easy swap to make. Thus, the only way in which Eden would have to be lying is to swap out one word. With that one word, "if," we see how she's still doubting whether Arei really was trying to be a good person, and can read into why she's bringing that up at this time. To disguise it, all Eden has to do is trade "if" for "that"-- she doesn't have to be some masterful lying manipulator to pull off a quick exchange that makes her look more innocent.
Eden: If you really say that you lied about making Arei kill herself, then tell me the truth. Tell me that you didn't make her lose hope.
Eden needs the truth so that she can know how despicable she actually is (in her opinion). She needs to know how bad she needs to feel for taking Arei's life, so that she won't wind up as "inhuman" as Levi.
I also think that "tell me that you didn't make Arei lose hope" could be interpreted in a killer-ish way. There is a rhetorical device in English that sorta turns words like that on their head. Like, if I said, "don't tell me you spoiled DRDT for all of your followers!," it's often interpreted as "I know that you did spoil DRDT for all of your followers, but I don't want to hear it." In this case, Eden might not want David to tell her that he made Arei lose hope because she doesn't want to believe that Arei had any hope in the first place. It's better than if Eden was the one to directly crush those hopes, sure, but if Arei approached David talking about wanting to be a better person mere hours before her death, that still means that Eden was killing a hopeful Arei. She doesn't want David to confirm her worst fears.
I don't know if I phrased that section exactly how I imagined it in my mind, but hopefully you understand what I'm getting at.
Eden: Please! Tell me what happened last night between you and Arei!
In the end, though, Eden knows that she has to face the music to figure out how she wants to proceed with this trial, whether that's sinking the cost of her fallacy or owning up to her crime. And that's how I think you can justify this outburst of Eden's within the context of her being the blackened, without having to fully corrupt her character.
What Arei Meant
This part isn't a theory, exactly; it's more of an analysis of the point I think Arei was trying to convey in this section. I've seen some people be sad about the new note that Arei's character is "going out" on, but I actually think that this is a pretty realistic, thematic ending for where Arei's story and the themes of the chapter are headed. Time to praise DRDTdev's writing for a bit!
Arei: I'm a manipulative, two-faced bitch. I pretend to be cute so that I can treat others like trash. I only care about myself, and I always hurt others for selfish and stupid reasons. Of course I wanted to change myself. [...] Still, for the longest time, I thought it was stupid to even try. I'm rotten to the core, and I might as well be a different species from saints like you and Eden. [...] No matter what, I'll never be a good person. And yet, despite all that... David, you... It turns out that you might be a total piece of shit after all. If even a perfect inspirational speaker like you turns out to be an asshole, then there's no such thing as "a good person." [...] And that makes me relieved, because it means I'm not too far gone. It's okay that I'll never be a good person, because no one else can be either.
I don't think that Arei is saying that the world is a lost cause.
Instead, she's saying that no one is a lost cause. She's applying that Syndrome logic: "if everyone is a bad person, no one will be." Arei thought that, because of her upbringing, there was no possibility that she could ever Be Good, because she'd already done too much wrong. Good People are perfect, unerring gods who do nothing but help others and reach out to wayward souls. However, David's manipulations proved that that wasn't true.
Good People fuck up. Good People do good things for bad reasons, and bad things for good reasons, and, hell, if David is a Good Person, then Good People do bad things for bad reasons sometimes, too! Arei confessed to us that she felt like her life was over because she was given an unfair start. However, now she knows that the bar has been lowered, and that being a good person can be done by anyone, anywhere, at any time. Perfection doesn't exist. Now that she knows that there was never any need to be perfect, the chance she sought for so long has finally been granted.
(Dipping back into purple for a sec to talk about Eden culprit stuff)
After this, I feel like the theme of this chapter has to be about deconstructing the myth of "The Good Person." You think that Nico is just a soft and shy bullying victim? No, they're just as willing to kill as anyone else. You think that Hu is a gracious motherly figure? No, she has an angry streak and talks over other people. You think that Levi is a softhearted giant who just struggles with what to say sometimes? His kill count is higher than everyone who's died to the killing game so far, and he doesn't really care that that's the case. You think that Whit is just a silly guy who cares about others? Fuck, even he's willing to stall out the trial in an attempt to fulfill his own agenda.
