#SORRY. I WROTE AN ESSAY

[emrysmoss]

Can you guys believe that some of the most influential early screenwriters and directors had to sneak queer subtext into popular media for so long that it seeped into straight screenwriters’ subconscious baseline for writing compelling characters and plot, thus, accidentally creating the the gayest non-gay television show to ever exist and that show is called BBC Merlin

[jenniferpendragon]

Listening to "Would You Fall in Love with Me Again?" and I wondered why on earth I connected so deeply with Odysseus here when I've been connecting with Penelope so much, and then it clicked.

Massive spoilers below the cut, and also mentions of sexual assault and image issues.

Odysseus has become the monster, that's what "Odysseus" is about, his final culmination. He is everything he's fought and hated and killed. He has murdered a *baby* at the command of a god who told him if he didn't, the gods would have the child destroy his family. His best friend died because Odysseus, out of extreme guilt, indulged his ways too much. His own desire for a better world and to give mercy, fueled by guilt, caused his mentor to leave him and left an opening for future pain. His pride turned his cunning into dust. He watched men he had fought for ten years to save from dying in war be drowned in a storm because of his damn pride (and his brother-in-law and second-in-command's greed and mistrust). He then nearly lost all of his remaining men at the hands of an enchantress. He is forced to hear the screams of his dead comrades and come face to face with his dead mother in the Underworld who died waiting for him.

Odysseus then murders gods know how many sirens (rightfully so, but still), and then sacrifices six men to a sea monster for safe passage. His remaining men mutiny against him (understandably on the crew's side, not so much for Eurylochus) and then decide to eat the sacred cattle of Apollo, which gets the wrath of Zeus down upon them.

Odysseus then decides that his wife and son are more important than his remaining men and lets them be killed for their misdeeds. He is then trapped for years (and possibly sexually assaulted, reading between the lines) by a woman who wants to replace his wife while the demons of his past and his guilt and trauma cause him to nearly commit suicide. Once freed from the island and Calypso, he fights another sea monster with just his wits and then nearly dies by a god before torturing Poseidon until he gives Odysseus the safe passage he wants. After all that, he (rightfully) slays the suitors who were planning to rape his wife and attempting to kill his son. They beg for mercy, but the Odysseus that gave mercy to the cyclops that murdered his best friend is dead. Only a monster remains. A man who tortured gods stands before them and judges them for their crimes.

And his son is ecstatic to have him home, is wondering if Odysseus would accept him as "weak" as he is, as if Telemachus isn't the perfect "warrior of the mind" Odysseus always wanted to be, a combination of Athena and his younger self's viewpoints. Odysseus, the monster, sees one of the two things he still loves in the world and exercises those open arms because this is his son. His love for him is unconditional and unchanging.

Athena, beaten and recovering and full of empathy for the first time in the ten years since she left him, sees the Odysseus before her, the monster and cunning warrior she was attempting to turn him into, and accepts what he is, what he's become because of her. And while she loves him, she doesn't show him love. Just acceptance and quiet friendship (which is more than fine, but it does nothing to his heart about his monstrosity).

And then he comes to Penelope. The woman he has turned into someone unrecognizable for. Someone even the goddess of wisdom regrets. His son loves him, but it's because of the monster he has become. His son never knew him, never knew who Odysseus was at his core. Athena did, and she regrets what happened to him, what he became. But Athena wasn't who he was fighting for. He wasn't the one thing that kept Odysseus alive for twenty years of hell.

And he comes to Penelope, heart on his sleeve and says "I'm not the man you knew. I have done terrible things. I have become a monster inside and out. Would you fall in love with me again?"

He doesn't ask "do you still love me?". He doesn't think it's possible. He is a monster. He not only signed the death warrant of his sister's husband but threw a child, a baby, off of the walls of Troy. Odysseus doesn't believe himself worthy of the love he is asking for. He needs it with every fiber of his being because that is what he has craved for two decades, but he is a monster. He is not the kind and gentle husband who carved a wedding bed into an olive tree so it would be a living reminder of their everlasting love. He is a man who sold the souls of his men to a monster to get home.

Odysseus is amazingly, beautifully human, but by many metrics, he is a bad man. His actions can be justified and rationalized, but he has committed atrocities or allowed them to be committed (Achilles' desecration of Hector's corpse, opening the gates of Troy for the people to be slaughtered in their sleep, sentenced men to death so he could go home, throwing a baby off the walls of Troy) and he can't be called a good man (his actions in "Odysseus" aren't monstrous but they reveal his mindset) in a measurable way.

I wouldn't go so far as to call him evil like I would Antinuous, but would Odysseus? Yes. He believes he is a monster. Monsters are something to kill, not worthy of love.

But he asks. He asks Penelope if she would fall in love with him again. Not if she still does, he doesn't ask for that. He has loved no one else in these last twenty years, but he doesn't ask for that from Penelope. He's asking for a chance. Would she be willing to love the monster that has come home in her husband's place? Would she be willing to look upon him, with the blood of an infant on his hands, with the blood of an entire people on his hands (they would never have sacked Troy and committed genocide without him), and choose to fall in love with him anyways? That is what he is asking. Could you love me, as evil and monstrous as I am?

And what does Penelope do? She asks him to move their marriage bed. He's not her husband? He's a monster? Fine, a monster wouldn't care about destroying their wedding bed, the symbol of their marriage, to get what he wants, a new start from her. A monster wouldn't care that he would have to tear out the roots of their eternal love to have her now. A monster wouldn't have second thoughts.

But Odysseus is hurt and angry at her essentially asking for a divorce from the man she married, revealing the secret of their marriage bed in his shock and rage. A monster wouldn't give it a second thought, but the man she married could never move that bed for anything.

And she tells him that only her HUSBAND knew that, so that makes this monster he claims to be her husband. Penelope doesn't just agree to fall in love again, but that she doesn't care how, where, or when, because he is HERS. He isn't a monster that has replaced her husband, he IS her husband.

She does not look at him and see his sins. She looks at him and sees someone she has loved and waited for for twenty years. Someone she was ready to die a violent death rather than live without.

Odysseus believes himself to be a monster, to be evil. And Penelope says he is her husband. He is hers. He is not some evil monster, he is her husband who would never even think about moving their marriage bed. He thinks he is evil, too much, too monstrous, and she says no, you are MINE.

I've always felt like I'm a horrible person and worthy of the pain and punishment I get. But hearing someone love someone else unconditionally, looking upon them and saying "I don't see your sins; I only see you" is incredibly healing to me. Penelope hears his list of his sins and straight up IGNORES them. It's almost as if she has forgotten them. She loves Odysseus, period. She does not see the vile monster that Athena sees and accepts and regrets. She sees her husband.

Love is the greatest power in the world.

[dootznbootz]

My interpretation of the "I love you...But not in the way you want me to." from "I'm Not Sorry for Loving You".

I love the idea of "Calypso has sandbox mode over Ogygia" (AKA she controls every rock, every plant, the sand, etc.) in which with how Calypso starts to basically vent with her whole

"I'm angry. I'm tired. I'm restless and sad." and so on, if her anger is causing the island to lash out as well. Not even realizing what she's doing.

The sand starts to crawl over his feet as though to keep him rooted to Ogygia. The wind becomes harsh as the leaves of trees rustle in anger as the branches start to loom over as though they are trying to grab him. The voices that echo her words are getting louder and louder in his ears. Foliage starts to close in and thorns are sharp and biting. The sand starts shifting near where the raft he built rests and Odysseus panics and

"I love you!"

"...You do?"

Only then does the island remain paradise once more. The world now quiet and serene, the sand becomes loose around his feet again so he runs to the raft, pushing off into the sea. Out of her reach of her domain. Poseidon's possible wrath is much preferable to the miserable cage of Ogygia with its Goddess who takes.

Opening the sail, he turns back and finishes with "But not in the way you want me to."

The wind picks up and her anger unintentionally pushes him further away. Odysseus lied to her, just as she "wished". Odysseus watches from afar, safe from her, as Ogygia and its raging earth gets smaller and smaller. For the first time in a very long time, he can breathe in relief and starts to feel hope bloom.

[jivvie]

SO YEAH I LIKE MOONCOVEY

but what I really liked abt this season was that min ho still cares for kitty. yes, she rejected him on the plane and he probably spent winter break wondering why he confessed on the damn plane RIGHT AFTER DAE AND KITTY BROKE UP- but when kitty ends up talking to him, he understands the situation they both are in and they continue being friends with a side of teasing.

and yeah we didn’t get a lot of mooncovey screen time cus of stella and also they aren’t roommates anymore BUT WHEN THEY DO YOU CAN SEE HOW MUCH MIN HO CARES FOR KITTY

when kitty exposes stella to min ho and he believes she’s jealous, at the party, Min Ho listens to Q and asks Kitty for a dance. He pushes away the thought of Kitty being jealous and instead asks her as a friend. The first thing he says when Stella is threatening him is “if you dare touch kitty” (or smth like that). HE REALLY CARES FOR HER SO MUCH.

