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babycharmander · 7 months ago

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(BOOK OF BILL SPOILERS)

I just finished reading The Book of Bill and I am kindof losing my mind over some of this stuff.

I had wondered if Alex Hirsch might make Bill sympathetic in some way and oh boy I was not expecting him to do it so successfully (and without cheapening Bill's character).

So, we learn that Bill was born into a 2D world... as a mutant who can see into the third dimension. He claims he was absolutely loved by all, but when talking about his powers, he mentions under Pyrokinesis:

"Cipher, Cipher, he's insane / Starting fires with his brain." The kids in grade school could be so cruel. But where are they now, huh? WHERE ARE THEY NOW?

So probably not quite as liked as he was letting on. To add to that, there's the silly straw page, which looks like silly nonsense until you decipher some of the codes:

"EYE DOCTOR OF A DIFFERENT KIND / WHO WANTS TO MAKE HIS PATIENTS BLIND" "THE DOCTOR SAYS / THREE SIPS A DAY / WILL MAKE THE VISIONS / GO AWAY"

I wasn't sure what this meant until I saw someone point out... he was seeing a third dimension that no one else could see. His parents probably took him to the eye doctor to try to "fix" him. Which, speaking of his eye doctor, the coded message in the section about human eyeballs says something interesting:

"MY OPTOMETRIST NEVER SAW IT COMING"

It could be a joke given beforehand he's talking about dissecting a human eye, but given the previous hints of medical abuse, I wouldn't put it past him that he tried to get revenge on his eye doctor.

Oh yeah and the whole thing about him setting his entire dimension on fire? Yeah it turns out it was entirely a mistake (he just wanted everyone to understand the third dimension he was seeing so they could be free of only two dimensions), he was so traumatized by it he blacks out when trying to recall it. He deeply, deeply regrets it, and...

"What? Your ENTIRE home dimension? destroyed? How? By what?" Bill looked distant, more distant than I'd ever seen him. "By a monster."

He sees himself as a monster.

And yet, he's not some innocent, misunderstood being. He still revels in causing pain and chaos. He's terrible in general, but becomes incredibly abusive toward Ford.

"YOU'RE MY PROPERTY. DON'T FORGET IT. The hillbilly abandoned you, your father won't want you returning without millions, you have no friends, and if you died out here in the snow, who would even miss you?"

Which... speaking of him and Ford...

Yes, yes, I know people ship them. But like, whether you see their relationship as romantic or platonic (I see it as the latter), there's some interesting parallels to be made here.

Both Bill and Ford are mutants who were mocked for their being different. (Bill was not physically a mutant, as far as we know, but more in the sense of him having vision stronger than that of everyone else in his dimension, and also having special powers. And he does describe himself as a mutant.) Both became social outcasts, separated from their families but still haunted by them (Ford seeing commercials of Stan on TV and running across old photos of him and his brother, Bill being haunted by his family in some form). Neither could return home for one reason or another. Both more powerful than their peers (Ford intellectually, Bill in terms of actual powers). Both of them isolated and alone. (Yes, Bill does have the Henchmaniacs, but they seem like shallow friends, and only really seem to follow him out of a desire to have a place to party.)

Ford was not aware of most of this, aside from knowing that Bill could not go home because his dimension was destroyed. But Bill absolutely saw himself in Ford. There was no other person he tried to use whom he felt a stronger connection to.

And he actually seems to care about Ford--he actually gave him a birthday present, and when Ford didn't like it, he decided to get drunk and party with him instead to make up for it.

And then when Ford realizes what Bill's plan actually is and refuses to go along with it, and fights back no matter what Bill does, Bill completely breaks down.

After living for trillions of years, he met someone who was like him, and that person rejected him.

He goes berserk, wreaking havoc, being caught by the dimensional authority that he's been taunting for most of his life.

And then after dying and being cast out of hell for being too annoying, he winds up faced with the Axolotl, who sends him to therapy, where he continues to break down further, sending out the book in a desperate attempt to find someone, anyone who will help him break loose and wreak havoc once again.

"You have no friends, and if you died ... who would even miss you?"

I don't know, Bill. Who would even miss you?

In short,

[ID: The front and back of one of Bill's Valentines cards. On the front is a black void with Bill Cipher lying down without his hat, gazing blankly upwards, with the text "I DON'T WANT TO DIE ALONE" above him. On the back is a simple white "TO/FROM" in red, with a red outline illustration of Bill spontaneously growing a mouth and eating a realistic, bloody heart. /end ID]

#bill cipher #stanford pines #gravity falls #gravity falls spoilers #the book of bill #the book of bill spoilers #oh gosh I haven't thought this hard about gravity falls in so long

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tasteleeknow · 8 months ago

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RASPBERRY PIE

minors dni. minho x fem!reader. 4k words content warnings. pet names (sweetheart, angel). mutual pining. sweet/shy reader. perv!minho. corruption kink. food play. dirty talk. oral (m rec.). soft!dom minho.

you bake your quiet neighbour a warm raspberry pie.

He's pretty sure he's utterly fucked from the jump – he finds himself attached so early he almost convinces himself you're a witch in disguise; that maybe he'd moved in next door to a creature designed to trap men like him. A siren, maybe. The sweetness was an act; all the soft tones and doe eyed looks were just a trick to lure him down beneath the waves.

He was determined not to drown.

And then you show up with the pie, a little flushed from working around a hot oven. It'd been 6 months – 6 months since he'd moved in, and as he opens the door to find you in an apron with little pink stains, a feeling of approaching and inevitable doom settles in his chest. Finally, you'd come to take him.

"Hi," you greet with a shy smile. "My friend brought me over far too many berries yesterday so..." you look down at the golden pie, carefully decorated and clearly still warm, "...well I made this. For you."

If he was wise, he'd politely decline, close the door, and never be faced with the reality of the sweet little siren in his apartment, offerings of temptation and all.

"For me?"

You look up at him through long lashes. "Do you like pie?" you ask. It's the way you say it, like if he doesn't you might genuinely hurt inside – like with a simple rejection of your offering, he had the ability to snuff out some little candle alight inside you.

"I like pie," he says.

Then you smile. Like it's the best news you've heard in weeks. "Oh, good."

He steps aside, his body betraying him. The siren enters with her warm pie and soft smiles – and he knows, unequivocally, that he's fucked.

He keeps his distance as you comfortably navigate to the kitchen to find a place for your offering. The apartments were all pretty much identical as far as he knew. The two on this floor, his and yours, were mirrored. He imagines that just on the other side of your joining wall, you took the same steps he did he each morning, in parallel.

You fiddle a little with the delicately placed raspberries atop the pie as he approaches from the other side of the island. You wear a tiny silver ring on one finger, much like one he wears on his own. He'd spotted it before, during short interactions in the elevator. He suppresses the urge to comment on it now, to ask if it meant anything to you.

He doesn't need to know you. He couldn't afford to. He was finding himself attached enough without it.

Then you pluck one little berry up in your fingers and bring it to your lips. He watches you. He watches you and he knows that he's walked willingly into a trap.

"Sweet?"

You look up. "Hm? Oh." You nod. "They're lovely. My friend gets them from this farm near his parent's place."

Friend. His. He sits in the feeling that stirs in his chest for a quiet moment. It's a rotten feeling. He doesn't like it at all.

"He brings them often?" he finds himself asking.

"Not at all. He just happened to come by after being there for a weekend. He doesn't go there often, I don't think." Your accompanying smile is almost enough to snuff out the rotten feeling before he has time to digest it. Almost.

Then he considers that this might not be the only pie. You may have made this other guy a pie just like it... maybe it was bigger, maybe you'd used the sweetest berries in his pie.

He kicks a cat toy across the floor as he stuffs his hands in his pockets, a little embarrassed by his own internal monologue. Witchcraft, turning his brain into mush.

"You have a pretty view."

He looks up to find you brushing your hands down your apron and rounding the kitchen island. You seem drawn to his floor to ceiling windows, a little moth to the light.

He follows.

"Mine isn't nearly this nice," you continue once he's standing beside you. "All I get is the construction site and a concrete wall." Then you close your eyes, head tilting back a little to let the sun's afternoon rays bathe your face. "Don't get the sun like this, either," you add, a little dreaminess leaking into your already sweet voice.

Oh, he's fucked.

"You like it?"

You blink up at him, eyes adjusting to the light again. "Hm?"

"I mean if you really like it, you're welcome over anytime, whenever." He wonders if this is part of your spell work, making him say stupid shit. Maybe he'd be better off if you were casting spells on him, if he had a reasonable excuse for being so fucking braindead. "For the sun," he adds, like it makes it better.

A small breath of laughter slips from your pretty lips. "It does get a little gloomy over there, on my side of the wall."

It was hard to imagine anywhere you were being gloomy.

"I should go," you continue after a short moment of comfortable silence, each of you basking in the sunlight. He really should appreciate that more, he notes. Then he considers the fact he'll associate this little patch of warmth with you each time he attempts such a thing.

"Sure," he says, following you from a safe distance to the door. "Thank you. For the pie."

"You're welcome."

Everything is fine. He's alone and he survived the encounter. Then he's faced with the pie. He stares down at it, warm and made with careful hands.

He plucks a berry off the top. He thinks of the berry you'd eaten in the same way.

Everything is fine.

He hesitates as he goes to pluck a second berry. Instead of lifting one from the crust, he presses the tip of his finger a little against the surface. Warm. He breaks through. His finger is coated in syrupy, red filling when he pulls it free. It's sugary sweet when he sucks it clean.

Shame. That's what he feels next. Because sweet gestures of neighbourly kindness should not trigger the kind of thoughts creeping their way into his head.

He wonders if the little siren's cunt is as warm and sweet as the little offering she brought him. He considers doing the right thing, having a cold shower and sitting in the morning sun with a slice of pie.

But apparently, today, and the day before, and every day for the past 6 months, Minho was not wise and he wasn't very good. Because he let the thoughts of his sweet little neighbour stew for months, and this is where it'd led him.

He stands there, one palm pressed flat on the kitchen counter, the other buried in his sweatpants, and he thinks of the sweet little siren with her sweet offerings, and he imagines sinking his hard cock into her warm, sweet cunt.

—

It's hard not to deflate entirely as you close your apartment door behind you. You'd expected too much from a single pie, you suppose. It would entirely out of character for him to ask you to stay for a slice, to take the opportunity to finally have a conversation longer than an elevator ride.

You sigh, dropping your forehead against the cool surface of the door. It helps a little. You're overheated, both from the cooking, the warm sun, and the heat that had bubbled up from the inside as the pretty - yet frustratingly reserved - man next door had watched you move about his space.

You hadn't lied, his apartment was far nicer than yours. You could imagine basking in that patch of sun any chance you had. You wonder if he does the same, if he sits there after a shower, chest bare and hair still a little damp - letting the sun warm his skin.

You leap back as a knock on the door jolts you out of your daydream. Sighing, you press your palm to your forehead - head thoroughly rattled - as you pull the door open.

Oh.

"Hi," Minho says casually. He's a little flushed compared to when you'd left him minutes earlier. He shouldn't be. There were no stairs between your apartments.

"Hello, again."

He glances over your shoulder, getting a clear view of your empty living room. "It is darker in here," he says, still casual.

"Oh. Mm, yeah. I miss your sun already."

His eyes fix back on you. Then he pulls his lip between his teeth slightly. He has something to say... something he won't say.

"Why'd you make me the pie?" he asks.

You blink. "I... had a lot of berries from-"

"Your friend. I know."

You're officially confused. His eyes drop down your dirty apron before returning to your face. "You only made one?"

"Is it bad?" you question.

He pushes some hair away from his eyes. "No," he says quickly. "No, it's... nice." His eyes sweep down your body again. "Sweet," he adds.

"I only made one."

His eyes jump to yours before a brief look of confusion flashes across his pretty face. He seems to remember his own question soon enough. "You didn't want to give it to," he gestures vaguely behind you, "your friend?"

"No," you answer simply. This entire interaction was drifting into territory you weren't sure you were ready for. If his questions got any more interrogative, you might find yourself wondering how to answer them in any other way than 'Oh, the pie? I baked it for you because I have a huge, embarrassing crush on you, even if you've seemed intent on not knowing me.'

"He doesn't like pies?" he asks.

You can't help following the path of his fingers as he fiddles with the chain hanging around his neck. They brush his skin as he strokes the metal back and forth.

"I... don't understand what you're asking me," you say as you pull your eyes from his neck. "Is something wrong?"

He readjusts his position in the doorway, pressing his hand to the frame and freeing you from the constant distraction at his neck. He leans over you a little like this.

God, he's pretty.

"You a witch?" he asks.

"I'm sorry?"

"Did you put something in it?" he continues, still leaning well and truly into your space. "Something to make me-" he cuts himself off, brows furrowing.

"Are you asking me if I poisoned the pie?"

His voice drops, like someone might overhear, despite you both being entirely alone on this floor of the building. "I'm trying to figure out why all I can fucking think about is how you might taste on my tongue."

Your head rushes, all the heat returning. Then your eyes drop to the floor.

"Look at me, sweetheart."

You don't. His shoes are safer. He was flirting. More than flirting. He wanted you.

His fingers guide your chin up, it doesn't take much, a nudge. "I'll leave if you want," he says. "Never mention it again. Just tell me what you want."

"Did you like it?" you find yourself whispering. "The pie."

His lips crack into a lopsided smile. It's tiny, but it's a smile. "Loved it, sweetheart. Sent me to heaven."

"Would you... would you like to come in?"

He nods.

You go to turn, to let him follow you. But then, instead, you take his hand and lead him in. He's warm. You imagine all the sun he gets over there must've absorbed deep inside him over time. Maybe he could leave some of it behind here for you - that heat might leak from him if your kept him here long enough.