The main person who hasn't yet been proven so be not as good as they seem so far is Eden, who in this episode has been clinging to the idea of being a good person harder than ever. I know that some people believe that Eden needs to survive to fulfill the role of the optimist, but I feel like this episode proves that that isn't true. We don't need A Hopeful Person because anyone can step up to the plate and believe in hope if they want to do so. Eden isn't A Good Person, but a real person, who's just as capable of laughing and crying and living and dying as anyone else.
A good person is not gold. That's why everyone who tried to cling to the idea that they were being A Good Person-- Xander, David, Levi-- has always wound up hurting others in the end. Xander believed his actions were morally justified, and thus decided to kill Teruko, causing Min's death and lots of anguish for Teruko. David wanted to follow in his footsteps, and beyond his inspirational speaker persona causing damage to himself, he was also about to kill everyone else to do "what's right." Levi (Arei pending) hasn't killed anyone since trying to become A Good Person, but pretending to follow those guidelines without actually wanting to change anything about himself emotionally hurt Ace, who was set up with false expectations.
If Eden is so convinced that she's a good person, she's only blinding herself to the ways that she's inevitably not.
Back to Arei, while it is sad that her development was cut off just as she made this revelation, I believe that clarifying this additional bit of content is a way to allow her to rest in peace. Even if she didn't get to transform as much as she wanted to, she at least got to die knowing that she wasn't as wretched as she convinced herself that she was all these years, and having done at least one good thing-- saving Eden from Arturo-- before she passed. It's an amazing character arc to squeeze in for your second victim.
Phew, finally, a chance to talk about objective lore instead of heavy and divisive character themes! Except, uh...
WHAT THE FUCK???
Remember when, at the beginning, I said that no one could have predicted everything that came to light in this episode? This was the main point I was talking about. I don't think anyone saw this reveal coming, especially in this moment.
For starters, even though this CG does appear in David's memories, I don't think that he or Arei actually remembers whatever this was taking place. Beyond me attempting to debunk the idea that David had additional memories of Hope's Peak last week, Arei or David specifically referring to this moment means that they had to... be there? When whatever this was happened?
I say "whatever this was" to briefly create suspense before connecting the dots everyone's already talked about: that Eden was probably the one to scratch out Xander's eye. This would make Eden the "she" that Xander (er, I mean, "the guy with the bloody hands") talks about in the intro scene.
It also gives some more context to the clock with the fork stabbed into it depicted in LGI.
I don't know if "non-functional" and "I didn't expect her to" mean that Eden could have been brainwashed or otherwise broken down into not acting like herself when this happened, but it certainly seems out of character for what we know of Eden. Even her facial expression seems to suggest that she might not have wanted or intended to attack anyone with that fork.
Anyways, for Arei or David to know about the contents of that CG, they would've had to both be there when Eden attacked Xander and then also have regained/had their memories of it, which seems unlikely given how both of them treat Eden. Like, even if Arei is sure that Eden "did something to hurt someone in the past," this seems a bit extreme, and David probably wouldn't be so neutral on her if he knew that she attacked his man.
Another really clever point that I saw someone make (AND THEN COULDN'T TRACK DOWN WHO OR IN WHICH POST IT WAS--) was that Eden is wearing her current outfit in this CG. Interestingly, I looked back at A History of Hope's Peak and Visiting Graves to see what Min and Xander were wearing, and while Min was wearing her typical killing game uniform, Xander was wearing something different. Given that Min's scene takes place in HPA and Xander's doesn't, this could imply that Min was wearing the HPA uniform? That's fitting, for her.