I saw @listentomerant’s post about xo kitty and they talked about how kitty falls in love through strong emotional bonds. I LOVE THIS POST SO MUCH ITS SO GOOD. Thats why Min ho being there for when Kitty needs someone or legit anyone makes this all the more worth it. He knows she’ll never think of him as more and he moves past that to become a better friend.

I’m glad that Kitty rejected him because this season gives more into their relationship. It isn’t just min ho having a “sex” dream about kitty and focusing on her more. We get to see kitty’s side (even if it was kind of short). We see her understand how reliable Min ho is even though she rejected him. He really does become the bigger person and although it might just be denial, this really shows how much better min ho is as a partner.

even with stella, min ho is just a good partner. stella wants to sing for the show, and because he sees how she stood up to his dad and how much she cares for him, he decides to ask. He was still rocky with his dad but because stella was a good person to him, he felt the need to give back to her.

If they had kitty accept min ho’s confession, it would really fall flat. Kitty just “fell out of love” with Yuri and broke up with Dae, and getting into a new relationship would honestly destroy their chemistry. Having a whole season to actually develop this relationship is more worth it instead.

sorry I went too into this. I know people are really upset about kittyuri and how they wrote yuri this season, but I really think that in the context of this season, min ho feels more reliable. I would love to see the writers next season pit yuri and min ho against each other (which would be super funny; imagine fighting against your older sister/younger brother to become the canon relationship) as it’d be very interesting, but I think we can tell mooncovey is most likely endgame.

[astradyke]

okay yeah let's get freaky with it (not an acceptable way to start a post whatsoever) i cannot stop THINKING about this fucking We're All Doomed cap. like just in the last TWO days...

[ID: photo one is of Phil Lester in the hospital, wearing the We're All Doomed cap. photo two is of Phil Lester in a pool, in which the We're All Doomed hat is laying on the edge of the pool. end ID.]

and then not to mention all the latest videos...

[id: photo of Phil wearing the We're All Doomed hat]

(there are definitely more but i'm multitasking so i can't sleuth out the videos rn)

like, when i am trying to describe Dan and Phil as a phenomena to my friends i always mention the fact that Phil is like THE consistent hype person for Dan (vise-versa but focusing on Phil here). "Dan is leaving me" is obviously an insane video about their relationship but also spends a substantial time promoting We're All Doomed; "I TRY TO GIVE DAN A HAIRCUT!!" is basically just YWGTTN promo. What Dan and Phil Text Each Other 2 (iirc) Phil encourages Dan to talk vaguely about upcoming stuff, etc. like Phil is ALWAYS so crazy supportive of what Dan does

from the mukbang "I wanted you to be happy [...] you did loads of shit on your own" (quoting from memory)

but something about the We're All Doomed hat feels DIFFERENT to me fundamentally because it's just... such a casual thing? they're no stranger to using their old merch, or wearing merch in videos after its release, but Phil literally cannot be separated from this hat as a guy who never seemed to be that crazy about hats to begin with. but it's just such a casual presence in his life, like a must-have object, it goes with him everywhere from Türkiye to the A&E, just this constant support for Dan's solo work.

when Dan says in Basically I'm Gay: "And for someone who has dealt with the same kind of self hatred I have, one person accepting you makes all the difference." (quoting from memory again),

it's like. there is such a love confession in the sheer act of seeing someone's creative work, something they poured their life and soul and savings into, and holding THAT in your palms -- and loving it. Phil was part of the WAD pre and post show, Phil was listed in the credits, even in Why I Left YouTube Phil's presence is there in the fact that he was patient as Dan tried to pursue Dan Is Not Okay, even at the potential risk of them postponing moving. don't even talk to me about how Phil was involved in Dystopia Daily, not only as a guest but also working on the set too.

holding something that has as much meaning as We're All Doomed does to its creator and not only loving it in the moment, not only relentlessly promoting it, not only being part of the premiere, but also continuously wearing its merch -- it's such an embrace from Phil of not only Dan as a person, but who Dan is creatively, and the ways he expresses himself.

and considering all the thematics of We're All Doomed, the hope and the new era and the self acceptance... yeah. fucking YEAH.

we talk a lot about different kinds of love and all the different ways they love each other, and i think this has always been the loudest and what i've personally been most affected by. the way that Phil Lester became a safe and accepting place for Dan Howell back when he was eighteen, and how he never fucking stopped being that place for him since.

[janearts]

okay but what is the state of astarion's kidneys? what has roisia observed in regards to astarion's kidneys? i must now know!

[Anon is referencing this post.]

¯\_(ツ)_/¯ Who knows? Roisia's observations below the read-more.

[Just a wee reminder that I'm not a medical professional. Take everything I say below with a grain of salt as I am just as likely to be flat out wrong. I also want to acknowledge that I'm mixing in some stereotypical vampire traits with what we can figure out about vampires in BG3.]

Roisia believes that Astarion has a partially functioning cardiovascular system. That is to say, he certainly contains blood. He bruises and he bleeds. He can even perish from exsanguination himself. He can experience erections (presumably, anyway). Why he doesn't have a heartbeat is beyond her. Does his blood just sit stagnant in his arteries and veins? What the hell is going on in there?

In the living, kidneys form a pivotal function: they filter the waste (urea) in your blood and create urine to be expelled from the body via the bladder. They also perform a critical function by regulating the blood in your body (volume, pressure, acidity, etc.).

So Roisia knows, for example, that the average medium-sized humanoid has roughly 5 litres of blood in them. The kidneys make sure you stay at whatever level is natural for you, because excessive fluid will increase the pressure on your arterial walls. So the question for Roisia becomes: if Astarion drinks blood to excess, would he experience hypertension or bloating? Or perhaps both? Or maybe neither?

In some form or fashion, the waste that Astarion intakes (e.g., if you're into the vampire version of menstruation sexy times, if he drinks from Roisia's external jugular, etc.) or generates through his own bodily functions needs to be expelled. Does he piss it out? Does he sweat it out? Does he vomit it out? Does it misty escape out of his body while he rests?

The answer could simply be: the waste is magicked out of his body and that's that. If Roisia knew that Astarion urinates, then she would assume his kidney is probably functioning to some degree. If his urinary system is non-functioning, then she would be curious as to how the critical functions mentioned above are managed or if they're even necessary at all for the undead.

TL;DR: Roisia would likely have some sort of idea, but I (IRL) don't have the information I feel I need to even hazard a guess. And I must say questions like this would make Roisia want so very, very badly to take a peek at his insides or at the insides of any vampire or vampire spawn. She is not a Dark Urge character, but that is her dark urge born from an insatiable curiosity to figure out how people—living, dead, or undead—work.

Bonus Points:

Roisia would answer her own questions above with the following theories:

Digestive system could be partially functional if the blood that is consumed is sent to the stomach and then absorbed in whole or in part through the digestive process.

Respiratory system is also likely partially functional. I.e., Astarion can use his lungs (to speak or sigh, for example), but neither a vampire nor a vampire spawn requires air.

Endocrine system is likely no longer functional. (This is my own headcanon so Roisia doesn't have to worry about an unwanted pregnancy.) She knows that the endocrine systems of a Vampire lord are likely somewhat functional due to the existence of Dhampyr. His colder body temperature could be the result of the lack of function of the hypothalamus.

Integumentary system is likely functional to a certain degree. E.g., vampires and vampire spawn are naturally regenerative, but if you were to shave Astarion bald, would his hair grow back to the way it was prior to his death? Skin also helps with temperature regulation and provides a barrier from UV radiation, so it may not be fully functional if his body is a colder temperature and is extremely sensitive to sunlight. (Are his melanocytes dysfunctional or dead?)

Lymphatic system is likely functional to some degree. This would assist the blood consumption + waste removal processes, presumably. It's a bit of a stretch, but since Astarion can experience a diseased condition type (e.g., Flesh Rot, Contagion), perhaps surviving that (after 25 turns) could be spun as an indication of a non-magical immune response?

[pneumosia]

i love u all (you guys multiply everyday. istg??)

[rpgchoices]

tw for abuse

So I tried to break up with Wyll and refuse his romantic dance and ask him about the tadpole, but why is the game SO CRUEL WITH ASTARION?

