#always thinking about a bit in the commentary

[junkworldusa]

Favorite podcasts/YouTube stuff to watch?

I liked your list of SF stuff from a bit ago so now I'm curious about other media

thank you for the Q! i love making lists.

my favorite podcasts to actively listen to are Wizards vs. Lesbians and Hardcore History, but if i need background noise for work/chores it's almost always We Hate Movies. i also really enjoy Just King Things but i'm all caught up :( i wish there were 20 more dark tower books...... *monkey's paw curls*

YouTube recs in no particular order:

David Bull does traditional Japanese woodblock printmaking, his channel is an invaluable resource for anyone interested in carving, printing, art history, etc. he's also a wonderful storyteller

Dr Justin Sledge is by far the greatest source on YT for historical esoterica. he is NOT concerned with metaphysics he's just gonna lay out the research. videos are (obviously) well-researched, well-edited, and he has an understated sense of humor :]

Jimmy McGee does game reviews but that description feels like i'm underselling it. he's very, very thoughtful. his Rain World video is one of my favorites, he lets game footage play for minutes on end without commentary. there's almost a documentary feel to it

Josh Johnson is...a stand-up comedian. his sets are very low-key & conversational, he talks about whatever's in the headlines, and it feels more like your naturally funny friend is explaining something to you rather than a guy doing an act. the spontaneity has a lot of charm to it. it's hard to explain!!! try his video on Diddy if you can handle the subject matter

Simon Roper does videos on linguistics, history, consciousness, etc. his accent reconstruction videos are a particular favorite

Zhade Lang does intricate, satisfying, weird fibercraft videos. like, high-concept fibercraft videos. i don't think any other knitting/crochet channel is on her level rn

and if you're "into" video essays you already know about Jenny Nicholson but i have to plug her Patreon, it's only $2 a month and there's hours and hours of bonus vids on there, including TWO multi-hour Evermore follow-up vids. picture me rubbing my hands together like a little fly

and lastly, Jeff Bezos Rowing Boat by Bobby Fingers

[hestzhyen]

Chapter 66 Trepidation Posting

Well, dear void... I begged for Seitei War lore and a finger curled on the monkey's paw. Where to even begin?

Rough TL of the editor's notes:

First Page: 封じられた記憶… [fuji rareta kioku...] "Sealed memories..." Last Page: 妖刀も妖術もなくただその剣技で- [yoto mo yojutsu mo naku tada sono kengi de-] "No enchanted blades, no sorcery, just swordsmanship-"

Iori Lore and Dad Stuff

What a cute creature.

Her fake last name is Yoshiura (吉浦): 吉 (yoshi) for good luck/joy and 浦 (ura) for bay/creek/inlet. Nothing particularly interesting or exciting about it but it has a nice sentiment.

I'm in a better headspace now so I can do some thinking that needed to be done last week. Let's take some notes about the current arc and it's continued focus on one of Kagurabachi's key themes: Daddy Issues™.

Chihiro: lost his dad through tragedy, memories haunt and drive him. Was loved dearly and loved his father back in return. Acting on his grief in violent ways.

Hakuri: lost his dad through abuse, let go of his memories and found closure on that front. Was loved dearly then discarded but never stopped loving his dad.

Iori: lost her dad through his own guilt, trying to recover her memories of him. Was loved dearly and seemed to love him back in return. The memories she had with him were so upsetting that she passed out when she got them back.

Hiruhiko: mostly unknown right now, but clearly special to John and spoiled a bit by him. Surprisingly wholesome relationship despite how unhinged he is. If he was truly adopted like many fans think then John was probably a doting dad from the start.

So the "similar" traits based on what we know are...

Lost Their Dad: Chihiro, Hakuri, Iori

Dad Murdered/Killed: Chihiro, Hakuri

Dad Deliberately Abandoned Them: Hakuri, Iori

Were Always Loved by Their Dad: Chihiro, Hiruhiko, Iori

Dad was Burdened by Guilt: Chihiro, Iori

And the "unique" traits are...

Abused by Their Dad: Hakuri

Clings to Memory of Dead Dad: Chihiro

Dad Forgot About Them: Iori

Spoiled Brat Thanks to Dad: Hiruhiko

Chihiro and Iori are the ones being directly compared right now. They both lost their fathers, but Samura's a real piece of work compared to what we know about Kunishige. He chose to forget her in order to protect her whereas Kunishge went into hiding to stay with Chihiro. One child forgotten on purpose, one clinging to memories because that's all he has left.