We also know that the DRDT cast were all wearing these outfits believing that they were headed for the HPA entrance ceremony. Therefore, we know that Eden would wear this getup to school, but we don't know if she'd wear it elsewhere. Once again, assuming it was Xander who got forked, we can place this CG some time between Visiting Graves and the start of the killing game. I have a hunch that Visiting Graves might have taken place during HPA's spring break-- in A History, Min and Mai (er, I mean, "Unnamed Student") are at school studying for a test with "Spring Break next week" on the chalkboard, while in Visiting Graves, Mai and Xander have traveled elsewhere-- but that's not confirmed, so we can't lock it down.
Maybe we can get more information about this in Eden's bonus episode! Because, well, I at least do think that most of the mysteries of this CG could be solved within a bonus episode and/or other characters talking about her posthumously in later chapters. Again, I understand if you want to use this CG as evidence that Eden is important enough to need to stick around, though.
AREI I MISS YOUUUUUUUUUU
Also, I didn't catch this at all, but credit to everyone who noticed how similar this scene is to the "Diana Chiem" scene in LGI! Fascinating implications that I have no additional thoughts on at the moment. Mostly because we don't know shit about Diana, if that even is her who's portrayed in that CG. I'm sure I'll come back to this someday, just not right now.
Oh, and I don't think you can really argue that Ace made up this conversation anymore. Idk how much of it he stuck around to listen to, though.
See like why is she so pressed about it???
I'd like to say that this is a win for Whit not being the mastermind (because he doesn't seem to know what MonoTV is talking about), but he could probably just be going "why are you saying that at this time?" or something like that. Sigh (/j)
Why Does Whit Know So Much About Hanging?
Alright, so, obviously, this could be a super-suspect hint that Whit knows all of this stuff about hanging and therefore decided to use that knowledge to kill Arei. But, I don't care about that! What I don't understand is how Whit came to know all of this in the first place!
Well, after a quick review, there's one option that stands out more than all the others: Whit's mom was killed by hanging, likely self-inflicted. The only thing we "know" about Whit's mom dying (assuming that secret really is his) is that she is dead, and Whit omits it. It's phrased pretty vaguely. We also know that Whit thinks his mom is awesome, but that doesn't tell us anything about how she saw herself. Sadly, I think this lines up all too well.
Whit's main character flaw, as we've seen throughout the story so far, is ignoring things that stress him out or make him sad. He represses, and chooses not to get involved in others' fights because it's "not his business." It would make sense if the same extended to what he was like before the killing game. If Whit always chooses to ignore things that worry him, there's a possibility he blames himself for his mom's death via not paying enough attention to any warning signs that her mental state might have gotten so dire. Of course, if repression runs in the family, she might have been doing her best to not make it obvious as well.
So, even though he hates himself for not giving his mom enough support in her darkest hour, he still can't (yet) make any changes in his life because ignorance is the only way he knows how to cope. Yet, he still won't let himself pass up on helping another soul in clear need of support, like Charles panicking over the blood, or Eden suffering over seeing Arei's body. He can push himself to help others that are sad, as long as he never focuses on himself.
Or, he's the time loop mastermind who's heard Class Trials discuss hanging a billion times before. You never know with this guy.
CONGRATS TO FF AND BADJOE FOR BEING THE SMARTEST PEOPLE IN THE WORLD!!! 🎉🎉🎉🎉 Man, even seeing Teruko explain this mechanism as the truth, I still don't know if I would've been able to come up with it myself. This fandom is so smart :D
(Also, why was Whit a dog? Goddammit, is this more MonoTV coding?! /lh)
FUCK YES, WE'RE ACTUALLY GOING TO GET ANSWERS ABOUT THE GYM MURDER IN THIS TRIAL? HALLELUJAH! IT'S ABOUT TO BE T A P E T I M E, MOTHERFUCKERS! (/j)
Phew, barely squeaked it within 30 images! I'm impressed and amazed that DRDTdev keeps managing to make such gripping episodes week after week.
Get it? Gripping? Like grippy tape?
I'd apologize, but you're almost certainly going to hear more of that from me next week. Until then!