Like, if you want him to use the astral tadpole he straight up says no, So you can have a wisdom or intimidation check (if you fail them he is going to break up with you and be so mad).

But basically the wisdom check is trying to use one of his old memories (the worst possible memory) against him to remind him he is too weak, and he needs power if he wants to stay safe.

The intimidation is literally using his self hatred against him. If you play with the vampire lord ending you can break up with him and tell him you preferred him as he was, and he is shocked because he was "pathetic"

The thing is, to soften him/get the good ending (chosen by him without persuation checks) I think you need him to accept that he is who he is, and he is okay as he is. Coincidentially, trying to talk him out of the Cazador ritual is so insightful, both here in the video (this is before you get attacked by the other spawns) and later (after you get attacked) you have some options/dialogues about how he is so different now, he is not like "them"/his old pathetic self anymore.

This is the other post-attack dialogue:

When I played friendship Astarion, the most interesting part post ritual was the dev literally spells it out:

In the crypt you also find a book about Cazador's master and the rules he made for Cazador, and the abuse Cazador suffered before killing his master in revenge.

And of course:

[sajra-savera]

What's the translation of the korean sentence in ur bio??🤭

왜 사람과 사랑이 비슷한 소리가 나는지?

so it translates to,

"Why do 'human' and 'love' sound similar?"

This line is from one of my favourite songs Trivia 承: Love. So basically in Korean,

person/human = 사람 (saram)

love = 사랑 (sarang)

now if you look closely the only difference between the two words is that ㅁm and ㅇng!

straight lines as in the lines of ㅁ in 사람 (human)

he's just trying to say how his muse makes him turn into 'love' from a mere 'human' by eroding all the corners of ㅁ of human and converting it into ㅇ of love. The singer said that in this song, he played around with the text and focused on how words in the song looked like rather than how they sounded like. His work is based on the metaphorical concept that love re-shapes you into a different, softer being, smooths ups your edges and makes you see life in a less rigid and intransigent way.

[ponkydraws]

Johnlock rant pt 2

You thought I was only gonna write Sherlock’s perspective? No. Anyway. John.

Spoilers + suggestive themes ahead.

You have been warned.

John is introduced as a character who has trust issues and is wary of the world, partially because of his PTSD. He is a retired soldier. He has seen it all. But as Mycroft remarks, “you’re not haunted by the war. You miss it.”

There is a very obvious difference in John’s reaction to Sherlock’s deduction and Mycroft’s deduction. He’s star struck when Sherlock does it, but when Mycroft does the same thing he glares at him and asks “who the hell are you?” Yes, the circumstances of the scenes obviously affect his reactions, but even with a dead woman on the ground in front of him he can’t help but praise Sherlock’s intellect, so clearly discomfort isn’t much of a factor. You could argue that John is being defensive on account of being scared, but Mycroft outwardly tells John “you don’t seem very afraid” and John simply says “you don’t seem very frightening”.

And to add onto this, Mycroft clearly has suspicions about their relationship and outwardly says so. John simply says “I barely know him, I met him…yesterday” and Mycroft says “Mm, and since yesterday you’ve moved in with him and now you’re solving crimes together. Might we expect a happy announcement by the end of the week?” John doesn’t respond nor acknowledge the question, but asks “who are you?”. Mycroft simply assumes that the man Sherlock is living with is a romantic and/or sexual partner, meaning he’s not surprised at all by the idea that Sherlock would be in a relationship with a man.

When John asks what he wants he says that he wants information about Sherlock, but quickly adds “nothing indiscreet. Nothing you’d feel…uncomfortable with. Just tell me what he’s up to.” Which does sound like a polite way of saying that he doesn’t want nor need to know about what he gets up to behind closed doors (presumably with John, since he says nothing that JOHN would be uncomfortable with telling, not Sherlock), he just wants to check on how his brother is doing. The definition for indiscreet also is “having, showing, or proceeding from too great a readiness to reveal things that should remain private or secret” so I think it speaks for itself what he’s implying. He’s just an older brother who wants to make sure his younger brother is okay, but makes sure to inform John that he’s not interested in hearing about Sherlock’s sex life.

Other than that, Mycroft seems to genuinely like and respect John. He bids him farewell when leaving, asks him about his life, even if it’s just “what’s it like living with Sherlock?” And Mycroft clearly knows how much John means to Sherlock. They have this semi-brother in law situation going on

John has on multiple occasions risked his own life to save Sherlock’s. When Moriarty is threatening Sherlock, he throws himself at Moriarty and tells Sherlock to run. This is despite the knowledge that this would get himself killed & “if your sniper pulls that trigger, Mr Moriarty, then we both go up” and Moriarty mainly shows amusement, but still tells Sherlock “isn’t he sweet? I can tell why you like having him around.”

In the final problem, John agrees quite quickly that Sherlock should shoot him instead of Mycroft and takes it with stride. He does not fight it. He accepts that he has to die in order for Sherlock to live.

In the very first episode - I repeat - the very first episode, John shoots a man to death because Sherlock was in danger. What’s so interesting about this whole scene is that Sherlock was not under direct threat, he was choosing to take one of the pills but John shot the man anyway.

- Sherlock also realizes halfway through his deduction to the police that John is the one who shot the cabbie, and immediately takes back what he said about the murderer to keep John out of trouble. He does not care about John killing a man, he’s more worried about John’s well being. He even compliments him on the aim and the two of them walk away from the crime scene giggling like 12 year old girls.

John dates a string of women throughout the show although they always end up in some kind of bad ending. As stated in the previous rant, John’s girlfriends are sick of being less important than Sherlock. And if you’re really keen on details (which, you’re watching Sherlock, of course you are) you’ll find that one of the women he dates wears a coat that resembles Sherlock’s, and she pulls her collar up in the same way Sherlock does. Subconscious attraction? Neither does he actually find a long term relationship until he believes that Sherlock is DEAD, and it takes him 2 whole years to even try to move on with his life (but only needed 2 months for Mary’s passing?)

Now, John is a jealous and protective man. Even more outwardly so than Sherlock is. Mycroft even comments on it when they meet for the very first time - “you are VERY loyal, VERY quickly.” he notes as he makes a face that implies even he is surprised about how sure John is of his decision. When faced with a naked Irene Adler and Sherlock in the same room, he actively interrupts their conversation to get in the way. He passively aggressively tells Irene to put some clothes on and then remains skeptical of her for the entire episode. When they’re talking another time he also interrupts and making an unamused joke about baby names.

He displays a sense of protective behavior when he meets Irene again after Sherlock’s alleged “heartbreak” and gets outright mad at her for treating him like that. He even shouts at her despite Irene not showing any aggressive behavior “WHAT DO YOU NORMALLY SAY? YOU’VE TEXTED HIM A LOT”. Speaking of the texts from Irene, John not only is the only one to point out the text notification noise but also admits to actively counting the amount of messages Sherlock has received, which, yeah a handful would’ve been acceptable but this man kept track of 57 NOTIFICATIONS on a phone that’s not his. (This isn’t really a real point but someone joked about how Sherlock asks John “what noise?” When John addresses the moaning text notifications despite knowing very well what noise he’s talking about, as if he’s expecting him to repeat it or something. Not really relevant but it made me laugh)

In this conversation with Irene, he admits to having no clue what Sherlock’s sexuality is, quote: “who the hell knows about Sherlock Holmes, but, for the record, if anyone out there still cares, I’m not actually gay”. Irene responds with “well I am. Look at us both”. Which earns a defeated scoff from John. Irene asks John if he’s jealous about her texting Sherlock so much, John does not answer the question but tells her “we’re not a couple” to which Irene immediately says “yes you are” without even looking up at him. John does not fight back, but makes a vague nod and leaves it at that.

John repeatedly tells various characters that he is not gay - but only that. He never says that he’s not attracted to men, he’s not attracted to Sherlock or anything like that. No. He just says he’s not gay. Bisexuality is a thing. He could very well be a closeted bisexual who struggles a little with accepting it. It’s possible that his lesbian sister wasn’t treated with respect by the family and that has caused some inner turmoil, but that’s a fan theory we’re not going to get into right now

John also seems to be the only one thinking about how gay they look in certain situations. After saving John’s life, John says “I’m glad nobody saw that. You…ripping my clothes off in a darkened swimming pool, people might talk.” As if he didn’t almost just literally explode. A near death experience leaving him weak in the knees and he’s thinking about how people will think he and Sherlock were getting it on in a darkened swimming pool? Okay, buddy. This also goes for when they’re running from the police handcuffed to each other and Sherlock tells John “take my hand!” To which John says “now they’ll definitely talk.” I would argue that if you are constantly thinking about how gay certain things you do with your best friend are and how people will talk, maybe people aren’t the ones who should reevaluate themselves, maybe you are, seeing as you’re having gay thoughts even when fearing for your own life.

