#although usually in the context of fandom

[ooc-themis-cattails]

[streets-in-paradise]

via @silvershewolf247

It was my first thought, then i remembered ahs is paradigmatical example of the same issue more people may know. In fact, most of the harmfull stereotypes you find in the chucky show are somehow also in ahs.

Yet, I have to admit Chucky is more insistent with the fatphobia. Everything is so queer and pridefully outside of the norm, untill a fat person walks in.

so many queer ppl will be like "deviating from social norms is part of who we are" and then gleefully participate in fatphobia/diet culture and nearly make being skinny an entire ideology and identity

[musicrunsthroughmysoul]

After writing this 1.2k words fic and realizing how much I disliked it, I was really hoping that re-reading it would inspire me to write a new fic (or rewrite it, basically), but after re-reading it, my muse is like 'Hmmm nah, I got nothin'.' D:

[miyamiwu]

A Guide to Chinese Names & Nicknames for your Fandom Needs (Part 1)

I made this guide with my different CMedia fandoms in mind, but it should apply to any other Chinese media.

Something that has been irking me a lot since To Be Hero X penetrated the mainstream English fandom spaces is how many people keep referring to the characters by just their surnames 😭. It sounds weird and demonstrates a lack of knowledge on Chinese culture in general. I don’t blame these people, though. A lot of the TBHX fans are new to donghua, and we’re also past the era of fansubs with detailed translation notes.

However, it’s no excuse to stay ignorant. To help you avoid making the same mistake again, here’s a Chinese names guide for your fanfic and meta needs.

Disclaimer: I am not Chinese, but I have been studying the language for years and also engage in a lot of CMedia. So, I do know some stuff. Regardless, if you find any errors in this post, feel free to tell me so I can correct it.

Note: Fandom-specific examples are written in small text like this.

Post last updated: May 29, 2025

Essentials

1. Chinese name order is Surname first, followed by Given Name.

Chinese surnames are usually only one syllable, making it easy to figure out which character in the full name is the surname. Just look at the first one.

However, there are a few two-syllable surnames, like Sima, Ouyang, Zhuge, etc. You may refer to this list for other two-syllable surnames.

In Link Click, Liu Siwen’s partner is named Ouyang, and in some subs it’s written as Ou Yang. However, Ouyang is actually just her surname, since her father is named Ouyang Bubai. We don’t know daughter!Ouyang’s given name. I also don’t understand why Liu Siwen would call her by just surname...

2. Calling someone by both their surname and given name is the neutral, normal way to call anyone.

To those calling Lu Guang and Cheng Xiaoshi as just Lu and Cheng, and Lin Ling and Yang Cheng as just Lin and Yang… Please don’t. Who tf are those 😭

2.2. But in some stories, characters may not have surnames.

In the danmei (Chinese BL) novel Bestial Blade, the setting is a prehistoric-ish tribal society where nobody has surnames. Although some characters may have two-character names, the first character is actually part of the given name and not a surname. In the case of characters with only one-chara given names, affixes/honorifics are added when addressing them. This will be explained later.

2.3. Nobody calls anyone by only one syllable, unless there’s a special reason behind it.

Example 1: In To Be Hero X episode 8, every child in the orphanage has no surname and go by only a one-character given name. But nobody really calls Qing/Cyan as just “Qing.” It’s not always in the English subtitles, but children and adults alike actually call Qing as Xiao Qing (Little Qing). The “xiao” is a term of endearment, and it’s explained later on in this post. At one point, the orphanage director also calls her by the nickname “Qing Qing.”

The one time Xiao Qing was called with only “Qing” in this episode was at the end, when the orphanage director got mad at her. Not using xiao or her nickname at that moment was really chilling.

Example 2: In the danmei novel Your Distance, there were instances where the male lead Bai Changyi addressed the protagonist Ting Shuang by just “Ting.” This sounds weird, but it’s fine ’cause it was on purpose. In the context of the story (two Chinese men living in Germany) and the relationship between the characters at that time (not that close), it sounded as if Bai Changyi was trying to keep his distance from Ting Shuang by refusing to associate with him like how one would with a fellow Chinese.

3. A close family member calling you by full name and without any honorific can be odd.

Like, imagine your mom calling you by full name. Once or twice, it sounds like you’re in trouble (re: Lucky Cyan example in 2.3). But all the time? Your mom hates you.

Nicknames or given name+honorific is more normal.

This doesn’t apply to Cheng Xiaoshi and Qiao Ling from Link Click, even though they canonically consider each other as siblings. Idk, maybe because they have different surnames and aren’t really blood-related? Anyways, how they address each other is fine. And considering how they get along with each other, I also think they’d find those affectionate nicknames cringe 😂

4. If the given name is more than one syllable, then it’s fine to address that person by only given name and without any affixes and honorifics. This is an indication of closeness/familiarity.

e.g. In Link Click: Xia Fei calling Cheng Xiaoshi as only “Xiaoshi.”

However, there are instances where an older person may call a younger person by given name even if they aren’t that close. Like, a preschool teacher addressing their student by only given name is acceptable.

In family, an elder addressing someone from the younger generation with only given name is also normal, regardless of how close they are. But the opposite is not true. It is generally considered rude for someone younger to call an older relative by only given name.

Chinese Nicknames via Name Variation

5. It can be formed by repeating a syllable in the person’s name.

This, for me, is the most affectionate way to address someone. It sounds very cute.

Lin Ling (林凌) from To Be Hero X can be called Ling Ling (凌凌), and that’s why the Chinese fandom abbreviates his name as 00. In Chinese, zero is 零, which is also pronounced as líng.

5.2. However, be careful in choosing which syllable to repeat because you might end up with a nickname that doesn’t sound nice.

In Link Click S1E1, Cheng Xiaoshi laughed when Qiao Ling called Lu Guang “Guang Guang.” This is because Guang Guang sounds a lot like wang wang, the Chinese onomatopoeia for a dog’s bark. (Some subs translated “Guang Guang” as “good boy” to get the joke across.)

In a similar vein, please don’t nickname Wang Qing as Wang Wang 😭. Qing Qing 青青 is much prettier; it sounds like the qingqing 轻轻 that means “softly” or “gently.”

5.3 Also consider how you’re portraying a character in your fic.

Would Vein from Link Click, whose Chinese name is Xiāo Wèiyǐng 萧未影, be comfortable being called Yǐng Yǐng 影影? The tones are different, but if you say it fast enough the sound isn’t that far from the yīngyīng 嘤嘤 which is a cutesy way of crying in text online (similar to “huhuhu” in English).

Xiāo Xiāo 萧萧 also sounds close to xiǎo xiǎo 小小, which means tiny.

Xiao Xiao and Ying Ying don’t really sound “manly,” but they’re not exactly bad nicknames either (I think). Just consider the context of your story before going with any of them. If unsure, consult a dictionary or a native Chinese speaker.

6. Adding the prefix ā 阿 for monosyllabic names.

This is more common in Southern China.

In To Be Hero X, Ahu’s name is actually the prefix ā 阿 + the character hǔ 虎, which means “tiger.”

In Mo Dao Zu Shi, Wei Ying is called A’Ying. In Bestial Blade, every female supporting character in the Black Eagle tribe is named with the prefix ā 阿 + a one-character given name.

You can only append ā 阿 to one character. So, no “A’Wei Ying.” Just A’Ying.

7. Adding the suffix 儿 (-r or -er).

This is more common in Northern China.

Like ā 阿, -er is only added to one syllable

It is often added to the last syllable of the given name

The subtitles don’t show it, but Nezha, from the Demon Child movie, is called Zha’er by his parents.

8. Adding the word 小 xiǎo (little) before the name.

You add this before the name of those younger than you or subordinate to you.

In Link Click S2, Liu Lan actually calls Li Tianxi “Xiao Xi.” But in some subtitles, they put in “Xixi,” probably for English localization.

When done among relatives and family friends, it is a neutral, informal way of calling someone. Cute, but also doesn’t express any special-ness since it’s no surprise for an aunt to call her niece as Xiao + Given Name. Still much more affectionate than just calling them by given name, though.

However, when done in a work setting…

a boss calling one employee with Xiao + Surname expresses some degree of favorability, especially if they still call the other employees by full name.

An older employee calling their younger boss with Xiao would sound like they’re not taking them seriously because of their age.

An old, mature boss calling their reckless new and young recruit with Xiao could indicate they think their employee is childish.

So yeah, it all depends on context as well as the speaker’s tone when they say it.

Xiao + Given Name is often used for children.

e.g. Empress Wu from White Cat Legend calls Li Bing “Xiao Bing-za.” Ignore the “za” for now, but the fact that an Empress is calling her subject with Xiao + Given Name is enough to show how much she favors Li Bing. Or maybe she just thinks he’s like a little kid, since she is waaay older than him. (Don’t be fooled by her young facade; she’s an old lady.) Regardless, “Xiao Bing-za” sounds very informal.

Xiao + Repeated Syllable (re: #5) sounds really cute. A bit childish, perhaps, but it really depends on context and tone.

Not a fandom example, but I used to call my cat Xiao Maomao (little cat cat)

9. Adding the word 老 lǎo (old) before the surname.

This is like the opposite of xiao, and it comes across as more rough/casual. Compared to xiao, it has more of a “bro” vibe.

Lao is often used for those older than you, while xiao for those younger.

But between those of the same age, you can use either depending on the kind of tone you want to achieve (re: #8 for notes on xiao)

If you use lao for someone younger, it could come off as ingratiating or extremely respectful.

Link Click: I can imagine Cheng Xiaoshi addressing Lu Guang as “Lao Lu” when begging him for a difficult favor 😂

That’s all for now! For a more comprehensive guide on Chinese nicknames, check out these resources:

How to Address Chinese People Correctly – Appellations in Chinese

30+ Chinese Nicknames: A Guide to Popular Choices and Cultural Significance

In part 2 of this post, I will talk about Chinese honorifics.

[maple-the-awesome]

Another Link Crushes On You || Part 2/3

Part 1 ||

Pairings: Legend, Twilight, Wind x GN Reader

Overview: You've known Link for years - Well, a version of Link. Neither of you have seen yourselves as being anything more than friends, although it seems not all Link's think the same, in fact when you're introduced to the Chain, one of the boys falls pretty hard for you. I spun a wheel to let fate decide upon random pairs this time. Needless to say, I had a lot of fun with some of them😁

Zelda Masterlist 💚 Fandom Masterlist

Legend isn't a big fan of Skyloft which is something he decided rather quickly upon arrival - and no, it has nothing to do with the cold, thin air or hair-raising heights, although he’s also not a big fan of either. His problem lies solely on the cheerful atmosphere created by this village’s inhabitants. It’s all too easy going and mundane to fit an adventurer’s heart. Too familiar and painful, to boot. 

The others may think of him as aloof and, quite frankly, Sky might be a little offended, but Legend has no interest in exploring these islands or making friends with the locals. Never again. Instead of joining any guided tours or trading stories with inquisitive knights, he sinks into his own isolation, finding a quiet place to sit amongst the shore of Skyloft’s only large water source.

All by his lonesome, he’s free to find a good boulder to hide behind and tear away at his hair in a desperate attempt at calming his unsteady anxiety…That is, until he hears a sound - No, not a sound, a voice. A beautiful voice that doesn’t speak, but rather hums a delicate melody he’s certain he’s heard before, probably from Sky who has a habit of mumbling certain songs to himself while plucking his harp.

…And there you are, blissfully unaware of anyone else's presence by the lake as you approach the water's edge. Dropping a laundry basket in the sand, you carefully roll up your pant legs and kick off your boots, prepared to step into the cold water until you suddenly halt.

As if having developed some sort of sixth sense, you glance over your shoulder, quickly spotting the pink haired boy peeking at you from beside a boulder. The sight understandably startles you, yet despite how awkward this situation might look without context - what, to catch a total stranger apparently 'spying' from afar - you give him a kind, that be it nervous smile. People in Skyloft truly are too trusting for their own good.

"Oh hello there! …So sorry, I don't think we’ve met yet."

Legend sighs, realizing it would be creepier if he were to just ignore you. With his place of solace now ruined, he stands and dusts the sand off his tunic, "...That's because I'm not from around here."

"Oh?" You tilt your head cutely, likely confused as to what he could possibly mean, after all, where else would he have come from if not Skyloft? Looking him over, you take notice of his outfit, “Are you a knight? I see you have the uniform of one.”

The angel on Legend's shoulder begs him to be honest, after all there's no reason not to be. Naturally, Sky seems to be pretty well known around Skyloft, so maybe you wouldn't be too surprised to learn your local hero has become ensnared in another adventure, bringing home a handful of other heroes. You might even find Legend more interesting if he were truthfully, awed by the rare chance to meet someone outside of your own timeline...yet staying true to his own bad habits, he decides to dig his own grave instead:

"...Yeah, I’m a knight. I'm just usually really busy, so that's probably why you haven't seen me around, you know,” He explains boldly.

