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iamnmbr3 · 3 years

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I saw the ask about having the person feeling like that the Loki show is objectively bad. I liked the show, here is why.

I love Loki, and I love the MCU, but I don’t go into any of it expecting consistency. Tony and Loki are my favourite.

Tony goes through character development in his own movies, IM3 especially that main canon just kinda ignores. So I didn’t go into work he Loki show expecting them to get him consistent or right. I just went in prepared to enjoy the show for what it is in isolation. I also know that no one looks at the stories they write for the MCU critically, so I try and turn off that for a first time watch.

I really like the show, that doesn’t mean I think they made it consistent or in character for Loki. I get why people don’t like it.

I really like the TVA and all the concepts it introduced. I really liked seeing Tom acting his heart out. And I really like Loki/Sylvie because I find something very compelling about a character who hates themselves, meeting another version of themselves and being able to love them. It is not a ship I’m going to write fic about but I like them within the show.

Basically what I am saying is that I go into MCU media with the expectation they will mess up at least one character or plot point badly every time. I like the media for what it is, and I appreciate whatever it brings to the table that I can then cannibalise into da works.

Yeah that's fair. Everyone has a right to their own opinion. Fandom is better when there are a diversity of opinions and we can all respect each other and engage in open and good faith discussion rather than attacking people for having the "wrong" views or trying to harass them out of fandom.

For me personally I feel like the show fails on 3 fronts.

1) To me it fails as a Loki show. I really enjoy Loki as a character and I wanted a show about him. And I didn't personally see him in the show at all. I saw a completely different character who does not behave, speak, act, respond, react, stand, emote, or make choices like Loki does. He doesn't even LOOK like Loki because they did his hair and makeup wrong. And that's really what I wanted. I didn't want Larry (as I call the show character). I wanted Loki. That was what was advertised and to me he was so ooc that he was unrecognizable. If I just saw a clip out of context and didn't know what it was from I would have assumed I was seeing Tom in a totally different role.

Thor Ragnarok felt like a different take on Loki that definitely retconned some of his personality and history, but still felt like an alternate interpretation of the same character in the sense that I could recognize the character as Loki (albeit a different version of him); some people liked that, other didn't. But here it wasn't that. It just felt like a completely new (and to me far less interesting and compelling) character. And beyond that it felt like the show went out of its way to make a mockery of the character played by Tom and by extension anyone who ever cared about Loki's character. Like it felt like a mean spirited caricatured parody. Loki is also extremely sidelined in what is supposed to be his own show. And it most certainly didn't feel like a show about Loki, which is what I wanted. So for me the show didn't provide what I was looking for.

2) To me it also fails on its own merits. If I view it in isolation without comparing it to previous canon and just view it as its own thing it also fails. The quality of the dialogue felt very poor. None of the humor made me laugh and it all felt very juvenile and forced. The plotting and characterization seemed nonsensical and all over the place. Like Sylvie sets off those charges and the episode ends on a cliffhanger with that but then it's never addressed later.

The reason that Loki and Syvie allegedly falling in love breaks the timeline didn't really make sense. Sylvie is going around murdering timekeepers and yet Mobius somehow immediately like and trusts her and says he prefers her to Loki. Loki and Sylvie are simultaneously presented as the same person and also totally different people. Loki allegedly learns self love but we never see that - we see him call himself degrading things like pathetic. And we see him think that Sylvie is better than him. That doesn't seem like self love. The romance feels extremely rushed and unrealistic and awkward and we aren't given a compelling reason for why they are in love or what they even have in common. Sylvie doesn't really have much of a character. Mobius and Loki don't interact much and Mobius consistently mistreats him but Loki somehow thinks of him as a friend. Mobius is portrayed as a good guy for cheerfully carrying out the TVA's ends but Kang is a villain for creating the TVA. The TVA seems to be all made up of humans even though it's in charge of all reality.

If Loki did bad things, then the TVA did worse things and thus are not moral authorities. If the TVA’s actions are acceptable then so are Loki’s. If Loki was wrong to violently impose his will on a planet (let’s forget about the context with Thanos for a minute) then the TVA is wrong to violently impose its will on all of reality in order to eliminate free will. If Loki was wrong to kill a few people, then the TVA was certainly wrong to kill trillions. And thus neither Mobius nor the TVA are moral authorities when it comes to Loki because they are infinitely worse. If the actions that Mobius and the TVA took are acceptable, then there is no reason to criticize Loki because he did far less than them. Etc etc etc.

The cinematography is also very poor and unprofessional and the costumes look extremely cheap and unprofessional. The whole story feels confused and disjointed. The directing is bad because the actors are all very capable but the performances often feel wooden and forced and fake. And the pacing is terrible. A lot of it drags and then plot twists come out of nowhere with no setup so it just makes them feel jarring rather than earned or entertaining.

3) To me it also fails on a moral front. The show contains a lot of problematic depictions and messages and promotes messages that are offensive or even downright harmful.

Mobius gleefully subjects Loki to physical torture by leaving him to be repeatedly beaten in the genital area. This is a very clearcut and straight forward example of physical torture. And Mobius feels no compassion for Loki or remorse over what he has done to him. If anything he seems to find it amusing. And certainly the audience is supposed to find it amusing (which is gross and harmful messaging on Disney’s part). He also subjects Loki to psychological torture. This is a fact. There are multiple instances in the show where the TVA and Mobius subject Loki to treatment that would meet the legal definition of torture under both US law and international law. Furthermore, Mobius and the TVA are holding Loki against his will and forcing him to labor without compensation or any hope of release because they view him as belonging to a group of people (Variants) that they view as inferior and not really people. That’s a pretty textbook case of slavery. So objectively Mobius is Loki’s jailer, torturer, captor, and enslaver. And yet Mobius is presented as justified in what he does to Loki. The writer and director have even called it therapy. And a result many people have parroted this which is very harmful.

The queer “representation” feels straight out of bigoted propaganda. Loki’s personality traits have been retconned to map onto harmful stereotypes about queer men. He is overly expressive, makes grand gestures, is flamboyant, cowardly, dishonest, weak, bad at fighting, lazy, spineless, meek, unused to exercise etc. Now a person could be all these things and also happen to be queer. However, Loki was never like this before. His character was retconned to be this way only in this series where he is confirmed to be queer.

Furthermore, the entire premise of the series seems to be that it is funny and entertaining and justified when Loki is dehumanized, mocked, humiliated, hurt, tortured, beaten, assaulted, and/or robbed of his dignity. That’s the premise. That’s the whole show.

In addition to pro torture and pro authoritarianism and pro victim blaming messaging the show also has problematic depictions of black characters (see here and here), Asian people (see here) and also has a lot of fludphobia and transphobia issues. And much more.

@nikkoliferous has put together a great compendium here of various posts explaining the various issues with the show if you're curious about why some people disliked it.

#asks #loki tv series #loki series #loki 2021 #loki show #loki tv show #Marvel #MCU

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diptish20 · 3 years

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What Makes Valentine’s Day Special

The Story of Valentine's Day

The era of love is a special occasion is celebrated every year on 14th February. It is a day to admire your loved ones and express your affection with gifts, greetings, and gestures. It is also called Saint valentine’s Day.

There are various stories around why it is celebrated. Among them, the tail of Saint Valentine is most popular. The story dates back to the 3rd century when the Romans were converting to Christianity.

Roman Christian soldiers have to follow strict rules that they cannot marry. In this way, they will remain devoted to their duties towards Rome.

A Catholic priest named Saint valentine was totally against the rule. He started arranging secret ceremonies for the soldiers and getting them married. He was later caught and jailed. But this earned him the respect and reputation of being called the savior of life.

The jailer’s blind daughter is said to have fallen in love with him in jail. In his final notes to her, he signed the message as ‘from your valentine’, a message of love before he was executed.

This occurred on February 14th, 270 BC. Approximately 200 years later, the pope proclaimed the day to be Saint Valentine’s Day. Many people believe that this is what makes valentine's day extraordinary.

Though this historical significance, the celebration across the globe occurs in various ways. Different cultures celebrate this in their traditional styles.

How The Youth of Today Celebrates Day of Love

Who in this generation doesn't celebrate this special occasion of affection. When couples from all over the world praise their devotion to this romantic daytime of the year. And you know, pure love is always worth celebrating.

Amongst the youth, it has become a craze today. Young mates make elaborate plans for celebrating this day months in advance. People without significant others desperately seek dates to celebrate this romantically.