#danganronpa despair time#drdt#drdt spoilers#drdt chapter 2 part 2 spoilers#fanganronpa#cw suicide mention#levi fontana#ace markey#eden tobisa#whit young#teruko tawaki#arei nageishi#btw i hope i didn't come off as at all rude or condescending to people who don't believe in eden culprit#especially bc i was the one who was saying that no one should use the trial results to be mean to each other#my goal was only to celebrate some of my friends for having their theories turn out to be true#but i do truly feel for anyone whose expectations aren't lining up with reality. i'm sure that must be hard after the long wait#(and also to be clear i'm not discounting that i'll be proven wrong not long from now i just don't think it's happened yet)#(or maybe i'm just still delusional)#my theories
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Wag Those Tail Feathers: The Wonders of Alterhuman Courtship
Author: Page Type: Essay Words: 1,065 Summary: Page's perspective on alterhuman courtship, as an individual who has been both on the receiving and giving ends of it.
[Part of the Sol System’s Alterhuman Writing Project for 2024. If you don’t want to see these posts, block the tag #inkedclaws]
As a polyamorous alterhuman, I’ve had the wonderful experience of being in relationships with people who have a variety of different courtship instincts— sometimes even all at the same time! Including my own instincts, it’s led up to some interesting realizations about the variety and diversity of expressions of love, and how wonderful it can be to be loved by an alterhuman (and to be an alterhuman in love, too).
My personal experiences, notably, revolve specifically around being nonhuman and this applies to a majority of my partners as well, which influences the flavor of this discussion. It’s been a wonder to be the target of a feathery mating dance, to be wooed with draconic jewelry and treasures, or to have my partner jump out with a meal, as proud as could be at displaying their hunting skills for a mate. It’s not necessarily just a nonhuman thing, either, of course; my orthohuman partner exhibits some similar sort of feelings and actions, too! Something which comes across especially strong in his hunt-and-gather supply-hoarding behavior in video games. But there’s something so especially intimate about having your alterhuman partner court you in a way unique to their species identity. It’s a beyond flattering form of trust, love, and affection.
And as an alterhuman who has targeted my partners, alterhuman and orthohuman alike, with my own affections, it’s also uniquely affirming to have your partners engage with your varieties of courtship for your species. There’s something incredibly special to have them try to learn your rituals and woo you in turn, even if they don’t have the same instincts driving them. It’s love with intention, a conscious effort to learn a language that’s typically foreign to them or which they might otherwise never come across on such a personal level. It may not always be perfectly executed, but the intentions behind them make them perfect regardless.
I’m someone who’s fully public about my alterhumanity. I don’t hide that I’m a dog and (luckily) no one especially seems to care in the day-to-day when I’m meeting up with strangers and acquantinces. But it’s become an important part of my dating life that potential partners need to not only be aware of my alterhumanity and accept it, but they also need to interact with it. You could argue that my spouse set the bar high for any potential future partners with how he took to my canine-ness and plurality like a fish to water, but I’m of the opinion that it’s something that should be the norm, not something so utterly unexpected by many.
Being able to engage in alterhuman courtship with your partner, as serious or as silly as it may fundamentally end up being, shouldn’t be something that you feel is utterly unreachable, that you yearn for but never feel like you’ll be able to reach. Alterhuman courtship is a wonderous experience; something that I think it’s not only important for alterhuman folks to be able to freely do with those they love most, but also to be on the receiving end of, too. It can be easy to default to the status quo in relationships, because of the societal pressure around us. Normativity around romance, sex, and even platonic affections is something that is constantly at play in the backgrounds of our culture and which embeds itself into our conciousnesses in unexpected and often invisible ways; and it’s difficult to dissect these without exposing ourselves to what some might list as “weird” or “unusual” urges and behaviors. But we can’t unpack the shame or embarrassment that might be holding us back from engaging with these urges unless we actually let ourselves acknowledge the collective, confusing feelings abound within them. We shouldn’t allow ourselves to shrug our shoulders and simply say, “I suppose I’ll never find someone who can accept me as my [species] and all that entails,” or to just resign ourselves to having to hide a part of ourselves away forever to maintain relationships.