Yeah, Samura's not winning any "Best Dad" awards any time soon- but it's hard to blame him when we see what the family was enduring because of his reputation after the war. Any half-decent parent wants their kid to grow up without having to see that kind of stuff. Samura just let guilt have too much influence over his choice on how to manage it, in my opinion. Kids should have a bit of say in how they're raised too. Not a lot but at least enough be able to feel seen and heard.

As for the other two, Hakuri and Hiruhiko are in pretty good shape. Hakuri's still smarting over the loss of his dad most likely, but he got the catharsis he was craving when Kyora finally acknowledged him right before he died. That particular wound can start to close up and heal as Hakuri moves on through the story, unlike Chihiro and Iori's at present. And Hiruhiko seems to be in the best spot out of the four as John's special little guy who can do whatever he wants. Spoiling kids isn't being a good parent but Hiruhiko's in a pretty good state all things considered- probably the best out of the four. We have plenty more to dig in with him so this'll get revisited once development happens or new information drops.

But yeah. Chihiro being rightfully angry at Samura for deciding to sever the parent/child bond so lopsidedly tracks with his unresolved trauma. Of course he thinks he wouldn't want to change a thing about living with his father. He's still deep in mourning and floundering in the morass of grief he uses to push himself forward. I wonder if we'll get commentary on this at some point... it's such a core aspect to his personality and the story that it might be saved for the end.

Iori's choice is left for another chapter but I have a feeling she'll agree with Chihiro and keep the memories despite the pain and danger they bring. Samura's guilt needs to be addressed and the daughter he chose to forget should have the biggest part in confronting him about it! The story can become an escort mission of sorts to keep Iori safe until that happens, which leads to easy action so hooray for us.

Perception and Being Perceptive

Yeah, he is. But that's not all.

And here we go, we're back to how people look at Chihiro and judge him without knowing the truth. Samura, Kunishige, and the other Bearers are "heroes" who seem to have some rather serious crimes buried in their pasts. Chihiro is a "murderer" stricken with grief killing those who try to destabilise society. Simple, no-frills parallels between guys drowning in guilt that anyone can pick up on.

What else is going on here? Well, those who were saying the hotel was inspired by John Wick are almost certainly correct with sorcery and fights being forbidden within it's walls. The Manager and his staff/followers enforce this with his own sword technique: Reigen One Sword School/Style (no relation to Reigen Arataka of Mob Psycho 100 fame). 礼 (rei): salute, thanks, gratitude, etiquette 玄 (gen): mysterious, occultness, profound

How... polite?

No, that's not Kumeyuri, and anyone who asks gets a bonk on the head for not paying attention.

Small note that wasn't kept in EN: Hiruhiko refers to Toto as "Toto-san", which is cute. He respects her and/or she's older than him.

Of course Toto summons Hiruhiko in so he can begin his own training arc by facing off against the hotel's staff. The bloody pin being used to tie his hair back will definitely not inspire a ton of fan art, trust me. It will be a Hiruhiko-free week everywhere (RIP my feeds). But Hiruhiko's really racking up the service industry experience between being bonded to Kumeyuri with it's geisha spirits and learning how to fight from hotel employees using a polite sword fighting technique.

Other than that, it's not clear if Kuguri's in this hotel or not but chances are extremely good that we'll get more hot-blooded action next chapter as Hiruhiko and Chihiro both learn by doing. Maybe they'll meet again, maybe not. The only guaranteed thing is that Sumi and Moku are wasting their time by prepping the seal on the roof because Iori's not going to want it even if it's finished before another dramatic escape is made.

Desperate cope theory while I'm here: maybe we can see Hakuri again soon since he and Hiruhiko have that "what is friendship, anyway" thing going on with Chihiro. That cut from Hiruhiko yapping about battling to the death as "equals" to Hakuri on the page turn in chapter 54 is still eating at my brain, yes. And Chihiro just reminded us that he feels inferior to Hakuri (he's gonna become his samurai it's canon no one can take this from me). Depends on how the next chapter plays out but I'm hoping. Dying. I'm dying without Hakuri. Please I miss him so bad just one new panel is all I'm begging for.

"Truth"?

OK. Time to let the brain worms squiggle freely over about two pages' worth of Seitei War information.