He follows where you lead, his hand still grasped firmly in your own. You're not sure why you lead him to the sofa. You aren't sure what you're expecting next. It's why you find yourself simply standing beside the piece of furniture waiting for him to say something – to let go of your hand maybe.

Instead, his thumb begins brushing over your skin. He's quiet, seemingly unhurried to break the tension building.

"I asked my friend to bring the berries," you confess quietly, eyes focused on your interwined hands. Confessions were always so much easier with your eyes downwards. "I wanted to make something for you... specifically."

"Why's that?"

His thumb continues against your skin. He doesn't make you look at him like he had before.

"Because I... wanted you to - I wanted your attention."

You can hear the smile in his voice when he speaks, "So you baked me a pie?"

"I'm good at baking."

"You are," he agrees. Then his other hand reaches for the hem of your apron. He rubs it between his fingers a little. "Messy though."

You look down at the patterned splotches, pink on white. Then he releases your hand, taking that warmth with him. He only allows you a few seconds to miss it though. That same hand snakes around the back of your neck, skin on skin.

Your eyes are drawn to his without thought.

"Are you always messy?" he asks.

You nod, chewing on your lip a little.

He seems pleased with your answer, a small hum escaping his throat. "I like messy," he says, sounding a little far away. "Do you like messy, sweetheart?"

Your eyes drop to his lips, a little stained from your pie filling. "Yeah," you breathe.

He tugs you towards him before your have time to suck in another breath, attaching himself to you like he's starved. You can't help gasping a little into his mouth as he presses you into him with a hand to your back.

Holy fuck. Surely you'd wake up slumped against the door any second. Maybe someone hadn't just knocked on the door. Someone had opened it and knocked you out and you were dreaming about your pretty, brown eyed neighbour.

He groans a little before taking your lip between his teeth. No. No you were definitely awake. "So sweet," he mumbles as he releases you, his breath ghosting over your wet lips. "Can I have you?"

–

It's hard to keep his head on straight as you look up at him with those big sweet eyes. Can I have you? His stomach rolls as he waits for you to say yes. Please say yes. 6 months of denial and he was desperate.

You'd made that sweet little gift for him. Just for him. His little siren.

Then you're pressing against his chest, forcing him down onto the sofa. He looks up at you, at the stained apron and the hair sticking a little to your temples from the time spent making his pie.

Then you lower yourself to your knees.

Oh, fuck.

Your hands only have to brush his legs for him to get the hint. He spreads them, allowing you to shuffle closer to him – settling between his thighs.

Then you look up at him. "Can I taste you?"

He's keeping you. His head drops back as he collects himself. Then, "You want my cock in your pretty little mouth?"

You nod, fingers pressing lightly into his thighs.

Minutes ago he was fucking himself into his own hand imagining how warm you'd feel around him. Now you're between his legs, lips wet, asking to taste him.

He's careful to keep his eyes on you as he frees himself, intent on catching each and every reaction you make – he's keeping it all.

You're a little hesitant as you reach for him. "You're good, sweetheart," he encourages. "Touch me however you like."

It seems to be all you need. In the next second your soft little hand is wrapping around his length. His head drops back again as his eyes close.

It's a mistake, closing his eyes. He's not prepared when your wet lips press to the tip of him, soft and warm. He groans, hand automatically making a home in your hair. He needs grounding. He needs –

Your lips wrap around him. His little siren was sucking his dick into her sweet little mouth. His hips jump a little. "Oh fuck, that's right. You're all warm for me."

You hum a little around him. Then, you take him deeper. Hot little tongue dancing over his sensitive skin.

"Good girl," he groans. "Take it for me, sweetheart." He resists the urge to spill himself right here, right against your tongue. "Hm? You taking it for me?"

His hips jump again as he fucks himself into your hot mouth, wet and sweet and just for him. You'd wanted his attention. You'd come for him. Just him.

"You mine?" he gasps as he forces his head up to look at you. "You gonna let me fuck you?"

Your lips pull off him slowly, a little suction at his tip sending his head spinning. "Do you want to?" you ask, lips swollen.

He leans forward enough to begin lifting you, encouraging you to climb into his lap. Each hand rests at your hips as you settle yourself there, his leaking cock pressed between you.

"So bad," he answers.

You shift a little in his lap. He imagines you squirming on his cock.

"Me too," you confess. It's quiet, like it's bad.

Sweet siren.

"Sit on me," he instructs. "Want you to bounce on me, sweetheart."

You eyelashes flutter as you blink a few times, processing, deciding. Then you shift, reaching up under your dress and tugging your underwear down.

Something in his stomach stirs when he realises you were leaving the rest on, apron and all.

You grasp him in a soft hand, guiding him beneath your clothes – then you sink down. He's transfixed by the little sound that escapes your lips as you take him in. That, and the way your cunt feels squeezing around him. He might have to keep you for fucking ever.

Hot and sweet and wet and better than he'd imagined as he'd fucked himself against his counter minutes earlier. Better than any of the scenarios he'd dreamed up over the months he'd spent thinking of his sweet little neighbour.

You fall into him with a sigh once you're full seated, cock buried deep.

"Doing so well," he says, hand squeezing a little at the back of your neck.

You mumble something into his neck in response. He can't quite make it out, but he swears, it almost sounds like a tiny 'thank you'. He has to keep himself from filling you at the thought of it.

His hands return to your hips. You must take it as a prompt because you lean back from him enough to begin lifting yourself off him and dropping again.

It's slow at first, a little swivel in your hips, grinding yourself down into him.

The apron prevents him from seeing how his cock looks slipping in and out of your little cunt. He hasn't even seen it, that sweet little hole between your legs.

Instead, he feels.

–

It makes sense that a man as pretty as him would have the prettiest cock. One you wanted to taste. One that would have you slippery and ready to take him.

There's this vein that throbs in his neck each time he drops his head back with a groan. His neck. God you want to lean forward and bite into it. But he might not be into that. Next time, you think. Or the time after that.

God you hope there's a next time.

His fingers dig into your hip as you sink all the way down again. It feels a little like he's resisting, holding back.

"Minho?"

His head lifts, eyes a little glassy as he blinks at you. "Hm?"

"You can fuck me," you tell him. "However you want. I want you to fuck me."

He blinks again. His fingers dig into your skin harder.

"Tell me when you wanna stop. Just tell me," he says.

You nod. Then he's leaning forward and tugging you against him. His lips press to your skin just at the crook of your neck.

Then you're falling. He falls over you. Then he lets go. He presses you into the couch cushions as he drives into you, hair falling over his face. He's even pretty like this, with parted lips and brows slightly furrowed.

Your skin slaps together as he fucks himself into you. Messy, he'd said. He liked messy.

That's what he gets as he continutes to drive into you, as you begin to drip around him, as he fucks that wetness into you and over your thighs and then the sounds it all makes.... messy.

"Wanna fill you," he mutters. "God, I wanna fill you so bad. Wanna fuck my cum into your sweet cunt."

You squeeze your eyes shut as he continues, overwhelmed.

"You can take it for me, angel. I know you can. Sweet little thing made just for me. I knew it." He's muttering so much you're hardly sure he even knows what he's saying. His fingers are almost painful as they dig into your skin, like he can't hold onto you hard enough.

"Fill me," you gasp.

He eyes lift from where you join together to lock on your face. "Yeah?" he asks, a slight croakiness breaking his words up a little. "I'll make you all warm and sticky inside, hm? Just like your pretty little pie? That sound nice?"

Oh god. There was something inside you, something made for this – for him. You knew this was going to ruin you forever.

"Please."

He falls over you, then he bites. He bites into you as he floods you full.

#lee know smut #lee know fluff #lee know x reader #stray kids smut #stray kids fluff

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mandalhoerian · 1 month ago

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Repost because tumblr's tags were broken yesterday and it ate my post up 😞 Spoilers and translation notes for Rafayel's intertidal zone & analysis because it kinda floored me, I was just as a blank page as he was throughout this. I had to watch it like 5 times to understand what the story was saying and dig into chinese and japanese versions of this to piece together what was really happening. It may be my idiot brain not getting it and maybe it was like the easiest thing to understand for you but. Yeah. I may be just dumb LMFAO AND!!!! There's also a theory of mine into how Rafayel is actually able to read mc's mind/wishes through their lemurian bond, so stay tuned for that I guess

EDIT: correcting some transcriptions of chinese characters and the translations. sorry about that! google couldn't transcribe it correctly. for clarity's sake i will also include original screenshots. please tell me if anything is wrong!

EDIT 2: Check out part 2 to this as well for stuff I missed!

EDIT 3: An Abysswalker connection I found

EDIT 4: Debunking the myths of non-consent & Rafayel hurting MC in the spicy scene

So Rafayel’s whole deal in this memory, I believe, is dependency. Like, too much intensity, too much need, too much fear -- about scaring her off, about what he sees himself possibly becoming in the future, overall just being too reliant on mc and getting scared by it.

Let's begin with this massive fear of being a taker, not just in the “I’m stealing someone’s fries” way, but in this existential, soul-deep kind of way where he’s terrified of turning everything he loves into something he exploits out of demand for his art. And yeah, it’s sad when you first hear him say it, but it’s also really interesting when you look at how this all ties into his relationship with MC and his inspiration source drying up because of her.

Before Rafayel became an artist, he looked at the world in this super pure, wholesome way. Sceneries and nature were just there, things to admire and feel awe over without needing to do anything about it. Like, imagine standing at the edge of a desert, looking at a sea that’s drying up. Sure, it’s tragic, but it’s also kind of beautiful in a raw, heartbreaking way. That’s how Rafayel saw things, he could appreciate them without feeling like he had to do anything.

But then Rafayel started creating, and suddenly, sceneries weren’t just sceneries anymore. They became inspiration. He wasn’t just admiring beauty, he was extracting something from it, its meaning, its pain, its soul, to turn into art for other people. And that made him feel all kinds of icky, because now he wasn’t just looking at the drying sea. He was taking from it. Just as he's using his people's pain in his art as well, that's also a thing.

Now let’s talk about MC. Rafayel loves her like he used to love those sceneries,,, in this pure, untainted way. There's a parallel here. But here’s the kicker, he’s not the same guy who can just admire something and leave it untouched anymore.

And suddenly, this is no longer only about losing inspiration for him.

This happens after he and MC get together, and it’s like all the pain and anguish that used to fuel his creativity just.. ... dries up. He can’t find that spark anymore because now his life is surrounded by love instead of suffering. In fact, his inspiration starts coming from her and it's starting to clash with how he makes art. In the phone call, he seeks her out and says he needs her so bad and she only needs to talk to help him out. This is the first wink wink nod nod of the story.

So what does Rafayel do? He goes on this big, dramatic trip to "find inspiration" (or at least his muse), but it’s not just about his art. He’s not just looking for inspiration, he’s trying to figure out how to be less dependent on her and becoming increasingly more restless over this. The temparature and physical discomfort is making things worse, he's anxiously overthinking, and imagine trying to fight this and the longest art block as of late off when all you want to do is indulge in this special person and be comforted like a lap cat all day every day.

He understands that if he lets himself indulge without restraint, one day his love for mc will turn into pure need. He’ll become more and more greedy, and he doesn’t want that and is afraid of being abandoned because of that growing neediness and dependency.

This is in relation to his art, because as @/dat-silvers-girl put in the comments, he's struggling with "the genuine fear of not being able to enjoy anything in life because all you're thinking about how to use it (as an artist)" . what if he starts doing this to her? to their love and relationship? take from her, and become someone who only takes in every area of life -- like someone who only exploits things by extracting what he feels about them to use it for his art. he's afraid of that, he doesn't like that and possibly doesn't like himself who does it. so why should she? she would leave him for sure, in his head, that's a solid reason to.

The first time around he brings up his anxiety about MC leaving him out of the inner realization of his dependency, the possibility of just what he can become, and fear of abandonment. she effortlessly soothes his worries. It's heavily implied they did it afterwards and after hearing "her life has already been consumed by him" he tweaked out a little bit and his "obsession" seeped through.

After it fades to black, he says ほら……僕もとっくに……君に侵食されてしまっているんだ…… which means "See... I've already been completely consumed by you too" in Japanese instead of the life being made a chaotic mess localization. While I think MC's line was jokey and lighthearted, I don't think this man is joking at all. Rafayel didn't say his life was consumed by her as well, he said HE was consumed. Ouh.

This took the edge off from him for a while but they hadn't gotten to the root of the problem yet, so he was back to square one after the memorial hall, because remember, he's trying to find inspiration as an act of making this dependency of his better. Pain and suffering are all around him here, which his inspiration feeds off of. The dried up ocean he could hear weakening, the skeleton of the whale, the burden of his people and homeland more prominent than before. And what does MC do? Tear through the perspective of pain and introduce a hopeful alternative, "Isn't it a surprise to see an ocean in the middle of the desert?"

This is a place that gave Rafayel the height of helplessness and suffering when he visited by himself before despite momentarily being hopeful after the locals told him such a place existed. But now, she was there to comfort him through his loneliness and pain, hug him, and give him hope yet again. He brings up how he wanted to come here with the most important person to him when he was still hopeful about it before consumed by the pain of it all, and that wish has been granted. That moment has to be so powerful for Rafayel. Literally light at the end of the tunnel.