You furrow your eyebrows while finally stepping into the water, taking a handful of clothing items with you, "...Huh...I still could've sworn I knew everyone here, what, with the island being so small and all."

Legend cringes. He can't tell if you're simply speaking on your confusion or slyly catching him in a lie, although the uncertainty isn't enough to deter him, "W-Well, I don't live 'here' exactly. I live on one of the...outer islands - And I spend a lot of time there instead of here which would make it easy to miss me."

You give him a strange look that feels as if it could burn right through him, however you fortunately turn away before his heart can ignite, "...May I ask your name?"

"My...name?" He blinks as if that’s the strangest question you could’ve asked.

"I just feel a bit rude for never having noticed you before, but if I were to learn a name to put to the face, I doubt I'll ever walk past you again without a smile," And oh, how deadly your smile is, flashed over your shoulder so innocently, yet those eyes - They hold mischief behind them.

 "My name is Li - Ravio. That's my name," Another needless lie...

"Li Ravio?" You repeat, not looking very convinced, "That's certainly...a name, alright."

"W-Well, I didn't pick it!" Yes, yes he did...

"I'm sorry, I didn't mean any offense. It's a unique name, that's all, but that will make it easier to remember," You laugh at his misery, your eyes crinkling with the action. You then introduce yourself, your name sounding vaguely familiar, although Legend's in too much of a daze to think of why, "It's nice to meet you, Li Ravio."

He bites back a grumble, already regretting his life choices up until this point. Seriously, if he was going to give himself a cover name and story, couldn't he have picked something a little better? You probably think he's a weirdo, just showing up out of the blue with some half-assed backstory that sounds totally fake - Wait, what does he even care? It's not like he knows you! You're a random civilian from a timeline that comes generations before his own. If he wanted, he could march off and never see or think about you again...but does he want to?

Despite his previous desire for isolation, Legend remains standing there dumbly in the sand, entranced by the song you go back to humming while carefully scrubbing away at your laundry. You take no shame in your singing - which is good, because there's no reason to be. You sound nothing short of holy, and quite honestly, you match the look, practically glowing in the beams of sunlight. Even your movements are graceful, so much so that as you wade out of the water, you hardly disturb the water lilies around you.

"Where'd you learn to sing like that?" The question slips before Legend can help it, but there's no taking it back. You stop mid-step onto the sand, eyes quickly darting up to look at him in surprise. It's as if no one's ever been smart enough to give you that compliment before...or perhaps no one has ever sounded quite so astonished while saying it.

"My cousin and I sing every evening at the Lumpy Pumpkin," You explain, bashfully tucking a strand of hair behind your ear after dropping your laundry back into its basket and picking it up, "You should come by sometime. It’s on an island south east of here - Very cozy, and a great place to get to know new people, too.”

"I'll, um...think about it,” Legend answers awkwardly with a cough. Will they even be staying in Skyloft that long? How would he even get to another island, especially without anyone else following - Wait, why is he even considering this?! 

You seem to have lost some of your cheer. Perhaps that wasn’t the exact answer you were hoping to hear, however Legend, once again, has no way of taking it back.

“...Well, I, um, should get going. These clothes won’t dry themselves,” You mumble, gesturing to the basket you keep against your hip. Without waiting for any goodbye, you make your way up the shoreline, only stopping temporarily to shout over your shoulder, “Oh, and Li Ravio? I should probably tell you that Link was looking for you earlier! He wanted to make sure all you boys knew not to get too close to any edges! It’s quite the fall!”

Legend doesn’t respond, too stunned to form words as you chuckle to yourself before skipping off on your merry way. So you were aware of his lies the entire time!

Faced with tired bones and a sinking sun that plummets the world into night, the Chain has no choice but to call it a day (not that they have any objections towards rest). They practically collapse where they stand, taking a few greedy minutes to catch their breaths before picking up the work once again.

Setting up bedrolls, sparking a fire, organizing supplies, and chopping vegetables, the heroes are kept active for a decent hour or two until they can take another breather. Gathered around a wonky circle, their conversation is light and mostly focused upon their hunger which is only fueled by the pleasant smell of soup until it can be dished out.

About half the boys have bowls in their hands before a sudden snap of a twig causes them to trade their meals for weapons, senses on heightened alert especially when a stranger soon steps out of the shadows. At such a distance, the fire's light only barely outlines their silhouette, but that’s apparently all it takes for someone in their group to realize this is no actual stranger who's stumbled across them.

Hyrule's face lights up as he exclaims your name. Your own reaction is quite similar, switching from caution to excitement within the same second that you remove the hood from your head. The way you both move to greet each other, holding the other's arms with bright smiles and disbelief is quick to calm the other heroes. If you're a friend of the wary traveler's, then you'll be a friend to them.

"I thought it was your voice I heard from the trail, but then again, I haven't heard you in ages! And to find you in such a large group of companions? Never before! Where have you been for all this time, old friend?" You seem to go through several emotions all at once - a steady flow from relief, confusion, sorrow, and joy. Hyrule is hardly any better.

"It's a long story, but I haven't exactly been around to be seen," When you give him a bewildered look, he’s quick to brush it off, "I'll tell you all about it some other time - Hey, why don't you join us for dinner? There's plenty to go around!”

Your eyes instantly widen as you wave your hands in front of yourself, your smile suddenly strained, "Oh, no - no thanks! That's a kind offer, really, but I, um, ate not too long ago -"

"- Pss! He's not the one who does the cooking here," Someone whispers. At that, your shoulders visibly relax.

"...Oh...Well, uh, now that I think about it, it was really more of a light snack earlier. I suppose I could stand to eat something more."

Hyrule beams at this, clearly happy to have someone he knows so well stick around even if only for a night. It's then that he finally introduces you to the group, explaining that you're a fellow traveler he often crossed paths with during his own adventures. Seeing how dangerous this time can be, you had a habit of sharing supplies, camps, and stories to feel less alone in the world, so it's no wonder that you'd be so relieved to see each other safe again.

"Mind if I sit by you, stranger?" You ask, peeking around at Twilight while Hyrule grabs you a bowl of soup. Despite your tired eyes and worn expression, you still manage a friendly smile that causes the rancher to nearly choke on his spoon.

With a cough and blush, he scoots to the side, probably making far more room than you actually need, "...Not one bit."

"Thanks!" Fortunately, you don't seem to think anything of his reaction as you gratefully take a seat nor do you take any notice of the way he steals another curious glance at you.

Seeing as you're a new face within the group, it's only natural that you become the center of attention. Questions are thrown your way left and right, many interested to know your story which you modestly tell with little fanfare. Apparently, you've been a traveler for the last few years, wandering from place to place while making a living off trading the resources you collect throughout your journey. Before then, though, you used to live at your family's ranch.

"You grew up on a ranch?" Twilight asks a bit too eagerly once the topic's mentioned, earning himself a lot of strange looks including one from yourself, although you at least seem more forgiving than his friends, quickly letting your confusion go with a gentle nod.

"I did - For most my life, actually," That's all you say before going back to stirring your soup which you're thankful not to find any bone fragments in.

"What made you move on from that life?" Perhaps it's an out-of-line question a gentleman shouldn't be asking, after all he's no more than a stranger to you, but learning a pretty thing such as yourself may have a similar background to himself makes him forget all manners.

"...It was destroyed by monsters some time back," You answer simply while taking a bite.

Twilight bows his head, shame burning inside, "...Oh. I'm real sorry to hear that."

Despite his fears of having caused offense, you merely shrug off any discomfort, “My family made it out alright and we make do with what we have now. Can't go complaining about that."

"...I'm from a farming village myself - From Ordon,” He goes on to tell in a quiet ramble, “I’ve worked there as a ranch hand practically all my life, overseeing the goats we’re famous for. It’s quaint, and about as far from the big towns as you can get, but homely. And the people there - Why, I don’t think you’ll find anyone more kind and welcoming. Like livin’ in one big family.”

Once again, this probably isn't something he should be saying. If it were him, he'd be beyond distraught to lose the ranch to the point that any reminders would send him spiraling, yet to his continued good fortune, you take his story for what it's meant to be, setting down your spoon with a comforted smile.

"I'd love to see that…" Orondian, how you enchant him with such a soft gaze, taking him hostage in the sea of your sparkling eyes. If Hyrule's tales are any indication for the horrors of this broken world, you must be a true diamond in the rough to be from a place so cruel. Any less personal control and Twilight wouldn't hesitate to ask you to join them - to come along on this adventure and see how beautiful life will someday be. He could take you to Ordon and show you all he’s come to adore - let you breathe the fresh air scented like hay and pine while overlooking the familiar green fields you’ve dearly missed. Who knows? Maybe you’d even ask to stay. 

“I’d love to show you…”

"...Is this still a group conversation ooor?" Wild pipes in awkwardly from Twilight’s side, seeming to speak on everyone else’s discomfort as the poor, stricken young man loses himself to this yearning in his heart. This might be a long night and an even longer day tomorrow if they get stuck listening to him fawning over you...

You’re starting to doubt this shift will ever end…

It feels like you’ve been stuck in here for hours with nothing to do aside from sit at the counter and beg the sun to set just a little faster. You've already restocked inventory twice, organized stock to perfection, and swept the floor until your broom broke…If this keeps up, your sanity might just break, too.

Ringing from the front door’s bell gives you at least something to do as you sigh your typical greeting: "Welcome to Gia's General Store, where we have all your - LINK?!"

With a complete shift in mood, you happily leap up from your stool and race around the corner to meet your friend halfway in a tight embrace that you've both gone far too long without, "It's been ages! How have you been? Where have you been?"

Four chuckles at your eager questioning, "It hasn't been that long."

"Really? Because I swear five years have passed from this shift alone…" You groan dramatically before breaking away from the hug to get a solid look at him. Despite the months that have passed, he looks no different than when he had first set out. Good. You like him just the way he is anyway. 

"Please tell me you're planning on sticking around for a bit. I’ve been dying for something interesting to happen around here and your stories are just the salvation I need! I only have an hour to go until I can close up, though I'm afraid I might stab myself with a fire arrow before then. It’s been terribly boring!” 

That, Four doesn’t doubt. Your home village is as serene as they come which isn’t always a favorable trait in the judgement of two teenagers with more energy coursing through their bones than they know what to do with. Of course, he’s probably done no good helping matters by always filling your head with envious dreams of adventure and mystery. 

“We’ll probably be spending the night in town,” He tells you, much to your relief, “In the meantime, we have quite the list of supplies that we need to restock on, if you don’t mind.”

"We?" Somehow you only just notice the group of young men who managed to sneak into the store after Four. A few of them are already looking around at the items you have to offer, while others wait patiently with the hope that they'll be introduced to...Well, whoever you are to their dear friend.

"I would introduce everyone, but we all share the same name."

"All of you?" You look at Four in shock, yet he nods as if it's the most normal thing in the world to him...Then again, it probably is at this rate. Honestly you shouldn't be that surprised yourself. This is Link you're talking to.

"...Huh...Well, feel free to have a look around, I guess, and let me know if you need anything in particular. Arrows are buy one get two free right now, and fully in stock, too, since Link - Er, this Link, hasn't been in town to buy us out,” You explain to the group, jutting a thumb towards Four who rolls his eyes.

Now, usually you become a bit overwhelmed whenever large groups enter your shop, but seeing as these guys are Four's friends, you feel comfortable letting them wander freely. It helps that they seem to know exactly what they're looking for, too, making your job all the easier.

For the most part, the group allows Four and you privacy to catch up, only interrupting your conversation occasionally whenever they have questions about your prices or the quality of your goods, however you aren’t blind to the curious glances they spare you even in silence. No doubt they’re wondering how deep your relationship with Four goes, finding it endearing how at peace the young hero has become in your simple presence.

Most of these glances are quick enough, although you can’t help noticing that one of the boys seems to lack the same subtlety as his friends. Each time you steal a peek through the corners of your eyes, you spot him staring in your direction with an awed look overtaking his face. Whenever someone else nudges him to ask a question, he blinks rapidly with a stammer before bashfully looking away.

‘Cute…’ You’re tempted to think, but then you take notice of how young the boy seems to be. He must be at least a few years younger than Four and you - still a just child, at least by your standards which is an upsetting thought since context clues point to him being a hero, too. If that’s true, that must mean he was as young as Four was when he first set out on all this hero business himself, if not even younger. Poor kid…

Soon enough, Four confirms your suspicions about his traveling companions’ identities, telling you all about the strange portals they’ve traveled through and the journey they’ve been on up until this point. It was mere hours ago that they found themselves this close to home and, well, he couldn’t bear to pass by without seeing you or his uncle.