We should toss these types of negative feelings aside and embrace our alterhuman courtship urges in earnest: that sometimes we’re not fully human, or we’re human a little to the right, and that inevitably makes romance, sex, and platonic interactions a little different for us than it might look for standard folks as displayed on a big screen. It’s not a failure on our part, and it’s not something that needs to be squirreled away due to internalized respectability politics. We can love ourselves and find love in others, for and by being ourselves. We can experience unique forms of love and adore those factors in others. This is, to me, a part of the territory that comes with being alterhuman or knowing alterhumans. It’s a part of what makes life wonderous.
In my partnerships, I love getting to bring my partners gifts. I love to bring them tiny treasures, small things from my system’s hoard, to pebble at them almost like a penguin would (sometimes including a silly little dance, of love!) It goes beyond standard gift-giving in the way that most of the people I’ve met would think of it, where presents that large are often reserved for special occasions like holidays and birthday. But it’s something I do year-round, to show my partners that they’re always on my mind, and that what is mine is their’s, too. I do the same thing with food; while normally incredibly food protective, both due to species identity and past food insecurities, I make the effort to share my favorite foods with my partners for the same fundamental reasons. To share my food, my bed, my life— and to have my partners recognize that as not just general displays of love, but as specifically displays of love intertwined with what I am, is something which displays a deep level of understanding and acceptance for my species. It’s something I’m grateful for beyond words, but it’s also something that I don’t want us as a community to accept as unheard of, or as just a one-off, lucky occurrence. Love like this is achievable and rewarding, both as a recipient of such alterhuman affections and as the giver. And we all deserve to experience it, in whatever form of love that we feel most comfortable with. Don’t tell yourself otherwise; don’t settle for less just because you feel like you have no other choice.
#ahpi writing challenge#alterhuman#inkedclaws#Guys I'm not going to lie to you: I've been so sick these past few days but I didn't wanna give up.#SO i cranked out this bad boi in a 15-minute writing sprint with some pals#is it my best work? no. but is it work? YES#and you can't edit words that don't exist so here we are
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Since there’s a bit of a hiatus in Dracula Daily right now, I thought I’d take the opportunity to ramble about what I know of vampiric folklore and history in Europe because I cannot contain my infodump and it’s actually really interesting.
Painting it in very broad strokes, the earliest folkloric creature we would recognize as a vampire was acknowledged in Europe in the 1100s and earlier as a human corpse that physically rose from their grave and returned to their former home/village to drink blood. (A 12th-century English text, The Life and Miracles of St. Modwenna, mentions two examples of this type of vampire.) These vampires’ victims did not become vampires as well, but sickened and died, usually from wasting diseases. What caused the original person to become a vampire was variable, but usually involved being, just, an absolute jerk when they were alive, or an increasingly convoluted series of ways in which they attracted bad luck/evil while they lived, after they died, or as they were buried.
This is where the traditions of stuffing a stone in the potential vampire’s mouth, decapitating them and putting the head in the grave between their knees, burying them facedown, cutting off their hands or feet, burying them in a too-small grave, piling stones atop the grave, or burying them with broken legs came from. All of these are regional or historical variations on ways to quite literally prevent the presumed vampire from digging their way out of the grave and causing trouble: an “And stay down there!” maneuver that we’ll see survive into modern pop culture in the form of a stake through the heart.
This was the predominant form of vampirism up until roughly the 1700s: someone nasty in the village died, and after a while, would start reappearing to their family or loved ones at night, slowly draining their lives away as they fell to a wasting disease like tuberculosis or leprosy. Once the villagers caught on, they would exhume the body, find it suspiciously preserved and with blood trickling from its mouth, and then take steps to neutralize the vampiric threat by beheading, staking it through the heart to literally pin it in the grave, stuff a stone in its mouth, or a combination of all three.