The concept of love is something to be treasured throughout our lives. As a result of the celebration, increase in the number of commercialization, it has been criticized in many countries.

Despite all the criticisms, the popularity of this occasion continues to increase. Several people today view this as an opportunity to express their love for the first time and celebrate it.

Here are some of the most beautiful ways anyone can use to glorify the time of love.

Express love with flowers:- This is the most common romantic way to express love. Giving red roses is a traditional way used by couples and people to express affection and devotion to their loved ones.

Go on a fancy dinner date:- To celebrate this time people, usually go on a romantic date with their spouse or partners. This is a day you can swing in love and spend a day full of romance.

Spending quality time:- Most people prefer to spend quality time with their special ones indoors rather than doing anything fancy outdoors. The things people do - watch movies, cook favorite meals, play around, cuddle.

Arrange a romantic proposal:- There is no other time like valentine's day, to propose the love of your life. After all, this moment is meant for lovers. Getting down on your knees with a ring or rose in your hand with a beautiful surprise setup is one of the best ways to confess your love.

Exchanging gifts:- People celebrate by giving valentine gifts, handmade greetings, and chocolates to their loved ones to increase the sweetness of their bond.

The month of love, February, is about to begin. The world celebrates the week starting from 7 to 14 Feb.

Here is a complete list of the week people celebrate with enthusiasm and romance.

Rose Day: The first day of the week. As a symbol of love, roses are traditionally given on this day.

Propose Day: It is marked as proposal day. On this occasion, lovers get a chance to confess their love to their partners.

Chocolate Day: Make your bond stronger and sweeter by giving chocolates.

Teddy Day: Teddy day is the fourth day. Teddies, soft toys are given to girls. Which will always remind them of you.

Promise Day: The name says it all. Take this opportunity to promise your partner to be with them in every up and down of life.

Hug Day: Give a tender hug to your beloved and let them know that they are loved forever.

Kiss Day: Celebrate with a kiss to make your love solid.

Valentines Day: 14th February, the last day of the week. It is a day of love and commitment. People enjoy this and celebrate it in the best possible way they can.

It is one of the best opportunities to give gifts. So take this perfect opportunity to strengthen your relationship. Sharing with you some of the best gift ideas for valentines day.

Super sweet greeting card.

Enchanted Rose.

Personalized Gifts.

Jewelry

Watch

Flower bouquets and gift hampers

And above all your affections.

The Bottom Line:-

It is a perfect time to surprise your special ones with something tiny or with a grand gesture. Make this special occasion as beautiful as your relationship.

#valentine gifting ideas #valentine gifts #valentine gifts 2022 #gifts for him #gifts for her

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aromantic-misguide-to-romance · 4 years

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Let me write an event, Solmare!

Here a sample:

Next time you make a Lucifer centred event again (not that I want yet another one, but it's a matter of time, honestly) make him Snow White.

Lucifer passes out from overwork and is found with a poison apple, for example.

His brothers + undateables are panicced dwarves who are completely useless and focus on the suspect apple.

MC is the prince and has the only braincell in the whole Devildom.

Or Asmo is going to visit his beloved older brother Lucifer who got sick because he's overworked but Asmo gets distracted by flowers and encounters the Big Bad Good Wolf MC who guides him to the hut.

MC can't really get Asmo to be reasonable about anything so next time Asmo is about to visit the MC goes so Luci to check if Asmo arrived and realise Asmo got distracted by flowers again and strayed, so Luci gets up to search for Asmo too and they split up.

They find nothing. MC comes back to check if Asmo made it to the hut but gets distracted by classy Luci's clothes and tries them on because they have like one braincell and Lucy borrowed it for the search. Asmo mistakes MC for Luci, MC doesn't have a clue how to handle him.

Luci catches them and typical for himself attacks before asking because it looks like the wolf tricked him to harm Asmo.

Also Levi referred to MC once or twice as his knight and is always in his room so he could be a good Rapunzel.

Turns out though he just told MC he's locked up to earn their sympathy and wasn't locked at all.

MC would convince him to come out. They'd have a black mustang (I would deliberately leave it vague whether a car or a horse) and protecc him from unwanted social interaction with a sword.

Belphie is canonically Rapunzel too, y'know. MC could have such dream.

MC could have a motorbike and a guitar, they'd be a rip-off of the main dude from the Cry-Baby movie and they'd drive to the sunset accompanied by Lucy's angry screams as he noticed the prison break.

If MC gets caught for breaking him out, Belphie brings Beel and Asmo to help and they sing "Please Mr. Jailer" and everyone else is so baffled and their brains error and BSOD so much that MC just walks out unnoticed.

Or everyone is there with Belphie, Lucy is the judge who jailed MC and Diavolo is the sexy grandma who is a bit confused but got the spirit and seduces the judge to let Cry-Baby go.

...

I might have strayed a bit with the last scenario.

Am I hired

#obey me! shall we date #obey me!#obey me #swd obey me #obey me lucifer #obey me leviathan #obey me asmodeus #obey me belphegor #no one's om headcanons

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claudia1829things · 4 years

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"ESCAPE FROM FORT BRAVO" (1953) Review

"ESCAPE FROM FORT BRAVO" (1953) Review Years ago, I used to watch a great deal of old movies on late night television. My two favorite channels that offered these movies were Turner Network Television (TNT) and the American Movies Classic (AMC), which used to air movies without any commercial breaks. On TNT, I had stumbled across a Western movie originally released by MGM Studios in 1953 called "ESCAPE FROM FORT BRAVO" (1953) and fell in love with it. After watching my recently purchased DVD copy of the movie, I could see why it became a favorite of mine.