“Smart. I would’ve been livid had I found out you were in the area and didn’t stop by,” You elbow Four who pushes you back with his shoulder playfully before suddenly glancing behind you. Following his attention, you find the youngest hero standing there shyly, a minish feather necklace in one hand and a small pouch of rupees in the other.

Wind startles, seeming to have not expected your turn, “I, uh, wanted to know how much this was - um, is…So that I can buy it, if I may - for my little sister!”

You notice Four hiding his smirk behind his hand, yet you elect to ignore him for now, instead giving the younger boy your full focus with a kind smile, “How sweet of you. Consider it on the house, kid.”

“R - Really?” He brightens with possibly the widest eyes you’ve ever seen.

“‘course. Think of it as payment for helping my friend here find his way home safely.”

“Wow, thank you miss!” Oh goddesses above, his smile is adorable! He reminds you of the village children who often come here seeking sweet treats, such a simple delight to create lasting joy in their hearts. How you wish you could return to those days yourself - to no longer bear the weight of the world and its troubles in your thoughts. Alas, you could never so skillfully rewind time, but at least you can help protect that same innocence in others, even if only for a moment.

And protect it you do. Even late into the evening, Wind still cherishes that necklace in hand, carefully inspecting its details while kicking his feet giddily in memory of you, the pretty shopkeeper from Four’s Hyrule.

Sure, it probably isn’t that big of a deal. You gave the entire Chain a rather generous discount on their supplies despite their protests, but he was the only one who received your kindness personally without having to share. No one else aside from Four had the joy of seeing your beautiful smile directed his way, your expression soft and comforting like a warm breeze on the summer’s beach. 

He hadn’t lied. He does plan on giving the necklace to Aryll once this journey is over, but until then, he’ll probably admire it a little longer, at least until this crush of his settles within his heart.

[saiddcain]

As someone who joined Tomarrymort Fandom last year, I am curious... what was it like when it was a very rare ship in the 2000s?

Well, it was a different context back then. A different internet. Mind you, I wrote in Portuguese (my native tongue) and posted on fanfiction.net. There was no ao3, only fanfic forums, livejournal and the big one, ff.net. Back in the 2000s, before tumblr exploded and concentrated fandom in its trenches, fanfic itself wasn’t a very known concept. In a way, the Harry Potter series really helped develop the genre and put it on the map in a way that previous fandoms — Buffy, LotR, Star Trek and others — hadn’t. The moment was very auspicious; HP was a global phenomenon and the internet was rising faster than ever. The months, years between the release of the final four books also helped: restless, hundreds of thousands of fans started writing their own versions of the story. I remember when a newspaper in my country published an article about Harry Potter fans and fanfics. They even mentioned Drarry! A breach between “fandom world” and the “real world”. Nowadays “fanfic” is used a slang in my culture (to mean lie, fabricated tale) by people who have no idea where the term came from. Fandom is a known thing and its members are taken seriously as consumers. Entertainment companies are aware of ships, of tropes, even of old men yaoi.

It was different back then. Even within that huge fandom Voldemort/Harry or TomHarry was a small, almost inexistent ship. We didn’t know yet that Harry was Voldemort’s Horcrux — although some fans had already come up with the theory. There was a lot of crack involving Voldemort. Noseless, bald, snake-like Voldy. He was far from the sex symbol he is today. I remember when Ralph Fiennes was cast to play him…

Tom Riddle, on the other hand, was a bit more palatable. If I remember correctly he was shipped mostly with Ginny. A lot of fans were intrigued by him. But many couldn’t see past the unsexy villain he’d become. A lack of handsomeness — that was unforgivable. Especially in an age where Japanese Animation was also a growing hype — compare Voldemort to the bishonen that treaded gracefully the western screens: Itachi, Sesshoumaru, Light Yagami, all those svelte, long-haired beauties. Even Orochimaru, Voldemort’s most obvious anime double, had more style.

I’ve always liked villains. I read the first Harry Potter when I was six or seven and I already liked Voldemort then. Even as a shade, a shape on the back of Quirrell’s head. When he was re-introduced as Tom Riddle in the Chamber of Secrets I knew he would be my favourite ever. Like many other kids I grew up with Harry. But Voldemort was my son, my love, my darling. I started reading fanfic when I was twelve but most of it was anime’s. When I came across Harry Potter fanfic my focus was the Marauders. We had a very thriving community writing in Brazilian Portuguese before we were all colonised by the internet’s Lingua Franca. Both in English (which I started to learn when I was ten) and Portuguese Voldemort/Tom Riddle was a usually side character. Ginny, Bellatrix, obvious self-inserts OCs, Lucius — those were his most common partners.

TomHarry/Harrymort started to appear more, I think, after the release of the fifth book. That connection, that dream sharing, is hard to ignore. I recall an author who’d put Harry through hell through Voldemort’s hands (he was quite the sadist in their depiction). Others wrote him as the tender violator. Some of the tropes that are now popular began to be formed: Dark!Harry, Dumbledore bashing, Light Bashing. A lot of fics depicted Voldemort “rescuing” Harry from the Dursleys, horrified by the abused he suffered.

Not many explored Harry and Tom, but some did. Time travel fics were almost unheard of. A few gems attempted that glorious hardship: Voldemort and Harry being together while staying true to their morals and beliefs. Those were very hard to find and I treasured them.

I think something shifted in the late 2000s/early 2010s. We now knew Harry was Voldemort’s Horcrux. And we had Flayu. Flayu was the first popular, Japanese fanartist to draw TomHarry/Harrymort. We didn’t have the incomparable @shelter-maki0 but we had drawings like this and this and this.

I stayed away from the fandom and from Voldemort/Harry for a long time. After Voldemort died in the seventh book I renounced Harry Potter……my baby was gone and I felt that he was done very dirty in the end. He went out like a Disney villain. No depth. So I don’t know how we moved from a very niche pairing with few fanfics and only one big fanartist to 16,120 fics as I’m writing this. I missed that bridge. The fandom annoys me nowadays because so many works are more of the same. I feel like we used to be more daring back in my day. But that could be just me being a 30+ old man yelling at a cloud. But also:

For all the annoyance the overuse of that trope (and others) causes me, I’m happy this fandom is so much bigger now and so many people enjoy this pairing. When I stumbled on them, many, many years ago, it was like a switch turned on in my brain. Voldemort/Harry makes so much sense it’s insane. I’m glad more people see it, write about it, love them like me.

Hope I didn’t bore you with my (old man’s…) reminiscences. This was a fun ask to answer. Thank you ❤️

[caffinated-squid]

The Eltingville club- consumerism, control, and how they relate to Josh Levy

So initially I wasn’t going to talk about Josh because I have seen his archetype multiple times and it felt self explanatory, as well as not really having much to say on him as a character, but I still want to give it a shot. So I am going to talk about 2 things: what Josh represents in fandom, and how that intersects with his relationship with his parents.

Starting with the basics, even though all the characters collect figures and memorabilia, Josh is the most obsessive about it, which can be seen in how he goes to several fast food stores for toys to complete his collection, later tearing through several loaves of wonder bread for a card in Bread and Suck Asses, and refusing to eat anything other than Batman Kraft Mac n cheese in the hopes of getting a new figurine.

On surface level, a lot of Josh’s behaviors reflect the overconsumption aspects in toxic fandoms, the need to spend everything to finish a collection, even if it is something they don’t even like. But I also think that its a way for Josh to have something that he doesn’t have a lot of in his life: control.

As much as Josh owns and collects, as much as he knows about trivia, he is unable to control how other people view him, which becomes more of an emphasis when taken into account that Josh (next to Jerry) is usually bullied the most. He has no control over the club, as Bill constantly reinforces his status through making sure that he gets to decide how the day is planned and what they are going to do. No matter how much he knows about comics and sci fi, he will never get hired at Joes because Joe sees him just as another source to get money out of.

I think the collecting allows Josh to have some say in how things go, same with his writing of superhero fan fiction, it gives him the ability to decide what will happen without being questioned.

*This can also apply to how he treats people in customer service, considering how he talks to them and how he treated the seller from As Seen on TV. These people can't lash out because if they do, they will get fired, and only exist to Josh as someone who he can tear into without consequence.

In this case, it is probably why Josh never got better as a writer, along with his own entitlement, he probably saw any criticism as an attack on him, and he already gets shit on daily by pretty much everybody. The only way he could find a way around this was to force people to have to deal with it out of spite, which can be seen in the epilogue as he goes on a whole speech on how when he finally gets in with the desired group of people, he can finally force people to accept his work as canon.

Josh’s parents also play a role when it comes to his consumerism and how he interacts with people. Although they are never seen, the pieces of information given (Josh having the most money to spend on memorabilia, their willingness to let him keep spending money and continue his terrible diet, giving him punishments for his behavior but still being very forgiving as they still let him interact with the club even though that’s usually how he gets into trouble) give more context for why Josh is so quick to anger and entitled, he is used to getting what he wants with little to no resistance which is something that Bill constantly challenges.

Though there is definitely a shift in this behavior after the events in This Fan, This Monster. Out of all the characters that get yelled at, I would say that Josh’s is one of the worst. You can see that his parents have reached their breaking point, and possibly have a lot of built up resentment towards Josh that is finally being let loose as they tell him they would rather be dead and blame him for his mothers heart attack.(as well as their own regrets of how they raised Josh being blamed on him) It is a personal attack that is directed towards Josh, and this is one of the only times that he doesn’t respond with hostility.

The one thing that Josh lacked which he needed the most to improve was some degree of self-reflection, as well as needing to accept that he can be wrong. The epilogue shows he did neither of these and instead doubled down. He may have gained more power, but has not gained any sense of self or respect to others, and will probably be treated as just another disposable piece in the comic industry.

[alicedrawslesmis]

This isn’t fully 100% related, but just on the subject of how most of the Les Mis fanbase (both broadly/irl/outside of tumblr and fandom, AS WELL as the actual fandom) is super apolitical. But I was recently having a conversation with my friends about “how can supposedly liberal and gay people be so into Call of Duty as a fandom just because they decided the two guys are gay??” And while the two are actually opposite subjects, I explained it in comparison to the LM fanbase and how they write fanfiction.

In both fandom tellings, the writers/fans blatantly ignore the actual activities and meanings of what their characters jobs/roles entail, mostly for the sake of focusing on completely unrelated plot/shipping, but part of it, conscious or not, is definitely willful ignorance about the actual meaningfulness of what they are ignoring.

In CoD, the fanfics will always randomly mention “going on missions” and “field work” and “debriefing” etc where they kinda mention the buzzwords of what military guys might do, but with zero implications of what that actually means or entails. Their role is Military Guys and what they do is Military Activity. My friends were still a little confused how one would not be understanding, or at least be able to ignore seemingly obvious words like that, until I described how LM fanfic is written. Obviously the main blorbos of the fandom are the barricade boys (for reasons I could complain in an essay about but isn’t relevant), and here their role is Activist (second to Student oftentimes), and they do Activism Activities. If expanded at all, it’s usually just an offhand mention of “making posters” or “doing a rally” (love when they say this and not even protest) and sometimes they even say that it is “for The Cause.” Like fr they won’t even name any issue it’s just The Cause. If they do specify what subject they are “activists for,” it’s usually like gay rights or something. Not that that isn’t important, but it’s another way of showing they don’t know about anything else, and that’s a very tame non controversial/universally accepted good cause (within this fandom space obv!).

Anyways, while ignoring the canon context of military war crimes and bombing civilians is much much much worse than ignoring what it actually means to be an activist and actively fight for change, both still show a level of disconnect from the meaningfulness of the original subject matter. And to some extent (especially with LM), it’s fine to do that and just have fun writing fanfic, and you don’t need to go into detail about everything especially when it’s not relevant to your romance plot. But overall, it alludes to a greater misunderstanding of the original media, or even disregard of the meaning/theme because it is less important than their gay blorbos.

All that is to say, I have never ever considered the broader LM fanbase to be political at all, or if they are, in the safest, tamest way possible, where they never have to do any work, think about anything too deeply, or examine their beliefs about more complicated subjects. Hopefully that all makes sense why I thought this was relevant lol

basically I agree to all of this, although I don't even engage in fanfiction as a whole

But there's like. Another layer to what I mean. You can engage in fandom however you like. Fanfic is usually written as a form of play with the characters you like, doing fun things. Sometimes its for getting your rocks off, sometimes it's just fun. There are different purposes to different media. I don't fault people for writing apolitical fanfic.