So, first... a translation note (sigh). The subject of how the war ended will probably come up now that the beginning of it was given to us (or at least, a particular version of it).

Chapter 9, if you forgot. Thank you Hella for catching this when I was all set to yap about the implications of an armistice vs. other ways to end a war.

How the war ended is still a mystery but it might not have actually been an armistice as implied by the English translation of the signboard. The word used in Japanese to describe it is 終戦 (shuusen), simply "end of war/cessation of hostilities" in a formal and pretty final way. The method could have been anything: surrender, peace treaty, and so on. An actual armistice would use 停戦 (teisen - temporary ceasefire for negotiations), 休戦 (kyuusen - a short-term truce/suspension of fighting), or 偃武 (enbu - mutually laying down arms but without the finality of shuusen) to describe both sides agreeing to pause the fight. So there might not have been mutual feelings that the war needed to stop for both sides' benefit like an armistice would imply, leaving a lot of room for the losing side to build up resentment.

Of course we all know that peace treaties coming from armistices can do the same thing if they are crafted poorly- The Treaty of Versailles used to end WWI is probably the most well-known example in the West. But the ambiguity exists in Japanese and should have stayed in English in my opinion. Folks who remember this signboard from early in the manga might be confused if it turns out the end of the war wasn't so peaceful or mutual after all.

With that out of the way, I want to talk about how fucking suspicious the story of how the war started is.

Keep in mind that Chihiro, Iori, and the Masumi don't know the truth of what actually happened- they're only recounting what they were taught or read about.

"But that all changed when the Fire Nation attacked" this is not.

小国 (shokoku): small country. NOT the actual name of the place, just describing it for what it was. "Twenty-two years ago... a 'small island nation' appeared in the south-east seas..." would be more accurate. (Thanks as always, Hella.)

So, right out of the gate, a whole damn country appearing out of nowhere full of people using magic rocks to attack the mainland sounds like something straight out of a child's fairy tale. You're telling me that Japanese Atlantis rose out of the ocean and became hostile right away, completely unprovoked? That's the kind of framing used to justify showing a foe no mercy. It's an essential part of successful propaganda- dehumanise the enemy, make them seem unknowable, monstrous, and imminently threatening.

The datenseki bit is especially interesting. How did these undersea people have natural compatibility with a stone named as if it came from a meteor?

雫 (da) - drop, trickle 天 (ten) - sky, heavens 石 (seki) - stone

And in such quantities that they could wage a war with it, despite it being rather scarce? (Only 250kgs exist per Sojo in chapter 11; same weight as nearly 12 average-sized countertop dishwashers in Freedom Units.) I suppose a giant meteor could have dropped in the ocean on their territory, or they could have mined it from the seabed, but I don't believe this conveniently simplistic version of events for a second. Not after so much emphasis was put on how shady the Kamunabi is and that they are hiding a lot of shit from the general public.

I doubt an island rose out of the sea as the story claims at all, honestly. While Japan does sit on the Pacific Ring of Fire and sees little islands pop up then vanish back beneath the waves all the time, one big and stable enough to have a whole nation's worth of people on it would not have gone undetected for so long. It beggars belief that the mainland didn't know they had a whole bunch of people living off the coast underwater unless they were using sorcery to hide from sonar and exploratory/research missions.

My bets are on this "invading" nation to have been a populated island that existed for a while and for some reason -probably related to the datenseki- war broke out between them and the mainland. Classic grab for resources, discontent with the mainland rulers vs. the island's own government, everything's still on the table. Maybe they were a long-lost fragment of society that tried to reintegrate, who knows?! But does anyone really think a war that started with such one-sided aggression out of the blue would have the population reacting to the people that saved them like this?

Not exactly a "hero's welcome".

"Disappear", "Atone for your sins", and "mass murderer" painted on the side of someone's house with garbage dumped in front is not reflecting the sentiments of people who are happy that the threat to everything they know and love was dealt with. That's outrage! Probably something to do with how the enemy was "wiped out" (JP:掃討 [soutou], cleaned up/swept clean/mopped up, specifically of enemies.) Sounds like the so-called invaders from Japanese Atlantis were thoroughly eliminated...

Iori is very young here, probably elementary school age. So this is a few years after the war in an unknown location- there's a chance this was on the enemy's island, but why would he live among the remaining enemies? He doesn't need more guilt than he already has, seriously. Also, since he was reputable as the fastest swordsman alive when the blades were being handed out, he most certainly wasn't a defector from the enemy's side. Thus I believe this scene takes place on the mainland.