It had me reeling that he just sat in the car after all that, staring at her for god knows how long until she woke up. He was probably overthinking again, but my interpretation that it was heavily emotional for him (it could have meant so little for MC but the world for him, she doesn't even know) and he wanted to be in that moment with her, just feel and look without restraint. Indulge a little. (I can just imagine him going just a little bit more, I'll go after she wakes up.) And like. His eyes are shining in the darkness is the description here. Perhaps he was feeling so much here. So much love. So much happiness. And he's about to go in for a kiss (heavy breathing and everything) after that, but holds himself back and actively has to pry himself away. He's feeling the neediness again.

That’s why he makes an effort to actively wean himself off and says he'll be okay on his own. What he says to her after MC is like "spoiling him" being all "hey you're sick maybe don't go? or let's go together?" (which is NOT helping Rafayel at all) is even more meaningful in Japanese and I didn't know why they left out this context, but the rearranged line would be "Do you want me to become a sea creature beached on the sand after the sea recedes, unable to breathe on my own ever again?"

Yeah. YEAH. This is about dependency. (He's saying don't coddle me I'll literally become that wolf tearing his shirt meme 😭)

So of course his stubbornness and anxiety force him to do things without MC and distance himself, he can do it. He’s determined to prove to himself that he can endure it on his own.

I also feel like part of the reason he insisted on going to the salon alone is that he’s still worried mc might come to dislike the version of him who's someone he's so sure she will leave, who isn't perfect and he hides behind the persona he's put up just for her. If he truly becomes addicted to her and shows her everything/his true self, and she ends up leaving him, it would completely break him. He's trying to be like "im so normal about her haha" but he's so not normal about her at all. He's literally obsessed I feel like, and perhaps this is him fighting it knowing it's not healthy.

and OOOH about why he ends up coming back from the salon all hot and bothered.

I have strong context that she flicked the bean in there after he left her high and dry in the car ("hot water washes away the stickiness from my body and his stifled breaths still echo in my ears, enveloping me along with the steam in the bathroom. The warmth from his fingertips lingers in the places where he touched me..." is the english. however, in chinese, it goes "熱水洗去身上的黏膩，壓抑的喘息迴盪在我耳畔，和浴室裡氤氳的水氣一起包裹著我." stating "the suppressed breathing" -- which doesn't have any possessive adjectives when I translated it on google and later explicitly asked chatgpt if it had any his/my adjectives involved, just to be sure. it said no but i'd like it if a real chinese speaking person could give their input on this !!! PLEASE DONT LEAVE ME WITH CHATGPT

so um. if the context is in fact the case that he heard her masturbating to him, the intensity with which he attacked her would be normal, I think 😭

I have belief that MC unconsciously shatters his "training himself to be without her" determination through their bond. She just keeps thinking about him the entire time. about him reading her thoughts, though. we still don't know all about the lemurian bond they share. I’d say it grants him some sort of mind/heart reading ability or connects their minds together (when she was thinking about whether she should hug him, he answered “yes”).

At the salon, I imagine Rafayel was already thinking about her like crazy. Then he realized, or perhaps, "heard" she was still worrying about him and thinking of him (as much he thought about her) and decided to go back. Rafayel probably felt that suppressing himself was only making her more anxious and unsettled. She's thinking all about him, unconsciously calling to him to come to her, she didn't want to let him go at all, wanted to go with him, etc...

but even if it was his own decision and no mind reading was involved... uh. If you ask me. He did quite literally hear her after coming back. That's also something that might make him think she wants him as much as he wants her, which made his self-restraint utterly meaningless from the start.

Disregarding this theory of mine proven wrong until a Chinese speaker helps me out here, MC returned to Rafayel's room. A translation omission happened here from what I saw. There are no possessive adjectives in the Chinese text about the room she returns to, and the Japanese one states she returned to the guest room (doesn't specify which one. She was also able to enter Rafayel's room without needing to knock before.)

so uh. she went into rafayel's room y'all. the line "this is my room, you're the one who walked in here" MAKES SO MUCH MORE SENSE. (SO LIKE. NOT ONLY DID SHE GO INTO HIS ROOM, SHE FLICKED THE BEAN THERE AND HE POSSIBLY HEARD IT. SHE'S MORE OF A FREAK THAN HE IS, I UNDERSTAND WHY HE LET GO AFTER THAT LMFAO)

I don't put it past him to get worked up after he finds her in his room post-bath even without my theory lmfao (idk why they put her in a dress when she should be in a bathrobe or something 😭)

His conclusion at the end of this memory that "he finds inspiration in pain and the art of creation is a part of his life. mc made him realize love and art are so alike. even if they don't complete him but burn him instead he wants them (love and art) with every fiber of his being" and MC says she doesn't like that, rightfully so.

So like. There's SO MUCH to unpack in here.

When Rafayel says he finds inspiration in pain and that creation is a part of his life, he’s admitting something raw and essential about himself: pain isn’t just a byproduct of his art, it’s intrinsic to it. For Rafayel, pain and art are intertwined in a way that’s almost inseparable. It’s like his muse isn’t just beauty, but beauty that hurts.

But then he takes this further by connecting art to love. He’s realized that both art and love demand the same from him: vulnerability, passion, and sometimes suffering. They don’t necessarily complete him (he’s not romanticizing them as salvation), but they burn him, wear him down, consume him (coincidentally, this is something he said to MC in the JP dub of this memory, that she consumes him), but also give him life. And for Rafayel, that’s the crux, even if they burn him, he wants them with every fiber of his being.

This is such a Rafayel thing to say. It’s dramatic, it’s tortured, but it’s also deeply SUBTLE. He doesn't spell all of these out, mind you, I got a headache trying to understand him. Or I'm just slow, I don't know. It shows how much he values creation and connection, even if they come at a cost.

MC, on the other hand, challenges this perspective. When she says she doesn’t like that he views love and art as things that burn him, she’s pushing back against the idea that suffering is a necessary part of creation, or love. MC doesn’t want Rafayel to see their relationship as something that requires him to hurt. She’s telling him, “You don’t have to destroy yourself to love me.”

When MC says, “You’ll never have to burn for me,” she’s giving Rafayel an alternative to his destructive mindset. She’s saying that love doesn’t have to hurt, that their relationship can exist without him sacrificing himself on the altar of passion. It’s a refusal to let Rafayel romanticize pain as the price of love.

And I love that Rafayel goes, "Will you help me look for other parts in life outside of pain?" in response. This is NOT about art or inspiration anymore, and the way the dialogue is written is just AUGH. Again I had to rewatch this over and over again for the nuances and subtext.

I love MC's response, she knew exactly what to say. “I’ll always be the one who walks along the shore with you. Of course, diving into the sea bed is fine too. If it can snow in the desert, there will be a day when the ocean returns.”

MC’s response is layered with metaphors, but at its core, it’s about unwavering support and hope::

Walking along the shore: This represents safety and companionship. MC is saying she’ll be with Rafayel in the calm, in the moments where they’re just observing life without diving into its depths. She’ll be his steady presence, his grounding force.

Diving into the sea bed: This is an acknowledgment that life and love sometimes require going deeper and they may go through hardships, into the unknown, the murky, the challenging. MC isn’t afraid of this, she’s willing to go there with him too.

Snow in the desert and the ocean’s return: This is a symbol of hope and transformation beyond being a nod to The Sea of Golden Sand. Snow in the desert seems impossible, just like the idea of Rafayel finding inspiration outside of pain might feel impossible to him. But MC believes in the extraordinary, in change, and in the possibility that beauty and creation can exist outside of suffering.

Her words are a promise: she’s willing to stand by him, to face the unknown together, and to hold onto the belief that a new way of seeing the world is possible.

And Rafayel LOWKEY PROPOSES IN RETURN.

By saying “let’s watch the sea together,” he’s accepting MC’s offer of companionship and hope in the long run. He’s recognizing that life doesn’t have to be about diving into the depths alone, it can be about sharing the experience with someone else, even if it’s just standing on the shore and watching.

“Every sea”: This phrase is key. Rafayel isn’t just committing to one kind of life or one kind of inspiration, he’s opening himself up to all possibilities. Watching every sea means embracing all facets of life, whether they’re calm or turbulent, painful or beautiful. It’s a marriage proposal declaration that he’s ready to explore the world beyond pain, with MC by his side.

So. I love that his inspiration returns after his freak is accepted by MC because he literally feels the acceptance through the bond.

Thank you for coming to my TED Talk. This memory DRAINED me. They were just supposed to bang what the fuck happened. Why did I have to go treasure hunting to find what was going on in this card. anyway...

#love and deepspace #rafayel #lads #lads rafayel #rafayel lads #l&ds #l&ds rafayel #qi yu #rafayel qi #fandom: lads

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marlshroom · 6 months ago

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came to the fucked up realization after finishing gravity falls again last night the parallels of the dream bubble bill made for mabel and the literal state of delusion he keeps himself in.

in the book of bill on the page where bill cipher describes how he figured out a way to manipulate her into giving him the rift, it says:

"Summers ending, my guy. Ending to death, bro. She'd do anything to make it last just a day longer. Probably something RASH and OUT OF CHARACTER, even!"

as we know, mabel cannot handle the fact that she will be growing up. that the relationship with her brother is going to change. she is scared of high school.

bill then says "That was it. She'd never make a deal with me. But she'd make a deal with someone she believed could give her more time. The dream was done. I had her."

bill then creates the dream bubble for mabel, he makes every one of her dreams come true, a place where time is still and she can be a kid forever. a lie so great that she wont have to face the truth.

in journal 3 on one of the pages bill is writing in code, we see this:

[ID: "I ask you, why must[should] time only move forward? Why must cause preceded effect. Who voted on the law of physics."]

my friend helped me break down what bill means by this:

why can we only move forward in the 4th dimension of time. why does something have to make another thing happen, why must cause come before the effect. why cant you move backwards, in the other direction, change the decisions youve made.

how interpret this is bill asking why he is not able to back and stop what he did to his family. he says to ford that he tried and failed to undo the past.** why did him wanting people to acknowledge his advantages instead of suppress him lead to the destruction of his whole dimension?

**(i just want to point out that this is probably the time where bill is the MOST open to anybody, or at least the first. to his henchmaniacs he had been telling them that he liberated his dimension until the oracle discovered the truth. here, to ford, he got so much closer to telling the truth. he SHOWS ford the last atoms of his world. he says that it was destroyed by a monster, not that it was liberated! destroyed)

back to when bill says "I had her" about mabel, he had her cause he knew exactly what needed to happen to trap mabel in a delusion because it is exactly what he is doing to himself. creating a fake narrative of what happened to him, that he was vindicated in killing his whole dimension. only ever doing exactly what he wants because confronting the truth is too scary for him(good fucking lord). the morality page offers good insight into this too.

i am actually just going to quote the whole page and highlight the important part. it speaks for itself really

"THE POINT IS it's[morality] is a very flexible concept! But parents and presidents don't want you to know that, because then you might start asking other questions, like who put them in charge, anyway? So they cram your brain full of guilt and regrets for transgressing the laws that they just made up(the laws that they made to prevent the destruction of their dimension, regardless of if the law + the wrongful medication of a fucking baby triangle did any good to actually prevent it). Wouldn't it be nice if you could put all that baggage down? Quell the shame that follows you everywhere for a lifetime of crimes? MAKE THE SCREAMS FINALLY STOP? The good news is you CAN silence that annoying voice, and here's how!

DENIAL

Works 100% of the time in every situation. What you you mean there are people who disagree? I can confidently say there aren't!

RATIONALIZATION

If you can do it, you can justify it! "Truth" is open-source code and anyone can edit it anytime! Want to be like me? List 3 "evil" things and then 3 "reasons why they're actually good." You'll be rationalizing like Bill in no time!

DETACHMENT

Did you know 100% of your human cells die and are replaced every 7 years? That means that anything you did 7 years ago wasn't even you-it was some dead loser! You can't be held accountable for what a dead person did! What? You think this is just another form of rationalization? I DENY THAT!

THE BILL CIPHER DECISION METHOD!

Working over the eons, the voices in my head teamed up and worked out a foolproof method for making any decision in any situation.

DO WHATEVER I WANT."

ooooooooooooooooooh boy.

he is fully admitting here that he is living in a completely different really in order to justify doing whatever he wants. he gives mabel the tools to deny, to rationalize, to detach herself from the reality of it all. that time has to move forward. and he thinks it will work because it worked on himself.

but it doesn't work on mabel because she understands that she needs other people. shes vunerable, she lets people in, admits when shes wrong. and bill cant do that because it would destroy the fantasy he's created for himself.

#gravity falls #gravity falls theory #gravity falls analysis #book of bill #the book of bill #tbob #thisisnotawebsitedotcom #bill cipher #mabel pines #marlstext

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creantzy · 8 months ago

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Defying God - a parallel between Fyolai and Stavrovensky

The Demons brainrot is taking over, and you know what happens when I acquire a new interest: my brain WILL find a way to connect it to my other interests, whether I like it or not!! And this is essentially what it's about xD I've come here to present a parallel I found between Fyolai (Fyodor & Nikolai from BSD) and Stavrovensky (Verkhovensky & Stavrogin from "Demons" by Dostoevsky). Before I start I want to clarify a few things:

• I don't think these two pairings are similar, I just love picking up any crumbs of connections I can find between my interests, even if it'd count as reaching.

• This interpretation (in either character's case) is in no way "the only true way of looking at it". It's merely one interpretation out of many and I chose to focus on just a few aspects out of the many others there are to explore in these complex characters.

• Feel free to add onto or disagree with anything I say! I'm interested in your thoughts :D

WARNING: There will be spoilers for Bungou Stray Dogs and Demons.

The reason Nikolai wants to kill Fyodor is because he feels affection for him. Emotions are a prison to him, and he basically seeks the opposite of what his emotions make him want to do. Thus, in the face of affection, which makes you want to be closer and wish the best for your friend, he does the opposite and decides to kill said friend, going directly against his feelings in an attempt to prove free will. But here I want to focus more on the "You want to defy God in order to lose sight of yourself" part, specifically the bit about God.