BUT NOBODY IS HANDWRITING APOLITICAL LES MIS FANFIC AND PRESENTING IN ON A LOVELY SCENTED PARCEL AND SENDING IT DIRECTLY TO THE OVAL OFFICE FOR DONALD TRUMP TO READ AND ENJOY. NO ONE SHOULD BE PUTTING ON CUTE PLAYS ABOUT BEING COOL REBELS AGAINST A TYRANNICAL GOVERNMENT AND SHOWING IT TO A TYRANT WHO'S CLAPPING AND SMILING AND FEELING GOOD ABOUT IT.

[naranjapetrificada]

Once I was talking with a friend and fellow OFMD fan* and we were lamenting the death of the DVD box set with extras and commentary that came standard. Then the question of how much we would be willing to pay for such a thing came up.

For those who missed the box set heyday, the standard ones were unlikely to cost more than $100/$150 USD at most (unless it was a particularly long show or came with collectables). I admitted to my friend that I would be willing to pay uh, quite a bit more than that, although I couldn't bring myself to tell her the number.

No nuance! If you wouldn't buy one then uh, don't answer the poll? Maybe by the time the poll closes I'll be able to bring myself to reblog with my number.

*important context is the friend I was talking to about this is very much a fan, but is definitely a "normie" (a word I hate but that fits here) about the show i.e. not In Fandom about it.

[chaxan08]

British Titles

I usually don't share posts of this type, but I've taken the liberty of doing so because I've read several fanfics and seen too many posts both here and on TikTok, in which it's more than evident that many people don't know how British noble titles worked in the 18th and 19th century. This is something I've seen more in the Bridgerton fandom, but many content creators or writers from other fandoms have made the same mistakes when interpreting noble titles.

First of all, I would like to clarify something. English and British noble titles are not exactly the same, although they are related. The following explains the difference and the historical context:

Historical Context.

England:

Before the formation of the United Kingdom, England had its own system of noble titles.

Titles such as duke, marquess, earl, viscount, and baron were common.

2. Great Britain:

In 1707, with the Act of Union, England and Scotland united to form the Kingdom of Great Britain.

After this union, noble titles became titles of the Kingdom of Great Britain.

3. United Kingdom:

In 1801, with the incorporation of Ireland through the Act of Union, the Kingdom of Great Britain became the United Kingdom of Great Britain and Ireland.

This further expanded the scope of noble titles.

Noble Titles.

Despite these political changes, the titles themselves (duke, marquess, earl, viscount, baron) remained consistent in terms of hierarchy and honor. The main difference was the realm and origin of the title:

English Titles:

Referred specifically to those created in the Kingdom of England before 1707.

Examples: Duke of Norfolk, Marquess of Winchester, Earl of Derby.

2. British Titles:

Refers to those created after 1707 in the Kingdom of Great Britain and later in the United Kingdom.

Examples: Duke of Marlborough, Marquess of Rockingham, Earl of Chatham.

Differences and Similarities.

Similarities:

The hierarchy and responsibilities of the titles remained the same, regardless of the change in the kingdom's designation.

Titles granted by the British crown maintained the same forms of address and privileges.

2. Differences:

British titles cover a broader scope, including Scotland and Ireland (later Northern Ireland).

English titles were specific to the Kingdom of England before the formation of Great Britain.

In short, while English and British noble titles are part of the same hierarchy and nobility system, the main distinction lies in the political and historical context in which they were created. During the 18th and 19th centuries, this difference was based on whether the titles originated before or after the unions that first formed Great Britain and later the United Kingdom.

Now then, with that said, I want to mention that my main reference for this is the article 'ENGLISH TITLES IN THE 18TH AND 19TH CENTURIES' by Jo Beverley, who is a Member of the RWA Hall of Fame for Regency Romance. Here is the link if you want to read the original article: On Titles (jobev.com)

It is also important to mention that, as Jo Beverley said, this brief run-down of English titles is for use by fiction writers. It is by no means comprehensive, but covers the more common situations arising in novels set in the above periods.

Now, the peerage basically runs according to primogeniture, ie the eldest son gets nearly everything. If a peer has no eldest son, the title and possessions that belong to it go to the next male heir, probably a brother or nephew.

There are a very few titles that can pass to a female if there is no direct heir, but they will revert to the male line when the lady bears a son. (Such as the monarchy.) Some titles can automatically pass through a female heir (when there is no male heir) and most can be revived by subsequent generations by petitioning to the Crown. But that's getting into more complicated areas. If your plot depends on something unusual, please do research it thoroughly before going ahead.

As Beverley said, this is a bit more complicated and requires further research if it's something you wish to incorporate into your work, especially if it's set in the 18th or 19th centuries. In the 20th century, this was more common. A clear example would be Lord Mountbatten (1st Earl Mountbatten of Burma), who had no sons, only two daughters. Therefore, he passed his title to his firstborn, Patricia Knatchbull (née Mountbatten). Thanks to this title, the Countess was entitled to a seat in the House of Lords, where she remained until 1999, when a House of Lords Act removed most hereditary peers from the chamber.

But returning to the main topic, the eldest son is called the heir apparent, as he is undoubtedly the heir. If there is no such son, the next in line is called the heir presumptive because, however improbable (such as the duke being on his deathbed), there remains a possibility of a closer heir being born. Therefore, an heir presumptive does not hold the title of heir, if there is one. (See below about heir's titles.)

If a peer dies leaving a wife but no son, the heir inherits unless the widow says she might be with child. It is for her to do that. If she stays silent, it is assumed that she is not. If she's pregnant, everything waits until the child is born.

These last two paragraphs can be perfectly illustrated by an example that many know. In 'When he was wicked', after the death of John Sterling, Earl of Kilmartin, Michael Sterling is not immediately named as the new Earl upon his cousin's death, as Francesca announces her pregnancy. But since she had a miscarriage, there was no longer a possible heir to the late Earl of Kilmartin, and therefore, the title is immediately inherited by Michael.

Continuing with the main topic, an heir must be legitimate at birth to inherit a title, though that could mean a marriage ceremony performed while the mother is in labor. A peer may raise bastards with devotion and/or marry the mother later, but a bastard child can never be his legal heir.

It's also crucial to mention that peers automatically had seats in the House of Lords. Note, however, that courtesy titles (those held by heirs) do not give seats, or any of the other privileges of the peerage.

Something else that is highly important to clarify, as confusion is quite common, is that most peers do not use their surnames as their title. Thus, the usual pattern would be something like Sebastian Burgoyne, Earl of Malzard. He is Lord Malzard NEVER Lord Burgoyne. (Or, for that matter, Lord Sebastian.) As an author, you might like variety, but take as a general rule is that no one ever had two forms of address.

THE RANKS OF THE PEERAGE

Duke.

Leaving aside royalty, this is the highest rank. His wife is the Duchess. They will be duke and duchess of something.

If we use the famous main couple from Bridgerton Season 1, the example would be: Duke and Duchess of Hastings. Address is "Your Grace", though familiars may address them just as Duke and Duchess. Like, "Fine weather for shooting, eh, Duke?" or may address the duke by title. "Care for more port, Hastings?"

The duke will also have a family name, that is, a surname, but he will not use it in the normal course of events. And something crucial that is also commonly confused, the duchess does NOT use the surname at all. Continuing with the same example, if Daphne Bridgerton marries the Duke of Hastings (whose surname is Basset), she will be the Duchess of Hastings and will informally sign as Daphne Hastings, NEVER as Daphne Basset.

The duke's eldest son is his heir and will have his father's second-best title as his courtesy title. Nearly all peers have a number of titles marking their climb up the ranks. The heir to a duke is often the next lowest ranking peer, a marquess, but the title could, however, be an earldom, or even a viscountcy. For example, the eldest son of Daphne and Simon, the Duke and Duchess of Hastings, holds the courtesy title that his father had when the Late Duke of Hastings was still alive: Earl of Clyvedon.

Important note, a courtesy title does not give the holder a seat in the House of Lords or other privileges of the peerage.

If the heir has a son before the heir becomes duke, that son will take the next lowest title as a courtesy title. If the heir dies before his father, his eldest son becomes the heir apparent and takes his father's title.

Apart from the heir, a duke's sons are given the courtesy title Lord with their Christian name. (Lord + firstname + surname). Continuing with the example of the Duke and Duchess of Hastings, assuming that like in the book, they also have David and Edward in the series, their courtesy titles would be: Lord David Basset and Lord Edward Basset. They are NEVER Lord Basset or Lord David Hastings and Lord Edward Hastings.

All duke's daughters are given the courtesy title (Lady + firstname + surname). And continuing with the same example, the daughters of the Duke and Duchess of Hastings, Belinda and Caroline, would be: Lady Belinda Basset and Lady Caroline Basset. Also, they are NEVER Lady Basset or Lady Belinda Hastings and Lady Caroline Hastings.

And also, if they marry a commoner, they retain the title. Let's say Lady Belinda marries Mr. Sticklethwait, she becomes Lady Belinda Sticklethwait. But if she marries a peer, she adopts his title. If Lady Belinda marries the Earl of Herrick, she becomes Countess of Herrick, Lady Herrick. And if she marries the holder of a courtesy title, then she may use his title or her birth title as she wishes.

I make this clarification because it's the most common mistake in these types of novels. Note that in all cases, titles like Lord or Lady with both first and surname (eg. Lady Anne Middleton) and Lord or Lady "last name" or "title" (Lady Middleton) are exclusive. No one can be both at the same time. Moreover, Lord or Lady "firstname" is a title conferred at birth. It CANNOT be gained later in life except when the father accedes to a title and thus raises his family.

So, Lady Mary Smith is not Lady Smith and vice versa. Lord John Brown in not Lord Brown and vice versa. If Mary Smith marries Lord Brown she becomes Lady Brown, NOT Lady Mary. (If she marries Lord John Brown, she becomes Lady John Brown. Yes, it may sound odd to modern ears, but the past is, as they say, a different country. That's the charm of historical fiction.)

Marquess.

This is the next rank. (As above, it can be spelled marquis or marquess, but in either case is pronounced markwess.)

Similar to the duke, he will be the Marquess of something, for example: He is Richard Byron, the Marquess of Salisbury, or Lord Salisbury, or simply Salisbury to his family. His wife is the Marchioness of Salisbury or Lady Salisbury. She would sign with her firstname and title, for example: Diana Salisbury, NEVER Diana Byron.

His heir apparent takes his next highest title as a courtesy title (eg. Earl of Cranborne). All other sons have the title of Lord with their first and surname (eg. Lord Arthur Byron and Lord Albert Byron, NEVER Lord Byron or Lord Arthur Salisbury and Lord Albert Salisbury). All daughters have the title of Lady with their first and surname (eg. Lady Alexandra Byron and Lady Amelia Byron, NEVER Lady Byron or Lady Alexandra Salisbury and Lady Amelia Salisbury).

Earl.

He will nearly always be earl of something. His wife is the Countess. If we take another famous couple from Bridgerton, they would refer to him as "the Earl of Kilmartin" or "Lord Kilmartin," or simply "Kilmartin" among family. His wife will be the Countess of Kilmartin or Lady Kilmartin, and she will sign as Francesca Kilmartin. In the same way as with the wife of a duke or marquess, considering that the Earl of Kilmartin is named John Stirling, Francesca will NEVER be called Francesca Stirling. That's why in the series, when she introduces herself to Michaela, she says that her name is now Kilmartin and NOT Stirling.

It's important to mention that some Earls do not use 'of' like Earl Spencer, and in that case, the family surname is the same as the title (following the previous example, the surname would be Spencer), but this is quite unusual and I think it should be avoided in fiction unless it's a crucial plot point.

As with a duke or marquess, the earl's heir will take the next lowest title as a courtesy title, and the heir's son, the next again. Continuing with the example of the Kilmartins, it's not very clear what the courtesy title for John Sterling II (son of Francesca and Michael in the books) is, but if Michael Sterling is the Earl of Kilmartin and has a subsidiary title of Viscount, then their eldest son, John Sterling II, would use the courtesy title of Viscount Glenmore or Lord Glenmore. If there is no specific subsidiary title, then the eldest son would simply be known as Lord John Stirling.

All the daughters of an earl are given the courtesy title: Lady + their first name. Again, using the Kilmartins as an example: Lady Janet Stirling and NEVER Lady Janet Kilmartin. Younger sons of an earl, however, are merely "The Honorable" which is not used in casual speech. So, assuming in the books Michael and Francesca had another son, for example, Michael Stirling II, he would simply be The Honorable Michael Stirling, but in casual speech, he would simply be referred to as Mr. Michael Stirling or just Mr. Stirling.

Viscount.

His wife is a Viscountess. He will not use 'of'. He will be, for example, Viscount Bridgerton, usually known as Lord Bridgerton, or just Bridgerton. His wife will be known as Lady Bridgerton and will sign herself Kathani Bridgerton.