Oh and we haven’t even gotten into the pool scene. I don’t know if it was accidental but when Sherlock undoes John’s jacket to get rid of the bombs, he gets on his knees in front of John - who leans his head backwards as Sherlock looks up at him. Then afterward he’s so visibly weak in the knees he has to sit down to even talk. All of this is filmed from behind Sherlock. They could’ve filmed it in any other way. But that’s what they chose? Okay. Totally doesn’t remind me of anything else or anything.

When Sherlock is pretending to be dating Janine, John seems so genuinely out of it. He watches Sherlock and Janine make out with widened eyes, before turning around to stare at the wall with a disgusted and horrified expression on his face. He can’t even pretend to not be shocked, he barely manages to keep himself together and is outwardly very awkward when talking to them. Janine offers that they should have dinner together sometime soon and John just goes “yeah, great. Dinner. Yeah.” With a halfassed smile on his face as if he can’t bring himself to even mimic regular conversation. Once Janine has left, Sherlock starts talking to John about a case. John is not listening. When Sherlock stops talking John just goes “…you have a girlfriend?” And Sherlock seems surprised and confused by the question, since he had already moved on from that conversation. Sherlock confirms that yes, he does have a girlfriend. John still can’t properly process the information and asks again “right, yeah, but…you…you are in a relationship?” Despite already being told the answer.

When Sherlock proposes to Janine, John looks shocked. But it morphs into something else. He looks at Sherlock with a horrified expression, his eyebrows furrowed together in disbelief and his mouth hanging slightly open. This is not the face of someone who is shocked in a good way. It’s the face of someone who just got a metaphorical gut punch. The camera even shifts focus from the ring to John staring at it with a hardened expression, then to staring at Sherlock with a shocked and mildly pleading look.

He also punches an officer in the face for calling Sherlock a “weirdo”. When Sherlock hands him an itemized list of Mary’s enemies he doesn’t even look twice but one vague insult to Sherlock and he gives the man a bloody nose and gets arrested as well - Sherlock taunts him a little with his “joining me?” Comment but seems genuinely a little impressed when he finds out why John is also being taken into custody.

When getting drunk together (which, Sherlock was the only one who John spent his bachelor party with), they get wasted and start to play a game of Who Am I? They’re weirdly gentle and soft with each other, making playful jabs and breaking down into laughter at each other’s statements. Sherlock, who has a note on his forehead that says “Sherlock Holmes”, asks John “am I important?” To which John responds “uh, to some people” and smiles. Sherlock asks “do people like me?” And John says “uh, no, they don’t. You tend to rub them up the wrong way.” And then rests his head on his hand while he lovingly gazes at Sherlock and chuckles at his own statement with a look of love that looks like one you’d give a lover when they’re being cute. John asks Sherlock “am I pretty?” And then follows up with “this” and points to the note on his forehead. Basically this is John asking if he’s pretty, then having to specify that he meant the person Sherlock picked, and not actually himself, as if he was expecting Sherlock to call him pretty without understanding the question was meant for the game. Sherlock does not answer the question, but rather goes on a drunken mini rant about how beauty is a social construct based on culture and John interrupts him saying “yeah, but, am I a pretty lady?”

Sherlock remains quiet, squints at John’s note and then admits “I have no idea who you’re supposed to be”. John rolls his eyes and tells him “you chose the name!” But isn’t genuinely upset, just amused. With his drunken stumbling, he also loses his balance when shifting his sitting position and grabs onto Sherlock’s leg for support. Sherlock doesn’t react. The two of them later fall asleep next to each other on the bottom of the stairs, babbling about nonsense. Mind you, John couldn’t sleep comfortably in a warm bed next to Mary, but had no trouble finding peace when laying down on the fucking stairs next to Sherlock.

During this same evening, John has to interfere and physically drag Sherlock away from a drunk fight at the pub. Same goes for when Sherlock is drugged by Irene, where John comes into the room and promptly grabs ahold of Sherlock and pushes him back onto the bed telling him “I’ll be in the next room if you need me” Sherlock groggily replies with “why would I need you?” And John simply says “no reason” and shuts the door.

Oh also John and Sherlock got locked up together in the same drunk tank. How cute is that?

And oh my god the fucking sexual tension between these two makes me feel like I’m interrupting something intimate. Even in the first episode, Sherlock asks John if he’d seen a lot of violent death. John goes “yeah, plenty. Far too much. For a lifetime.” And when Sherlock then asks “would you like to see some more?” John replies with a breathless “oh god, yes.” The same tone can be detected in the 1800s episode an exchange between Sherlock and John, where John tells Sherlock “ah, ah, ah, Holmes, you have misdiagnosed”. Sherlock lowly says “then correct me, doctor” and gives him such obvious “fuck me” eyes that I felt embarrassed watching the scene with my dad. The episode also includes John asking about Sherlock’s libido - no - I am not joking. And here’s the kicker. None of this is real, it’s all happening inside of Sherlock’s subconscious. So my question is, why does Sherlock’s subconscious make up scenes where his platonic best friend is asking him about certain urges and speaking to him with a flirty tone?

John also has a habit of letting his eyes drop to Sherlock’s lips when talking to him, or straight up licking his lips when Sherlock reveals he’s single (in the pilot). They look into each other’s eyes for just a littleeee too long for it to feel friendly.

This is just me being a little bit of an annoying fan who misinterprets everything but Eurus asks Sherlock to play the violin for her. He does, but she stops him saying “no, not Bach. Play you.” And Sherlock starts playing another tune. She blurts out “oh! Have you had sex?” And Sherlock simply goes “why do you ask?” Again, not answering the question. Obviously that question is a bit strange to ask your older brother when you haven’t even seen him since the two of you were little kids and he doesn’t remember you exist, but, once again he doesn’t feel the need to confirm or deny. I see a lot of people saying this is a hint to Irene, and it probably is, but I personally find it more likely he’d hypothetically find time to get into…adult contact…with someone he lives with. But that’s sidetracking. Anyway.

[batsplat]

Please feed the starving nasses the vale/jlo lore

they were made 2 be teammates

[obizenyukii]

top 10 obizenyuki moments (+all of the honorable mentions that i almost picked bc these three are too much .) DISCLAIMER: these are my opinions and also i talk a lot. <3

under the cut bc this is so long oh my god

number 10

THIS PANEL OF THEM BEING SO AT PEACE RESTING BY EACH OTHER'S SIDE. OBI DEEP IN CONTEMPLATION AS HE WATCHES OVER SHIRAYUKI AND ZEN. THEM SLEEPING SO SOUNDLY BECAUSE THEY CAN LET DOWN THEIR GUARD AROUND HIM. I'M FINE.

every time i see this panel i just feel so happy. they belong together.

number 9

needless to say you'll miss the young miss, but you'll be lonely without me too, i bet. this entire conversation . obi saying this as a light joke but also because he knows how much they both mean to zen. obi searching, in a way, for a reassurance that he /is/ needed and wanted as well, since it's so obvious that shirayuki would be. zen's response. this is a moment that shirayuki isn't physically in so i bumped it down a few places, but it's still so meaningful for the ot3.

number 8

obi longing for zen and telling his bestie (zen's gf, who he's known for also occasionally longing for) about it casually under the stars (and saying he'll say that to zen under the stars) . i know what you are .

this moment is absolutely iconic and one of my personal favorites <3

number 7

ot3 date <3333 the entire next chapter is just a bunch of cute moments of them (honestly could have had like 300 pics on this post if there wasn't a limit). them spending time together, goofing off, having fun and enjoying each other's company. give me 10 more of these dates please.

number 6

whenever i reach out my hand, you would grasp it?

the most iconic trio of all time you will not change my mind. this moment being an unsaid promise between the three of them to always come back to each other . lay me to rest

number 5

THE FACT THAT YOU'RE NOT DASHING OVER TO HER RIGHT NOW IS ALL THE ANSWER I NEED. THE TRUST. GOD. SHE CAN HANDLE HIM. I'M ON THE GROUND.

this moment is not as talked about (at least i haven't seen much of it discussed) but it's SO important to me. so much is being said without needing to spell it out. obi and zen keeping watch from afar, content in each other's company but also making sure shirayuki is in their sight. this is so romantic to do under the stars . they make me unwell. i need a vacation

number 4

obi and shirayuki always keeping zen in their hearts no matter what, despite him wishing not to weigh on them. this also touching on zen telling obi he wishes the title he gave him won't be a burden to him. the bond they have is highlighted so beautifully here. it's pure love <3 i'm sick to my stomach. /j