It seems to me like it wasn't all sunshine and rainbows after the war so the Kamunabi came up with a publicity campaign and squashed the truth somehow. But that doesn't erase the memories of the people involved, either as participants or witnesses. I'm extremely curious as to how other members of the war generation remember things. The blades themselves were only used in empty fields (according to Azami, ch. 9) so the Kamunabi could spin that any way they wanted and likely did. But if that was the case, then who saw what and told others to kick off the harassment campaign? Are there mainlanders who dissent to the Kamunabi's rule because of that information not being completely suppressed and thus help out the Hisaku- like Kyora and the Sazanamis were implied to be doing? Remember, Kyora wasn't quite manipulated as thoroughly as Chihiro recounted to Uruha in chapter 48. He definitely had some personal and/or political sympathies with our favourite group of silly bad guys:

Chapter 22. "Dissidents" aren't business rivals or competitors- they're specifically political opponents against the current regime. The term used in Japanese (異分子 [ibunshi], outsiders/alien elements) has slightly different connotations but can mean the same thing.

This is what I meant by the monkey's paw curling at the start of this post. We got crumbs that only really raise more questions instead of answering anything. For now I am still clinging on to the theory of the Seitei War being a civil war... mostly because I don't know if the author intends to tell a story with blunt commentary on the misdeeds of Imperialist governments.

Possible Real-World Influences

Hakuri has nothing to do with this, I just miss him.

So, I know a lot of people have Attack on Titan's swerve into "What the Hell, Author?!" territory still fresh in their minds and I do too. What Hokazono-sensei's setting up here has some eerie similarities with a corrupt government hiding a lot of shit and the mysterious enemies being more sympathetic than they should be... I just hope we don't take the same route of "both sides were bad, so the military needs to protect us all and destroy the worse evil" that seems to happen a lot in these WWII allegory stories.

Not to get political about an action manga, but the discussions in Japan over how to teach younger generations about what went down in the WWI and WWII eras are pretty tense right now. A great deal of emphasis is put on the suffering of the people that happened after Japan was nuked twice -which was a tragedy- but the real story is lost in the debates about what and how much to teach. There's a lot of folks who want to minimize and omit lessons about the war crimes the nation committed in China, Korea, the Philippines, and the rest of the Pacific. There are even a handful who vociferously defend them as "necessary" things that happened during wartime.

I see a lot of this reflected in Kagurabachi's arc right now. We've been told several times that the Kamunabi's version of events can't be trusted and that there's something awful that was covered up. The Hishaku want some secret to come to light and it will almost certainly have hugely negative impacts on the Kamunabi, the Bearers, and likely Kunishige too. Chihiro needs to know what happened as a core part of his character arc, and it will probably come with the realisation that the conflict he's embroiled in is much more complex than a simple revenge mission can solve. Whatever the truth of the situation is will shatter his worldview.

Where Attack on Titan failed in executing this sort of plotline was making the Titans a genuine threat that needed to be put down after revealing what they really were. You don't set up obvious real-world parallels to groups that have suffered greatly in the past just to say they were a real threat all along. You don't downplay government's corruption and cruelty with "well the other guys weren't great either". But this isn't an AoT blog so I'll stop there.

I don't see a reason to be nervous about Kagurabachi making the same mistakes right now after the sensitive writing around difficult topics from previous arcs. I'm paying close attention to where the Seitei War information crumbs lead us, though. I'm interested in most things the author has to say if it's well-told but I'm not going to stick around for justification of jingoist ideology. I also hope that the author will be able to tell the story he wants even if it happens to go against the government's prevailing sensibilities.

We don't know yet where this will go so I'll just wait and watch with a bit of trepidation. I trust Hokazono-sensei to not repeat mistakes author authors have made, but he could well make new ones as an author writing his first-ever serialisation. I just want whatever comes of this plotline to have something interesting to say like the others before it...

We'll leave it here for today, dear void. Thanks for reading all this if you got through it and let's sit tight for some awesome hotel fight action next week! Say something nice about yourself once a day in the meantime. Every other or even just one day is fine if that's all you can manage too- we all start somewhere.