His heir has no special title. All children are known as "The Honorable". Continuing with the example of the Viscount and Viscountess Bridgerton, their children would be called:

*The Honorable Edmund Bridgerton, and simply be referred to as Mr. Edmund Bridgerton.

*The Honorable Miles Bridgerton, and simply be referred to as Mr. Miles Bridgerton.

*The Honorable Charlotte Bridgerton, and simply be referred to as Miss Charlotte Bridgerton.

*The Honorable Mary Bridgerton, and simply be referred to as Miss Mary Bridgerton.

Baron.

This is the lowest rank in the peerage. His wife is a Baroness. NOTE that the terms baron and baroness are only used in the most formal documents, or when the distinction has to be made elsewhere. General usage is simply to call them Lord and Lady.

She will sign with her name and title. The children are known as "The Honorable".

Using another character from Bridgerton, if we assume that Colin and Penelope Bridgerton's son is named Elliot, then Elliot Bridgerton, the new Lord Featherington, would sign as Lord Featherington and NEVER as Lord Bridgerton. Therefore, his wife would also sign with his title, that is, Featherington. For example, if the wife's name is Elizabeth, then she would be Lady Featherington and would sign as Elizabeth Featherington, and NEVER as Elizabeth Bridgerton or Lady Bridgerton.

Baronet.

The next in the ranking—and not of the nobility—is Baronet. A baronet is addressed as Sir + first name + surname. For example, using another couple from the Bridgerton universe, Sir Phillip Crane. His wife would be called Lady + surname. For example, Lady Crane and not Lady Eloise Crane unless she is the daughter of a duke, marquess, or earl (which is not the case). She would sign with her full name, as Eloise Crane.

His children have no special distinction. However, the title is inheritable. So, continuing to use Sir Phillip as a reference, when he dies, his baronetcy will pass to his eldest son Oliver, who will then be called Sir Oliver.

It's worth mention that although in the series Oliver is NOT Sir Phillip's biological son, he still married Marina before the birth of the twins and acknowledged them both as his own, so the baronetcy title will pass without any issue to Oliver. In the event that he did not acknowledge them as his children or that Sir Phillip and Marina married after the birth of the twins, then the title of Sir Phillip would pass to his next legitimate son, Frederick (son of Sir Phillip and Eloise in the books).

Knight.

A knight is essentially treated the same as a baronet, but with the difference that it is a lifetime title only. His wife will be Lady + surname.

OTHER MATTERS

Dowagers

When a titled lady is widowed she becomes a dowager, but the practice has generally been not to use that title until the heir takes a wife, since there can be confusion about who the true Lady Bridgerton is, for example.

And even if she has a daughter-in-law, in general usage she would still be referred to by the simple title unless there was likely to be confusion. So, if the Dowager Viscountess Bridgerton was at a house party while her daughter-in-law was in London, people would not be constantly referring to her as the Dowager Viscountess.

Female titles in their own right

There are a few, very few, titles that can pass to a daughter if there is no son, as in the Royal Family, for example. In this case, the usage is the same as if they were the wife of a peer of that rank, but their husband gains NO title from the marriage, just as the Duke of Edinburgh was not king.

A Peeress in her Own Right retains her title after marriage, and if her husband's rank is the superior one, she is designated by the two titles jointly, the inferior one last. Or she can say what form she wants to use. (eg The Marchioness of Rothgar is also the Countess of Arradale by right. She chooses to be Lady Rothgar and Arradale in the most formal situations, Lady Rothgar in general, but Lady Arradale in private, especially when attending to her duties as Countess of Arradale. Unusual situations do tend to get complicated.) Her hereditary claim to her title holds good in spite of any marriage, and will be passed on.

Since the husband gains no title from such a marriage, it's possible to have the Countess of Arbuthnot married to Mr. Smith.

Her eldest son will be her heir and take her next lowest title. If she has no son, her eldest daughter will be her heir, but until she becomes the peer she will hold only the title that comes from her birth — eg. Lady Anne — if any, because an eldest daughter is always an heir presumptive. There might still be a boy.

The most common errors observed in novels:

Interchanging courtesy titles like Lady Mary Smith and Lady Smith.

Interchanging peerage titles, as when Michael Downs, Earl of Rosebury is variously known as Lord Rosebury, Lord Downs, and Lord Michael Downs.

Applying titles that don't belong, as when Jane Potts marries Viscount Twistleton and erroneously becomes Lady Jane, a title form that can only come by birth.

Having the widow of just about anyone, but especially a peer, remarry before time has elapsed to be sure she is not bearing a child. Or rather, whose child it is that she bears!

Having the heir presumptive assume the title and powers before the widow has made it clear that she's not going to produce an heir.

Having an adopted son inherit a title. Legal adoption was not possible in England until the twentieth century, and even now an adopted son cannot inherit a title. Even if the son is clearly the father's offspring, if he wasn't born after a legal marriage, he cannot inherit the father's title. However, since they didn't have DNA testing, a child was assumed to be legitimate unless the father denied it from the first. Even if the son turns out to look suspiciously like the vicar, the father cannot deny him later. This, I assume was to avoid the chaos of peers coming up with all sorts of excuses to switch heirs on a whim.

Having a title left in a will, which follows from the above. A title cannot be willed to whomever the peer in question chooses. It goes according to the original letters patent, which almost always say that it will go to the oldest legitimate male in direct descent. The property can be left elsewhere, unless it is entailed, but the title goes by legitimate blood.

Having an heiress (ie a daughter without brothers) inherit a title and convey it to her husband. It could be done — anything could — by special decree of the Crown, but it was not at all normal.

Now, when you've arrived at the title you want to give your character, perform an internet search to see if it exists. You can also check The Peerage or do an advanced search on Google Books. You wouldn't want to give your fictional character a title that was already in use at that time. Additionally, some readers will be knowledgeable about the real nobility and it could disrupt the fictional reality you're trying to create.

If you really like the title but it already exists or existed, you can modify it while still retaining its appeal. For example, if Lord Amesbury exists, you could create Lord Aymesbury or Lord Embury. If your character's family has been in Suffolk for generations, names of places in Suffolk can provide ideas for names.

I hope this helps, although I'm sure it can be subject to debate and improvement.

[lisafication]

Digging Graves for your Morals; Or, The Ethical Problem of Outlawry

Hello, yes, I am here again. This one is shorter, I swear (it’s under four thousand words, even). If this is the first post from me you’re seeing, this is a follow-up to my prior essay posted here on the game The Coffin of Andy and Leyley, although it should be able to mostly stand alone.

At the end of my last essay, I touched on both the game’s nearly uncompromising moral scepticism and relativity, but I didn’t really dig into it. I outlined that the game only textually frames actions as ‘morally bad’ in the context of a morality set by the society and the world that has treated them as no better than farm animals raised for the slaughter. Well, I have a lot to say on the topic of ethics on the topic of The Coffin of Andy and Leyley, so buckle in, this one’s going to talk about the social contract, moral scepticism and everyone’s favourite topic: Mrs. Graves.

As usual, this was originally posted and formatted for on Sufficient Velocity and you can perhaps more easily read it there. Spoilers abound, and my content warning from last time still applies.

She’s not too hot on either ethics or her mother

The Meat of the Matter

Since a lot of this is optional or otherwise missable information, let’s review the premise the game gives us. If you’re already aware of all of this, I apologise, it won’t take long.

First off the bat, the quarantine at the start of the game was a hoax-driven money-making scheme of which you can pick up more-or-less all the relevant details of. This is entirely missable and by the time it’s possible to discover, our protagonists have better things to dwell on and have dialogue about, so I’ll give you a summary of what you can deduce from reading the notes and thinking about it.

The quarantine is an organ harvesting operation, as per some documents you can discover in the wardens’ office. They entrap the residents, test their blood types and starve to death those they deem surplus to requirements — alternatively the starvation itself could be their method of ‘preparing the harvest’, there’s evidence in both directions and it hardly matters — harvesting the organs of the others for sale. As our protagonists are AB-typed, the ‘universal recipient’ or ‘most selfish blood type’, they’re some of the first on the chopping block.

If you read through the newspapers and the documents in Mr. Washing Machine’s car, you can discover that ultimately ToxiSoda are responsible, and a similar thing is happening in a different city under the guise of a ‘chemical leak’.  Should you further investigate matters, you will find mentions of the ‘man behind it all’, the doctor, or the Surgeon, as the fandom have been referring to him — you may recall Mrs. Graves mentioned someone similar! Yeah, he’s the guy who runs ToxiSoda, who are themselves partners with the water company that faked the parasite outbreak in the first place.

It’s all a life insurance scam, apparently

How much the details of the operation matter is something open to interpretation — it might just be something for players to figure out and Episode 3 will not cover the Surgeon at all, or he might play a major part; it's not particularly relevant to this essay. What matters is that it happened at all — indeed, it’s fairly easy to justify Ashley and Andrew in everything they did in Episode 1 (flashbacks aside), arguing that if they’d made any other decisions they’d have died — an argument that the victims dug their own graves, even if the Graves siblings put them in them. How correct that is is a matter of debate, but that you can make the argument at all matters, and we’ll be returning to this later. In my last essay (and again in the introduction here), I made an analogy to farm animals, raised without love and for slaughter. Let’s put a pin in the ‘for slaughter’ part for now and take a look at the ‘without love’ part. 

That’s right, it’s time to meet the parents.

As Andrew notes, there are significantly more compelling reasons for you to say that

They Fuck You Up, Your Mum & Dad

They really do. 

Our charming protagonists are, as with many things depicted in this game, an exaggerated, almost farcical example of this phenomenon — one that’s just grounded enough to still feel very real, just like the siblings themselves. 

The late and lamentable Mrs. Graves is just the same: originally a teen mother, hopelessly out of depth with two difficult children — even if one was good at masking it — and an unreliable, emotionally unavailable (at least to their children) partner who can’t hold down a job, ends up foisting them off on each other and doing a Parental Negligence because she simply Cannot Cope. That’s the real part. The part where she gets paid off by an organ harvesting operation to leave them to die, that’s the borderline-farcical exaggeration that throws all the nooks and crannies of her character into sharp relief.

Mrs. Graves does not have a good relationship with either of her kids. Having self-admittedly fobbed the job of raising Ashley off on her son, to the degree that they did not even celebrate her birthday as kids, both of them hold differing degrees and types of resentment for her.

For Ashley, it’s hate — perhaps not quite so clear cut as that, as it’s her that calls for the eulogy and she shows some potential signs of discomfort while cleaning up her parents’ corpses, but by and large, it’s fairly simple and straightforward, as usual for Ashley. The sentiment is not exactly unreturned, either.

This brings Ashley’s heart great delight!

The most clear incident raising her from everyday ‘neglectful’ to ‘wow she wanted nothing to do with this kid’ is the optional ‘birthday cake’ scene, obtained by finding the present in Ashley’s first ‘transitory world’ dream, in which we see Ashley’s birthday  and the founding of a lemon cupcake tradition between Leyley and Andy. She has received nothing from her family, notes that her ‘friends’ would say they were busy before she even told them the schedule and Andy takes her out to buy cupcakes with his pocket money.

This scene gets a callback in Andrew’s dream later. Just remember to Ask Nicely, rather than Kill Her.

Parents of the year, everyone.

So with Ashley it’s as straightforward and obvious as she herself is — she hates her mother, her mother hates her. With Andrew, as with Andrew himself, it’s a fair bit more complicated. His mother is a much more nuanced figure, who is believable in her role as an unfortunate teen parent who was trying her best. He has a degree of trust in her against, seemingly, his own good judgment In her conversation with Andrew, she acknowledges her fault in raising him and seemingly sincerely tries to offer him a ‘way out’, an olive branch.

I think many people have had relationships where they might say this

This scene in particular intrigues me, because she is acknowledging fault in a way that Andrew strictly avoids doing — and well, there’s nothing Andrew likes more than a good way to avoid acknowledging any fault of his own. With her dominant relationship over their father as a model for Andrew to draw comparisons to his own relationship with Ashley with, it’s no surprise that the narrative resonates with him to the point of ‘Accept’ being many people’s first completion.

Of course, that’s not all there is to it. There is a fascinating contrast with her later conversation with Ashley, where she — despite accusing Ashley of brainwashing Andrew — refers to Leyley and Andy as ‘two psychos’ and states that she always knew they were responsible for Nina’s death and that, implicitly, they owe her for not turning them in. 

There's something about mother-daughter relationships here that I just do not have the time or reading to dig into, unfortunately.