Directed by John Sturges during the first decade of his directorial career, "ESCAPE FROM FORT BRAVO" told the story of a Union Army officer that served as the second-in-command of a prisoner-of-war camp located in the Arizona Territory in 1863. The movie’s opening pretty much set the stage of what kind of character Captain Roper was, as it depicted him dragging an escaped Confederate prisoner back to Fort Bravo. The fact that Roper was on horseback and his prisoner – a Lieutenant Bailey – was on foot pretty much established the Union officer as a hard-nosed and ruthless man. That flint-like personality was exacerbated by his cynicism, revealed in his reactions to the other characters’ disapproval of his treatment of Bailey. However, chaos soon arrived in the form of one Carla Forrester, a Texas belle who arrived at Fort Bravo to serve as maid-of-honor at the wedding of Alice Owens, the daughter of Fort Bravo’s commanding officer, Colonel Owens. Carla was also there to ensure the escape of the prisoners’ ranking officer, her fiancé Captain John Marsh and a few of his men. In order to keep their Union jailers distracted, Carla set out to seduce and romance the fort’s most feared man – Captain Roper. When I first saw "ESCAPE FROM FORT BRAVO", I never thought I would become such a diehard fan of the movie. Do not get me wrong. It was not the best or innovative Western I had ever seen. Screenwriters Frank Fenton and an unaccredited Michael Pate had created a solid character study about conflicts – both political and personal – between the Union and Confederate troops in the Civil War Southwest, and the conflict between the Apaches and everyone else. The movie even had a happy ending – somewhat. Yet, Sturges, Fenton and Pate managed to lift a solid tale into something more fascinating by infusing a great deal of emotion and complexity in the main characters And it were these complex characters that truly made "ESCAPE FROM FORT BRAVO" for me. The characters seemed to seethe with an array of emotions that eventually burst forth as the movie unfolded. Many of these emotions seemed to center around the story’s main character. One of those characters happened to be Carla Forrester. And Eleanor Parker managed to do a top-notch job in portraying the bundle of contradictions that simmered underneath her ladylike façade. Parker portrayed Carla as a cool Southern belle with impeccable manners and a talent for seduction. Her Carla also possessed the ruthlessness to browbeat a reluctant pro-Southern storekeeper into helping Marsh and his men escape; a boldness that allowed her to chase after Roper in an age where women were valued for being passive; and a great deal of passion for Marsh and later, Roper. One of the more interesting aspects of Parker’s performance was expessing Carla’s struggles to suppress her feelings for Roper. Recently, I learned that Parker had earned the nickname Woman of a Thousand Faces. Judging from her portrayal of Carla Forrester, I would say that she deserved the name. I have been a fan of John Forsythe since his years as Charlie Townsend’s voice in "CHARLIE’S ANGELS" (1976-1981) and his work on the ABC nighttime soap opera "DYNASTY" (1981-1989). But I must admit that I found his performance in "ESCAPE FROM FORT BRAVO" somewhat perplexing. On one hand, Forsythe did a excellent job in portraying John Marsh’s patience, intelligence and slightly caustic nature - especially in scenes that featured Marsh's exchanges with his fellow Confederate prisoners. However, there seemed to be something not quite . . . right about the character. I do not know if the fault lay with Forsythe’s performance or Fenton and Pate’s screenplay. The problem with the Marsh character or Forsythe’s acting seemed to be Marsh’s successful ability to suppress his emotions. There were times when I wondered if the only true feelings that Marsh seemed able to truly express, centered around his desire to escape. And when he finally did express his his jealousy toward Carla’s feelings about Roper – it came off as slightly unconvincing. Either Forsythe had failed to sell it . . . or Fenton and Pate failed to allow Marsh to express his jealousy until it was too late in the story. I certainly cannot accuse William Demarest and William Campbell for giving unconvincing performances. The pair portrayed two of the Confederate prisoners – the wise "old" man Sergeant Campbell and the cocky young Cabot Young. The pair seemed to be engaged in some kind of verbal warfare that I found a lot of fun. Yet, it also seemed to hint some kind of mild dislike between the two – until the ending revealed their true feelings for each other. Two other performances caught my attention – John Lupo as the cowardly Confederate officer Lieutenant Bailey and Richard Anderson (of "THE SIX MILLION DOLLAR MAN" and "THE BIONIC WOMAN" fame) as the soon-to-be husband of Alice Owen, Lieutenant Beecher. What made these two characters interesting was that each man – in his own way – seemed capable of some kind of courage. Although a physical coward, Bailey possessed the courage to openly admit his limitations. And Beecher had no qualms about openly expressing his disapproval of Roper’s ruthlessness, despite being the captain’s subordinate. While writing this review, it occurred to me that I had yet to comment on William Holden’s performance as the hard-nosed Captain Roper. The same year (1953) that MGM released "ESCAPE FROM FORT BRAVO", Paramount released Billy Wilder’s movie, "STALAG 17" - the movie that featured Holden’s Oscar winning performance. If I had my way, I would have given Holden the Oscar for his performances in both movies. What I found amazing about his portrayal of Roper is that in the hands of a lesser actor, the character could have easily ended up one-dimensional. Ironically, most of the supporting characters seemed to view him as a one-dimensional hard ass. Yet, Holden managed to effectively convey Roper’s complexity by perfectly balancing the character’s ruthlessness with an intelligent, witty and passionate man. In the end, he actor did a superb job in combining the many aspects of Roper’s personality into a complex and interesting character. MGM’s Oscar winning costume designer Helen Rose added color to the movie with some lush costumes befitting the movie’s early 1860s setting. Unfortunately, Rose made one serious misstep with a yellow evening gown worn by Eleanor Parker:

The gown seemed more befitting of a movie set in the early 1950s, instead of the 1860s. It is not surprising that Rose had received her Oscar nominations and wins for movies in a modern setting. I also have to commend cinematographer Robert Surtees for capturing the Southwest landscape (Southern California and New Mexico) without overwhelming the performers. Surtees also made use of the Ansco cameras to give the movie a rich and lush aura, allowing the desert to seem more colorful than usual. Surprisingly, Frank Fenton and Michael Pate’s script for "ESCAPE FROM FORT BRAVO" seemed to bear a small, yet striking resemblance to John Ford’s 1939 classic, "STAGECOACH". Both movies are basically character studies of a group of people in a Western setting – namely the Southwest – that included action against the Apaches in the final acts. And the Apaches in both films proved to be nothing more than plot devices to drive the characters’ situations forward. However, Sturges and the two screenwriters gave the Apaches’ roles a twist by portraying them as an organized military unit, instead of a bunch of rampaging "savages", during a sequence that featured Roper, Carla, Beecher, Marsh, Bailey, Campbell and Young under besiege by the Apaches’ "bombardment" of arrow similar to Henry V’s use of English and Welsh longbowmen at the Battle of Agincourt. And unlike the John Wayne and Claire Trevor characters in "STAGECOACH", this movie left the fate of Roper and Carla’s future romance in the air. After all, she had assisted in the Confederates’ escape. It is a shame that "ESCAPE FROM FORT BRAVO" has never been considered when top Hollywood Westers are discussed. Or even when John Sturges’ career is discussed. Frankly, I believe the movie deserves to be considered. Sturges had taken Frank Fenton and Michael Pate’s sharp screenplay and a top notch cast to create a tense and complex Western that I feel is one of the best I have seen to come out of the Hollywood studio era.

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acontributor · 4 years

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The Origins of Dating

The word “date” was coined — inadvertently, it seems — by George Ade, a columnist for the Chicago Record, in 1896. In a column about “working class lives,” he told of a clerk named Artie whose girlfriend was losing interest in him and beginning to see other men socially. When Artie confronts his fading love, he says, “I s’pose the other boy’s fillin’ all my dates?”

But when these single women, stripped from their dependency on fathers and husbands, began to be courted in public, police, politicians, and civic leaders were alarmed.

“In the eyes of the authorities,” Weigel writes, “women who let men buy them food and drinks or gifts and entrance tickets looked like whores, and making a date seemed the same as turning a trick.”

After centuries of women’s fortunes being dictated by the men around them, the notion of women on their own gave much of society pause. In Chicago, single women were known as “women adrift.”

The charity girl

These circumstances gave birth to dating rituals and other unfortunate traditions that still remain — or, at least, still cause confusion as mores change — today.

When women first hit the workforce, writes Weigel, “the belief remained widespread they were working not to support themselves but only to supplement the earnings of fathers or husbands.”

As such, “employers used this misconception as an excuse to pay women far less than they paid men. In 1900, the average female worker earned less than half of what a man would earn in the same position.”

If you’ve ever wondered how it developed that men were expected to treat their dates, that’s how.

“‘If I had to buy all my meals I’d never get along,’ a young woman living in a boardinghouse in Hell’s Kitchen told a social worker in 1915.”

But as these women were courted in public, efforts were undertaken to curb what authorities viewed as a potential public menace.

“In the early 1900s, vice commissions across the country sent police and undercover investigators to check out spots where people went to make dates,” Weigel writes. “As early as 1905, private investigators hired by a group of Progressive do-gooders in New York City were taking notes on what we can now recognize as the dating avant-garde.”

She recalls the report of one such special agent, staked out at the Strand Hotel in Midtown, who noted that the women he was spying on did not seem like prostitutes, per se, but were concerning nonetheless.

Of the “store employees, telephone girls, stenographers, etc.,” he noted that “their morals are loose, and there is no question that they are on terms of sexual intimacy with their male companions.”

So heavy was the concern that these loose, immoral women might harm society that, “in the 1910s, John D. Rockefeller Jr., the son of the Standard Oil founder, funded investigations into the commercialized vice industries of more than a dozen American cities.”

By the mid-1910s, women on dates came to be known as “Charity Girls” — as in, since they took no money for their “favors,” they were perceived to be giving it away as charity — and by the 1920s, “the prostitutes at New York’s Strand Hotel complained that Charity Girls were putting them out of business.”

It sounds like a joke, until you learn that some women were thrown in jail for this horrible crime.

“At Bedford Reformatory, an institution founded to rehabilitate female delinquents in upstate New York, an Irish woman told her jailers again and again that she had ‘never taken money from men,’ ” Weigel writes. “Instead, men took her ‘to Coney Island to dances and Picture Shows.’ ”

In time, the authorities gave up, overtaken by reality.

“As the years passed, the vice squad had to accept it,” she writes. “Daters did not see these exchanges as tawdry. They saw them as romantic.”

The shopgirl

While dating finally became acceptable, it wasn’t exactly liberating for women. If the American Dream for men was to work hard and become a success, the equivalent for women was to get a good job and marry your rich boss.

“Frances Donovan, a University of Chicago–trained sociologist who taught at Calumet High School on the city’s South Side in the 1920s, interviewed senior girls about their plans after graduation,” Weigel writes.

“‘I would like to be a stenographer,’ one announced. ‘I’m going to be an executive secretary and marry the boss.’ ”

The other alternative was for women to take jobs in high-class department stores where rich men were likely to shop. These women became known as “Shopgirls.”