[nenoname]

stan breaking the trust his most favourite people in the world had in him and fixing it by punching a slit eyed monster

[xxplastic-cubexx]

sequel to this ramble cause the way james talks bout the reduced cherik scenes throughout the xmen films in this video is making me want to kill people. 'we'll always have paris darling' what if we all blew up.

[quatregats]

I'm rereading Master and Commander and I'm deeply in danger of just posting every single passage from it ever but I did love the way that the capture of the prize in Chapter 6 was framed on either side by the logbook's entry, and also the way he transitions out of it to set the scene and tone:

Sunday, July 1 … Mustered the ship’s company by divisions read the Articles of War performed Divine Service and committed the body of Henry Gouges to the deep. At noon dº weather. Ditto weather: but the sun sank towards a livid, purple, tumescent cloud-bank piled deep on the western horizon, and it was clear to every seaman aboard that it was not going to remain ditto much longer. The seamen, sprawling abroad on the fo’c’sle and combing out their long hair or plaiting it up again for one another, kindly explained to the landmen that this long swell from the south and east, this strange sticky heat that came both from the sky and the glassy surface of the heaving sea, and this horribly threatening appearance of the sun, meant that there was to be a coming dissolution of all natural bonds, an apocalyptic upheaval, a right dirty night ahead. The sailormen had plenty of time to depress their hearers, already low in their spirits because of the unnatural death of Henry Gouges (had said, ‘Ha, ha, mates, I am fifty years old this day. Oh dear,’ and had died sitting there, still holding his untasted grog) – they had plenty of time, for this was Sunday afternoon, when in the course of nature the fo’c’sle was covered with sailors at their ease, their pigtails undone. Some of the more gifted had queues they could tuck into their belts; and now that these ornaments were loosened and combed out, lank when still wet, or bushy when dry and as yet ungreased, they gave their owners a strangely awful and foreboding look, like oracles; which added to the landmen’s uneasiness.

[...]

Jack leant back against the curved run of the stern-window and let Killick’s version of coffee down by gulps into his grateful stomach; and at the same time that its warmth spread through him, so there ran a lively tide of settled, pure, unfevered happiness – a happiness that another commander (remembering his own first prize) might have discerned from the log-entry, although it was not specifically mentioned there: 1/2 past 10 tacked, 11 in courses, reefed topsail. AM cloudy and rain. 1/2 past 4 chase observed E by S, distance 1/2 mile. Bore up and took possession of dº, which proved to be L’Aimable Louise, French polacre laden with corn and general merchandise for Cette, of about 200 tons, 6 guns and 19 men. Sent her with an officer and eight men to Mahon.

[batsplat]

It actually kills me that Pecco is Valentino’s #1 protege bc I kinda feel like had they both met in like…2000 (let’s say they were the same age somehow) I feel like the mutual vibe between them would’ve been kinda like…“hm this guy SUCKS”.

Do u agree? I can see younger Vale being a little intrigued by Pecco, & Pecco being a little starstuck (like younger Casey) but I just think their vibes are so incompatible. Particularly compared w the other academy boys, who I think are slightly better fits…(except, hilariously, I would also say Luca is another kind of outlier).

IDK. Anyway thank u for all your amazing answers & historical knowledge batsplat <3 I so appreciate all the time you take to answer these questions & lay out the full surrounding context to things <3

first off, thank you!! that's really lovely!! secondly. hm this is a fun one I hadn't really thought about. the thing about the young casey comparison + what his relationship with valentino looked like is that he is six and a half-ish years younger than valentino... which feeds into why he's so starstruck. that's a very different dynamic from being valentino's direct peer, I feel. I kinda think the problem you have for any italian in vaguely that same age bracket is that it's just going to be tough to handle being so completely outshone by valentino. like, let's not speculate about results here because that's a fool's errand - in terms of actual popularity, there just isn't really any rider you could put alongside young valentino for that to be a remotely equal contest. and that inequity is worse if you're italian... you're not even going to have your home crowd rooting for you, right. the media attention will be 98% focused on the other guy. melandri's a good case study here, as a guy who's just a bit younger than valentino and highly rated in his junior years, but whose own relationship with valentino seemed to kinda sour over the years for various reasons. melandri is admittedly a bit of an odd bloke in his own right and is also a bit odd in the way he talks about valentino, but he's spoken a fair bit about how tough it was feeling like nobody in italy gave a shit about him with valentino around. which must be tough! there's 'working in silence' and then there's being 'practically invisible'... and that does also inevitably affect the relationship I reckon. you have to have an ego at pecco's level - and that kind of ego would always take some bruising if you have to come up against valentino in his full pomp