Meanwhile, when Andrew interrogates her on her possession of their death certificates, she has… an interesting, plausible story about a life insurance scam and claims that she really did think they died in the fire, implicitly denying the claim that she sold them. It’s entirely possible that she’s describing the details of the ‘scam’ correctly — you can even buy that she genuinely does care for Andrew in some way, if not Ashley, but her claim about being an honest, grieving parent shocked at their deaths… doesn’t add up?

This is a very normal reaction to your supposedly dead children showing up in your house.

As Andrew himself notes after hearing her story, she’s full of shit. This gets into speculation, because there are a few ways to read this, but the most plausible ‘gist’ is that she and her partner were paid off in money and jobs to not raise a fuss — the surgeon she mentioned is almost certainly the founder of ToxiSoda, remember?

The overwhelming difference in presentation between how she speaks to Andrew and Ashley invites investigation — and when Andrew turns down her offer and tells her he isn’t interested in her offer in Decline, her reaction isn’t… despair, it’s shock — and well, there’s a good reason for that.

Why do you think she did it in the first place?

This is the happiest we see her

Well — it’s so she can finally fit into society. That white picket fence, that idyllic 1950s life — hell you can call it the American Dream. She wants that, or as close to it as she can get — the working-class teen mother, living in poverty, aspiring to the middle-class. It’s a very common, very real and very grounded motivation.

And to that end, she effectively sold off her children. It’s no wonder she can’t fathom why Andrew wouldn’t choose the same.

That’s the part that makes you think — just like the deaths in Episode 1, well- maybe the siblings are justified here, too. It’s a weaker argument, but it’s still one you can make under many common moral paradigms today — what goes around comes around, all that jazz. Just look at how awful she was to Ashley.

She’s finally found what she’s been striving for.

Here’s the thing, here’s the thing though — what, reasonably, could she have done? Andrew and Ashley briefly highlight this in conversation about Ashley’s ‘friends’ in Episode 1 — was she supposed to fight gunmen to try and break them out? Throw food to the balcony from four stories?

Moreover, as she herself says to Andrew… would anyone really have been able to do better than her in her position? She was seventeen when Ashley was born, living in poverty with a partner who couldn’t even remember Andrew’s name when he was a kid. Anyone would have had difficulty, let alone with these kids.

Her evils are — they’re not any deliberate action, but rather… prompted inaction. She didn’t have the emotional energy, resources or plain capability to properly parent her children, she didn’t have any solutions to their murder of Nina in a state so blatantly hostile to its underclass, she didn’t have a way to connect with Ashley and she took the money rather than fight a futile and likely suicidal battle against a corporation and its armed goons in a dystopian setting.

Ashley, notably, does not deny this.

Her sin is the one we’re all, I think, guilty of — that of not trying hard enough, that of inaction in the face of difficult tasks, of not standing up on principle because it’s just too much that day and you don’t have the spoons, you’ll do it tomorrow (no you won’t). It’s a petty, everyday kind of evil — that of not doing enough. 

Is that enough to condemn her? Certainly, there’s a pretty manipulative read of her that likely has some truth to it — in the locked door in Ashley’s dream in ‘Decay’ you can discover that she has a ‘not-hatched’ tar soul — but consider that lens — the game won’t make up your mind for you, so you’ll need to choose that for yourself.

The dad is interesting in terms of negative space — but he’s mostly important in that he doesn’t matter, so I decided to not fit him in here. He has art, though — just no sprite, because, well, he’s never mattered to either sibling.

The Contract We Call Society

Right, it’s time to get a little bit Theoretical in here. Not much, but a little. Social contract theory is a complex topic with a lot of nuance, much of which I will be eliding in the name of not writing a twenty thousand word paper on semiotics, law, and anthropology, but the short analogy is… the idea that as long as you play by society’s rules, as long as you are a good citizen, a good person, the state, or the community, will take care of you.

In a number of ways, the harshest penalty levied by many historical states and legal codes was not death, but rather the criminal status of outlawry, a practice that’s cropped up a number of times in history — the practice of no longer being protected by the law. This meant one could be killed or worse with impunity — you were no longer protected by mob justice and, while overexaggerated as a term of reference, certain texts from Medieval England refer to outlaws as bearing a wolfshead, ‘for the wolf is a beast hated by all folk’. Never minding that wolves are actually delightful, this was a time when wolves were actively hunted and sold by people — and the same was intended to happen to outlaws. They were ‘fair targets’ as far as society was concerned, no longer to be treated as your fellow citizens.

This was the gravest punishment on the books, for most of these legal codes — something saved for those who had broken the social contract so completely that there could be no turning back (civil outlawry is… a bit different, that’s not the topic here). Among others, a modern critique of the concept is that it offers no incentive for improvement, no incentive to change or to cease harming society — if an outlaw has none of the social contract’s protections, what reason do they have to obey… any of the social contract? If that seems familiar, well, let me ask you this:

What if the state or community fails its end first? What responsibility does the innocent outlaw have to that contract?

It’s an interesting phrasing, that the world is better off.

It’s time to talk about the incest, and part of why it’s there. The cannibalism too, but that’s less impactful here. If you’ve seen me elsewhere, you might have seen me say that the incest is a load-bearing narrative pillar — in large part due to it being a critical facet of the siblings’ relationship, but in another large part due to it being an equally critical part of how the game uses taboo.

A taboo is in this context something that is considered repulsive and to be avoided by society. It’s a more complex term than that — you can also use it for certain sacred actions or utterances that are only permitted to certain people, for example — but that’s what it is here. Swearing, premarital sex, BDSM and murder are, approximately from weak to strong, some example taboos held in modern Anglospheric society. 

Strong taboos are a staple of horror — they shock, they disgust, they draw people’s attention and it’s that last one that’s critical here. Incest is a very strong taboo — while I am absolutely not segueing into its historical context, the very well-established Westermarck effect gives it a certain timelessness and immunity to desensitisation that most other taboos don’t have — murder, to contrast, is a taboo we’re largely desensitised to in modern media and works of modern media have to put in actual work to make a murder seem horrifying — through atmosphere, cinematography, evocative prose etc.

And this is important because the use of taboo I’m covering in this essay is that the incest is used to invite judgment — it is so ingrained as a ‘wrong thing’ in people’s brains almost regardless of background that it forces the player to engage with the work morally. And that’s where the fun starts.

I’ve mentioned before, very briefly, about the juxtaposition of tone between the Burial & Decay endings, contrasting with the very monstrous difference in morality. Burial is remarkably light-hearted — they play around with the drain blockage, they joke about their mother’s personality and this is further exaggerated on the Love path, where Andrew is much more comfortable with casual contact and the two make a game out of how far they can throw their parents’ skulls, the humour is directly contrasted against their abhorrent actions.

I’ll be real Ashley is far more merciful than I, I’m shuddering at the thought of that gunk in my hair

In comparison, Decay is… bleak. I’ve seen it being referred to as being ‘emotionally sandblasted’ and, yeah I think that’s fair — it’s uncomfortable, it’s heavy and it’s just not fun. And this is the route in which, if you chose Trust into Accept, Andrew has bought into the narrative that his mother’s offered — that he can fit just fine into society if he wasn’t stuck, if not for Ashley — the route that ‘fits’ most closely to the social contract, to Andrew feeling the guilt that we think he should and hating the monsters that they’ve become, as the social contract deems them. Given the pains the game takes to attach the player to the protagonists, this normative moral ending is very easily interpreted as the bad ending.

And well, isn’t it?

Thing is, as mentioned above, the social contract has never held up its end for them. The game takes careful pains to point out to a viewer that they’ve never had the life that society promises people, so why do its moral standards apply?

The game invites you to judge the characters, and in the same motion, asks you from what principles you judge them, making a pretty good guess in that, like most people who haven’t spent a large amount of time navel-gazing and reading some very boring books by very dusty old men, they come from the society around you.

Love even has Ashley express this sentiment directly after the incestuous dream — she asks you — well, Andrew, but this is also something for the player to mull over — why this is what’s engaged your morality or sense of revulsion, rather than the desecration, cannibalism or murder.

Andrew and Ashley are both very funny and very fascinating in this scene.

And that’s the framing that it casts all of its own moral judgement in — even the ‘tar-soul’ aspect is… well, it’s unclear what it even means. Mrs. Graves was a ‘not-hatched’ tar soul, after all. Other than that, it’s society and the world being better off without them, rather than any kind of assertion of objective morality. Due to the present of ‘soul colour’, we’ll presumably see the game make some moral statements in Episode 3, but as it stands?

It’s nearly completely morally sceptical, in and of itself — it’s not interested in moral assertions or education, it’s interested in making you question your own morals. Deconstructive (not that kind), rather than dialectic, to be mildly pretentious.

It uses taboo and shock to invite moral judgement, but then uses tone, charm and our instinct to look for the happiest end for our blorbos to get you to recognise that these are principles you yourself brought into the game, rather than any it’s handed you. 

To summarise: you’ve brought these principles in from society, but what do the siblings, the protagonists, the villains to the world, owe society? Enough that they should follow them? It failed them first, after all.

Closing Thoughts

This one is a bit less energetic than the last, tragically — my sleeping schedule is the stuff of nightmares recently, I love windy weather. Wait, no the opposite. Huge thank you to everyone who commented on the last one, you are the wind beneath my wings and the main reason I managed to get this out this week.

This essay is a bit more interpretative than my last one — certainly, there are alternative readings and I’ve been toying with the idea of deliberately taking a reading I don’t like very much and writing from that perspective as a demonstrative exercise recently — mostly that you shouldn’t just take my word for things!

Otherwise, if the last bit at the end seemed murky, I apologise — I did try to write a more detailed version, but firstly, it was three thousand words and secondly, I re-read it the next day and I could not understand what the fuck I was talking about. Personally, I blame Derrida — suffice to say that I strongly recommend playing through it with an eye towards considering culpability, morality and why you think certain characters are more or less forgivable than others, and for what deeds. See what you get out of it.

I managed to keep one particular thread open to wrap up with here —  I try to keep speculation on Episode 3 content to a minimum in the main essays, but it should be fine here — you might have noticed that I refer to Episode 1 and Episode 2 being on something of a spectrum of justifiability, with the siblings’ actions being ‘more’ justifiable in Episode 1 and ‘less’ justifiable — but still justifiable if you try — in Episode 2. 

To continue the thought of the happiest ending being the one in which they step the furthest away from common morality and to further jar the viewers’ sense of morality by contrasting societal morality and blorbo-oriented morality, Episode 3: Burial could continue this trend in having a major victim be someone who, well, has done nothing wrong and isn’t even guilty of bystander syndrome.

I wonder if there’s any good candidates, someone who’s sweet, harmless and will indisputably be an innocent victim…

…I’m sure she’ll be fine

[niceandaccurategoodomensanalysis]

I was not able to find the source for this pic! If you know about it, please let me know in the comments or via direct! Thank you!

Religious trauma in Good Omens: Aziraphale's case

We talk about religious trauma and the state of constant psychological abuse and manipulation experienced by those who suffer it, using Aziraphale as an example.

DISCLAIMER

This post is about painful experiences and the different ways you can react to them. This may affect you in particular and be difficult or stressful to deal with.

Here I intend to speak to you about the trauma of Aziraphale. I use the singular not because it is a single event, but because it is a very specific type of trauma to which ours has been subjected continuously since the beginning of time: religious trauma.

WHAT IS RELIGIOUS TRAUMA

Religious trauma is a complex type of trauma that usually has its greatest impact during the period of development: a person grows up in a social context that is regulated according to the dictates of any sect, which greatly influences the way they approach reality and, above all, themselves.

Often, this trauma begins to affect the existence of the victim even before they begin to speak and thus have the capacity to articulate the memories associated with it. It is not necessarily this trauma that is marked by significant events: very often it is its impact on everyday life that literally conditions the people who experience it, placing them on a well-trodden path of conventions and moral imperatives from which they must not deviate.

We are all (obviously, given the fandom) familiar with the concept of original sin. When a person is brought up with the view that we are all born sinners because we have literally inherited that sin and must spend our lives making amends for what is in our nature, several things happen:

_we live with a constant sense of shame and fear of not making it, of not being enough; _we blindly trust those who raise us and show us the way, and we may not want to see the inherent hypocrisies and contradictions because that would bring us into conflict with reality; _as a result, we have an incredible fear of authority and will tend to respect hierarchies even when they do not make much sense to us, and also try not to question what we are told; _we want at all costs to be 'part of the herd' and conform to the group, so we will suppress anything that we feel is different and might cause us trouble.

Now let's consider that, growing up in such a context, we become aware that something is not quite right for us. It could be anything from realising that we have sexual urges, to being attracted to someone of the same sex, to feeling uncomfortable in our own bodies, and so on.

In response to all of this, we experience feelings of shame, self-loathing and a desire to repress that which takes us away from what is the right way to be.

All these things are cruelly represented in our beloved angel Aziraphale.