Donovan spent two summers working at a department store to research a book, and later reported she knew of “several marriages and heard of a great many more where the husband was far above the wife as measured by the economic scale.”

Magazines began running articles such as, “How Shopgirls win Rich Husbands.” An in-house newsletter for Macy’s employees in New York even included a gossip column that tracked these courtships.

“Have you noticed a gentleman wearing spats stopping at Miss Holahan’s counter every day, leaving a spray of lily of the valley?” read one such entry. “Best of luck, Ide!”

In order to attract rich men, these Shopgirls were caught by the irony of needing to buy the expensive items they sold.

In an odd way, this consumerism marked a form of progress.

“In an earlier era, a girl from humble origins could not hope to look like the wife or daughter of a millionaire,” Weigel writes. “But a job in a department store or a laundry gave anyone opportunities to become well versed in the signs of wealth.”

To that end Shopgirls studied their well-to-do female customers seeking to imitate their look, which led the business world to pounce on this new type of consumer who sought little but to impress.

“The cosmetics industry exploded in the 1920s,” Weigel writes. “Previously, only prostitutes and actresses ‘painted.’ Victorians had viewed ‘natural’ outer beauty as a sign of clean living. But around 1900, more and more women were starting to apply cosmetics. By 1912, the Baltimore Sun reported that even respectable society women ‘are seen on our streets and fashionable promenade with painted faces.’ ”

To counter society’s negative association with painted faces, “the cosmetics industry invented a new term: makeup.

“Not only was ‘making yourself up’ permissible; advertisers were soon claiming it was positively virtuous,” Weigel writes. “By making herself up, a woman showed that she valued her femininity and was willing to spend time and money on her appearance.”

The ‘It’ Girl

Two other now-familiar concepts also sprung up around this time. Previously, people sought to be known by traits that emphasized morality, such as “character” and “virtue.”

The concept of “personality” — which places emphasis on surface traits — had been regarded in the negative, referenced in terms of “personality disorders.”

“Starting around 1920, however,” Weigel writes, “experts began to grant that healthy individuals had personalities, too.”

The concept began popping up in romance literature and articles about dating, in the sense that, “personality was like ‘painting’ — a way a woman could make herself up in order to appeal to men.”

“In the context of dating, to have a ‘good personality’ or to simply ‘have personality’ meant to have charisma,” Weigel writes. “This was an asset whether you were selling handkerchiefs or selling yourself.”

Elinor Glyn, writing for Cosmopolitan in 1926, referred to personality simply as “It,” which was, according to Weigel, “a mysterious kind of animal magnetism.”

“With ‘It,’ ” Glyn wrote, “you win all men if you are a woman — and all women if you are a man.”

Glyn’s article was adapted for a movie starring Clara Bow as “a shopgirl who has ‘it,’ ” and the concept of the It Girl was born. Bow’s It Girl, of course, sought to marry the boss — in this case, the son of the store’s owner.

The notion that “it” can be developed led to the origin of another phenomena — the dating-advice book.

Weigel tells of a 1915 New York Times article on a lecture by author Susanna Cocroft, who seized on the trend by writing books like “What to Eat and When,” and this now-remarkable title, “Beauty a Duty.”

“‘Beauty is no longer vanity; it is use,” Cocroft said. “A waitress or a shopgirl could be fired at any time simply because someone her boss found prettier showed up and asked for her position.”

As dating rituals changed, moral authorities panicked at every turn. After “petting” came into vogue in the 1920s, for example, Weigel cites a Times article from 1922 with the title, “Mothers Complain That Modern Girls ‘Vamp’ Their Sons at Petting Parties.”

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tabletopinfinities · 5 years

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7th Sea

Swashbuckling and Sorcery Piracy and Exploration Espionage and Intrigue Welcome to the New World

What’s the premise?

7th Sea is a world of swashbuckling fantasy, in a setting that’s very much like our Earth circa the Age of Sail, but filled with sorcery, monsters, and the mysterious ruins of a pre-human civilization. The core book focuses on Théah, the 7th Sea world’s equivalent of Europe, which is currently recovering from a bloody war between the traditional Vaticine Church and the reformist Objectionists and emerging into a new age of nationalism and humanism. Monarchs play games of espionage while secret societies work behind the scenes. Traders sail to the New World in search of exotic treasures and pirates follow in their wake. Some nations are even beginning to experiment with a bold new idea - democracy.

The technology level of Théah is slightly higher than our world’s was at the time, thanks partly to a Vaticine Church that values knowledge and discovery and also partly to ancient Syrneth artifacts that are centuries beyond human science. Sorcery and magic are not uncommon - but are primarily the domain of the nobility. Spirits, monsters, and other beings haunt the wild places, and any given folktale has a chance to be true.

The characters you play are all very explicitly Heroes, doing noble deeds to fight tyrannical Villains. The world of 7th Sea has a lot of problems besieging it right now - the looming specter of the Castillian Inquisition, the depredations of the Atabean Trading Company, the tyranny of l’Empereur du Montaigne, just to name a few. It’s a world on the brink of becoming something wonderful - it just needs a few good heroes to show it the way.

You’d like it if you’re into: The Princess Bride, Pirates of the Carribean, Zorro, The Three Musketeers, Brotherhood of the Wolf, old Errol Flynn movies

Why do you recommend it?

If you’ve ever wanted to swing from chandeliers, plunder treasure, cut feathers off caps with a swish of your rapier, and woo the fair maiden / handsome prince / other attractive individual, 7th Sea is the game for you. Magic and strange technology add a great twist to an otherwise straightforward historical fantasy.

7th Sea, the new 2nd edition in particular, is one of the most inclusive and welcoming mainstream RPGs out there. Women and people of color can be characters of all kinds, and queer, trans, and nonbinary characters are littered throughout the books and accepted within the setting itself. That, plus the emphasis on your character being a capital-H Hero, make 7th Sea an unapologetically wholesome game. It’s lighthearted and silly, while still allowing for serious dramatic moments.

Plus your character practically cannot die, no matter how much you screw up.

What are the rules like?

The core idea of 7th Sea is that you will almost always succeed at what you’re trying to do. You’re a Hero, after all. If you don’t roll well enough, though, your success might not be total. The way they mechanically represent this is very narrative-driven and plays quite differently from the standard RPG.

There’s three kinds of rolls to make in 7th Sea. The most basic, the Risk, is when your character is trying to bypass a simple obstacle. For instance, they might be trying to escape from a burning room. You decide what your character’s Approach to that will be, and what combination of skills and traits to use. In this case, they might use Finesse + Athletics to dodge and and jump over falling beams, or perhaps Brawn + Weaponry to use their axe to hack a hole in the wall, or even Panache + Tempt to bat their eyes at the fleeing henchman and tell him that if he rescues you, you’ll surely owe him a favor. Then you roll a d10 for each point you have in the chosen trait and skill. If you’re using a skill you haven’t used yet this scene, roll another die, and if you take the time to describe your action a little, roll a further die. Each set of dice you can add up to 10 is one success - here called Raises.

All it takes to succeed in the Risk is a single Raise. The catch is: there will always be Consequences and Opportunities associated with the Risk. You’ll need to spend additional Raises to either avoid the Consequences or activate the Opportunities. In this scenario, the consequences might be something like “take 3 damage from fire” - and each Raises you spend towards that will remove 1 damage from that. Or perhaps you’ll need to keep your clothes free of ash so you can sneak into the ballroom after like nothing happened. For Opportunities, it might be something like “grab the important-looking letter on the table before it burns” or “lead the poor henchman along enough that he switches sides.” So success or failure is never just binary - unless you roll really well, you’ll have to make some choices about what the effects of your actions on the story will be.

The two other kinds of rolls work in a very similar way. Action Sequences represent fights, chases, and the like, and Dramatic Sequences are extended challenges like sneaking into the castle or snooping around town to find information on the wicked viscount’s plans. You make your Approach, and then each character gets to spend Raises from their pool to take actions. As before, all you need is a single Raise to do something, but if a Hero and a Villain are trying to contest, whoever spends more Raises on it wins. During Action Sequences, you can spend Raises to do damage - yes, this means anything can be used as an attack skill if you’re creative enough (“I use Wits + Scholarship to whip up a gas grenade and throw it at her!”). Action Sequences can have Consequences and Opportunities just like a Risk can, including Brute Squads, which are the nameless flunkies your hero mows through without a second thought. A single point of damage takes out a single brute, but any brutes left alive get to deal damage at the end of the round. There might also be events that happen at certain points in the Action Sequence once everyone’s down to a certain number of Raises - the storm hits the ship at 4 Raises, and it hits the rocks and starts to sink at 1.