One part of my interpretation is that Nikolai associates God with control. If there is a God who controls all, how can there be a free will? He wants to go against Him and His creations (the human mind, morality, etc.) to prove that it's possible. But God is very abstract - the idea of God is influential but varies depending on cultures, etc. For this point, I'll use the example of the biblical God, or, more specifically, some attributes commonly assigned to the idea of God:

• omnipotence (all-powerful)

• omnipresence (all-present)

• omniscience (all-knowing)

What I am leading up to is the fact that these traits can, in one way or another, be applied to Fyodor. Fyodor's character represents everything Nikolai wants to defy. Nikolai hates control; he wants to fight the idea of God and prove the possibility of complete independence. Fyodor (though not in a "direct" way) could be seen as a symbol for God. He knows everything, he is always present (metaphorically and sometimes literally, the way he spawns sometimes I swear-), and he seems to control everything. Only few people actually see him, but he pulls the strings behind the scenes, and his power is felt everywhere. For Nikolai, to kill Fyodor is not just a protest against his feelings of affection, but can also be a symbolic act of defying "God", of killing "God", by killing Fyodor.

This is supposed to be very symbolic and not taken literally. I feel the need to repeat this because I personally dislike the notion of Fyodor as a literal God (and disagree with the idea of him having a God-complex), so this is merely about the God-like traits he possesses, like a "substitute" for the idea of God, and how it interacts with Nikolai's philosophy. (I've also exaggerated some points for the sake of simplification - for example, I don't actually believe Fyodor is in control of absolutely everything, etc.)

Moving onto Demons:

Pyotr Verkhovensky grew up religious and (assuming based on Stepan's description) with a fear of God.

Now he's an atheist and very anti-religious. He plans to overthrow society, and destroying religion + everything it preaches is part of that plan. But interestingly enough, he picks not himself as the official future "ruler", but someone else: Nikolai Stavrogin. He chooses Stavrogin to be the role of the leader in Verkhovensky's ideal society. But not exactly the "leader" in the traditional sense, because he wouldn't necessarily give Stavrogin all the power. He would simply use him as a "pawn" (for lack of a better word) while himself pulling the strings behind said society. With that, Verkhovensky puts someone else above himself, in a God-like position, but he wants to do it while still keeping full control over Stavrogin. By doing so, he would overcome his childhood fear of God because instead of being controlled by God, *he* will control God.

(Same case here, not the literal God, but the character who he assigns God-like traits to.)

I am undecided (with both Nikolai's and Verkhovensky's character) whether this could be read as a solely subconscious intention or if it would make sense as a conscious one as well. Given that both have a different "main" goal (Nikolai focuses on emotions and Verkhovensky on the revolution) I lean more towards thinking it's subconscious (if present at all - like I said, just interpretations!)

It doesn't help that Verkhovensky describes his vision of Stavrogin's leadership as "hidden": Everyone believes in him and his power, but only very few people are said to actually have laid their eyes upon him. When I first read this part, I was honestly reminded of Big Brother from Orwell's 1984, but eventually realised that similar things can be said about God as well.

While these are parallels, they don't come without differences. Nikolai needs Fyodor dead, Verkhovensky needs Stavrogin alive. Nikolai wants to kill Fyodor for a sense of freedom, Verkhovensky wants to keep Stavrogin for a sense of control. Yet both symbolic goals are bound to fail:

Fyodor turns out to be unkillable, and Stavrogin ends up dead.

At the end, "God" stays untouchable.

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amateurvoltaire · 2 months ago

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For the past six years or so, this graph has been making its rounds on social media, always reappearing at conveniently timed moments…

The insinuation is loud and clear: parallels abound between 18th-century France and 21st-century USA. Cue the alarm bells—revolution is imminent! The 10% should panic, and ordinary folk should stock up on non-perishables and, of course, toilet paper, because it wouldn’t be a proper crisis without that particular frenzy. You know the drill.

Well, unfortunately, I have zero interest in commenting on the political implications or the parallels this graph is trying to make with today’s world. I have precisely zero interest in discussing modern-day politics here. And I also have zero interest in addressing the bottom graph.

This is not going to be one of those "the [insert random group of people] à la lanterne” (1) kind of posts. If you’re here for that, I’m afraid you’ll be disappointed.

What I am interested in is something much less click-worthy but far more useful: how historical data gets used and abused and why the illusion of historical parallels can be so seductive—and so misleading. It’s not glamorous, I’ll admit, but digging into this stuff teaches us a lot more than mindless rage.

So, let’s get into it. Step by step, we’ll examine the top graph, unpick its assumptions, and see whether its alarmist undertones hold any historical weight.

Step 1: Actually Look at the Picture and Use Your Brain

When I saw this graph, my first thought was, “That’s odd.” Not because it’s hard to believe the top 10% in 18th-century France controlled 60% of the wealth—that could very well be true. But because, in 15 years of studying the French Revolution, I’ve never encountered reliable data on wealth distribution from that period.

Why? Because to the best of my knowledge, no one was systematically tracking income or wealth across the population in the 18th century. There were no comprehensive records, no centralised statistics, and certainly no detailed breakdowns of who owned what across different classes. Graphs like this imply data, and data means either someone tracked it or someone made assumptions to reconstruct it. That’s not inherently bad, but it did get my spider senses tingling.

Then there’s the timeframe: 1760–1790. Thirty years is a long time— especially when discussing a period that included wars, failed financial policies, growing debt, and shifting social dynamics. Wealth distribution wouldn’t have stayed static during that time. Nobles who were at the top in 1760 could be destitute by 1790, while merchants starting out in 1760 could be climbing into the upper tiers by the end of the period. Economic mobility wasn’t common, but over three decades, it wasn’t unheard of either.

All of this raises questions about how this graph was created. Where’s the data coming from? How was it measured? And can we really trust it to represent such a complex period?

Step 2: Check the Fine Print

Since the graph seemed questionable, the obvious next step was to ask: Where does this thing come from? Luckily, the source is clearly cited at the bottom: “The Income Inequality of France in Historical Perspective” by Christian Morrisson and Wayne Snyder, published in the European Review of Economic History, Vol. 4, No. 1 (2000).

Great! A proper academic source. But, before diving into the article, there’s a crucial detail tucked into the fine print:

“Data for the bottom 40% in France is extrapolated given a single data point.”

What does that mean?

Extrapolation is a statistical method used to estimate unknown values by extending patterns or trends from a small sample of data. In this case, the graph’s creator used one single piece of data—one solitary data point—about the wealth of the bottom 40% of the French population. They then scaled or applied that one value to represent the entire group across the 30-year period (1760–1790).

Put simply, this means someone found one record—maybe a tax ledger, an income statement, or some financial data—pertaining to one specific year, region, or subset of the bottom 40%, and decided it was representative of the entire demographic for three decades.

Let’s be honest: you don’t need a degree in statistics to know that’s problematic. Using a single data point to make sweeping generalisations about a large, diverse population (let alone across an era of wars, famines, and economic shifts) is a massive leap. In fact, it’s about as reliable as guessing how the internet feels about a topic from a single tweet.

This immediately tells me that whatever numbers they claim for the bottom 40% of the population are, at best, speculative. At worst? Utterly meaningless.

It also raises another question: What kind of serious journal would let something like this slide? So, time to pull up the actual article and see what’s going on.

Step 3: Check the Sources

As I mentioned earlier, the source for this graph is conveniently listed at the bottom of the image. Three clicks later, I had downloaded the actual article: “The Income Inequality of France in Historical Perspective” by Morrisson and Snyder.

The first thing I noticed while skimming through the article? The graph itself is nowhere to be found in the publication.

This is important. It means the person who created the graph didn’t just lift it straight from the article—they derived it from the data in the publication. Now, that’s not necessarily a problem; secondary analysis of published data is common. But here’s the kicker: there’s no explanation in the screenshot of the graph about which dataset or calculations were used to make it. We’re left to guess.

So, to figure this out, I guess I’ll have to dive into the article itself, trying to identify where they might have pulled the numbers from. Translation: I signed myself up to read 20+ pages of economic history. Thrilling stuff.

But hey, someone has to do it. The things I endure to fight disinformation...

Step 4: Actually Assess the Sources Critically

It doesn’t take long, once you start reading the article, to realise that regardless of what the graph is based on, it’s bound to be somewhat unreliable. Right from the first paragraph, the authors of the paper point out the core issue with calculating income for 18th-century French households: THERE IS NO DATA.

The article is refreshingly honest about this. It states multiple times that there were no reliable income distribution estimates in France before World War II. To fill this gap, Morrisson and Snyder used a variety of proxy sources like the Capitation Tax Records (2), historical socio-professional tables, and Isnard’s income distribution estimates (3).

After reading the whole paper, I can say their methodology is intriguing and very reasonable. They’ve pieced together what they could by using available evidence, and their process is quite well thought-out. I won’t rehash their entire argument here, but if you’re curious, I’d genuinely recommend giving it a read.

Most importantly, the authors are painfully aware of the limitations of their approach. They make it very clear that their estimates are a form of educated guesswork—evidence-based, yes, but still guesswork. At no point do they overstate their findings or present their conclusions as definitive

As such, instead of concluding with a single, definitive version of the income distribution, they offer multiple possible scenarios.

It’s not as flashy as a bold, tidy graph, is it? But it’s far more honest—and far more reflective of the complexities involved in reconstructing historical economic data.

Step 5: Run the numbers

Now that we’ve established the authors of the paper don’t actually propose a definitive income distribution, the question remains: where did the creators of the graph get their data? More specifically, which of the proposed distributions did they use?

Unfortunately, I haven’t been able to locate the original article or post containing the graph. Admittedly, I haven’t tried very hard, but the first few pages of Google results just link back to Twitter, Reddit, Facebook, and Tumblr posts. In short, all I have to go on is this screenshot.

I’ll give the graph creators the benefit of the doubt and assume that, in the full article, they explain where they sourced their data. I really hope they do—because they absolutely should.

That being said, based on the information in Morrisson and Snyder’s paper, I’d make an educated guess that the data came from Table 6 or Table 10, as these are the sections where the authors attempt to provide income distribution estimates.

Now, which dataset does the graph use? Spoiler: None of them.

How can we tell? Since I don’t have access to the raw data or the article where this graph might have been originally posted, I resorted to a rather unscientific method: I used a graphical design program to divide each bar of the chart into 2.5% increments and measure the approximate percentage for each income group.

Here’s what I found:

Now, take a moment to spot the issue. Do you see it?

The problem is glaring: NONE of the datasets from the paper fit the graph. Granted, my measurements are just estimates, so there might be some rounding errors. But the discrepancies are impossible to ignore, particularly for the bottom 40% and the top 10%.

In Morrisson and Snyder’s paper, the lowest estimate for the bottom 40% (1st and 2nd quintiles) is 10%. Even if we use the most conservative proxy, the Capitation Tax estimate, it’s 9%. But the graph claims the bottom 40% held only 6%.

For the top 10% (10th decile), the highest estimate in the paper is 53%. Yet the graph inflates this to 60%.

Step 6: For fun, I made my own bar charts

Because I enjoy this sort of thing (yes, this is what I consider fun—I’m a very fun person), I decided to use the data from the paper to create my own bar charts. Here’s what came out:

What do you notice?

While the results don’t exactly scream “healthy economy,” they look much less dramatic than the graph we started with. The creators of the graph have clearly exaggerated the disparities, making inequality seem worse.

Step 7: Understand the context before drawing conclusions

Numbers, by themselves, mean nothing. Absolutely nothing.

I could tell you right now that 47% of people admit to arguing with inanimate objects when they don’t work, with printers being the most common offender, and you’d probably believe it. Why? Because it sounds plausible—printers are frustrating, I’ve used a percentage, and I’ve phrased it in a way that sounds “academic.”

You likely wouldn’t even pause to consider that I’m claiming 3.8 billion people argue with inanimate objects. And let’s be real: 3.8 billion is such an incomprehensibly large number that our brains tend to gloss over it.

If, instead, I said, “Half of your friends probably argue with their printers,” you might stop and think, “Wait, that seems a bit unlikely.” (For the record, I completely made that up—I have no clue how many people yell at their stoves or complain to their toasters.)

The point? Numbers mean nothing unless we put them into context.

The original paper does this well by contextualising its estimates, primarily through the calculation of the Gini coefficient (4).

The authors estimate France’s Gini coefficient in the late 18th century to be 0.59, indicating significant income inequality. However, they compare this figure to other regions and periods to provide a clearer picture:

Amsterdam (1742): Much higher inequality, with a Gini of 0.69.

Britain (1759): Lower inequality, with a Gini of 0.52, which rose to 0.59 by 1801.

Prussia (mid-19th century): Far less inequality, with a Gini of 0.34–0.36.

This comparison shows that income inequality wasn’t unique to France. Other regions experienced similar or even higher levels of inequality without spontaneously erupting into revolution.

Accounting for Variations

The authors also recalculated the Gini coefficient to account for potential variations. They assumed that the income of the top quintile (the wealthiest 20%) could vary by ±10%. Here’s what they found:

If the top quintile earned 10% more, the Gini coefficient rose to 0.66, placing France significantly above other European countries of the time.

If the top quintile earned 10% less, the Gini dropped to 0.55, bringing France closer to Britain’s level.

Ultimately, the authors admit there’s uncertainty about the exact level of inequality in France. Their best guess is that it was comparable to other countries or somewhat worse.