in terms of their actual interpersonal dynamic, it's always important to remember valentino got on pretty well with basically almost everyone!! especially in those early years, you don't even really have the same wariness of potential rivals. like, once he gets to the premier class it's more or less 'biaggi' and 'not biaggi'. he never has any issues with his title rival in 2000, kenny roberts jr. he's always gotten on very well with countryman and 1998 title rival capirossi, who he remained good friends with even when they were kinda *hand wiggles* title rivals in 2006. capirossi should have been more of a title contender that season and could well have gone on to win that title, but he got taken out in catalunya through no fault of his own - so not really any time for tensions to develop, which makes it a bit tricky to judge what that might have done to the relationship. when valentino and him have a tight duel in sepang later that season and valentino puts on a rather stern last lap defence to win that race (got to be one of his most underappreciated rides, he has like three classic race wins in 2006 I never see anyone discuss), capirossi climbs on his lap during the podium ceremony. so, y'know. capirossi is admittedly a way milder character than pecco, but it is notable how fond he remains of valentino throughout. though unlike pecco he does play into one of valentino's core weaknesses - valentino's fondness for having a little guy around. if you shave off ten centimetres from pecco then he'd basically be set for life

that being said, I agree they probably wouldn't be particularly close lol. prime valentino is probably a little too much for pecco, like you imagine they'd be cordial but pecco's just a tad reserved and wants to assert a bit of autonomy. which actually places him in a pretty decent position for that relationship to not blow up completely in his face - you kinda feel like he'd straddle the line between not being as abrasive as biaggi and not having *gestures vaguely* whatever that was between valentino and sete. the nicky hayden principle, right - who got through two teammate stints with valentino and actually beating him to a title with that relationship completely intact. cf hayden saying that valentino never played any mind games with him, that valentino didn't change his behaviour towards hayden depending on the points gap etc. valentino might "know how to play people", but he's not doing it with just anyone

some of this does inevitably depend on how much of a competitive threat pecco is in this hypothetical timeline. and if you actually put him in the dani/casey/jorge age bracket then all bets are off. it's basically the opposite of what I was saying with casey and jorge, where you'd imagine valentino-the-mentor-figure would have been an incredibly helpful presence for those two guys specifically. the thing about valentino is that he's very adept at being both valentino-the-rival and valentino-the-mentor-figure, but those two roles just look completely different. decent mentor all things considered, considerably less fun to have as a rival. and with pecco... I mean, you're basically dealing with a less prickly less neurotic casey-type, aren't you. pecco has the edge over casey in that he's not quite as... you know. how do I say this diplomatically. I don't think pecco would spend half the season complaining about valentino 'moaning and whinging' and then feature valentino's name on his title-winning shirt, let's put it that way. even with the italian factor, I reckon he'd manage to be at least 2% more normal about valentino, which probably would also help make the dynamic with valentino a bit more normal. and I'm sure valentino would come up with some horribly inventive ways of tormenting pecco and I do reckon he's absolutely up to that task, but I don't think something like laguna 2008 specifically would be the way to go about it. doesn't feel like you could quite blow up that relationship with a single race. the thing about laguna 2008 is that it's very bespoke casey torture, like that does not hit nearly as well against any other rival. ... I just realised I spent a good five minutes daydreaming about what advice I'd give valentino to crack pecco, which. anyways. let's cut it off there. but yeah, that would've been quite a fun match-up actually - specifically because pecco is such an annoyingly excellent defensive rider. arguably better at that than any of valentino's major rivals, which given valentino's MO you'd think would throw up its own distinct challenge

where the casey example IS instructive is in reminding you what an annoyingly charismatic bastard valentino is. I kind of feel like if you can have that kind of an effect on baby casey, you probably can make any of these undersocialised brats fall head over heels for you if you have a good swing at it. there's also the interesting question of what happens to pecco if you take away the vr46 support structure (obviously we're assuming he's still making it to motogp). my sense is you take away a little bit of... not his self-belief, exactly, or even his confidence necessarily - just a sense of security, of comfort in his own skin. I do reckon it makes him a bit more casey-ish in some aspects, just a touch more brittle and likely to take things personally... but, well, obviously we are now in the realm of very far-flung speculation. idk! whatever the exact age permutations between him and valentino would be, my sense is that valentino is charming enough and pecco is susceptible enough to being charmed that it's not like. open revulsion from day one. and to some extent, pecco's canonical willingness to let valentino hog the spotlight would stand him in good stead - it's like when casey said he didn't want to be the next valentino... these aren't necessarily guys who would even want that kind of attention on them. which does feel like a different dynamic to melandri doing his own showy celebrations. they DO want to be liked, maybe more than either of them are willing to admit, they both have a similarly pronounced sensitivity to being misinterpreted - but I don't feel like pecco would be killing himself with envy over valentino's reach in italy. maybe just a little bit, because that is probably normal in that situation... but I reckon he'd work through it