Dramatic Sequences are the same but paced over a more extended period of time, and are more about seeing how far you can get in your task before you run out of Raises. As before, each Raise you spend lets you change the scene in some way - climb over the castle wall, for instance. Next, you might have to spend a Raise to sneak past the guards, then to steal the jailer’s key. If you run out, though, you’ll be unable to change the scene any further - so after you’ve rescued your ally from jail and you hear someone’s footsteps approaching, if you don’t have another Raise left to hide you may just have to fight your way out.

Every character is pretty tough and can take a fair amount of damage before going down. For every 5th point of damage you take (or any time you get hit with a firearm, because those things are nasty), you take a Dramatic Wound. Your first Dramatic Wound actually helps you - just like the hero in an adventure story, you become driven to succeed and get a bonus on all your rolls. For your second Dramatic Wound, the tables start to turn and now all the Villains get a bonus on their roles. For the third, you get an even bigger bonus as your heroic determination kicks in - and then at the fourth, you become helpless. Not dead, just unconscious or incapacitated - it takes an explicit act from the GM to actually kill you.

Finally, there’s Hero Points. These work a bit like an expanded version of Inspiration from D&D 5E, and other similar mechanics. Basically, you can spend them for bonuses to your roll, a bonus to someone else’s roll, to fight on for a round after you’re incapacitated, and a few other things. You can also spend them to activate your Knacks, which are big character abilities with effects like “knock out an entire Brute Squad in one go” or Come Hither, which lets you lure a character into another room and return without them… no rolling required. Everyone gets one Hero Point to start, and you can earn more by acting in accordance with your character. You can also get one at any time by choosing to fail a roll - so if you think the odds are overwhelming, or you just want to see what happens if your character gets captured or can’t stop the villain’s plan from succeeding, you can just say “I fail” and bank up another Hero Point for the challenge ahead.

What’s my character like?

Your character is a Hero. They come from a particular Nation that gives them some bonuses, and they have two Backgrounds that tell you what their professions are/were and give them some bonus skills and Advantages, as well as determining what in-character actions give them Hero Points. They have a Virtue and a Hubris, each based off the Major Arcana of the tarot (or Sorte deck, in this world). The Virtue is a powerful special ability they can activate, and the Hubris is a character flaw that you can get a Hero Point for roleplaying. Beyond that, there are no classes per se - the character is yours to define as you see fit. Advantages are the main way of customizing your character and giving them special abilities.

You can choose to take Advantages join a Swordsman School or take Sorcery from your nation of origin. Swordsman Schools give you the option to do some fancy Maneuvers in combat, which let you hit for lots of damage, parry opponents’ attacks, etc, as well as a unique Maneuver for each school based on its preferred weapons and fighting style. The difference in combat effectiveness between a swordsman and a non-swordsman is huge, so if you’re planning on making a character that excels at combat, swordsman is definitely the way to go. You also get to be a part of the Swordsman’s Guild, who are legally allowed to challenge people to duels.

The Core Rules present character creation options only for the primary Théan nations - if you want to play a character from another culture, you’ll need the appropriate book. (See What books should I get?, below.)

Avalon, seat of the Triple Crown, is a green and enchanted land touched by the Sidhe - elves, faeries, goblins, and other creatures. The Sidhe are sometimes beautiful, sometimes hideous, always inhuman, and frequently downright nasty. Queen Elaine recently ascended to the throne after recovering the Graal, throwing off the yoke of Montaignois conquest and bringing the Sidhe back to our world - but now the Sidhe are starting to encroach on human lands. This is a land of faerie tales, and those don’t always end happily.

The other two nations in the Triple Crown are the Highland Marches, a craggy land of proud clans and chieftains, and Inismore, a land with a fondness for stories, whiskey, and a good bar fight. Neither of these two is necessarily happy about being part of the Triple Crown, and there’s a growing separatist movement looking to break the alliance, no matter how much gunpowder and blood it takes.

Avalon’s Sorcery takes the form of becoming one of the Knights of Ellilodd, each one the embodiment of an ancient knight of legend. In exchange for taking a vow to the Graal to be a righteous protector of justice, you can tap into that knight’s legendary powers. Should you break your vow, you’ll need to atone before you can regain your powers, however.

Castille is a sun-dappled nation with a deeply passionate people. They recently held off a Montaignois invasion at dear cost, only to fall under the yoke of the Inquisition. Cardinal Verdugo controls their young king like a puppet while he conducts a reign of terror across Théah aimed at rooting out anything he deems heresy. Castille is the seat of the Vaticine Church, and its people are often devoutly religious and very highly educated thanks to the nation’s excellent universities.

While Castille has no Sorcery in the Core Rules, Nations of Théah, Volume 1 introduces Alquimia as an option, letting you invent various alchemical and technological marvels and advancing along a path of self-improvement towards a grand goal.

Eisen was the center of the fighting between Vaticine and Objectionist, and it left the land a blood-soaked mudhole full of traumatized survivors, divided between small princedoms, some of which seek to unite the nation under their banner. Worse, something about the concentrated misery has spawned literal Horrors, monsters of all shapes and sizes that roam the land and prey on innocent victims. But the people of Eisen are a grim, determined lot, and the nation’s not ready to give up without a fight.

Eisen’s Sorcery, Hexenwerk, is a particularly gruesome art dedicated to refining potions and unguents from dead bodies - and then consuming them to gain powers to fight undead horrors and other foes. Hexen are often hunted down as grave-robbers, but they do what they have to do to survive and stop the Horrors.

Montaigne is often considered the center of Théan culture, or at least the Montaignoise themselves certainly think so. Their courts set the standard for fashion across the continent, and their nobles throw the most lavish parties. Unfortunately, all of this has been built on the backs of the peasantry, who have been pushed to their limit by harsh taxes and conscription to serve in L’Empereur’s frivolous wars. L’Empereur sits on his grand throne, surrounded by an endless party of gilded nobility, oblivious to the whispers of revolution coming from below.

Montaignois Sorcery is passed down through noble bloodlines, but it’s quite ungenteel. The art of Porté lets you rip bleeding holes in reality and slip through the space between to walk to other places, or to pull objects out of thin air. Just never open your eyes while you’re in-between.

The Sarmatian Commonwealth is actually two lands under a single crown - the cosmopolitan Reczezpospolitans, and the more traditional Curonians, who still venerate the old spirits. Recently, the king, disgusted with gridlock in the houses of parliament, made a proclamation of Golden Liberty. This made everyone in Sarmatia was now a noble with voting power, marking the beginning of a chaotic experiment in democracy. Some Sarmatians seek to lead their country into a populist new era, some try to take advantage of the chaos to seize power, and others, resentful of the new order, plot to depose the aging king.

Sanderis, the Sarmatian Sorcery, is about making deals with devils. Dievai, to be more precise. They’ll do anything you wish, from snuffing a candle up to unleashing a firestorm that destroys an entire city - provided that you are willing to pay their price.

Ussura is a massive, wild country with long winters and sparse civilization. The Ussurans are pragmatic and hardy folk, and highly superstitious with good reason - spirits both good and evil thrive in these lands. The greatest among them, Matushka, watches over the Ussuran people like an overprotective mother, rewarding the just and punishing the wicked. The Czar recently died under suspicious circumstances, leaving the nation divided by two potential successors - one dedicated to modernization, the other seeking to preserve the old ways.

Ussura’s form of Sorcery, Dar Matushki, are the gifts of Matushka herself - often given as the reward for overcoming painful lessons. Those who fall out of favor with her will earn her wrath, however.

Vestenmannavenjar, another cold northern country, is a land of fierce raiders and warriors who have completely reinvented themselves as a modern nation. In recent years they presented the world with a standard, unified currency - the Guilder - that has come to dominate world trade and finance, all to the benefit of the Vesten, of course. Rather than the High King of olden times, they are ruled by the Vendel League, made up of the heads of all the various trade guilds. Now, rather than conquest and pillage, they extract their plunder from fees and interest. Some Vesten mourn for what used to be, a nation of honor and blood replaced by silver and greed.

Vesten has no Sorcery in the core book, but Nations of Théah, Volume 1 introduces Galdr, a magic derived from runic words of power. Each rune grants strengths tempered with weaknesses, to maintain the balance.