Step 8: Drawing Some Conclusions

Saying that most people in the 18th century were poor and miserable—perhaps the French more so than others—isn’t exactly a compelling statement if your goal is to gather clicks or make a dramatic political point.

It’s incredibly tempting to look at the past and find exactly what we want to see in it. History often acts as a mirror, reflecting our own expectations unless we challenge ourselves to think critically. Whether you call it wishful thinking or confirmation bias, it’s easy to project the future onto the past.

Looking at the initial graph, I understand why someone might fall into this trap. Simple, tidy narratives are appealing to everyone. But if you’ve studied history, you’ll know that such narratives are a myth. Human nature may not have changed in thousands of years, but the contexts we inhabit are so vastly different that direct parallels are meaningless.

So, is revolution imminent? Well, that’s up to you—not some random graph on the internet.

Notes

(1) A la lanterne was a revolutionary cry during the French Revolution, symbolising mob justice where individuals were sometimes hanged from lampposts as a form of public execution

(2) The capitation tax was a fixed head tax implemented in France during the Ancien Régime. It was levied on individuals, with the amount owed determined by their social and professional status. Unlike a proportional income tax, it was based on pre-assigned categories rather than actual earnings, meaning nobles, clergy, and commoners paid different rates regardless of their actual wealth or income.

(3) Jean-Baptiste Isnard was an 18th-century economist. These estimates attempted to describe the theoretical distribution of income among different social classes in pre-revolutionary France. Isnard’s work aimed to categorise income across groups like nobles, clergy, and commoners, providing a broad picture of economic disparity during the period.

(4) The Gini coefficient (or Gini index) is a widely used statistical measure of inequality within a population, specifically in terms of income or wealth distribution. It ranges from 0 to 1, where 0 indicates perfect equality (everyone has the same income or wealth), and 1 represents maximum inequality (one person or household holds all the wealth).

#frev #french revolution #history #disinformation #income inequality #critical thinking #amateurvoltaire's essay ramblings #don't believe everything you see online #even if you really really want to

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shezzabee · 27 days ago

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What are your thoughts on the idea that Inho's obsession with Gihun might do with the fact that Gihun reminds him of his dead wife?

I'm biased because I absolutely eat it up. I never been the same after seeing a post here that compared Gihun's s1 smiling photo with a photo of Inho's wife smiling.

There's also the fact that in s2 ep4, Inho called his wife stubborn, and how theres no point in arguing with her once she set her mind on something (going through her pregnancy despite her being very sick).

It made me think of Gihun's dedication of finding the Recruiter/Salesman, his insistance on being put back in the game...and him not listening to Inho when being told to get on the plane.

With this in mind, Inho's "Just get on the plane. It's for your own good." can be read more that just one man telling another man with who he shares similar trauma, to get the good life he doesn't have (but it's absolutely valid!!)

It could also be Inho (without realizing it) pleading for Gihun (his wife) to listen to him (the doctors), and (this time) survive. But just like with his wife, Gihun isn't budging with his decision. He made up his mind, go argue with a wall.

(Now it doesn't mean that Inho saw his wife in Gihun in an instance. It happens slowly as Inho gets closer to him)

Hi! Thanks for the question. I think I know the post you’re referring to—my shipper brain absolutely devoured that too, not gonna lie. XD

Even beyond the shipping lens, though, everything you’ve said really resonates. It feels like the core of their dynamic, doesn’t it? In-ho is clearly drawn to something about Gi-hun’s refusal to compromise on his principles, his unshakable belief in humanity, and his conviction that things can still turn out for the better. The only other person In-ho has explicitly mentioned as being just as stubborn as Gi-hun is his late wife, which feels like a significant parallel.

Now, of course, this is all speculation, and we won’t know In-ho’s full motivations until Season 3 (hopefully) sheds some light. But I don’t think In-ho has ever truly moved on from his wife’s death. He’s still grieving, still carrying the weight of that loss. He’s angry—angry at himself for not being there when his wife and child died, angry at the world for the circumstances that led to it, and probably angry at the Games themselves for existing. (I’ll die on the hill that In-ho hates the Games, despite being their enforcer.) He’s also angry at humanity at large for failing people in need, for letting the world get to this point.

And I think there’s a part of him that’s angry at his wife, too, (don't kill me, hear me out). She was self-sacrificing to a fault, willing to risk her own life to save their unborn child. That mirrors what we see in Gi-hun, especially at the end of Season 1. In the final game, after Sang-woo is defeated, Gi-hun refuses to abandon his morals to win, even when the easier path is right in front of him. That kind of unyielding determination, that refusal to bend—even at great personal cost—has to strike a nerve with In-ho.

Since In-ho can’t confront his late wife or tell her she was wrong to risk it all, to leave him alone, he directs all that unresolved grief and anger toward Gi-hun instead. Gi-hun becomes a constant, painful reminder of everything In-ho lost—and everything he’s come to resent about the world.

So, what does In-ho do? He sets out to break Gi-hun. To tear apart everything and everyone Gi-hun cares about until all that’s left is despair. Maybe then, In-ho can finally say: “See? There’s no point. None of it means anything. You were wrong—just like she was wrong.”

It’s a cruel and calculated move, but also deeply human. If he can prove that Gi-hun’s ideals and morals are meaningless, it would, in a twisted way, justify the choices In-ho has made and the person he’s become.

In the end, it’s not just about Gi-hun or his late wife. It’s about In-ho’s own pain, his need to make sense of the senseless, and his desperate attempt to validate the path he’s taken—even if it’s at the expense of someone who still believes in the good.

#squid game #457 #gihun x inho #ginho #squid game 2 #001 x 456 #character study #hwang in ho #seong gi hun #meta tag #is it meta?? i dont know i just fucking love this man #squid game season 2 #squid game meta #inhun #gi hun x in ho #gihun x frontman #the frontman #front man

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thegnomelord · 1 year ago

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Lending a Hand

CW:NSFW @bluegiragi Monster tf141au go give her some love!, Werewolf Soap!, Harpy Gaz!, Mage reader!, Dom top Male reader, sub bottom Gaz and Soap, gratuitous depictions of sex, heat/rut, Dom/sub, anulingus, knotting, dirty talk (attempts at it anyway), Poly!TF141,

3k word long af fic because I overwrote again :/ asks are always welcome lol.

Price and Ghost had left you three to entertain yourselves while they went on a mission, and like every thing in Soap's life, his rut come in swinging out of nowhere. One moment he's playing some old racing game, sitting on the floor while you and Gaz sit on the harpys' bed, and the next — his nose is twitching and he swears he can taste your scents on his tongue, the heavenly combination of Gaz's spicy sweet cologne and your own harsher smell making heat burn in every cell of his body.

He feels Gaz's leg brush against his back and it makes every strand of hair on his body puff up, a low sound like rumbling thunder ringing in his ears and an overwhelming need to scent you two clawing at his brain. The controller falls from his hands when he turns to nuzzle his face into Gaz's leg, huffing in his scent like a man possessed, his mind already imagining all the times they've fucked and how fucking good Kyle had felt wrapped around his knot like a proper mate. His cock grows hard in his pants and his skin flushes when he realizes the low rumbling sound is coming from him; a mating growl that neither of you can answer.

"Soap, you alright there?" He moans hearing your voice, the sudden sensation of your hand on his shoulder and your heavy scent — corrupted by magic and smelling of overwhelming dominance as if you're a part of the nature running in his blood — has his tail curling up without prompting and back arching with a high pitched whine, clawed hands grasping at both of your legs now.

"Donnoe mates... feeling hoht all of a'udden." Soap slurrs, sight and mind going hazy, mind buzzing with heat. His cock is hardening in his pants, and there's a slickness between his thighs when he rubs them together.

"Shit, think the git's going into rut." Kyle says under his breath, his feathers ruffling up when he reaches out to feel the heat of Johnny's forehead. Soap moans at the skin contact only for it to turn into a growl when he realizes he can't scent you both at once. His body feels like it wants to rip itself in half to hold both of you, to cover both you and Gaz in his scent and fuck, but with only one body he does the next best thing and pivots on his knees to shove his face where the scent is the strongest — your crotch.

"Fuck- MacTavish!" You hiss, immediately trying to shove him. He clings to you like a fly to shit, whining incomprehensible words and chest stinging from rejection. His body shakes and shifts, not the sudden transformation you're used to seeing on the battlefield but a minute gradual change parallel to his need. Clawed hands grip your legs, his clothes straining at the seams when he pants against your crotch, tail curled up in an desperate attempt to gain his mates' attention; to show how strong and good and ready he is.

"Shit, sorry lad." Kyle gives an awkward cough. "Help me with him yeah? My arse won't be able to handle him like this." He says and doesn't even have enough decency to look embarrassed about his words, reaching out to tug on Soap's hair like he knows Johnny likes, Kyle's attempts to tug him away only making him burry his face into your groin even more.

"You sure, won't I be taking advantage of him?" You go to ask if this would be too much, if you'd be crossing a line when Soap's like this — blissed out and barely himself — even if you feel your cock harden from his nuzzling.

"Yeah... you're fine— he'd had bit you by now if he was against it." Gaz says with a small awkward giggle all first time lovers make, not at all realizing it's not the best thing to say when you have a half transformed werewolf shoving his face into your dick. "We trust you mate." He admits; even if you've been on the team a few months, even if your past isn't all that reputable — they trust you. Both of them.

Soap's not paying attention to what's being said, how could he when he can smell you and feel your cock through your pants, and fuck he wants it needs it in him now. He mouths at your cock, uncaring and unaware of his fangs painfully scraping and digging into your skin through your clothes. All he wants is to taste that cock, his body growing bigger and clothes ripping at the seams as his mind conjured up thoughts of fucking and being fucked.

His insides clench pitifully around nothing and he needs a cock to push deep inside him and stretch him wide until he's knotted and round with pups. His knot feels hard and cold and he needs to feel tight heat of a mate around his knot that he can breed full of his cum. He needs... he needs—

"Fine! Fine!" You give in with a hiss when Johnny's teeth dig into your pants in an attempt to get to your cock. You tug him up by the hair your grip harsher and firmer than Kyle's, everything about you feeling so overwhelmingly dominant he doesn't even try to fight, only trying to get closer to you.

You have to brace yourself when he bears down on you, teeth going to mark up your throat the moment he can push his face into your neck. You groan when he bites down on your neck with sharp teeth and Gaz croons softly, pushing himself close to you both, his large wings twitching excitedly when Soap answers with a low whiny growl of his own. His attention pivots and now he's trying to scent and mark the harpy until you shift just a bit and his head ricochets back to your neck, teeth creating a warzone on both of your necks.

"Alright, Gaz, on the bed." You order and yank Soap's head back when he bites too close to your jugular. Gaz moves to follow your order and you have to hold Soap by the hips to keep him from lunging at Kyle because his mate is going away and he can't have that!

"Wait." Your harsh and rough voice falls on deaf ears as Soap continues to shift and get bigger, his shirt tearing off his body and the button of his pants popping open. The sudden release of his cock has Soap whining low and loud and rocking his hips into the air as if already mating and his tail smacking against your leg as a sign for you to just fuck him already. "What the fuck did I just say?" You growl and grab his clothed dick in a harsh grip.

"So- fock- ry, sorry!" Soap manages, his hips still doing small thrusts in an attempt to grind his slick backside against your crotch despite your chastising.

"Well aren't you bossy." Gaz teases and watches you two with a hungry dark look in his eyes, already naked and reclining on the bed, his back tensing as he forces his wings to retract into his body. God knows a rutting Soap doesn't have enough brain space not to crush his wings while fucking him.

Your eyes meet Gaz's. "How about he preps you?" Your question has Johnny's canine tongue lolling out of his maw automatically as if Gaz needs more convincing.

"Jesus, fuck yeah," Gaz breathes out, not even needing to be told what position to take. He flops on his stomach, laying his head on a pillow and pushes his knees beneath him to raise his arse into the air and spread his thighs wide open, vulnerable hole and hard cock almost shamelessly on display.

"God, look at you Gazzy, so eager to get your ass eaten out?" You coo, enjoying the view as much as Soap is. "Or are you imagining how pretty you'll look stuck on this big knot?" You ask, catching his eyes as you pull down Soap's boxers down just enough for his dick to poke out, already hard and wet and leaking pre like a faucet.

"How about it boy? Can you use that mouth of yours for something useful this once?" You tease Soap with your words, keeping him from lunging at Gaz. Your rough words and even rougher hold on him has Johnny nodding his head as fast as he can, unintelligent words rolling from his mouth.

"Get on with it you bloody git." Kyle demands with a blush, arching his back.

"You heard him, be good and stretch him out for your knot properly...or else." The slight edge of danger in your tone has Soap paying attention even when your words go in one ear and out the other and he dives face first into Gaz's backside the moment you let go of him. Soap wastes no time and immediately slobbers all over Kyle's skin, drawing surprised squawks from the other man as his tongue licks from his balls up to his arse and back again. It doesn't take long for Soap to concentrate on his hole, even less for Soap to bully his tongue inside Gaz flooding his hole with slobber and stretching him wide open.

"Oh fock, oh shit..." Kyle burrows his head into the pillow, trying and failing to hide his harsh moans and small chirps and sharp 'ah, ah, ah's with every twist and turn of Soap's wide and longue tongue. He doesn't care when Soap grip his thighs so hard that bruises bloom immediately, not when Soap buries his face deeper into his arse that Soap's nose is flush with his tail bone and his canine tongue abuses his prostate.

"Such eager lads." You chuckle and settle behind Soap, pulling what remains of his pants down his thighs and off him. He growls at you, before your presence registers in his mind and his tail is curling up and as soon as the pants are down he's spreading his thighs and arching his back and wiggling his arse like a trained whore. He's leaking like a tap on both ends, his cock rock hard and knot half engorged and slick staining his skin from hole to mid thigh.