AZIRAPHALE'S TRAUMA

It is really difficult to talk about Aziraphale's pain, although it is probably the most obvious and easiest to explain in the series. Because it is tangible, it is realistic, many of us experience it all the time and can relate to it.

Aziraphale has won us over with his almost childlike tenderness and joy, with his tenderness for the little things, with his tendency to take to heart the well-being and happiness of every human being in front of him. He is pure, genuine, sensitive and always on the side of good. But behind his façade of a happy and enthusiastic little creature, there is a frightened, abused, insecure child full of shame and self-reproach. This will always condition his actions and will lead him to the painful and, as we shall see, inevitable epilogue in which he rejects Crowley's love to follow Metatron to Paradise.

TO DO WHAT IS RIGHT OR TO DO WHAT I MUST?

We immediately see how Aziraphale lives in a state of perpetual contradiction due to his strong sense of morality: in the series, the first thing we see of him is the moment when he gives Adam and Eve the flaming sword he received as guardian of the Eastern Gate, so that they would not be completely helpless in their escape from the Garden of Eden.

As well as entertaining Crowley (and winning his immediate admiration), the episode shows us from the outset that Aziraphale has a moral compass that always points in a very precise direction: the good of others. This will often lead him in the series to act on impulse, only to have to face the consequences of constituted authority, and create in him an everlasting sense of remorse: almost immediately he is asked by God himself to account for the sword, the very sword that was in danger of becoming an instrument of destruction in the hands of one of the Horsemen of the Apocalypse - except that it was then the key to preventing it.

Unable to fight his nature, Aziraphale finds himself repeating the same actions over and over again: in the miniseries about the life of Job, his tenacity to save innocent creatures at all costs leads him to confront Crowley head-on, discovering his plan to circumvent the orders he was given and not kill anyone. But the web of lies he and the demon have woven tightens around him as Gabriel, Michael and the other angels descend to give Job the good news that he will be able to have more children in exchange for those who have been killed.

Aziraphale is thus forced to make a choice: tell the truth, exposing Crowley's deception and leading to the presumed murder of Job's children, or lie, saving everyone but tarnishing himself with what he sees as an unforgivable guilt. Our angel, as we know, chooses to lie. This causes him tremendous pain and leads him to believe that his fate is sealed and that he must fall. Despite having made the right choice.

Fortunately, as we know, none of this happens. But the fear of doing the wrong thing is always with him.

NATURAL ENEMIES

Aziraphale never makes it a secret that he despises Crowley's demonic nature. Never.

It is painful to compare the admiring look he gives him in S2E1 when he meets him in his angelic version, intent on starting the nebula he has been working on since the beginning of time, with the veiled look of shock (not to say a little disgust) he gives him in S1E1 when they meet again as an angel and a demon, on the walls of the Garden of Eden.

However, as soon as it starts to rain and Crowley gets close to him, Aziraphale immediately takes him under his wing. Aziraphale is an angel, and as such he loves no matter what. It is his peculiar and almost poisonous trait that leads him to help and to forgive even those who have wronged him.

Aziraphale believes that Crowley should be forgiven and loved, but he cannot accept that he has feelings of love for him. This leads him to reflexively despise himself for what he feels, and to push Crowley away whenever he gets too close: think of the argument under the gazebo, or when, confronted with Crowley's suggestion that he take him for a ride after giving him the thermos of holy water, he tells him that he "runs too fast".

It is already obvious to us viewers, and to Aziraphale himself, that he has feelings for Crowley that go far beyond camaraderie, but he cannot let go of them: the fear of retribution and the contempt he feels for anything that is not angelic leads him once again to flounder in contradictions and adopt that yo-yo attitude that characterises all his interactions with Crowley.

THE FINAL TEMPTATION

Crowley is a demon sui generis: he is not really evil and does not mind harming others. In fact, if he can, he actively avoids doing so. However, he does enjoy temptation, and one of his favourite targets is our beloved angel. Still during the miniseries on the life of Job, we see Crowley's first successful temptation of Aziraphale: while the two are patiently waiting for the storm to pass in the cellar of the mansion, Crowley offers him a drink, but Aziraphale refuses, not wanting to succumb to the intoxication of the wine.

Crowley then suggests that he try some human food. The angel is initially disgusted, but makes no objection, and is so impressed by what he tastes that he devours the entire roast beef on the table. Crowley is delighted, and this gag of temptation for an invitation to dinner is repeated throughout the series. Whether the invitation comes from him or from Crowley, each time Aziraphale eats contentedly and our demon watches him eat with satisfaction.

Crowley can therefore be said to be initiating Aziraphale into the pleasures of the flesh, which he will indulge in to the fullest. Aziraphale is a hedonist who loves refined and special things: from antique books to bespoke clothing, passing records, tea and sushi. He loves the objects he surrounds himself with and treats them with care: remember the white gloves he wears before leafing through the only existing copy of Agnes Nutter's Prophecies!

Aziraphale delights in touching his surroundings, and we have already talked about how his predominant love language is physical contact. As much as he can control himself, he touches our demon every time he gets his hands on him. He cannot help it. He desires it, and while Aziraphale has not realised this for the better part of 6,000 years on Earth, in the last century he has come to acknowledge it openly.

This leads Aziraphale to experience another contradiction: he wants to have more physical contact with Crowley, but he cannot. Crowley is a demon, he is the enemy, he is everything he abhors, but the angel he was is always there, alive, before his eyes, and it is out of love for that angel that Aziraphale accepts Metatron's proposal, faced with the prospect of being able to take Crowley back to Paradise with him. So they could be together, in the sunlight, with the approval of God and all, in an angelic way.

But Crowley unexpectedly, desperately, refuses.

Our angel feels betrayed, but has no choice but to accept Crowley's will.

Here is the irreparable, the ultimate temptation our demon could offer: a kiss, a last desperate cry for love, a plea for help, a series of meanings too great to be expressed in words. Crowley grabs Aziraphale by the lapels and for a few very long seconds their lips meet.

Aziraphale has never experienced anything like this before (probably not even Crowley) and feelings stir inside him that he has never even been able to name. Feelings that frighten him, feelings that bring back his contempt for himself and his being far from angelic nature. Aziraphale desires Crowley, discovers that he wants to be kissed by a demon (as the writers of the show themselves have revealed to us), and all of this clashes with everything he has ever been. He has just witnessed the contempt of angels and demons for the love of Beelzebub and Gabriel, he has just risked extinction for helping the fugitive Archangel, and yet Crowley tempts him with a sweet and terrible kiss.

But Aziraphale is an angel, and as such he loves and forgives.

So he forgives Crowley.

But Crowley, by definition, is unforgivable: disappointed and embittered by his beloved's rejection, he leaves.

Aziraphale does not really want to go to Paradise, but his desire to be part of the herd, his need to be loved and accepted by his faction, drives him to go, to do what is right, what is expected of him as an angel.

As he gets into the lift and asks Metatron what his task will be, he discovers that he will have to deal with the very thing he had already averted in the past: the Second Coming, the Last Judgement. He realises his mistake, realises that he is trapped, and once again wonders if he should do what is right or what he must do.

This time, however, it wins what he must: after one last look at Crowley, watching from afar, Aziraphale climbs into the lift with Metatron that will take him to Paradise. His trauma is so deep and ingrained that it has removed any prospect of being worthy of love except in the light of divine approval.

Although leaving everything he loves - Crowley, Earth, the Library - causes him enormous pain, Aziraphale must return to Paradise and fulfil his destiny.

More infos at Religious trauma syndrome - Wikipedia

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[kankuroplease]

Firstly, I apologize for the errors in the text. My first language is not English so I needed to translate some things.

Second, I want to congratulate you on your 5K. I love your art and I love your OC. You are very creative.

Third, I know you avoid couples among team seven so I probably already lost this battle, but NaruSasuSaku is a couple so wronged by this fandom that I need to try to make a request about them.

Naruto is usually the most talkative about his feelings and constantly makes Sasuke and Sakura blush passionately with everything he says. He is the joker in the relationship, although nothing is more serious and sacred to him than his feelings. Sasuke, on the other hand, is the type who shows more than he says, he will do anything for Naruto and Sakura, even hiding a body if he needs to. He loves them and feels that saying it would never be enough, because this feeling is much bigger than himself. Loving them is his salvation from the world and he always wants to protect them. Sakura, however, is like a shining star to both of them. She brings life and warmth to them with her determined and sassy personality, challenging them and putting them in line when needed. She is the one who takes them to all the most incredible places and usually shows her feelings both with words and gestures of affection. Both, Naruto and Sasuke are jealous of how popular she is among people in general. And the three know very well how to understand each other when they fight, as their disagreements exude sexual tension.

Anyway, I would love a piece from you about the three of them in a romantic or sensual context.

And thank you very much for your art.

Thanks and I hope you enjoy it!

[howiscallmewhateveridctaken]

Lmfaooo what a week 😅

So a lot of people are, understandably, leaving the fandom. Drama like this always tends to put people off and unfortunately that affects the media they’ve come to love. I’m not going to be one of those people bc honestly, I don’t even know if I was ever that “in” the fandom in the first place to even leave it. My account isn’t and never was a nevermore account, yes I’ve made a few nevermore post but those were infrequent and amongst posts and reblogs of multiple other fandoms. I’m also in the discord server but I’ve only ever been a lurker, and usually only ever go in it when I want more context to something I’ve seen on tumblr. With that being said however, I still plan on reading nevermore when (or if) it continues because in THIS particular instance I can easily separate art from the artist and I’ll explain why in a moment.

Like I said I’m not and never have been very active in the fandom. I learned about this drama through a post from an account I follow and went through the server to find more context. I was not present through any of the actual conflicts but I’ve seen the conversations.

So why am I commenting on this?

Well mainly I want to make a point about para social relationships as well as moderation of servers and fandoms as a creator.

I just want to preface this by saying that after reading through all possible context, perspectives, takes and evidence I could find or come across, I genuinely don’t think red is necessarily a bad/morally wrong person. I DO however think she is in the wrong in this situation especially due to how she handled everything. As for how a lot of people are reacting to everything, there’s a couple of things I’d like to note:

From what I’ve seen, all of this is just one big thing of “he said/she said” and pointing fingers as well as just picking sides. If your absolutely distraught because red didn’t turn out to be the person you thought they were simply because she said things you didn’t like, I understand the disappointment and frustration but please remember that content creators in general aren’t your friends. You don’t know these people, they just do things you happen to like. Now I’m not saying you SHOULDN’T feel upset about it, it’s ok to and you even should if it’s an issue to you feel strongly about but please keep in mind that this isn’t a “sign of their true colors” or anything because you don’t know what they were actually like to begin with. Ofc I don’t mean that to say “expect the worst from people” but more as a reminder that can hopefully help you to look at the situation more critically and logically before jumping in guns blazing. It’s understandable if it affects you emotionally, you were emotionally invested in their work; but please realize this before you let it get to that point. Now on the other side of the coin, there’s the people who I feel as though will just pick the creators side simply because they’re fanboys and will stand by them no matter what. I’m DEFINITELY NOT saying that’s what everyone who’s on red side is, but naturally there’s bound to be a few that are going to dickride for the sake of dickriding. Regardless, there’s a lack of willingness to listen and understand from both sides (at least from what I’ve noticed) and that’s a problem because when no one wants to listen then what’s supposed to be a community coming together to resolve an issue just turns into a giant flame war. Also this should go without saying, but at least give the mods a chance. They obviously handled the whole situation horrendously but they aren’t going to do their jobs any better when they’ve got people coming at them with pitchforks.

Speaking of the moderators. I genuinely can’t wrap my head around how red and the other mods have managed to fumble this badly…….like it’s almost funny. All said and done they all had ONE very simple job and they blew it. Although I very much disagree with it, I do understand red’s decision to unban crimson. They wanted to give them a second chance, sure whatever. What I DONT GET is why would they not at the very least check to see if anyone else would be comfortable with a decision that would possibly affect them or even impact their safety. At the very least a warning to or a discussion with the victims would have been something. Not only that but even after they unban them, once red saw the NUMEROUS amount of people that were upset about it they, they should have immediately banned them again and then apologize after instead of some rushed explanation. But I get it stress gets the better of you. I understand their desire to keep things as transparent as possible (which i appreciate and I’m sure so do many others) but from that first apology/explanation it felt more like red trying to shake responsibility off themselves and pointing fingers in the guise of being transparent. I did see where red was trying to get at in her first statement, but there was also things that she honestly should have just had the foresight to realize wouldn’t put her in a better light, and this is aside from the victim blaming-esque wording. red basically says that she felt like a group of people (including Laci the one who reported crimson) were just out to get crimson, which is absolutely insane but then again it’s the internet so who knows. However it’s super clear that Laci obviously wasn’t lying bc the things she accused crimson of did in fact happen. So even bringing that up was enough for me to raise my eyebrow at but I digress. Then red practically says it was hard to handle the situation bc the evidence provided was censored, but Laci literally offered to give the uncensored versions so that was completely disingenuous on red’s part at best. To me it just seemed like the mods were looking for excuses for what could be there own laziness at best and negligence at worst. Their biggest fault so far is not being very good at actually listening to their audience and taking them into consideration. She also brought up that fact that Laci was apparently the only person to report crimson which I did not like to say the least. One of the victims confided in Laci and Laci brought it forward. I understand reds suspicions about Laci not being in the actual server where it happened but how are you going to immediately jump to “well why did no one else bring it up” instead of stopping for a sec and thinking “ hm clearly these victims feel uncomfortable stepping forward”. Which they had to do now anyway because of how bad the issue became. They should not have had to do that. Better it be just one person reporting, even if it’s someone you don’t like, than no one reporting and the issue persists under the radar.