(& the bonus of obi and shirayuki seeing zen off together and looking at his retreating figure fondly. this is so romantic . i'm crazy .)

number 3

the iconic whenever i'm with you two it's always like this ;^;; <3 obi's love towards these two started to take root here. you don't understand because it's love dude . you don't understand because you were never attached to someone like this. you never had a home to come back to, never had the acceptance and understanding you have in them. dumbass. (said fondly)

it's okay, he learns it later <3

number 2

zen, furiously questioning obi and shirayuki on their health, making sure they're fine, and finally pulling them into a hug. his relief to have them safe and healthy in his arms. them realizing how worried he was . this is probably the most iconic obznyk moment and is a contender for n1 for sure, it was tough choosing between the n1&n2 moments ;; . god this moment. zen's "that's the most important thing" . don't talk to me i love them

number 1

the iconic line that is also my ship tag, if it's for you and mistress, i'm willing to go anywhere </3 this moment was what solidified the ship for me when i was only an anime only (shudders) slowly getting into the fandom. the anime was enough but this entire chapter had me setting my house on fire (joke). the brainworms never stopped. the entire chapter is so crazy ot3 but this moment is my favorite and overall the message/highlight of obi's resolve & his answer to zen's questions. it also showed more than any other moment obi's love & dedication to shirayuki and zen. shirayuki isn't even in this scene but it's still my favorite ot3 moment in the manga so far <3

and now, some honorable mentions. these following moments were all contenders for top 10 bc obznyk is so good. also these are not all of the obznyk moments in the manga ofc. there are many that i couldn't find in my screenshots and tried to find skimming through the manga but failed lol. these are just some classics/faves.

zen's iconic heart eyes

pretty early on in their relationship development, zen liking seeing them together ;;

zen being so happy around obi and shirayuki ;-;

zen introducing himself as obi and shirayuki's companion <3 it's just spelled out at this point lol

zen's heart eyes pt 100, if this post didn't have a limit i would've posted so many more of these

shirayuki and zen fretting over obi and then spying on him (while obi knows and is having the time of his life stringing them along) because he was seen with a pretty lady

it's like a part of me is always by their side <3 <3 <3 this would've been n10, but it's now the official number 11 moment

shirayuki and zen putting their full trust in obi to the point of fully letting their guard down, and obi realizing that for the first time, he's wholeheartedly wanted.

zen and shirayuki being the obi detection/protection squad <3

there's so much more. i love them so much <333333

[sideblogdotjpeg]

Extremely small spoilers for the c3 ending warning

But I think a really fun bit of Sol's character that I kinda didn't notice until the final episode is that ever since Irondeep (or maybe even before?), Sol has just been learning how to sew and crochet. And I have extreme respect for Murph letting Sol use that knowledge in the final episode to redistribute the magic of his displacement cloak amongst the party. I just really love those kinds of small character details in fantasy - the hobby they pick up randomly that slowly becomes more and more of a skill as the story progresses.

YES ! sols background knitting/crochet hobby (theyre used kind of interchangeably) is one of my favourite little quirks of his to think about... and if you keep track of its offhanded mentions, it actually weaves (hehe) a really sweet mini-story about sols character !

(teeny tiny mini essay under the cut, because i. have. thoughts)

so! a minor um actually is that sols knitwork is actually brought up pretty much at the VERY start of his character intro;

"...I'm wearing a homemade sweater that is in the same pattern as the standard issue synth knight sweater, but that one didn't fit me, so ive crafted my own as a replica - the sleeves are a little long, i'm still working on it, i like to knit in my spare time to quell my thoughts a bit..." (ep 1)

so we establish 1) he likes to knit, 2) knitting is an almost meditative practice, a very physical-based method of dealing with his thoughts, 3) he wants to fit in with his cohort of synth knights, even though their 'standard' has excluded and rejected him 4) he takes on this rejection without any bitterness, and instead with an optimism that his own personal inadequacies can be overcome by trying his darn best, 5) he's a cute frog in an oversized sweater

it's a pretty small & overall NOT important line that doesn't mean anything, but you COULD interpret it as the introductory, basic threads of meditative practice, community, belonging and identity that return as pretty major elements in sol as a character!

other, pretty major encounters with the knitting/sewing motif:

ep 7: Callie "we're sort of entwined now, right? i mean, our fates are somewhat braided at this point" + sol "if you're saying that we're friends then yes!" (this isn't a sol knitting moment, but good GOD 'our fates are braided' + them later discovering they're peregrine + sol sewing peregrine patches - we LOVE unintentional foreshadowing)

ep 27: Before the king durretar fight, sol gives everyone a peice of black yarn to wrap around their arms, a symbol of the living will they made to each other. Later in the ep, he holds up the band just before he goes down

ep 39: Right before he leaves to return to irondeep, sol gives swag "a little bracelet of yarn, just so we can feel connected" (literally FUCKING RUINOUS when you think about this being THE LAST TIME THEY SEE EACH OTHER FACE TO FACE and all the other moments sol gives his loved ones threads/bracelets. god. actually ruinous)

ep 53 (short rest!): This requires maybe a bit of context... but essentially, its caldwell describing sol's conflict of wanting to save the people he loves VS the growing reality of his inability to do so as, "no matter how big and thick and fluffy a sweater he knits, it always unravels itself"

ep 57: sol plants a piece of thread on the two ice swags (red and purple) as a way to tell them apart

ep 61: sol takes the black band from the king durretar fight and weaves it into a design that he made of the peregrine symbol/callie's sigil so that they can all wear it as a team (and one for a squire too, of course!)

ep 72: sol shreds his displacer scarf & patches up everyone's track jackets with it, to share the protection magic (this does end up saving calder's life i think.... THAT'S THE POWER OF FRIENDSHIP BABY.)

finally, also in ep 72: galactic swag returns the night sky to the faewild, and sol comments "now that's knitting..."

I think. All in all. It's like. sol is this guy who, perhaps more than anything else, longs for family, home & community. He found this in launchpad and mothership, and their promise that if he could just work hard enough to prove that he meets their standards, then he CAN fit in and be worthy, and belong, and be part of something big. And over the course of campaign 3, he finds this with duck team.

All these desires for connection are expressed through the small things he knits for the people he loves. It keeps coming up over and over again, sol trying to stitch pieces of himself into his friends. Have this yarn, and this thread, and this bracelet, so you can remember you have someone to fight for and someone fighting for you (i have THOUGHT about this being kind of like a Lady's favor to a knight.... i've THOUGHT about this...) In ep 39, he gives swag a mushroom with the stated purpose that it might let sol know if swag dies. In ep 41, he tells hardwon that "there haven't been many people that I've met that have stuck around and meant something to me". I think you could interpret.... sol's habit of giving little knit gifts to his friends as maybe kind of a manifestation of that worry. that people are going to leave him, and he's going to end up alone again. so the thread of the living will comes back over and over again... no matter where you are, dead or alive, we'll be connected somehow.

You can also interpret all of this in the context of his childhood! in the waterpark ! A place where he was cold, and in danger all the time, and alone, and nobody made any 'big and thick and fluffy' sweaters for him. That the way he responds to this is... by making sure the people that he loves never ever have to feel like that. Here's something to keep you warm, and to remind you that i Know you, I Think of you, and i Love you. Sol just wants to protect all his friends by knitting them up in a big comfy sweater (and by the finale, in a way, he does!)

anyway ! those are my um. my. very minor thoughts about sol & knitting. i think about it a normal amount i promise. it is really REALLY a very fun bit about his character and it is. wonderful to see it evolve over the campaign.

Also since I accidentally went whole hog and wrote a full essay. Um. more sol knitting mentions that I personally find very delightful, although less relevant to this specific analysis:

Ezry arc: "i haven't had a chance to knit in a while, that really mellows me out" < sol's explanation for nearly punching a salamander to death because he kind of reminded him of a completely different salamander guy who had the audacity to go to the movies with albin, once. Really cute because awww he knits to mellow out. and also. god sol is fucking Insane. frog who is for sure possessive a normal and healthy amount

Living Woods arc: the living woods arc has sooo many cute lil sol knitgifts. sol gives calder a reversible beanie that has the initials CK (for calder kilde) and KC (for kalder cilde)... he says he was making it for calders birthday! (i didn't check this particular moment for accuracy, but i DO rmb calder saying smthn to the effect of "this is the nicest thing anyone's ever got for me") ..... this also has the famous callie crochet bra + i THINK sol's knit boots for calder

Irondeep arc: sol makes the infamous knit hammer cover with pompoms for kenna. (he later also makes i think.. a cloth for kenna to clean her hammer? he's trying guys....)