Vodacce is a nation of intrigue, divided up between seven Merchant Princes who constantly scheme against each other. Like Castille, they are devoutly Vaticine, but they have a very unorthodox interpretation of sin, believing that it is better to indulge yourself than let desire fester in your heart.

Vodacce’s magic, Sorte, is the exclusive province of women. The Sorte Strega can manipulate the strands of Fate itself, and can be distinguished by their long black veils, to hide the glazed look they get when manipulating destiny. Too much tugging on the strands risks them lashing back out at you, however, giving you bad luck at the worst times. The men of Vodacce all fear the power of Sorte, and keep the women of Vodacce oppressed and illiterate.

In addition to being from a particular nation, your Hero can also join a secret society. In 1st edition, all of these societies had hidden secrets to them that were presented in their own books. Given that some of the 2nd edition versions differ radically from their older incarnations and the book devoted to secret societies hasn’t come out yet, it’s unknown if those secrets still hold true, or if they hold the keys to different world-shattering truths.

Die Kreuzritter are a former order of crusader knights, since gone underground. They hunt monsters and defend the innocent, using the legendary metal called Dracheneisen, which has great powers against monsters and the supernatural.

The Knights of the Rose and Cross, one of the few secret societies with a significant public face, publicly fight injustice and protect the society’s Patrons. There are rumors of hidden occult secrets only revealed to the initiated.

The Invisible College are a loosely-affiliated band of scholars, artists, scientists, and philosophers who seek to preserve knowledge from those who would destroy it - especially the forces of the Inquisition. They have access to devices on the cutting edge of Théan science.

The Brotherhood of the Coast are pirates who have banded together under a shared code of honor, providing protection to ships that pay them and plundering those that don’t.

Močiutės Skara, “Grandmother’s Shawl,” is in its public face an order of nice old ladies who tend to the victims of disasters and wars, and are welcomed across Théah. In private, however, they seek to prevent wars and achieve peace through any means necessary.

Los Vagobundos are dedicated to upholding the reigns of good monarchs and overthrowing unjust ones. Their leader, the masked man called “El Vagobundo,” can appear many places at once - but unbeknownst to outsiders, it’s always a different member under the mask, channeling the power of the legend.

The Rilasciare are anarchist free thinkers who oppose oppression and tyranny in all its forms, but especially seek to do away with the very concept of monarchy. Some accomplish their goals through pranks and subterfuge, others through bombs and daggers.

Sophia’s Daughters, a small branch of the Rilasciare, are more specifically dedicated to aiding the Fate Witches of Vodacce, spiriting them to safety in other nations, educating them in secret, and making strides towards liberation whenever possible.

What’s the campaign like?

In a game where the characters all play Heroes, there’s a strong focus on defeating Villains. Before you fight them directly, you have to defeat their Schemes, upon which they stake some of their influence. Stop the Scheme, and they lose what they wagered, otherwise, they gain back double their investment. Foil enough Schemes, and they’ll be dramatically weakened for the final confrontation. Thus, most campaigns are focused around a central Villain and their underlings that the Heroes can work their way through.

Each of your characters also has their own separate Stories to pursue, which is how the experience system works. You pick what story your Hero will follow, such as “avenge my father’s death,” figure out what benefit they get at the end of the Story, like “Weaponry 5,” and then figure out how many steps the story will have in the story based on what you want. Although you probably know the beginning step of the story (“find the name of the woman who killed my father”) and what the end will be (“I challenge her to a duel”), you and the GM can work together to figure out the most interesting twists along the way (“Step 3: I discover she was secretly my half-sister”). If you want, there’s nothing stopping you from making the ending a tragic one at the last minute, or even deciding that your Hero should fail so that they can be led into a future Story (“She defeated me into the duel and threw me into the sea - but not before she told me the real reason she killed my father!”) In between these main story points, the GM will also weave in their own side stories and recurring stories, which grant rewards in the same way as you complete them.

Odds are also good your party will get access to a ship at some point, this being a setting with an emphasis on seafaring. Ships have their own abilities based on where they were built and their history, and can gain new abilities as the party completes various types of adventures, like unlockable achievements. Players are encouraged to work with the GM and flesh out the ship’s NPC crew. Of course, the crew will also need to be paid regularly lest they turn mutinous.

What books should I get?

It should be noted that 1st edition and 2nd edition are radically different, both in rules and setting. While the 1st edition books are still useful as inspiration, most of the material in them isn’t canonical any more, and a good chunk of the setting is completely new to 2nd edition anyway. Frustratingly, there’s some characters in both editions that didn’t get described in the 2nd edition books on the grounds that they were already described in 1st edition. If you prefer rules that work like a more traditional RPG, 1st edition is probably more for you (and it also has cross-compatibility with the d20 system in its later supplements). Otherwise, stick to the 2nd edition books. You’ll need a copy of the Core Rulebook, and then the other books describe and provide character creation rules for the other nations and continents not described there.

Nations of Théah, Volumes 1 and 2 flesh out the western and eastern nations respectively, adding some more geographical and historical material as well as some new character rules suited for those nations.

Pirate Nations is very useful for a seafaring campaign, covering the various groups in the Atabean Sea, from pirate republics to native sea-monster hunting Rahuri, a slave colony that cast off its chains, and the villainous Atabean Trading Company. It also includes the Théan nation of Numa, once the cradle of Théan civilization.

The Crescent Empire introduces the Middle Eastern-inspired nations, flourishing under a new Caliph who banished her wicked brother from the throne. These five nations are united as one despite their differences, but loyalists to the old Caliph still plant seeds of dissent for his return.

The New World has the Central/South American continent of Aztlan, once ruled by Old Gods that caused a great cataclysm when they were overthrown that made the land itself shift and change. The Aztlani now venture into this uncharted territory to reclaim what they once had, balancing cultural independence against unifying the continent under one flag, whether by alliance or conquest, while wondering how long they can hold back the greedy Théans eyeing the continent’s treasures.

Lands of Gold and Fire presents the African continent, Ifri, home to several wealthy and highly advanced civilizations. They are under threat both from expansionist Théan powers and the Atabean Trading Company, whose campaign of slavery has empowered an ancient evil in the land.

Several other books are forthcoming for 2nd edition, including one with more information on the secret societies, and The Colonies, which will detail the North American continent. Khitai, the Asian continent, will have its own separate game system (called, appropriately, Khitai), with similar but slightly different rules.

What equipment do I need?

7th Sea uses d10s only, and you’ll want about 6-8 on hand per player, plus a decent stockpile for the GM. Sharing dice isn’t recommended here because it’s easier to keep the dice you rolled in front of you to count Raises during Action Sequences. You’ll also need some method of keeping track of Hero Points - poker chips work well, but you can get creative. Official 7th Sea versions of both are available.

There’s also the Sorte Deck, which makes a great in-universe prop (especially for Fate Witches), although you should note that it differs slightly from real-world tarot decks and has a few arcana cards that aren’t detailed even in the Core Rules. You could use it to guide your characters’ fates, or suggest the next step in their Stories.

Notecards are also helpful for tracking ongoing Stories.

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takataktop · 1 year

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Rajnikanth's Magic Begins as 'Jailer 2' Production Commences, Makers Pay Him a Massive Advance for the Film

Rajnikanth's film 'Jailer' was released in cinemas on August 10th. The remarkable success of the movie continues into September. This film has achieved several milestones. Now, preparations for its sequel have begun, and the makers have already met with the superstar.