And then there’s red’s formal apology…

First off, girl why are you dropping names??? A bunch of who are supposedly minors? Like let’s be so fucking for real right now😭

And then the audacity to be like “please don’t go after or dm these people” like babes if you were genuinely worried about them you wouldn’t have used their names at all. ESPECIALLY when in the end it was completely irrelevant and borderline inappropriate since it really had nothing to do with crimson, their actions or how you handled them. Not to mention the act of calling them “cliques” when literally all they were was side servers. Like if they’re cliques then what does that make red and everyone who’s on her side? It was very clearly just a biased reaction to people saying things she doesn’t like about her, which by all means she has the right to respond to but not in a way that is clearly trying to sway how everyone else sees them. The way red describes everything is as if it’s middle school drama and then proceeds to play directly into it. Don’t get me wrong her apology was fine, when she was ACTUALLY apologizing. Everything else felt like a last ditch effort to drag others under the bus with her. It was lowkey embarrassing to say the least.

Again, it’s important that I make it clear that I don’t believe red is a bad person. I just think she’s an immature person, or at least she is in how she handled everything and continues to handle it bc like I said I don’t know her, and don’t care to frankly. I didn’t start reading nevermore to be buddy buddy with her. Like if we look at the grand scope of things, this is a grown woman beefing with kids. Obviously they aren’t all kids, most of them aren’t I believe but she’s practically stooping down to school yard conflict in how she’s responded so far. Especially at one point in the server when she was being called out and jumped to “yeah I guess I’m the bad guy and totally evil. You all should hate me”. Like actually cut that shit out, what are you doing. I mean honestly.

And my final point because I’ve ranted long enough. I mentioned before that in this instance I am willing to separate the art from the artist, I stand by that because I genuinely do think this is a situation where red could hopefully grow from this and rectify things. The actual unbanning was a stupid and inconsiderate move on her part, but I don’t think she meant any ill-will or had any malicious intent. I disagree with the people calling her a r@pe apologist because that’s honestly just a huge reach. I’ve also seen some accusations of red and/or Flynn being racist, promoting inappropriate art knowing there’s minors around and from what I’ve seen it’s pretty iffy. Regarding the racism, I don’t believe that they are. Their characterizations of the characters regarding their ethnicities IS stereotypical and was obviously just very surface level research into those respective cultures but I chopped that up to ignorance rather than racism. As a woc I was frankly just relived they didn’t make the poc characters centered on some kind of discrimination or tragedy from their era, which yes is something that shouldn’t be ignored but also I don’t know if rednflynn could accurately and more importantly, respectfully portray those types of issues. Nor is it even their place tbh. With that being said however I don’t belong to most of the cultures the characters belong to. To me it never seemed like they were making a caricature out of these cultures, especially since their ethnicities are barely relevant to their stories anyway but I acknowledge that it’s not my place to deem what’s offensive or not.

As for the promoting inappropriate art of the characters and creating some themselves. Yeah they do. I’ve never been shocked about that nor did I think it was something that they are wrong for doing, I mean it’s their own work. Granted I didn’t realize how many minors were in the fandom but that’s literally every fandom, there’s only so much you could do about it. I don’t know if nevermore has a rating but it’s not like it was something ever promoted to be kid friendly, it’s obvious that some scenes are just straight up fan service. While I personally don’t like fan service it never was enough to impact the story so I personally never saw an issue. But point is I don’t think they should have to monitor what is and isn’t appropriate for minors but things get tricky when they have a server where they are clearly aware of minors.

And then there’s other things like people accusing them of promoting SA or some shit like that bc of a lot of stuff involving Montessor which frankly, that’s just a media literacy issue on the readers part. So yeah with that being said I don’t think red is a bad person, although I understand why a lot of people are done with them which is completely fair. I’m pretty much in a grey area about it, who knows if they end up getting in an even bigger scandal, hopefully they come out better from this but only time will tell. The best/smartest thing red has said throughout this entire debacle was that they’re taking a step back from the fandom. I think it’ll be good for everyone, especially them. It seems like it’ll take stress off them anyway. Plus the hole they’ve dug for themselves is already halfway to china by now so there’s that

[maxwell-grant]

You said in your Episode 8 post how it's almost like Sofia isn't a new character, how she feels more like a reinvention of a character that's been in the universe for a while. What do you think a 'pre-penguin/comic/adam-west-whatever' Sofia would have been like?

Having had more time to reflect on her, I don't think I stand by that assertion anymore. I think, within a Batman context, you just cannot get a character like Sofia Gigante outside of the show and the very specific, very modern Batman universe/saga that enables her to exist the way she does. It isn't even just a case of a non-Milioti Sofia being dramatically worse/less interesting by default - although that is also true - and it isn't just that being incompatible with Gotham, and not being allowed to roam free and unbroken because otherwise the fiction breaks instead, is foundational to the entire character. It's that, for what she's saying and what she's meant to achieve, for the attack she has to deliver on The Penguin and the Batman Mythos around their story, for her existence and purpose and eventual defeat to make sense, she has to be a new character. She has to be the invader who's also bringing everyone's sins home to roost.

I've already argued before, but Sofia's deal is defined in such a way that you fundamentally can't really transpose her into the regular Batman status quo, with the way Arkham Asylum and the Batman villains usually work. Yes, on the one hand Sofia does lean into supervillain pageantry harder than just about any other character seen in this saga thus far, and it's fun to notice the ways in which she dresses and acts in ways that'd make her feel at home in the Burton movies, we can try to think of ways there could be a TAS or Adam West take on the character. But on the other hand, if it was that easy to carry her over, we'd probably have seen it already, right? The way people constantly do retroactive takes on Harley Quinn, how The Ventriloquist can fit into any version of Batman at any point in history, Caped Crusader's 1930s retrofitting of Onomatopeia and Nocturna, even the Court of Owls and Red Hood got refrofitted into TAS as of late. Batman villains tend to be extremely adaptable and created ready for adaptation, even stinkers like Hush tend to crop up in fandom pitches for the Batman Rogues. But that's never really gonna happen with Sofia

In part because there are two Sofias, and they are directly, completely and utterly irreconcilable with each other, to an extent that there is no "super-sanity" or brain injuries or plant clones or back-up personalities that you can use to get around that. The only thing the two Sofias have in common besides a family name is that they are both heavily contextually dependant on the existence of The Batman Villain as an emerging cultural assumption/role/institution, but the ways in which they themselves respond or are shaped by this could not be more opposite, and in themselves underline arguably the biggest difference between comics Batman and Epic Crime Saga Batman. Comics Sofia served a specific role within Dark Victory: she is a living embodiment of the death of the diving line between gangster crime and supervillain freak crime. She becomes the Final Boss of the Falcone lineage, and she turns out to have become a themed serial killer with a pet name and gimmick, ultimately just one of the many grotesque cardboard monsters Batman will be fighting forever from now on, and with the Falcones fully irrelevant and out of the picture, as is their role in a given Batman story, so is she. There isn't really anything to be done with bringing her back, and thus no one's tried.

Show Sofia, as I've argued, is a new character, and she is a new character that exists in direct oppositional defiance to everything that Comics Sofia exists to be and affirm. You cannot reconcile the extent to which Sofia would have to be more of a cardboard monster to stick around as an ongoing threat to Gotham and part of the Batman Rogues Gallery, and the fact that she's very clearly not that anymore and there's A Take that everyone loves and that you're expected to adhere to now. You know the problem everyone says Mr.Freeze has, that everyone loves the TAS origin and set-up but they run counter to the demands of Mr.Freeze as a long-running serial villain and so they inevitably have to fudge the origin or make him more monstrous and lamer and so on? You know the problem people say Two-Face has, that all of his stories have to be about either his fall or his redemption, because his origin story is the obvious most interesting thing about him and makes it so he can't just be a rotating villain? (I don't agree with that, but that's a common enough sentiment about the guy). Imagine these, magnified tenfold.

Because more so than Harvey or Victor, she is the Batman Villain who got drafted into this nightmare against her will - she didn't become a monster by accident, she didn't break bad into costumed villainy, she was specifically made into a Grotesque Cardboard Monster for the papers as a headline distraction from the real mundane horrors being perpetrated, and then mentally tortured into playing the part just enough so they could justify treating her as one. She wasn't mentally ill or violent or even that evil (I mean, at least by comparison) when she went into Arkham, because her story has to be very clear that this is just what Arkham does to people, that this is what society does and has done since forever to women who fail to conform, or just happen to be in the way of a man who can leverage systemic brutality to get what they want.

Even when she does go big on hammy super crime to get back at her family and Oswald, she is actively trying to NOT be The Hangman, she is actively trying to not have her moniker made for her, she's trying to aggressively rebrand herself under a new persona that she actually likes, and even then, she's just doing this so she can finally wrench her father's hand away from her throat and get the fuck out of town, and it doesn't work, because the status quo is weaponized to destroy her and push her back down once again. From beginning to end, Sofia Gigante is built around incredibly charged and significant commentary that falls apart if you have her exist without it, in traditional Batman structures. That's part of why I don't think you can even design Sofia around prior versions of Batman - this cannot be a character we are familiar with, that we understand as a part of Batman's world, because she is not.

She is the good version of what everyone who has tried to articulate a modern deconstructionist Batman villain or third-party attack on the Batman Mythos assumptions has attempted to do - she is built so she can experience and thus articulate criticisms about them, and suffer under them, and fight back against them, and be cruelly punished for doing so, and have us cheer at her to succeed anyway, in ways that wouldn't work / would feel phony as SHIT if they were coming from Oswald or any established big name Batman villains used in her place instead, characters that are already known superstar players in this world and in defining these assumptions and mythos to begin with. It helps to make her a phenomenal character, and a phenomenal nemesis for The Penguin specifically, and it means she's nigh-impossible to adapt elsewhere outside of this saga without it being an exercise in futility. You're not bringing in Sofia if you're just gonna make her eventually a crazed murderer who needs to be locked-up cause she's going too far and, like - okay yes, someone will probably do that eventually, but that's bad and dumb and shouldn't be done.

The narrative of Sofia Falcone is that of a truth that renders a narrative irreconcilable - it's why the status quo defeats her, and why she is the most dangerous person The Penguin in all forms has ever known, because no one else has gotten him this close to breaking character. We can play around with ways that a Sofia Falcone/Gigante/The Hangman could have existed in prior eras of Batman history, but let's be real: none of those are gonna be the Sofia that matters, none of them are gonna be saying or meaning the things that Sofia does here. It's impossible to carry her to a status quo that's meant to be going on forever with an infinite rotating door of monsters for her to be a part of, which The Batman doesn't have and doesn't need.

There is no space in these movies for regular seen-before Batman adventures, when every movie has to carry on the seismic shifts brought by the first, and while there is room for spin-offs and a ton of rich space to be filled in between these shifts, this is not a "we can basically be in place having fun forever" saga that needs such a revolving door. With or without Sofia, this world is moving forward into an end for the storyline. If nothing else, the public cry for The Penguin's head, and eventually someone's gonna have to deliver.

[lynxgriffin]

Do you have any predictions for Chapters 3 and 4 regarding their cliff-hanger endings?

I haven't thought that much about how the chapters might end specifically, but I feel like at least chapter 3 might be an odd one out in that we don't get a 'Kris ripping the soul out' moment at the end there. Maybe something else unexpected leaves us off there.

Although...hell with it, let's just get totally nuts with a chapter 4 cliffhanger. No context yet for where we'll leave off there, so I'll just throw out a wild shot. Chapter 4 ends with Kris removing the soul as usual, getting us into the birdcage, then taking the birdcage in the wagon outside, slooooowly shuffling all the way across town, then ditching the wagon right before going into the bunker. Fandom would absolutely lose their shit.