Tsunare arc: callie asks sol to make a gunk bindle

Ice knife arc: EVERYBODY IS REALLY MEAN TO SOLS KNITTING. SOMEBODY DEFEND HIM HE DOESNT DESERVE THIS....

Faewild arc: after calder gives himself a crop top , "i will Happily be your tailor"

Conclusion? this frog loves his friends!!!!!

[yuri-is-online]

I can get why yutus so afraid of azul. He's heard a hundred stories about a suave, smug, but clingy octopus and then he meets him and hes this possessive little swinderler who's trying to get him to sell his soul to him and fuck his parent lmao

referencing the tags on this ask about this au

Tako Yutu didn't have the easiest time as a kid.

He was a chubby little thing raised by a single parent who didn't have the clearest memories of his father, or of their past at all really. I wrote Yuu and Yutu as being a sort of outcasts in the community because people thought they were strange, and were skeptical of Yuu's amnesia. Azul! Yutu was really bothered by that, much like his dad he got bullied and sought solace in books, but unlike him Yuu decided to enroll Yutu in some martial arts classes and hey. He was pretty good at those, his submission holds are real bad news, even won him some competitions. But he's not some muscle head even if he sort of looks like one (he didn't really drop his baby weight so much as he did bulk up) so when he gets his first real look at his father... everything in him is screaming that this guy is sketchy. He knows that Azul and the twins are watching him even if he can't see it outright and to make matters worse, when he asks his parent about him they make a face. A face Yutu knows well that he thought was reserved for the annoying nosy couple who lived next door to you and not his father. His father who Yuu's few memories had made sound wonderful; his father who was supposedly talented and hard working, smart and proud of it, but so desperately in love with his parent they still longed for him with broken memories in a completely different world. His father who Yuu had said he was so much like.

"He's not a bad guy." Yuu says and Grim huffs.

"Don't listen to them Henchuman 2." Yutu has no idea how he feels about Grim calling him that. "Azul's reeeeeeeal bad news. If he's interested in ya' it can only mean one thing, he's after your tuna and he's after your magic."

"That's two things." A smooth voice says at the same time he does and for once, Yutu sees surprise on Azul's face when he tries to make eye contact and not carefully calculated confidence.

"Well they do say great minds think alike." His father says and extends a hand. "But I must say you didn't strike me as the shy type, it is Yutu right?" The way he says it, the way he shakes his hand, Yutu knows he at least suspects him. So he smiles and makes sure to make his handshake just a touch too firm when he responds.

"That's right." Yutu is impressed that Azul doesn't flinch even slightly when he pulls back his hand, if anything his little action makes his smile wider. "And not so much shy as just curious and knowing better than to poke my nose where it doesn't belong."

"Not until you've asked anyway." Azul really isn't content with letting him remain ambiguous, he thinks nervously glancing back to Yuu. "But still there really is no need to bother the prefect over such trivial things, if you have questions about me you can just pay me a visit at the Mostro Lounge. My door is always open to poor unfortunate souls such as yourself." Azul smiles at him and adjusts his glasses and Yutu is... impressed even if the thought of being alone with this man terrifies him. But he's going to have to be eventually, Azul really wants to talk to him for some reason and Yutu finds himself wondering if he's going to find it possible to lie, or just what price he will be expected to pay to have the privilege of keeping his secrets.

But when he looks at the way Azul talks to Yuu... he isn't sure if he likes it but he does find it funny. Azul is so horrendously down bad and Yuu is so unaware of it (there's a part of him that thinks Azul might be a little bit jealous of him which he finds really funny). And Yutu understands why Yuu likes Azul so much. He is everything they remembered him being: smart, ambitious, and motivated. It makes him a little more secure in his existence even if he doubts that Azul will like having a son like him. But that's ok too because a son like him is exactly what's needed to make sure his parents get to stay together in this timeline.

now if only he can convince him to stop bugging him for his real name

[eowynstwin]

Generally, I feel like a lot of AI discussion gets down into weeds that obfuscate the foundation of the issue—data storage, environmental impact, copyright law. I couldn’t hypothesize why other than to (perhaps snobbishly) imagine that very few people on either “side” of the issue have a formal art education, because quite frankly two questions matter the most to me, as a trained artist:

1) Is the thing the computer spat out actually, ontologically a piece of art?

2) If yes, who is the actual artist that can claim provenance of that work?

Something you learn toward the end of your BFA, after your fundamental design courses and studio classes, when you’re sitting around with your fellow students in discussion with your professor, is that a creative work’s value as an artistic piece relies on the artist’s intent. A piece of art is a piece of art because the artist who made it intended for it to be a piece of art.

Of course there is PLENTY of philosophical debate to be had regarding a piece’s artistic value, given that once it is determined to be a piece of art it is then subject to critique, but that debate has been ongoing since Marcel Duchamp plopped a urinal onto a plinth and called it art all the way back in 1917.

That debate will not stop until the heat death of the sun.

(Side note: a key talking point for the alt/far-right, when it comes to art, is to claim that the Modernism and its corollary movements are not true art in comparison to the breadth of art history that ended roughly with late Victorian academic practice. Do not give their arguments credence by repeating them.)

Intent is what matters. That’s generally been the foundation of artistic critique for approaching a century. Not necessarily a stable foundation, but whatever.

An analogy:

A professor spends a semester instructing his students how to draw or paint in some classical “style”—let’s say, just for giggles, the Pre-Raphaelite.

He demonstrates specific techniques with specific media and provides specific reference material to his students so they can practice what he has taught them. Throughout the semester he corrects his students’ mistakes and helps them to develop strategies they can use to reproduce the hallmark traits of the Pre-Raphaelite movement.

At the end of the semester, all of his students can reliably create work that looks if not identical to work by artists such as Millais, Rossetti, or Waterhouse, then certainly remarkably similar to them.

Who is the artist of this similar work?

The obvious answer, the CORRECT answer, is his students. Just because the professor trained them to paint in this style does not mean their work becomes his, or, for that matter, any of the artists I mentioned.

His students put brush to canvas and moved pigment around to make a picture. The work is their provenance. They intended to create art that looked Pre-Raphaelite, and then they made it.

I think the application of this analogy to the issue of AI art is obvious, but for clear argument’s sake:

AI is not sentient. AI is not sapient. AI is an extremely well-programmed randomizer not unlike the fantasy name generators nerds use to name their DnD characters (all my love to those nerds).

It associates pixel and hue arrangements with words and phrases and generates images based on those associations. AI has no independent thought. It’s a computer program. It does what you tell it to and has no feelings or opinions of its own.

It cannot have intent.

The only thing that can be successfully argued about an image created by an AI program is that that program did, in fact, create it. Its programming functioned as designed. (No, by the way, this does not mean its programmers are artists either.)

Meanwhile, the tech bro typing “big tittied anime girl” into the prompt line has PLENTY of what you might call intent. He wants to see big tittied anime girls, and he wants to see them in any variety of style he can think of. All he has to do is add “Eiichiro Oda” to his prompt and boom, he has as many big-tittied anime girls with the combined proportions of a Hooter’s waitress and a Jabiru stork as his heart desires.

But he didn’t make the image. The AI did. He may have had an idea of what he wanted the image to look like, but he could as easily have navigated to Google images and typed in the same prompt to pull up the same result.

Here we come to the thrust of my argument: telling a program to generate an image makes you no more the artist of that image than it makes the professor the artist of his students’ work. Being involved in the creation of an image simply by asking for it to be made does not make you its creator.

Telling something, or someone, to create a piece of art does not assign that art’s provenance to you.

So, to answer the questions I posed at the beginning:

2) The AI is the provenance of the image, but

1) No, it is not art, because the AI had no personal intention to create it.

Whether or not AI can be used to create art at all is a different argument, which boils down to: eh, maybe. In my view, AI can create material which an artist can use to go on to make a piece of art. But that requires further intent to be added within that use.

Which tech bros just aren’t adding.

[squash1]

THREES THREES THREES:

Oh hello. I want to talk about the stylistic/textual role of Threes in The Raven Cycle.

Threes – as a general concept and as a number – are a major symbol and motif in the series. Maggie tells us that threes are important from the very first book: from Maura’s favorite saying being “good things come in threes” to Persephone telling Adam that “things are always growing to three or shrinking to three,” threes are discussed at length in the text of the narrative. Maggie also shows us that threes are important as a motif/symbol for important aspects of the story: three Raven Boys, three Fox Way women, three Lynch brothers, three main ley lines, three sleepers, etc. Threes are, textually, incredibly significant in The Raven Cycle, and we know this because we are shown AND told it throughout the entirety of the books. 