"Already wet for me Johnny? And here I thought you're supposed to fuck bitches—" You grab his tail and tug it up making Gaz scream a loud-"Fuck!"- when Johnny jumps and his tongue pushes as far as it can go. "—not be one."

Soap's shaking and his dick's leaking from the rough treatment of his tail, but the appendage wags even as you manhandle it. "Shit, mate, don't stop talking." Gaz moans into the pillow, claws and talons desperately clinging to the bedding with every thrust and twist of Soap's tongue. It's like your words are a drug that push both of them deeper and deeper into lust, Soap's brain long since melted into his dick.

"Yeah? You like how good Johnny's eating you Gaz?" You ask, your fingers grasping and playing with Soap's ample ass. "Does he taste good Johnny? Just think how tight he's going to be around you, you'll stretch him good huh?" Soap can do nothing but whine at the absolute filth leaving your lips, each word urging and commanding him to shove his tongue deeper, to cover every inch of his spongy walls in spit, of bashing his prostate with his tongue until Gaz's moaning and squawking like a bitch in heat.

"Good boy," Your fingers trace against Soap's hole and fuck he's so wet for you that you don't even need to get lube, holding his tail by the base you hook and push your thumb into his waiting hole and Soap howls as his body clenches down so hard you'd think he was aiming to break bones.

"Biased much mate?" Gaz croaks and chuckles between his moans, his hips moving into Soap's face in a desperate attempt to cum, stray loose feathers disappearing between the sheets.

"Good boys." You correct yourself, pulling your thumb out despite Soap's desperate whines and pushing two fingers into him at once, setting a harsh and quick pace that has both of them whining and moaning and growling.

Your fingers are thick and calloused from years of magic use and they stretch Soap out so good he can't help but moan into Kyle's hole, barely able to pant with spit running down his lips. His rut made his prostate so big your large fingers find it as soon as you're knuckles deep and you're quick to rub and press on it with all the finesse of a tank. You keep firm hold of him by his tail and Soap cums as soon as you push three fingers down on his prostate, white ropes of cum shooting into the sheets and pulling Gaz into his own orgasm.

"Good lads, you did good." The pride in your voice has their hearts beating just a little quicker, reaching over you tug Johnny's head away from Kyle's ass with a lewd and depraved 'squelch' 'shlich' ringing through as Johnny rolls his tongue into his mouth. Shit, Gaz looks so wrecked already, wet sounds echoing through the room every time his hole clenches around nothing. Johnny's so big now, at least a foot taller than you now, but he submits so prettily to you...

Pulling your fingers out of Johnny earns you a rumbling growl, his cock not even having softened hips grinding back on yours. "Hush now." You order with your mouth close to his pointy ear, "Don't worry Johnny, you'll be nice and full of cock in no time."

Kyle shifts and gains your attention. "Kyle, you okay? Need to tap out?" You ask, pushing your absolutely drenched fingers into Soap's mouth to quiet his whining, you don't mind his teeth nicking your fingers and Johnny's so lustdrunk to care about who's slick he's tasting only that it makes his cock that much harder.

"That- nah." Kyle breathes, completely boneless but still managing to perk his arse up a bit. "Come on, just wanna feel 'im, please."

"You heard him Johnny." Pulling your fingers out of his mouth you guide Johnny to mount Gaz, one hand firmly on his tail and the other wrapped around the tip of his cock so all he can do is uselessly hump Gaz without penetrating him. Johnny doesn't even notice you teasing the both of them when you rub his tip against Gaz's hole every time his hips pull back, only to angle his cock up the second Johnny tries to thrust into Kyle.

"Focking git!" Gaz whines, and you don't need to see him beneath Soap's broad and large frame to know he's glaring at you. "Get on with it or I swear I'll string everything you own up in the trees." His threat would be a lot scarier if his voice wasn't weak and whiny from your teasing.

"Spoilsport." You tease back, blindly angling Johnny's cock tip against his hole, easing your grip and letting Soap slide his cock into Gaz in an agonizingly slow pace until only his knot remained outside of Gaz with your calloused hand clutching it. "Feels good?" You receive moans and low growls in response, Soap's mind so consumed by the heavenly heat around his cock he can do nothing but pant and thrust his hips forward. "Okay, okay, be good now." You laugh and let go of his cock.

The second his proverbial collar is taken off Soap wastes no time and begins fucking Gaz in earnest, biting down hard on his shoulder, hips and tail a blur of movement and all of his lupine strength going into jackhammering his cock as deep as fast into Gaz as he physically can. The bed 'thump, thump, thump's against the wall wall with every violent thrust, drowned out by Kyle's moans and whines and shouts Johnny manages to pull each time his balls slap against Gaz's. You can even see the way his knot stretches Gaz's ass, his hole greedily clenching around the bulb as it grows bigger and bigger with every hip shattering thrust that leaves Gaz grasping at clawing at whatever he can reach.

You don't even have time to finish undressing before Johnny's shoving his cock deep inside and cumming with a deep growl, his teeth firmly latched onto Gaz's flesh and knot keeping them tied together.

Kyle groans when Soap collapses on top of him, arms wrapped firmly around him and pinning him down to the bed as every bit of strength leaves the werewolf. "That was fast." You chuckle, going to turn them to their sides so Soap isn't crushing Gaz. You notice Gaz is still hard like a rock, a little bulge in his stomach where Johnny's cock and cum fill his insides. Even after cumming twice Soap still tries to fuck in his delirium but manages only small little shuffles of his hips that only succeed in making his seed slosh around inside Gaz.

"Insatiable monsters." You tease, one hand tracing the belly bulge and lifting Soap's leg up on your shoulder with the other, his thighs even slicker now than before.

"Man... shu'it." Gaz slurs, watching you stroke your cock a few times with hooded eyes, Soap's head buried in his shoulder and teeth creating more marks on his skin. Soap turns cuddly after a good rut, at least until it starts all over again. "Fuck, you gonna...?"

"Yep." You say, sliding closer. It's an odd position to take and your back is going to complain later, but it's more than worth it when you finally get to slide inside Johnny's soaking wet arse, pulling low groans from both of them as it makes Johnny's cock slide a bit deeper. "Shit, you're so tight Johnny."

Gaz can feel the cock inside him twitch from your praise and the vibrations of a purr through his skin as Soap tries to thrust his hips back into yours despite the knot and Soap's arms not willing to let him separate from Gaz. You begin with a slow pace and every rock of your hips has the knot inside Kyle pushing and pulling on his poor oversensitive insides, Soap's cum sloshing inside him. He already feels so full and like there's fire in his veins, but this slow and deep pace you set has his head tilting down and body fully relaxing and letting himself just feel.

Despite being mentally checked out for a while, a little bit of Soap's lucidity comes back now that he's knotted; Everything he can smell everything he can feel everything he is zeroes down on his groin, on the heavenly heat wrapped around his knot and your unhurried but strong thrusts. That's what he needs right now— to forget what it feels like to be empty and feel a hard cock spearing his insides and bullying his prostate and leaving him drooling on Gaz's skin.

You manage to push them into cuming again before your own climax reaches you and you cum deep in Soap, who in response bites down on Gaz's shoulder again. You try to pull away but Soap growls and whines, he doesn't want to feel empty again when you'd filled him so fucking good, he wants you to stay like this, keep him nice and full with your cum.

Gaz blindly grabs at you, vocalizing what Soap can't. "Stay." He manages to slur, looking like he's ready to fall asleep any second with Johnny already snoozing the moment you stop moving.

Despite the stickiness you're no doubt going to wake up with, you sigh and settle down behind Soap, throwing a hand around his massive frame and not even noticing when exhaustion claims you.

...

"Well would'ou look at that, really tuckered themselves out." Price's voice rings somewhere at the edge of your subconsciousness, though it's hard to tell when exhaustion has you so firmly by the throat you can barely open your eyes.

"Could have turned their mics off." It takes you a moment to recognize Ghost's voice somewhere near you, your body almost not your own as it nuzzles into the warm back in front of you.

This time a chuckle comes, "Don't say it as if you didn't like it." There's a teasing lilt to his voice, but your attention is stolen away when Soap moves and only now you realize that not only are you still inside him, but he's far from satisfied.

You don't even think he's awake yet his hips start moving again, pulling sounds from both you and Gaz because fuck your dick's so oversensitive you think it might fall off.

"Howa 'bout we leave them to it hmm? Looks like he's got his hands full." Price's referring to you, and you hear his snort when Soap whines and thrusts his hips back into yours again with enough force you swear you hear something creak.

God help you...and your pelvis.

#centerpieces of the hoard #x reader #cod mw2 #top reader #male reader #kyle gaz garrick #john soap mactavish #monster 141 au #polyTF141 #sub john soap mactavish #sub gaz #top male reader #this got way too long but im too lazy to shorten it #mage reader #soap x reader #gaz x reader #gaz x male reader #soap x male reader #Here's to hoping I didn't make this too OOC

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konpeitonom · 2 months ago

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general dating headcanons for captain grant curly.

sfw— lowercase intended ^_^

g/n reader - no pronouns mentioned

requests are open, i do all the characters ^.^

notes; i love this guy. all of these are pre-crash on earth. i would love to write for post-crash/found curly someday perhaps. these are kind of everywhere. not proofread oopsies. wrote them sleep deprived zzz .. going to bed now!

— this man is extremely overbearing when it comes to his love. i mean there’s a reason everyone compares him to a golden retriever.

— in my small brain he is 6’2 and very beefy. he works out! it’s canon! gym bro and will annoy you about your protein intake.. but it’s because he cares!

— he is a morning person. it’s annoying unless you are one too. he will get up at 5 on the dot! he is not a coffee drinker in my opinion, or at least a morning one. he heard cold water is best in the mornings as a teen and stuck with it since.

— by the time you’re awake he’s already had breakfast (prepared you some as well, of course), ran a couple miles, and did all his chores.

— this man is the definition of acts of service. he is extremely considerate. If you're particular about food, how it’s cooked- how it’s served, he will make the effort to do so correctly.

— if you ever bring it up though he’ll just say ‘it’s the bare minimum for a man’ haha

— sort of likes it when you’re sick. not in a weird way, he just thinks it’s cute how you act. and he likes to take care of you. he is a very traditional man in that sense.

— i think he’s very private with his love! like everyone would know you’re together, no doubt about it. maybe subtle hand or cheek kisses in public but not much more than that. i think he thinks love is a very intimate, private thing.

— he’s not materialistic in any sense, quite the opposite. he’d invest and save in high quality things, get you the exact ring you’d want or do research in your hobbies to make sure you’d like what he’d purchase.

— i also like to think he sort of puts up a front when with others, but not with you. ideally, he’d want someone he can be vulnerable with from time to time and not feel as if he has to walk on eggshells constantly.

— he’d like pinching/poking at your tummy. he seems like a tummy guy. like he’d grab at it and squish it. i think he’d find thighs cute too.

— i think he’s definitely a cute-over-sexy kind of guy!! i stand by this!! no one can convince me otherwise.

— he likes playful banter! playful teasing! someone quick-witted. it eases up any potential tension.

— he would also just hold your hands and rub your fingers softly, kissing your knuckles. again, he’s very soft with his love. he’d be upset to hurt you in any way, especially physically. he knows he can be a bit too much when it comes to affection. and he never wants to make you uncomfortable!!

— back to his whole ‘private intimacy’ thing. he feels closest to you when you’re ‘parallel playing’.. doing mundane things, your own hobbies, but being beside each other- he feels so lucky to be able to do that. it feels domestic.

— we’ve already seen it in-game, but he does not like to argue whatsoever. sometimes it does him good, apologizes quickly, but in more serious moments it could definitely come off as him brushing off your feelings.

— he doesn’t intend to, he just wants to avoid arguing at all costs.

— more of a “let’s just talk things through” kind of guy. haha. as his partner you’ll have to understand how to talk to him, i assume.

— he is a good man. a great man even… husband material..

#curly x reader #mouthwashing x reader #captain curly #mouthwashing #captain curly x reader #mouthwashing fic #curly headcanons #curly grant x reader #grant curly x reader #mouthwashing game #curly fluff #pre crash curly #nomnompyon

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signanothername · 8 months ago

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Why do you like Killer?