(You may have heard of the Venetian mass-burial plague pit an archeological team discovered: one of the skeletons had a brick shoved in her mouth. She was the only body treated in such a way, implying that she was thought to have been a vampire: hypothetically even the vampire that caused this local upswing of the plague.)
A cultural shift happened in the 18th century, however, when the Austro-Hungarian Empire gained territory in Serbia and other portions of the Balkans. Since they were neighbors with the Ottoman Empire, the Austro-Hungarians kept a heavy military presence in these new territories, and the emperor of the time (Charles VI, I believe) asked the occupying forces to collect reports on the local customs and folklore and send them back.
A number of the reports they sent back included vampire stories.
Now, this was the Age of Enlightenment: many countries were pulling away from old superstitions and following the new methods of science. Belief in vampirism was a rural thing, and widespread plague situations had faded enough that they really weren’t relevant anymore and had fallen out of a lot of people’s memory.
But the thing was... science was still new, and this whole vampirism thing sounded just plausible enough to be extremely interesting. The Austro-Hungarians sent all sorts of scientists, doctors, and clergy members to collect and dissect and discuss these stories, and for a short spate of time vampirism was the hot new discussion topic in esoteric circles. And for then and a while after, if you wanted case studies, debates, and just about any reference material on vampires, you knew you’d find it in Austro-Hungary’s library.
Eventually the scientific community all concluded that this vampirism thing was just silly peasants not understanding the process of decay, but the arts crowd -particularly the Sturm und Drang folks in Germany- remained very interested in this exotic new creature steeped in mystery and death. Sturm und Drang translates to “storm and stress” and if I had to describe their style in modern terms, I would say (roughly, and with affection) “a love of edgy tragedies.”
There were a number of poems and works spawned from this flurry of interest, but this Austrian version of the vampire still shared a common theme: more like a revenant than anything else, coming for their loved ones first, and a lot of their horror was tied up in how blasphemous and unChristian their very existence was. Less emphasis was placed on getting rid of the vampire and more was placed on the artistic allure of vengeance from beyond the grave and the vampire’s inherent exotic mysticism and threat.
Stoker, in fact, directly references an example of this in Dracula! On May 5th, when Dracula’s telling the coach driver that he knew they were trying to get Jonathan out of there before he showed up, because he himself drove fast enough to intercept them, one of the other passengers whispers to his friend “Denn die Todten reiten schnell,” which translates roughly to “For the dead ride fast,�� a quote from Burger’s Lenore.
Lenore is a poem about a young woman whose fiancé died in the Seven Years’ War (connection with Austro-Hungary). In her despair, she curses god (old-school invitation for vampirism), and the following night, her lover knocks on her door to take her on horseback to their marriage bed (vampires attack their loved ones first). He takes her on an increasingly terrifying ride through the night, prompting the above quote, which ends in a graveyard, where he is revealed to be a skeleton and Lenore dies.
Lenore was written in 1774, and although William is not technically a vampire, the poem is an example of the old-school vampire type. The vampire is a physical reanimated corpse that does not create more of its kind, but causes the people around them to die/waste away, and attacks their loved ones before anyone else. The transition to what we finally would recognize as a modern vampire started with Carmilla and was solidified in Dracula.
Written in 1872, Carmilla is a blending of both old and modern vampiric tropes. It uses the then-expected setting of the Austrian Empire, all of the titular vampire’s victims wasted away and died rather than rising as vampires themselves, and Carmilla’s coffin was filled with blood when she was unearthed. However, she was also able to shapeshift into a cat and walk through walls -no longer just a revenant- and she could walk around during the day without harm. She also does not target the people she knew and loved in life first: Carmilla is a vampire centuries old and her current victims are chosen indiscriminately. The vampire as a folkloric creature was evolving.