We all know the significance that is given to threes in the story itself, but what I want to talk about is the usage of a thrice-repeated word or short phrase (going forward I’m referring to this as “Threes” or “a Three”) as one of Maggie’s writing signatures (across the series, there are 65 Threes). This creates a meta level to threes being an important aspect of The Raven Cycle universe. A classic example of a Three (one of my favorites, in fact) is from The Dream Thieves: 

“As they walked, a sudden rush of wind hurled low across the grass, bringing with it the scent of moving water and rocks hidden in the shadows, and Blue thrilled again and again with the knowledge that magic was real, magic was real, magic was real.” (TDT, 12)

In a way, the Threes join the intradiegetic (what is happening within the narrative itself) with the extradiegetic (what the narration is communicating solely to the reader). The reader and characters are told explicitly that the number three is significant, important, notable, and powerful. In using Threes as a writing signature after giving the reader that information, the Threes are designed to signal to the reader that this line, this moment, is important.    

So the question is: What Are The Threes Trying to Tell the Reader??? 

Amazing question. 

In my recent TRC reread, I was already keeping track of Threes, because I was curious to see how many times they appeared. And then my sister, who was also rereading, said something interesting (after reading this Three from The Raven Boys):  

“He was full of so many wants, too many to prioritize, and so they all felt desperate. To not have to work so many hours, to get into a good college, to look right in a tie, to not still be hungry after eating the thin sandwich he’d brought to work, to drive the shiny Audi that Gansey had stopped to look at with him once after school, to go home, to have hit his father himself, to own an apartment with granite countertops and a television bigger than Gansey’s desk, to belong somewhere, to go home, to go home, to go home.” (TRB, 370)

My sister said: “Adam’s like Dorothy.” And then she said: “Wait. Do you think the Threes are like a spell? Or… a wish?”

Which was……. Interesting. 

What I have determined, after completing my reread and spending way too much time analyzing this, is that a Three is either a wish, a hope, a longing, a prayer – or, alternately, a warning, a curse, a negative promise. 

In either sense, Threes are a foreshadowing of what is to come – whether it be good or bad. Threes exist to signal to the reader that they should be paying close attention to whatever is being said or observed.

Threes in….. Everything Else: 

Before we get too far into TRC Threes, let’s talk about the precedent for three being an important number in art, math, storytelling, etc. I found some interesting information about how three is a satisfying number for the brain: 

Grouping things in threes leverages the power of repetition to aid memory; denote emotional intensity or importance; and ease persuasion (research by Shu & Carlson (2014) found that three positive claims is the most effective for persuasion).

Three is the smallest number that the brain can still recognize as a pattern, and the brain loves pattern and repetition. This is true in visual art – having three main compositional figures to create a pleasing image – and also in storytelling and narrative. Using threes for repetition in storytelling is a very common occurrence. 

Some classic examples of repetitive threes are Shakespeare’s “tomorrow and tomorrow and tomorrow” or Lincoln's “a government of the people, by the people, for the people.” In each of these examples, a repetition of three is used to create pleasing auditory rhythm. There is something inherently memorable about literary Threes. 

Perhaps the most interesting information I found while digging into the precedent for threes is about the rule of threes in folktales. This information happens to come from Wikipedia (side note: Wikipedia is a modern tool of collective consciousness and we should utilize it more). This page describes how in its most basic form, the rule of threes in storytelling is just beginning, middle, and end. Because this is such a common convention, writers tend to “create triplets or structures in three parts.” It then talks more directly about the use of threes in folktales: 

“Vladimir Propp in his Morphology of the Folk Tale, concluded that any of the elements in a folktale could be negated twice so that it would repeat thrice.”

This is especially interesting to me. The idea that an element of a folktale “could be negated twice so that it would repeat thrice” shows up prominently in the plot of The Raven Cycle – a book that is heavily influenced by folktale motifs – but also in so many of the folktales/fairytales we all know. A classic example of this would be Goldilocks and the Three Bears – Goldilocks must try porridge that is too hot, too cold, and then, finally, just right. The journey of these three actions is satisfying to the brain because it is a complete pattern: the third and final result of “just right” porridge is only satisfying because of the two “not right” porridges that preceded it. 

Getting back to Stiefvater Threes:

For anyone who’s seen The West Wing (and even those who haven’t), here’s a good way to explain what I think the Threes are doing. You know that thing they do during a The West Wing “walk and talk” where two characters will be throwing information and little quips back and forth at each other rapid-fire, and then suddenly, they will both stop walking, and the camera will stop moving, and they’ll say a line that contains really important information that you need to know to understand the storyline of that episode? That’s what Maggie’s Threes are doing for the reader. That’s what 6:21 is doing for the characters. It’s intentional: the writers/directors/actors/camera operators on The West Wing know that they’re throwing a lot of information at you, and know that they need to get you to pay attention to the most important parts somehow, so they do it by forcing the viewer to lean in and listen. It changes the focus and energy of the scene from something with momentum to something that pauses, and therefore makes you pause. 

The Threes compel the reader to pause and consider the information being delivered as more important than they might consider it if it was not written as a Three. “Maura’s expression was dark” does not read the same as “Maura’s expression was dark, dark, dark.” And in a text where characters directly state the magical importance of threes, compounded by three as an overarching motif, there is clear intention and meaning behind these written Threes.

In the context of TRC, Threes act as a fourth-wall break.

They are essentially a way to poke the reader and say: “Are you paying attention? Because you should be.” 

These Threes use a symbolic motif – the rule of three – that is already heavily discussed in the text – to get the reader to pick up on the internal motivations of the character who is “wishing” their Three or the narration which is using a Three to foreshadow some important aspect of the plot. 

The Threes are like the literary equivalent of a record scratch. It stops you in your tracks, breaking the established rhythm and making you take notice of what is being said in a new way. 

Let’s Look at Some More Threes (but just a few don’t worry)!

1. We get a classic Three, and a very Gansey Three, right after the group comes out of Cabeswater: 

“‘What about that thing in the tree?’ Blue asked. ‘Was that a hallucination? A dream?’ 

Glendower. It was Glendower. Glendower. Glendower” (TRB, 231).

Finding Glendower is one of Gansey’s core wishes, one of his core longings. Although this line is a literal answer to Blue’s question – he saw Glendower in the tree – in making it a Three, Maggie has given it added weight and meaning. It is prayer-like in its intention. It is almost an incantation: by saying it in Three, Gansey wishes it into being.

2. In The Raven Boys, after Gansey has bribed Pinter to keep Ronan at Aglionby and has learned that Noah has been dead the whole time they’ve known him, we are given this Three: 

“The Pig exploded off the line. Damn Ronan. Gansey punched his way through the gears, fast, fast, fast” (TRB, 311). 

This moment foreshadows what directly follows: a distinct lack of fast as the Camaro breaks down and Gansey is held at gunpoint by Whelk. This Three is not a prayer, but a warning, and an indicator to the reader that something important is about to happen. Had Gansey not been trying to go so “fast fast fast,” the car might not have broken down; because the Three incanted it, disaster follows. 

3. To return to a Three I have already mentioned, but follows the typical Three structure: 

“...to go home, to go home, to go home” (TRB, 370). 

In this scene, Adam’s wish is less about actually wanting to return to his literal home, because his house was never really a home for him. Adam’s wish/longing is for a home that he could return to, that he would want to return to. He is longing for a place/feeling/experience that does not exist for him. The Three in this sentence comes after a string of active wishes/longings, and by ending with this Three, it casts a spell of sorts, honing in on the truest underlying wish that Adam has. In using the phrase “to go home” three times, the narrative is making sure you, the reader, know that this want, this need, this wish, is the most Important to Adam, and will drive his actions for the rest of his story. 

Most of the Threes feel like this. They are often tacked on at the end of a sentence or embedded in a sentence. They’re an addendum to the action of the story. They’re like casting a spell – once to manifest, twice to charge, three to cast. 

…..And Some Other Types of Threes:

Then there are the Threes that don't follow the typical pattern of the same word repeated three times one right after the other, but are still a Three in a different way.

There are short phrases/sentences that are repeated three times throughout a page or chapter. In the prologue of The Raven King, we get this: 

“He was a king…

He was a king…

He was a king.

This was the year he was going to die.” (TRK, 1-3)

In this case, the Three acts as a promise of Gansey’s kinghood, but in ending the sequence with “this was the year he was going to die,” the promise of the three is given a condition: it is not going to be a joyful kinghood, but instead a kinghood intertwined with the death we’ve known is fated for Gansey.