Superstar Rajnikanth's recent release, 'Jailer,' has worked wonders at the box office. Audiences have showered it with love. Thanks to its tremendous earnings in the Tamil language, 'Jailer' has earned a whopping 650 crore rupees. Rajnikanth received a hefty fee of 200 crore rupees for his role in this film. His star power and exceptional acting have contributed to the film's outstanding success. Consequently, the makers are now gearing up for 'Jailer 2,' and the preparations are underway. They have even paid Rajnikanth in advance. Read more : Until the tiger is not defeated, the tiger does not lose - this is Salman Khan's message in 'Tiger 3' with 5 impactful dialogues. Preparations for 'Jailer 2' Begin, Makers Meet Rajnikanth Rajnikanth's film 'Jailer' has set numerous records in its short run. It achieved 16 records within just 25 days of release. Witnessing the historic success of the film, director Nelson Dilip Kumar has already initiated the production of 'Jailer 2.' Not only that, but the director has also given Rajnikanth an advance of 55 crore rupees for 'Jailer 2.' 'Jailer' Breaks Several Records Superstar Rajnikanth's 'Jailer' made its debut in cinemas on August 10, 2023. The remarkable earnings from the film are continuing into September. During this period, other releases like Akshay Kumar's 'OMG 2' and Sunny Deol's 'Gadar 2' couldn't overshadow Rajnikanth's 'Jailer.' Meanwhile, 'Jailer' has set numerous records, including becoming the all-time number one film in Tamil Nadu, the second all-time highest-grossing Tamil film in the Telugu states, the all-time number one Tamil film in Kerala, the all-time number one Tamil film in Karnataka, and the third Indian film to earn more than 50 crore rupees in the southern states, among many other records. Read more : The shooting of this spy thriller has been going on for 10 years, and in November, the South Indian film 'John' is set to challenge both Tiger and Pathan. Read the full article

#Jailer2 #Rajnikanth'sMagic

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seasaltmemories · 7 years

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Demons Chapter 11

Rating: T

Summary: There's nothing broken about you. We just need to allow ourselves the privilege to exist.

When Petra woke up, her head was pounding like a drum. It felt as if she had to carry concrete slabs with her pinky toe just to lift her eyelids. The closest thing to a coherent thought she could muster was regret over drinking whatever beverage it was that could cause a killer hang-over like this. Still as she slowly came to her senses, she realized this felt nothing like that. Whatever this was, it was worse, as if Life itself had picked her up and wrung every drop of energy from her body.

Then a set of bars came into focus, and immediately it was like none of that pain matter anymore. Petra sat up not only to find herself locked in a cell, but a blonde girl sitting across from her.

She looked to be no older than her mid-teens and even smaller than Petra herself, but that did nothing to ease her nerves. There was a dangerous aura to her, one of a soldier, someone trained in discipline. Despite this, she didn't even seem to regard Petra as more threatening than a fly. Somehow that was most frightening thing about the situation, someone holding so much power yet regarding it as nothing.

"Where am I..." As slurred and mumbled her words came out, the girl instantly turned to face her, cool blue eyes glaring at her. For a moment, Petra truly feared for her life, but slowly the girl answered her question.

"You have been detained and arrested by the Holy Legion."

At the sounds of those words, Petra's heart sank like a stone. Memories of Captain's last words came to the forefront of her mind.

Don't trust anyone or anything related to the Holy Legion, if you hear that name, run

And here she had gone and gotten herself captured by them instead.

After the jump, Captain had wanted to sleep for a week. Jumping from one created dimension to the next was nothing like he was used to. Even with his additional training, it still felt like running marathon in an hour. Usually he tried to take a break for a few days just to recharge his batteries.

But then one worry kept tugging at his mind from time to time, keeping him from relaxing fully. He knew Petra wasn't the type to look fondly on him getting a bit overprotective, but it felt wrong to leave her out there without a clue of what was going on. They had been doing this for decades while she was still so green behind the ears.

She could deck you in the face for this kind of behavior you know

And maybe he really deserved it. There was no no explanation for visiting her dorm at this hour that wouldn't paint him as a creep. Still at the very least he needed to rest his nerves. He'd be able to heal a lot faster without having to worry about her on top of everything else.

It was difficult getting into an area so densely populated by humans who had no sense when it came to their sleep schedules. Still stealth was his specialty, and he found himself inside soon enough. At first it seemed as if no one was there, but suddenly he heard a voice.

Quickly he hid as he tried to distinguish the source. It sounded like that girl he had seen hanging around Petra few times. Captain began to listen closely to the individual words she was saying.

"Hey Ian, Petra texted me saying she was gonna stay over with you. Apparently she had something going on today that was located near you and didn't want to make the trip here late at night."

Hearing that news was like having a weight lifted off his chest. He didn't think he had the right to thank God or anything else holy, but the desire to was raw and real. In his relief he almost didn't hear the last part of the conversation.

"What?! You're saying she didn't make it over there!?"

The worst part about being captured was the silence. Her jailer wasn't the chatty type, which left her alone to think about her failure over and over again. Her subconscious replayed the moments right before she was captured. Each time she remembered the it, it was like getting punched in the gut. No matter what she did it seemed her efforts were always useless.

At some point she was taken out of her cell to be read her "charges" for all her crimes by a mysterious

figure cloaked in white. As nice as it was to stretch her legs, it left her more confused than anything else.

"You are charged with collaborating with demonic forces." The figure announced. "Depending on how long and how far this relationship has gone, your sentence will be extended."

"So what does that mean from you weirdos? Do I get a time-out for not living up to whatever cult you run?"

"I suggest you not take the Holy Legion so lightly." Their voice took on a dangerous tone. "We're the only thing that stands between humanity and its destruction. Having infidels like you work together with such monsters makes it even harder to cleanse the world. If I were you I'd show some repentance. Those who don't beg for forgiveness are treated the same as a demon."

Something about those words set off a switch in Petra. Maybe she would have taken this better if she had already cut off contact with Captain and the gang and would have thought before she spoke. Maybe is she wasn't tired and scared out of her wits she would have tried to act pragmatically. Maybe if for a year now it hadn't felt like her life was being run by everyone but herself she would have known not to piss off those who held her life in their hands. Even so, she had grown already sick of whatever freakshow this was.

"Where were you my entire life then?" Her words were as sharp as a knife. "I spent my childhood convinced I was out of my fucking mind. Demons haunted my every move, but apparently they weren't important until I finally found some peace, and now you want to take it away?" Without thinking she raised her fist to strike them, when suddenly she was slammed to the floor by the blonde guard from before.

"Thank you, Ariel." The clocked figure bowed as she dug her heel deeper into Petra's back.

And so her brief stint out of the cell was ended. Looking back she would have taken more of those cryptic threats over this silence. She was still without a clue of what exactly this Holy Legion was up to. All she knew for sure was that she had damned herself in their eyes, and their road to redemption was unlikely to be one she'd like.

With a sigh, Petra raked a hand down her face. This is what she gets for trying to make sense of her madness, to try and find a purpose in her life.

What am I going to do?

At this point she wasn't even sure she could pray to anyone for help.

Faster and faster, Captain teleported himself through the streets of Sina. It was a crazy plan, one even Girly wouldn't have ever suggested. Still the Holy Legion would have to be blind not to notice him this way. Eventually, they'd come to attack him and that's when his search for Petra would really begin.

He knew Commander and Four-Eyes would never allow this sort of behavior to happen. He could practically hear their more logical arguments with each jump. How do you expect to take on the Holy Legion yourself? Do you expect to be able to fight demon hunters after exhausting yourself out? Who knows if they really have Petra. For all he knows she could already be dea-

Captain bit his tongue hard. No, he would not accept that. She was his partner for a good reason, brave as hell and even fiercer. If any human could survive them it was her. It had to be her. Even so he couldn't sit around just twiddling his thumbs while she was in danger.

"Wait for me Petra, I'm coming," He whispered to himself. He'd rescue her no matter what stood in the way.

It was hard to keep track of time. Even if Petra hadn't been busy wallowing her own self-pity, there was no windows or any other signs that could have helped her. So when she found a plate of food and a glass of water set before her, she couldn't help but look up in surprise.

"Eat." It was the first time her guard had spoken to her, making the situation all the more surreal.

Without even thinking, Petra said, "Thank you, Ariel..."

For some reason that made her freeze up. It was another first of hers, showing some emotion besides bland neutrality.

"Is that not what the other dude called you?"

"It is..." She brushed a few strands of hair behind her eye. "But it's not a name I expected to hear from a prisoner of all people."

"A name's a name. why does it matter who says it?" Petra pretended to be occupied with tearing a loaf of bread into smaller pieces. This might be her only opportunity to fish for information. The worst thing she could do would be to ruin it all because she got too eager.

"It's less a name and more a title. Your kind knows very well the power names have." There was a slight quirk to her lips that could be mistaken for a smirk.

Damn it, so she wasn't as subtle as she'd have prefer. Oh well at least Ariel seemed entertained by her antics.

"Did you get to choose it yourself? Because if it's supposed to be intimidating, all it does is remind me of the redhead mermaid from that one movie."