*Cracks knuckles* get ready

I don’t like Killer, I fucking LOVE HIM

He’s my number 1 fave au sans and has been for a very long time

Now to be clear, I’m talking about canon Killer here, i have mixed feelings about some fanon interpretations, some are good and i genuinely love them, others not so much

That being said, let’s actually talk about why i love my beautiful amazing wonderful son <3333

(All art used in this post is by Killer’s creator: Rahafwabas)

The very first hook for me is his very concept, the mere idea of a sans basically agreeing to go on a killing spree after so many genocide runs is just *chef’s kiss*

Killer knew it was wrong, he knew he shouldn’t, yet he did

Killer doomed himself by his choice, he could’ve stayed as “sans” but he chose to accept Chara’s offer, yet his choice came to be after he saw no point in refusing anymore (important addition and a correction here)

The canon comics had Killer saying that he’s the way he is cause he gave up, he said “you won, you’re the reason I’m like this”, he’s been on so many genocide runs that he felt a little part of him die each run, only to give up and go on said killing spree

It’s interesting how the player is a big part of Killer’s story, cause whether Chara was involved or not, the player is the root cause of his suffering

But what i love the most is that regardless of his backstory or reasons, Killer’s actions led to their inevitable consequences, and it forever changed him

The biggest change? His very soul, it went from a normal monster soul to his signature target soul, infused with Determination, something that supposedly hurts monsters, it’s almost like his soul was infected with it, and you can see how it physically affects him with the black liquid that constantly comes out his eyes, nose and mouth, and even at times, that sludge is too much that he chokes on it

And the amusing yet tragic parallel? Killer aimed to “feel something new” by his genocide runs, only to end up not feeling anything at all, at least at his default stage 2

Which brings me to the concept of his soul’s stages

I love Killer’s stages so so much, it’s such a beautiful unique and wonderful concept

Killer’s individual stages are sooooo intriguing to me, it shows Killer in a different light each time depending on which stage he’s in, stage 1 is the closest he is to being “sans”, the closest to he used to be, he can feel emotions and is generally back to his more lazy bones attitude, as well as his ability to actually show sympathy, and feel the pain he’s always in, but what’s interesting is that regardless of the fact he’s the closest to his old self in this stage, it’s still so clear that Killer isn’t really “sans” anymore, that no matter what, he truly had changed in a way that can never be reversed, a point of no return, even when Color saves him, cause his new habits? His fears? His pain? His trauma? They can never be taken away, Killer has to live with the scars of what he experienced

Stage 2 is who he’d become, he can’t feel anything at this stage, emotions nonexistent, and his nonchalant behavior towards himself and others is most apparent here, a parallel I like to think of is that Killer’s inability to feel anything at all is almost like prolonged sensory deprivation, when you’re deprived of sensory input/ simulation for long periods, your brain needs compensate, and so it does its job, Killer’s soul prevents him from feeling so he resorts to other methods (usually very self destructive) to compensate for his lack of emotional capacity

I also really really love how that especially during stage 2, Killer isn’t trustworthy, cause in stage 1 you can actually trust him to an extent, in stage 2 Killer’s actions, behaviors and mindset are completely unpredictable, but not because he’s random, cause he’s actually extremely calculated, yet regardless, his carelessness when it comes to his own life and other people’s lives is dialed to an 11 here, so he could either choose to kill/attack or simply stay and listen

we even get an actual in depth look at how Killer’s mind works in one of the canon comics, in which Killer contemplates whether to attack Dream or not as he listens to his own stages in his head, one of which tells him to Kill Dream, while the other tells Killer to talk to Dream first

How Killer comes to a final decision on whether he attacks or not is something I believe his calculated mind makes depending on the situation and the pros/cons of what act he chooses, Killer is pretty smart, he knows when to let his trigger happy self out and when to settle down

Stage 3 or the “crazy stage” is the stage in which he’d attack anyone in his way whether friend or foe, we unfortunately don’t have much canon info regarding this stage, but that ain’t gonna stop me from analyzing the shit outta it (and talk about how i perceive it)

I like to think of this stage as the combination between stage 1 and 2, yet it’s almost like his soul can’t truly decide on which stage to settle on and by extension founding stage 3 as a separate stage by itself, Killer becomes extremely unstable at this stage, his soul moves rapidly and it’s obvious he’s in pain cause of it, whether that pain is just emotional or both physical and emotional isn’t really clear, yet i’d like to believe it’s both, and i feel like Killer’s capacity to attack anyone at this stage is related to that pain, and something I really love to believe is that Killer can’t calm down enough to settle back to stage 1 or 2 unless he either wears himself out by fighting someone, or he’s left alone to his own demons long enough to pull himself together, if he were to be forcefully restrained during this stage, it would only serve to make it worse and prolong the time he stays that way (cough something i may or may not have made a quick comic about but never shared as always vjvjvjj)

Not to mention, one of the canonical responses Killer gives when asked if he’s ok at stage 3 seems to make Killer alternate between answers he wants to give between saying he’s “fine” and “i don’t know” which makes sense, Killer isn’t stable at all, it’s almost like his stage 1 self and stage 2 self are fighting over who gets to talk (stage 2 seems more dominant)

Yet the fact Killer is able to answer and comprehend his surroundings enough at this stage is very intriguing to me, cause it shows how much Killer is able to handle/endure (which is A LOT cause damn) and not only that, but it also gives us a very clear difference between this stage and stage 4

As for stage 4?? Woooh boi, it’s the stage I like to call “plunging into darkness”

We also don’t have much canon info about this stage, but one of the things i find interesting is the fact Killer deliberately keeps it a secret from everyone, when he tells Color about his stages, he only tells him up to stage 3, never bringing up stage 4, only for Chara to sneer at Killer that he shouldn’t keep it from his new BFF

It’s obvious Killer himself is very uncomfortable with the subject of stage 4, it’s apparent that it’s a stage that he rarely gets to, but it still bothers him enough to not want to even mention it, which makes sense, cause the comic we had of stage 4 shows that Killer gets to that stage when he’s reminded of all the murders he committed, and unsurprisingly, when he’s reminded of his brother, as what triggered this stage is actually a memory of Papyrus telling Sans to “see a puzzle”, only to be followed by memories of screams of anger, fear, and hatred of those he killed immediately afterwards, stage 4 is heavily related to his trauma

Not to mention it’s clear that when Killer gets to stage 4 he blacks out, he’s completely unaware of anything he does during this stage, and is only left to deal with the aftermath when he gets back to his senses, the fact it’s also a stage that seems to be “getting worse” is something that Killer definitely seems to hate

It sometimes makes me think whether Killer had gotten into trouble cause he killed someone Nightmare wanted alive while at this stage, cause with how he keeps it a secret, I’d assume Nightmare would be unaware of it for a while (comic idea perhaps >:) )

But y’know what’s better than talking about the stages?? Talking about Killer’s personality, behaviors and trauma

Killer can’t distinguish between what’s real or not, and it’s obvious he sometimes sees the world in the third person, as in he’s not completely there at times, not to mention the amount of voices he hears in his head, from his stages talking to him to hallucinations of Chara, Frisk and Papyrus, and oooh boi does he hate these hallucinations, the past obviously haunts Killer and it’s something he tries running away from constantly, yet he can never truly run from it when it follows him everywhere

Killer has a smile on his face most the time, but his attitude changes especially when Chara is mentioned, or when he’s reminded of his past in any way, he literally avoids food that reminds of his past life as “sans”, he freezes up at certain phrases such as “best friend” (something i also made a comic about that i never shared chchhchc)

He just absolutely hates to be reminded of the person he used to be, of all the things he used to have, cause in truth? They were all taken away from him by his own hands, only to be then forced to work under Nightmare, who only ensures that he never finds peace of mind

And the sad part? Killer let’s all those things hurt him, he lets Nightmare have his way with him, he lets Chara torment him, cause he thinks he deserves it, and most importantly, he deluded himself into believing that this is what he wants because it’s what everyone else wants, because it’s what the player wants

Killer even sometimes tries to force himself not to feel anything, cause come on, since when does he feel anything at all?

Killer, to put it bluntly, hates himself, and he thinks that his suffering is the Karma of what he’s done, and even at one point, he was going to erase himself out of existence cause he believed that’s what he deserved, as in Killer thought of himself as unworthy when it comes to Papyrus, that his brother doesn’t need him, that his brother is better off without him, hell he even tells Color that he needs to kill him if he ever reaches stage 3, it’s an obvious “ i want someone to put me outta my misery” attitude

Killer feels hopeless, and so he lets himself suffer thinking he can’t ever find peace or hope again

Yet the interesting part? You’d never know that Killer hates himself unless you’re a being of emotions (Nightmare and Dream) or someone who’s perceptive enough to notice Killer’s self-loathing like Color, that’s how good of an actor Killer can be, you’d think he’s a cold emotionaless killer but the truth only shines to those who actually can see through his act

Killer just has that amazing character depth and his story is genuinely so unique and beautiful, cause you in his story you can find details of other details within the details vhvhvjvj

All that? Mixed with really adorable little things like his love for cats, his silly attitude, his nonchalance with Nightmare, his capacity to be social with whoever, and his friendship with color? That is why I love Killer Anon <33333

#this got long so i put it under read more cause i have some mercy #Anyway Rahafwabas deserves best character writer award fr <3333 #anothers ask #ano saves asks #killer #killer sans

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piratecaptainscaptainpirates · 2 months ago

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Every time I think about what they were probably trying to go for with Ricky in OFMD s2 I start shaking the bars of my enclosure.

Like. Here's this guy that is clearly set up to parallel Stede in so many ways, to give us an idea of who Stede could've been if things had turned out differently.

Ricky's from a similar background. He has this similar desperate need to prove himself, this implication that he never fit in among his peers. It's implied he was also bullied for seeming weak and feminine - in the finale, when one of the officers says to him "who'd have thought little Ricky Banes could've pulled this off," it feels so loaded. He's similarly clever to Stede, able to think outside the box. When Zheng tells him he could be the one to end piracy without firing a single shot, he repeats "shot" and you can basically see his plan coming together in his head. He's played beautifully, I think, with this understated sliminess that still somehow comes across as very nearly likeable. I want to love this character in the same way I see Rhys Darby playing Stede and can't help but love him.

He's so like Stede -

Except for in all the ways that matter! Ricky has a sense of entitlement to piracy that's a step to the left from Stede's genuine and earnest enjoyment of it. He believes himself above everyone else in a way Stede never does. He's very willing to look down on those around him and lean into his biases - like when he just assumes that Izzy, the loud masc white guy, has to be the "brains" behind Blackbeard. While Stede gets to be a real boy, Ricky's still stuck as the wooden puppet (he even gets a new nose when he lies!). Stede gets a beautiful love story; Ricky stops at queer-coding.

It's just so easy to see the outline of what they were going for. It's so easy to imagine Stede looking at this guy who brought down the Republic of Pirates and knowing that, if things had gone differently, he could've also been this callous, rubbing elbows with people who hate him to get ahead. And that's why it feels so jarring that the two of them don't even acknowledge each other in the finale.

And I get it! I genuinely get why so much of this story arc was clearly cut! I'm glad they made the choice to focus on characters we actually care about, I'm glad they were smart with prioritizing the scenes that stayed in and it makes sense that so many of Ricky's were obviously cut. But dammit I want to see what they were cooking here.

#ofmd #our flag means death

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stormofdefiance · 8 months ago

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True knowledge exists in knowing you know nothing || Dr. Ratio & Socrates

Okay, I legitimately laughed out loud writing that title, but listen. LISTEN.

Ratio's inspirations derive from many sources; from referencing Archimedes's brain-blast in the tub, to being doomed to have his head bonked by Newton's apple ad infinitum in his idle animation, to his ultimate line ('esse est percipi' / 'to be is to be perceived') a direct quote from Berkeley on Idealism - it's apparent that his design nods towards scholars across time periods rather than being a direct parallel to a singular academic.

Nevertheless, just for fun, I've been rotating Ratio and ancient greek philosophers around in my head and have had a great time chewing over how parallels Socrates in particular. I am in no way saying that Hoyo even thought about Socrates while they were designing Ratio, but I thought I'd share my thoughts. I think there are some worthwhile parallels to be drawn that touch on all aspects of Ratio's own philosophy regarding ignorance, the value of knowledge, and his deep appreciation of life. So, let's get into it.

Ratio is interested in humanity and curing 'ill minds with knowledge', that 'to turn a blind eye to the folly of others is not an etiquette, but a wicked worldly practice.' Ignorance is a disease - this is a concept that can be viewed through a Socratic lens. Socrates believed that that virtue and knowledge were impossible to separate from one another, and that virtue could be developed through acquiring knowledge and insight. If knowledge is virtue, then ignorance is vice. In Socrates's mind, no one would rationally choose to do something bad. People might choose to do bad things, but this is rooted in their own perception of the world - as in, someone would only choose to do something bad (for the world, or for themselves) because they believed (erroneously) that it was the right or good thing to do. To Socrates, the cure to this was knowledge: 'There are two kinds of disease of the soul, vice and ignorance.' & 'What does most harm in the world is not sinfulness but ignorance'.

To Ratio, 'If ignorance is an ailment, it is the duty of the scholars to weed it out and heal the universe'. He views his own ignorance as 'filth' that must be cleansed through methods such as reading. He also views knowledge as a method for humans to overcome their problems - 'Another day has passed. If your problem still hasn't been solved, is it possible the problem is you?' & 'You look distressed. Is something troubling you? if so, you can figure it out for yourself.' These statements sound harsh, but they also clue us into Ratio's philosophy - that through self-examination and improvement, one can overcome one's ailments.

Socrates was also known for being a trouble-maker, he was abrupt and tactless and did not care for someone's social standing nor decorum. He was also known for using what is now called the Socratic method, asking a series of questions that ultimately seek to show contradictions in the beliefs of those who posed them, and to move systematically towards a hypothesis free from contradiction. Socrates rarely made assertions himself - after all, he had no wisdom of his own. But he could interrogate others in order to expose their own foibles, much to the embarrassment and annoyance of those around him. He was once described as a 'gnat' chewing on the 'lazy horse of Athens', causing it to wake up and spring to life due to his persistent gnawing and prodding. Ratio also employs the Socratic method - 'I'm asking questions' - and also adopts sophist tactics such as playing devil's advocate and taking opposing sides (with both himself as seen a story quest, and with others as we see with his texts urging us to take up a side so he might debate us). Through questioning and interrogation, upsetting what we consider social convention and norms, we can dispel contradictions and thereby come closer to some form of truth.

To add to this - as highlighted in the replies below - Ratio’s skill ‘intellectual midwifery’ is a reference to the Socratic method. The idea being that Socrates helped those around him give birth to the knowledge that was already within them, rather than treating his students minds as empty vessels for him to fill with his own answers. Again this is beautifully echoed in Ratio - he doesn’t want to tell you how to live your life, he wants you to work out for yourself what it is you need, thus empowering oneself through self-examination and questioning.