One of Adam’s Threes from Blue Lily, Lily Blue, uniquely breaks the mold of Threes in a format that does not appear anywhere else in the four books: 

“It was his father. 

He opened the door. 

It was his father. 

He opened the door. 

It was his father” (BLLB, 242).

❋ (We’ll talk about this one more in-depth later.)

There are also a few “unfinished” Threes: 

In The Raven King when Ronan is having a nightmare (infected by the demon) about Matthew and the mask, he has this Three: 

“Ronan’s throat was raw. I’ll do anything! I’ll do anything! I’ll do anythi 

It was unmaking everything Ronan loved. 

Please” (TRK, 96). 

With the uncompleted Three, there is an uncast wish. Ronan’s wish is about Matthew, yes of course, but also about being willing to do anything to keep those he loves (ie. Adam, Gansey, Blue, his brothers) out of the reach of the “unmaking.” This unfinished Three serves to foreshadow the harm that does ultimately befall first Adam and then Gansey as a result of the unmaking of Cabeswater by the demon: without the Three spell completed, his wish is not fulfilled.

*This is Not all the uncommon/mold-breaking Threes, just a few that are interesting!

Do All Threes Come to Fruition???

The short answer is: No. Or at least not in that way. 

Once again looking at the text of The Raven Cycle, we are given an answer of sorts. In discussing Gansey’s predicted death, Maura says:

“First of all, the corpse road is a promise, not a guarantee” (TRB, 155).

This seems to apply to Threes as well. Threes are not a guarantee. They are a promise. Not all Threes come to fruition the way one might expect – or at all, for that matter. The important part of Threes is not that they will definitely come true, it’s that they could come true, because the Three gives them the potential to come true. 

Structure, Structure, Structure:

The main Threes structures are:

Three of the same word separated by commas: 

“magic, magic, magic” (TRK, 59).

A short phrase/sentence separated by periods:

“My father. My father. My father” (TDT, 369).

A short sentence that is repeated three times throughout a page/paragraph:

“Gansey did not breathe…

Gansey did not breathe…

Gansey did not breathe” (TRK, 209).

A word that is repeated three times and is connected by “and”:

“Round and round and round!” (BLLB, 224)

Italics vs. Non Italics:

Italics in The Raven Cycle are often used for character’s inner thoughts/anxieties. This continues to be true in the context of Threes. A Three that is not written in italics indicates a promise, or some foreshadowing of a plot point being foretold through the Three – it is typically more “real” – whereas a Three that is written in Italics seems to indicate a wish/hope/longing that is unattainable in some way. Italics almost always indicate a Three that may never come to fruition, or at least not in the way the character hopes it will. 

An example of this distinction can be found in chapter three (hah) (I don’t believe in coincidences and neither does Gansey) of The Raven King: 

First we are met with Ronan wishing/hoping to return home:

“That morning, Ronan Lynch had woken early, without any alarm, thinking home, home, home” (TRK, 24). 

This home, home, home, is in reference to the idea of home rather than the reality. Ronan is wishing to return to a home that does exist physically, but is not the same as in his memory – he wants to be at the Barns as it was in his childhood. 

Then, in the very same chapter, Ronan actually returns home and we are given this Three: 

“Slowly his memories of before — everything this place had been to him when it had held the entire Lynch family — were being overlapped with memories and hopes of after — every minute that the Barns had been his, all of the time he’d spent here alone or with Adam, dreaming and scheming. 

Home, home, home” (TRK, 27).

This second home, home, home, is about the actual reality of being in his childhood home – the good and bad that has existed in the years since the childhood he longs for. 

The Addition of AND:

The most notable use of “and” is in Noah’s very last chapter:

“Sometimes he got caught in this moment instead. Gansey’s death. Watching Gansey die, again and again and again” (TRK, 416).

When “and” is added into a Three, it becomes circular, cyclical. The “and” gives the Three a sense of infinity, or creates a loop of sorts. 

This Three operates in the same way “tomorrow and tomorrow and tomorrow” does in Macbeth – it is meant to convey the endlessness of time, a relentless cycle of tomorrows.

❋ While there are not many of these Threes with “ands” in The Raven Cycle, there are other examples of Threes or Three-like occurrences that fulfill the same purpose as the “and.” For example, remember this Three:

“It was his father. 

He opened the door. 

It was his father. 

He opened the door. 

It was his father.” (BLLB, 242).

In this case, instead of the word “and,” the Three (It was his father) is connected by “he opened the door.” This Three is accomplishing the same feeling as “again and again and again” – the feeling of being caught in an endless loop. 

Another example of an (implied) “and” in The Raven Cycle is: Gansey’s life. Gansey starts out alive and then dies as a child only to be reborn, and then killed again through his sacrifice, and then reborn for a final time. Gansey is Alive, Dead, Alive, Dead, Alive. And so Gansey’s life is a cycle of Three.

As with the Threes that contain “and,” Gansey starts where he ends: alive. 

Other Ways Threes Show up in The Raven Cycle:   

I will state the obvious once again: there are three Raven Boys, three Lynch brothers, three Fox Way women, three sleepers, three main ley lines (the lines that “seem to matter” to Glendower’s story), Gansey the Third (Gansey Three, Dick Three). 

There are also the more obscure: the “three kinds of secrets” in The Dream Thieves prologue and epilogue; each Lynch brother inheriting three million dollars from Niall Lynch; the three figures with Blue’s face on the tapestry and later as a vision in Cabeswater; Adam and Gansey going to DC for three days; the shield pulled from the lake having three ravens embossed onto it; Ronan having dreamt Matthew at the age of three; the door to the Demon’s room needing “three to open” it; Aurora Lynch staying awake for three days after Niall died. 

And of course, we have the ley line symbol/chapter header:

And then there are the 300 (three hundred!) Fox Way “villain” readings. (This was something that was particularly interesting to me.)

The first antagonist we meet is Whelk. When he comes for a reading at 300 Fox Way, he first pulls the Three of Swords. 

When the women all draw cards together, they pull identical cards for Whelk: three of the Knight of Pentacles, then three of the Page of Cups. After drawing, essentially, three threes (the Three of Swords, then two sets of three matching cards) in this reading, the first Three of the entire series appears: 

“Maura’s expression was dark, dark, dark” (TRB, 124). 

The second “antagonist” we meet is the Gray Man, who comes to 300 Fox Way in The Dream Thieves to “observe.” Maura, Calla, and Persephone are predicting which card is on the top and bottom of the stack and the first card, predicted by Calla, is the Three of Cups off the top of the deck that Mr. Gray is holding (a remarkably happy card in stark contrast to Whelk’s Three of Swords). 

When the third antagonist, Greenmantle, comes for his 300 Fox Way Reading he also draws the Three of Swords. The fact that each of the three antagonists come for a reading is in itself a sort of Three, but to further the importance of these moments, each of them draws some sort of three-related card. 

All of the examples I have touched on have been more symbolic references to Three as a motif of the books as a whole. However, Threes also show up in the literal number of times important quotes are said/written. 

I was tracking some of the most well-loved TRC lines to compile them, and noticed that the lines “don’t throw it away” and “safe as life” happen to appear exactly three times throughout the series. This was honestly pretty surprising based on the importance of those quotes – I would have assumed they showed up far more. Actually, they both appear twice in The Raven Boys and once in The Raven King. Threes, and the importance of Threes, is embedded so strongly into the narrative of The Raven Cycle that even the quotes we all think of as the most beloved of the series follow this rule of Threes. 

Now, could you chalk some of these up to coincidence? I guess. But Gansey doesn’t believe in coincidences so I don’t either. So what’s the point of all these Threes?

Conclusion???

In a literal, literary way, Threes are a fourth wall break to make the importance of a moment obvious, but I’m not sure what the larger “point” of Threes is. My best analysis comes from the idea of The Raven Cycle being all about time and Threes playing into the importance of time as a sort of record scratch or loop. The Threes, as a stylistic, written motif, seem to connect the time-based cycle the characters experience to the time-based cycles the reader experiences by reading the books. 

But my conclusion feels incomplete and so I would like to rely on the collective for this one – just about the most Raven Cycle thing you can do. So I’m asking you, the collective you, what conclusion would you draw? What do you think? 

What I do know for sure is that Threes are magic, magic, magic.

For Your Convenience: Here is the textual significance given to threes within the books (chronologically): 

And here are the Threes, Threes, Threes (compiled):

(If you made it to the end of all this, I love you. Have a gold star and a hug <3)