"The reference is more academic than that." She approached Petra's cell to sit across from her, movements effortless graceful as if belonging to a dancer. "The protagonist of Shakespeare's The Tempest, has two slaves: Ariel and Caliban. The former was obedient and well-loved, earning his freedom at the end for his good deeds. The latter was unruly and regarded as inhuman. While he does receive forgiveness in the end, his fate is unclear. The Holy Legion mirrors such behavior for sinners like us. If you act as an Ariel, you're one step closer to earning redemption. On the other hands, Calibans fates are more ambiguous." Even without having observed her quiet nature before, it was obvious that Ariel was not used to speaking this much. Her words came out stilted and awkward, like she was reading a script in a foreign language.

"So am I a Caliban in your eyes?" Petra leaned forward, no longer hiding her interest.

"Everyone starts out as Caliban before the Holy Legion recruits them. Very few are strong enough to dedicated themselves fully to eradicating demons from this world. However a Caliban can always change into an Ariel if they wish to. Your choice is simple. If the Holy Legion runs out of patience though, then soon your disobedience will be punished."

"What happened to that forgiveness?"

"It is always granted at first, but if it is not accepted by the recipient, judgment must be dealt."

"Why tell me this, though?"

"Because I'm tired of unnecessary violence." She gave a long sigh that sounded centuries old. "You seem smart enough to know when to fold your hand." While she tried to remain impersonal and detached, one ghost of an emotion still tainted her words. She seemed lonely, but that wasn't even the most surprising thing she found about her.

The more she looked at Ariel, the more she reminded reminded Petra of herself as a teen, someone who felt so alone and alien in her own world.

All this purple prose and odd behavior was making her head spin. So far what she knew about this Holy Legion was not adding up. Their job was to destroy demons and ones who associated with them like her, yet that was where they tried to recruit their workforce. They named their workers in a very demonic fashion based on if they earned redemption for some unknown sin or-

A thought came to Petra that was shocking, she had to keep from yelping at the revelation. Dear lord, if she was right...

"You're right. I'm not stupid. If that's the only way I can survive, then I'll join y'all." She waited for the right moment, when Ariel's body seemed to loosen up ever so slightly and her guard was let down for a half-second, and then she reached through the bars of her cell to grip her as fiercely as possible.

She fought and bit and screamed to get Petra off her, but her grip was unshakeable. It had to be here. She couldn't be wrong. Then suddenly it flashed before her eyes.

The key.

The crowd seemed to roar louder than any beast alive. One name kept getting chanted over and over again. Annie. Annie. However one quiet voice managed to impact her more than they ever could.

"You have to win this, Annie. You've come so far to make it to the championship. I will not accept failure from you. Do not let her beat you."

With that, Annie stepped into the ring to face her opponent. Already she felt a fraction of her resolve wavering. She looked hardly like a teen her age, more as if Athena herself had come down to Earth and had decided to take up boxing. Even so she tried to stay strong. Dad wouldn't accept failure.

Once the match started, it felt like it would go one forever. Again and again the two weaved around each other, not giving the other an inch. Ugh, they couldn't play this game forever. She had to strike now.

With all her strength, Annie lunged forward with a left hook; however, as she stepped forward, she found herself slipping in a puddle of sweat and hitting her head against her opponent's chair.

Then there was only darkness.

When Petra came back to the real world, she found the demon glowering at her. She looked like a feral animal, and somehow Petra knew if she didn't save her, Annie would decide to kill her.

"You're life has always been this way, Annie. Instead of making your own decisions, someone else has told you what you needed to do, and if you didn't live up to their expectations they beat you into the ground for it."

"You fucking bitch!" She snarled, pulling out a key from her pocket. "I'll-"

"To be honest I've suffered in the same way. First I tried living up to the expectations of human society and simply denying a part of myself, and then I started only valuing the part of me that could live in demon society."

She plunged the key to the lock and all but ripped open the door. This was it, there was no escape if Petra didn't act now.

"Things aren't going to get better for either of us, if we stop trying to be the person others want to be and just choose to be ourselves! It doesn't matter that you're a demon, Annie. There's nothing broken about you. We just need to allow ourselves the privilege to exist!"

Petra closed her eyes, waiting for a fist to connect with her face, but it never happened. When she dared to open her eyes again, she found Annie fading away right before her. For some reason she found her mouth trying to speak, to say something, anything about the situation, but the words wouldn't come. Even so, as she disappeared, a ghost of a whisper passed by Petra's ear.

"Thank you..."

For a beat, all Petra could do was shiver from the chills it sent down her spine. Had that all been intention on her part? Had Annie really wanted to be saved instead of a slave to those who condemned her? Whatever it didn't matter. She could think about such matters once she got out of here. Of course then there was that matter of Petra didn't know where exactly she was...

It was right then she heard a noise coming from the door. Someone was on their way to this room and were coming fast. Despite her lack of weapons or anything really to defend herself, Petra immediately fell into a fighting stance. If she were to die here, then she would go down with a fight.

The door flew open, but instead of eerie figures in white clocks, only one familiar person stood.

It was Captain.

A thousand emotions seemed to run counter to each other in Petra: relief, confusion, joy, fear. Captain though just stared and stared, like she was a miracle just for taking a breath. A part of herself screamed to shoved that inside the deepest dark vault inside her mind, to not let anything dangerous spill out.

Petra said screw that, and leaped into his arms with no regrets.

"Petra," He whispered her name like a prayer. His face was buried in her shoulder, his grip around her frame almost vicelike. All the adrenaline from before began to drain from her body, and suddenly all she wanted to do was collapse and just sob her heart out until there were no tears left. Instead of flinching from such display of vulnerability, Captain simply rubbed his hand in soothing circles and murmured gentle sounds.

"Come on, Girly. Let's get you home."

When Captain came to see her after she had settled down, she felt his presence more than anything else. Her attention had been fully occupied by a Greek shoreline, but at the familiar zap of teleportation, she knew he had returned. Without even turning her head, Petra greeted him.

"Anything you need."

"Just wanting to make sure you're ok after that phone call." He moved to sit next to her. Four Eyes had been the one to deal with most of the details of relocating. At this point it was just tying up the loose ends so she could disappear effectively. Who knew that would be so painful though?

"I'm not sure Dad was processing it. All the money just blew his mind, but then to hear about that witness protection story, it might have been just too much."

"I'm sorry you had to go through that." His words were awkward, but it was the intent that mattered.

"I appreciate it. Still I hope I don't have to leave Sina forever. Even if it's only for a little while I want to see Rico and Dad at least one more time."

"This isn't the first time we've had to move shop because of the Holy Legion. If they see your face in town, they'd jump you right away."

"And you think that would stop me?" She raised an eyebrow and shot him a cocky grin.

Captain smiled back. "No it wouldn't." For a beat the two of them just sat there, enjoying the other's company. But unfortunately nothing can last forever. It wasn't long before he was asking her another question.

"So what are your plans now? You want out?"

Petra licked her lips, trying to find the right words. "Not exactly. I think I'm going to start studying the connection between demons and history, specifically in portrayals of mythology. I told you I loved Greek mythology, didn't I? This is the perfect way to put that and my demon knowledge to use."

"But does that mean we're still partners?"

Hazel eyes met silver, so sharp and piercing and a million other things that made her inside do flips.

"Not necessarily. I may not be staying in the demon taming business, but things don't have to change that much."

"What do you mean?"

She took a deep breath. In. Out. Then slowly she laced their fingers together. "What exactly are we?" It was impossible to say who kissed who first, but it wasn't long before they were drinking each other completely in. As the two of them pulled back for air, a content sigh passed from her lips.

"...I have no idea how relationships like this even go, but do you want to give it a try?" It was strange seeing Captain bashful of all people. The tips of his ears were flushed red, and he seemed determined to look anywhere but her eyes.

Petra thought on the past year's trials and tribulations, of her revelation when captured by the Holy Legion, and all the other anxieties that had been gnawing at her core.

"I want you," she finally said. "I want to everything and anything my heart desires from now on."

Captain grinned. "Then let's get started."

A.N. After way longer than this story should have taken, it's done. It kinda feels unreal. On one hand this story is almost from a different time period in my life. I was 15 when I started this and still figuring out a lot about myself and now three years later and I'm heading for college in less than a week. I've changed so much as a person, I wondered if I was even telling the same story I started out as. Even so I glad to be able to finish this project once and for all. Thank you so much for your support. I love all my readers~

#rivetra #petra ral #levi #attack on titan #levi ackerman #my lame writing #otp: cold coffee #dead people everywhere #demon tamer au #it's done #it's finally done after three years

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