And, side note, while it was used partially as a narrative device to show how evil and unnatural Carmilla was, she was also gay. Gay as fuck. People who lost their shit at
“Then the Count turned, after looking at my face attentively, and said in a soft whisper: ‘Yes, I too can love’”
will go absolutely mental at Laura going
“It was like the ardour of a lover; it embarrassed me; it was hateful and yet overpowering; and with gloating eyes she drew me to her, and her hot lips travelled along my cheek in kisses; and she would whisper, almost in sobs, ‘You are mine, you shall be mine, and you and I are one for ever.’"
Anyway. Queerness is baked into the concept of the modern vampire from the very beginning, what of it.
With Carmilla as the springboard, though, Stoker was free to finally create Dracula, which was essentially the turning point between modern and archaic vampire depictions. He took all of the old stuff and reworked, revamped (heh), or added to it to get the foundation of the stereotypical vampire we know today.
He shifted the geographic vampire hotspot further over from Austria-Hungary, landing it in neighboring Transylvania. Dracula’s victims weaken and die and seem to be inflicted with a strange wasting disease, but can also turn into vampires themselves. Driving a stake through his heart and cutting off his head is no longer an attempt to pin him in his grave and keep him from rising, but merely to destroy him. He was dead, yes, and very unholy, but he also had powers beyond merely being a risen corpse, and his power set became the standard for future vampire media.
Hence, Dracula becomes the foundation for the modern concept of a vampire, which is why pop culture usually treats it as the beginning point of vampirism in general.
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I think Eagle is a really interesting character since her story has a lot of fun nuances I think.
She’s established very quickly from design alone to be a very much be a dillgent good girl scout, She acts responsibly, when you first meet her she says that she’ll do everything to be the best, she calls Vertin “commander.” Very much emulating soldiers and the millatary here.
The Dreams do some more exploration of this idea. With how Eagle was rejected from the boy scouts, and how in both her and in the voicelines she want’s to prove that girls can do it just as well as the boys.
Instructor: I’m sorry, kid. I’m touched by your persistence, but we only want boys.
Instructor: The training of the boy scouts is going to be very harsh. There’s no way a girl like you can make it through.
Instructor: Even if you strain every strength to keep up, we won’t take you in.
Eagle: I will prove I can do better than the boys.
Eagle: I will prove that girls are also qualified for the scouts.
But this scene exists alongside the Rest of The Game which is very interested in exploring and and dissecting this sort of millataristic view of the world. This exists alongside how her father dissapeared when he was serving in the milltary. This exists alongside Click. This exists alongside Sonneto. Her interview even discusses this a bit:
Pandora Wilson: Now that you've joined Lorentz, do you have any new plans in life?
Eagle: I... I'd like to excel in what I'm doing now.
Pandora Wilson: ...Maybe you can try and relax first, just like the other children do.
Ultimately she’s doing all of this to chase her father, even if she ends up in the same spot where she dissapeared or if she deprives herself from the relaxation and fun that children her age be having. What that Instructor said isn’t just “she isn’t strong enough to be a girl scout” it’s “she’s not strong enough to see her father again.”
This also interacts with the games themes of progressing into the future vs retreating into the past.
Eagle: I like photos very much. It’s the Arcane Skill that allows people to “never fade.”
Eagle, Hobby: All the soldiers were collecting badges, so was father, wasn't he? When I collect enough badges, I will give him all of them.
The chasing of a past to the point that it leads to self-destruction or sadness. Not as heavily present as it is in other characters but still something that Eagle’s story is discussing. And yet even in the dream they acknowledge that her being a girl scout is different from her seeing her father again. It’s just one means to that end. I really like it.
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Beetlejuice and Civil Servitude: How Suicide is a major factor, but also isn't. (cw and sequel spoilers.)
I saw this post (by an anti) on Twitter, which made me mildy annoyed, but inspired enough to discuss this topic in my own, miniature thread.
And while I agree Otho is a con artist not to be trusted, of all his words these are the ones that were are actively shown to be, well, true. Especially through the sequel.