Socrates did not believe in writing anything down. He believed that face-to-face communication was a far more effective way of communicating knowledge - which means, unfortunately, what we know of Socrates is primarily derived from secondary sources. Much of what we know about him today comes from Plato's dialogues, and Plato was known for liberally exercising artistic license.

Although Ratio is not dead, I find it interesting that his character story is told exclusively through secondary sources. To quote - '…There are no less than eight documentaries detailing his legendary exploits, and over a dozen memoirs about him. However, despite the plethora of commentaries, none of them seems to provide a compelling perspective.' It's as though there are no surviving fragments penned by Ratio's hand and all we have to go on is through the lenses of other people. This challenges us, perhaps, to try to think about our own interpretation of Ratio since secondary sources cannot be taken as a wholly unbiased account - and once again employing the Socratic method and empowering the reader to come to their own interpretation.

While Socrates left no writing behind, he was interested in spreading knowledge. Socrates spent most of his life in Athens, a city that was, during his lifetime (~470-399 BC), a hotpot of scholars, wisemen and philosophers. Athena, the Greek god of wisdom, was named after the city - her symbol the owl that is also appropriately perched on Ratio’s shoulder. Also in Athens at this time where the sophists. The sophists were a class of intellectuals who were known to teach courses in various subjects - but often for a high fee, and generally centred around the idea that persuasion and the use of knowledge as a tool was more important than wisdom or truth itself. There's some debate about whether Socrates could be characterised as a sophist himself, but, crucially, he is characterised as refusing to take payment for his teachings. He was born a plebeian (perhaps you might describe it as a mundane background.) He was known to dress in rags and go barefoot, speaking to and (often antagonising) people from all walks of life, preferring the marketplace as a center of debate than palaces or courtrooms. I can't help but think of the sophists as similar to the genius society (or at least Ratio's depiction of them in contrast to himself), cooped up in ivory towers and gatekeeping knowledge to the most privileged. He doubts if Herta's talent is always helpful to others, he compares Screwllum to a 'monarch'. Then again, the sophists may in fact be a bit of a parallel to the Intelligentsia Guild - from Ratio, 'when someone is willing to listen to knowledge that is being disseminated and circulated, a price is created'.

Socrates (or at least the Platonic depiction of Socrates) was at one time declared the wisest man in Athens by the Oracle of Delphi. Socrates balks at this assertion - how can he possibly be the wisest man in Athens when he in fact knows nothing at all? This was not a claim made of modesty - he truly believed that he had no wisdom, that he was unsure what 'wisdom' itself even was. Ultimately, Socrates concludes that the only way that the Oracle could be correct is that by actually acknowledging that he knows nothing he paradoxically is the wisest man in Athens. All wisdom, therefore, is rooted in wondering, with wondering only possible if one is open to admitting one's own ignorance.

What I love about all of this in relation to Ratio is that Ratio styles himself as a mundanite. The Intelligensia Guild advocates that 'all knowledge must be circulated like currency' and accepts 'all beings… who seek to learn'. Ratio has no time for the satisfied self-styling of intellectualism, he himself states that 'to speak knowledge, we must first make people realise their own folly.' No one is above criticism in this regard, even himself - again, to quote 'Whenever someone agrees with me, I feel like I must be wrong.' Again, I feel as though he would resonate with Socrates here: 'Smart people learn from everything and everyone, average people from their experiences, and stupid people already have all the answers'. With Aventurine, he is quick to mock his appearance as over-the-top and vapid - once again making it clear his distate for vanity and hollow displays of showiness (albeit he may have been acting for Sunday's sake here. Also, no comment about this coming from a man who runs around in a toga, lmao) Equally, with Aventurine, it is clear that Ratio is willing to learn from him - he apologises when he offends, he abhors his methodology and yet he still relies upon it and trusts in Aventurine's plan, he is drawn to him in some ways precisely because he is so different to himself. Aventurine (at least styles himself) as impulsive to Ratio's slow and steady methodology, Aventurine whose learning has been entirely self-made vs Ratio who has spent his life in classrooms, Ratio who scoffs at Aventurine's favourite games of chance yet adds slot machines to his simulated universe. And to Socrates, the experience of aporia – in all of its discomfort and disruption – is the very catalyst of wonder, and that wonder was not just the root of wisdom but also the way to live a good and happy life. There is something beautiful in this to me, and this extends to Ratio. Ratio fundamentally cares about life. For all his brashness, his lashing out against 'idiots', his harsh demeanour - he wants people to live good lives, he wants to contribute to the good of humanity - all people, even those he is annoyed by, he cares so profoundly and absolutely about life. The entire reason why he is obsessed with wisdom and learning is not to exalt or elevate himself, not as some kind of ritualistic expression of piety towards a deity, but it is instead an expression of devotion towards life itself. Ratio has a strict work out routine not so that he can show off his body, but because living healthily is living well and working out is a component of that. Even the way he fusses and worries about Aventurine, someone he is pointedly irritated by, reveals how deeply his care runs. So so much of his character is centered on caring for life, even if it is not immediately obvious.

Finally, I'd like to highlight some ways in which Ratio is not like Socrates. First of all, Socrates was repeatedly described as 'ugly' by fellow philosophers Plato and Xenophon - this is contrast to Ratio being repeatedly described as 'handsome'. This is an interesting subversion to me (albeit likely an indulgent one) as in both cases both men attempt to distance their physical appearance from the weight of their words. Ratio wears the bust for many reasons, but way to view it is that he is attempting to stop his appearance from bearing any influence in the subject of debate.

Socrates was also said to be blessed by a divine touch, and as we know, this is something that agonises Ratio as Nous has not yet turned THEIR gaze towards him.

Lastly, Ratio has - thankfully - not yet been ordered by the state to drink hemlock for all his trouble-making and blustering. Though perhaps he may someday be put on trial by the IPC if the theories that he is working alongside Aventurine to undermine the corporation are true - we will just have to wait and see.

Thanks for reading my little ramble. I'd be super interested in anyone's thoughts if they'd like to share, but regardless, I'll leave off on some of my favourite wee quotes from the Rat man:

'Even a life marked by failure is a life worth living - it is only in moments of solitude and despair, when help is absent, that fools grasp how to pick themselves up.'

'Do stay alive. I wish you the best of luck.'

#dr ratio #ratio #aventurine #hsr #honkai star rail #my witterings #i love the rat man so much idk #much of the information i describe about Socrates comes from the podcast History of Philosophy without the Gaps #which I highly recommend if this is your kind of thing lol #but mostly I just wanted to have fun spinning my hyperfixation around lol #Also I make a few declarative statements throughout this but know that I do not claim to be a scholar of greek philosophy lol #please check the verasity for yourselves before relying on what I have to say #for I know nothing u see u see? :P #also I just wanna add in that I do NOT think Ratio is a perfect human being #ratio can be hypocritical and cruel and ignorant just like the rest of us #but I adore that too as afterall he is also an expression of humanity #with all its earthy faults

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aurieeeeeenyx · 27 days ago

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time travel mechanics in link click — intentional inconsistencies? closed loops and parallel timelines (theory)

Back in 2021 or so, I wanted to make a post about the time travel mechanics in Season 1, and how they seemed to be inconsistent in certain episodes. I never ended up making that post, and the idea slowly faded from my mind, but I want to make that post now (armed with all the new information we've received since then) before Bridon/Yingdu arc episode 4 comes out because of the episode preview when Lu Guang says this:

In Season 1, the time travel seems to operate on the principle of a closed loop. This is especially evident in the Doudou arc, when Cheng Xiaoshi sees himself in the past (while he's in Doudou's body) and realizes that he was always there; the "changes" he inflicted weren't really changes, because by the time he dives back from the future his actions in the past have already happened. This is also demonstrated when Xu Shanshan walks into the photo studio and interacts with Cheng Xiaoshi in S1E8, and we later find out that it was in fact Cheng Xiaoshi in Xu Shanshan's body interacting with himself. And again, with the ploy to use Xu Shanshan in order to lure Liu Min/Red Eyes to the photo studio. We also see this closed loop phenomenon happen in Season 2, for example when Cheng Xiaoshi possesses Lu Guang's body to go save himself in the past.

So I've always been a little bothered by the earthquake arc in Season 1. If the dives into the past have already happened, why does Chen Xiao come to the photo studio in the first place? If Cheng Xiaoshi (in Chen Xiao's body) won the basketball game and gave those kind words to Chen Xiao's loved ones, why does Chen Xiao remember otherwise?

I've wondered before what happens to the clients when Cheng Xiaoshi is possessing them—do they just not remember anything? Are they even aware of themselves being possessed? Why is no one concerned about missing memories for hours at a time or not being in control of their own body? Emma sort of skirts around this when she tells Cheng Xiaoshi, "So you were the one who sent that message" in S1E11, implying she's aware it wasn't her who sent it. For the sake of argument, though, I'm going to pass the general non-reaction of the clients to being possessed as a handwavey "the brain justifies it somehow later" thing and ignore it.**

That brings us again to the question: Why does Chen Xiao remember the past differently to the one Cheng Xiaoshi experienced/changed? Maybe the past isn't set in stone after all? Maybe, instead of just being a closed loop, the time travel in Link Click is operating on multiple systems?

In 2021, right after I watched Season 1, I was going to dismiss this as just an error. The writers slipped up and bungled their time travel mechanics a bit, and therefore the earthquake arc is different on accident. But we've learned since then that nothing is unintentional in this show, so why is that arc different from the others? (Also, I want to note, there is that moment in S1E4 where Lu Guang's face does that weird warping thing; coincidence? Maybe, but maybe not...)

My theory is: the time travel abilities that Cheng Xiaoshi and Lu Guang have operate differently.

DISCLAIMER: My knowledge of photography and film is extremely limited, so please correct me if I'm wrong.

There's always been a lot of film imagery in this show—obviously, since the whole premise is based in photography—but as early as the Season 1 OP, "Dive Back In Time," we can see the repeated use of rewinding film rolls as a metaphor for going back in time.

Note also: Lu Guang dropping the photo and it transitioning into a film roll, and Cheng Xiaoshi being tangled up in film rolls and being "inside" the film in the background/trapped in the frame. I'll get to this later.

The thing is, once you record something on film, you can't change it; you can only rewind and play it again. This tracks with the closed loop theory: no real changes can be made, because they have already happened. So how is it possible that "changes are still happening," as Lu Guang says in the YE4 preview? It's likely that Vein (and Liu Xiao and Xia Fei) are involved, but I don't believe that's the root of the issue. And, I don't think it's just the ever-nebulous "butterfly effect," because in YE1 Lu Guang says this:

I used to think that even a flap of a butterfly might cause a hurricane strong enough to ruin the world. I was wrong. The power of time is still far beyond our imagination. The future may not change due to a ripple of the past. Not at all...

(Yes, Lu Guang is a notoriously unreliable narrator, but I've decided to trust him on this one. Not to mention, butterfly effect shouldn't exist in a closed loop system.)

I've seen lots of excellent analyses illustrating the discrepancies this season, from the very first scene of YE1 (different furniture positioning, cracks in photo frame glass, bloodstains, presence of curtain, etc) to the changing positions of clothing, buildings, time of day, food, and so on in YE2 (go check out hyperfaexation's excellent YouTube video on their Shattered Memories theory for more details). The fandom is constantly theorizing about how many timelines there are. But while we've been asking ourselves how many timelines exist (five, ten, more?), we forgot to stop and ask: why do they exist?

The existence of multiple timelines doesn't fit into Season 1's time travel premise. In Season 1, it was always Cheng Xiaoshi that we were watching. Whereas Cheng Xiaoshi could be said to live "in" the film when he dives, perhaps Lu Guang is cutting the roll short at the point which he dives back to and splicing a new roll onto it. This could explain the scene from "Dive Back In Time" that I referenced earlier, with Lu Guang outside the film and Cheng Xiaoshi in it. It's not exactly that Lu Guang is diving back in time; it's more like he's diving out of time, into a parallel timeline and leaving this one behind. Maybe this season, we'll get to see more complicated time travel mechanics that result from the intersection of different powers. (And, while we're at it, maybe we can get an answer to why Cheng Xiaoshi has golden eyes for a few frames in YE1 when they're running away, because seriously what's up with that?)

**Another explanation for the non-reaction to the clients' possession could be the interaction of different timelines, but I'm not really sure how this would pan out so I'm not going to elaborate too much.

What does this have to do with the earthquake arc? Why would Lu Guang have a (slightly) different power than Cheng Xiaoshi, if he inherited it from Cheng Xiaoshi as we are led to believe? What happens to the discarded film, the abandoned timelines, when Lu Guang casts them away? Can Cheng Xiaoshi ever be saved? I don't have answers to any of these questions, and maybe I'm overthinking (ha) all of this and it really is just a writing inconsistency after all, but I want to believe Link Click's writers know what they're doing with this and all we can do is wait for the reveal.

#link click #shiguang dailiren #shiguang daili ren #link click lu guang #lu guang #link click cheng xiaoshi #cheng xiaoshi #link click meta #link click bridon arc #link click yingdu chapter #lmk what yall think of this theory!! do u agree? have evidence pointing in the other direction? im so curious #i also dont remember s2 well so i could be missing something huge in which case pls tell me #totally possible theres absolutely nothing to this theory im very sleepy rn #also possible that YE4 will destroy this theory when it airs #idk! cant wait to find out #crack theory: chen xiao is from a different timeline LOL #but seriously its bothered me for so long #as for whether or not cxs can be saved: i think yes based solely on the fact that lg's power isn't operating on the closed loop system #by the way dive back in time is full of tiny details im planning to make a whole nother post about so stay tuned i guess #sgdlr

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