Miss Argentina says to the Maitlands, "This is what happens when you die," before stating that when she died she was put into a place of Servitude, and holds up her wrists. This implicates directly that her cause of death directly influenced her afterlife. This is even further proved by Juno, who has a slice in her throat, assumed to be by her own hand, and once again proving that Otho's words are in fact... truth.
But that's all in the original source: what about the Sequel?
Well, this is where the concept of Suicide and Civil Servitude gets confusing. Not that this actively proves the original theory/concept as false, but actually puts perspective on how terrible the afterlife actually is, and that it's just as corrupt as the living worlds method of life.
Beetlejuice was Juno's apprentice at one point, and he now works on his own through freelance. He still remains a servant to the dead, regardless of how he does it. But his actual cause of death as revealed in the flashback sequence in the sequel is that he didn't kill himself... Or did he?
We have to break down what the afterlife actively counts as self termination. Beetlejuice may not have intentionally killed himself, but he did willingly drink a mysterious liquid given by his newfound bride. And the afterlife clearly doesn't play fair already with its bias against those who are struggling—So his death was counted indirectly. This is also seen in Wolf Jackson, who died performing his own stunt. He willingly put himself in a dangerous position, but didn't mean to actually die, and yet, it was still marked as a suicide by whomever rules the afterlife.
So we can already discern that suicide, wether intentionally or not, will always land you in this position. What makes it more interesting is this little detail (credits not mine, unsure of the origin of this ss):
The news paper covers this unfair fact. Suicide, in the afterlife, is counted as any death caused by oneself, regardless of their being poisoned, in an accident, or genuine means to die.
So what is the point of this thread? Really, it's to further prove lore we already have, but expand on it and the facts we get handed.
Also, to dissect the Netherworld itself, and how it's not meant to be a perfect afterlife, but rather a neutral, means to an end. There is no heaven nor hell, but there's also no fairness. The afterlife is just as dull as life.
I think this should also explain why Lydia's deceased husband, Richard, was in civil service, despite having no motivation to kill himself. The reality would be that he didn't, but his death was ruled as one anyways due to the set of circumstances in place. But why wouldn't Delia also be counted? That one... I don't know. Likely to prevent the plot from stopping, but also possibly that because deaths are finally being looked at fairly, and that accidental suicides, aren't marked as such.
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FUCKING HATEEEEEEEEEEEE FANDOM. like i love fandom but i HATE FANDOM. HARROWHARK IS NOT YOUR PATHETIC WET CAT SHE’S NOT A GREMLIN SHE’S NOT YOUR LITTLE MEOW MEOW. STOP IT RN. SHE’S AN INCREDIBLY CAPABLE NECROMANCER AND AN AMAZINGLY INTELLIGENT PERSON WHO JUST HAPPENED TO BE PUT IN AN INCREDIBLY TOUGH SITUATION. she’s fucking 18 y’all. she did what she could and do you know what? she did well for being completely out of her depth and EIGHTEEN GOD FUCJING DAMMIT. i hate it when characters get boiled down to one fandomable aspect of themselves especially in a fandom with such prolific writers and artists (that’s you!) it literally happens with every character. ianthe is not your cool suave boyfriend she’s a desperate young woman. pyrrha is not your dom mommy she’s just been put into a situation where she is surrounded by children. dulcie? guess what: she exists. gideon isn’t a golden retriever silly boy she’s a complex and capable person. gideon the first isn’t some angry dog he’s loyal to his brother that killed him twice over. paul is a cool and interesting character that i want to see more of. I FUCKING HATE THE FANDOMIZATION OF CHARACTERS JESUS CHRISTTTTTTTTTTT KILL ME NOWWW ACTUALLY GOINT INSANE. anyway rant over sorry i dont have any friends that have read tlt so i have to resort to going insane on anon
this was a fun surprise to receive. that aside i Do agree with you it seems very much like the nature of fandom to fall into stereotypes and tropes for characters because its easier to make content when there is a type of script to follow + its more effort to always dissect things and rebuild them for every au scenario. alas everything is always nicer when you can make your own little circle of people to discuss with
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