anyway, yeah. my thing is I don't actually give anyone a particularly high chance of surviving valentino's initial charm onslaught unscathed and I... don't feel like pecco would be an exception to that? the closest exception is jorge, but valentino never tried to charm him - and also jorge was still aggressively deeply weird about valentino so I'm not sure that's the template. cf how jorge still not managing to shut up about how fantastic valentino's celebrations were even when they were in an actual title fight. so yeah, idk. I don't see any reason why valentino would react that negatively towards pecco, who definitely comes across more like casey than he does like jorge and wouldn't immediately register as an active nuisance to valentino. I don't think they'd be FRIENDS and maybe they wouldn't match each other's vibe particularly well... interesting question actually if they'd have better or worse interpersonal chemistry than casey and valentino. maybe a bit worse? pecco's perhaps somewhat more guarded and world-weary from day one, so maybe a tad better at just keeping his distance and playing things by ear. pecco's natural wariness would probably do him quite a lot of good there and just make sure things... maybe get a bit unpleasant between him and valentino but never actively terrible. maybe the closest analogue would be a snippier, slightly brittler version of dovi, actually. two guys who get on pretty well but just move in different circles - with relatively restrained open animosity unless the competitive situation demands otherwise

[cherriiramen]

JUST WATCHED THE WONKA MOVIE. THE AMOUNT OF GENE WILDER’S WONKA REFERENCES THEY USED IN THIS MOVIE MADE ME GENUINELY HAPPY IDK WHY.. LIKE WHEN HE SANG ‘a world of pure imagination’ BY THE END OF THE MOVIE I FREAKED OUT 😭😭

[sysig]

Anyway, back to testing (Patreon)

[seventh-district]

several days and 15 thousand words later, i am relieved to report that the suffocating urge to Write Something has been sated and no longer has me in a chokehold

[applestorms]

morality in the world of good omens

so i wrote another (admittedly very messy) essay on good omens not long ago right after watching season 2 but after finishing that, rewatching all of both seasons multiple times, and reading through the book, i have a couple more distinct ideas to get out...somewhere...if only for my own sanity. this is me throwing my thoughts into the internet before i pop, if you will. just 3 sections, below the cut.

1. environment, characters, & transformative fandom creations

to start this post off a bit more broadly, i've been thinking a lot recently about transformative fandom and the reasons why we write fanfiction/create semi-original works in the first place, as well as why certain aspects of fandom (writing, art, analysis, etc.) will be more appealing to me for certain shows/series than others. correct me if you have a totally different view of this, but in my experience i've found that i tend to naturally gravitate towards different parts of fandom depending on what the original medium of the story was- podcasts tend to lead to some of the most interesting art trends, for example, since there's more room for interpretation and character design tends to be more of an ongoing community project than something set in stone like for a tv show with live human actors.

in my own observation, i've noticed that a lot of the really big & excitable fandoms, the ones that generate tons & tons of fanworks more naturally (a.k.a. just because of the story itself & not other factors like a pre-existing franchise or hype about new great gay representation, etc.) tend to surround stories that fall into a kind of "sweet spot" that makes the creation of fanworks really appealing. if you've ever wondered why there are so many ravenous artists bending over backwards to draw gorgeous fanart for stuff like homestuck or south park or even minecraft youtubers, it's likely because those stories all fall into a sweet spot for drawing, with character designs that are recognizable at a glance and yet still simple enough that there is plenty of room for personal creative touches. (think also, if you're familiar with such kinds of homestuck terms: hyperflexible mythologies, A4:1524, and/or this archive link cause the official thing is down now for some reason)

the conclusion i've come to is thus that even something as basic as the original medium of a story can dictate a lot about what kinds of fan activities are more common or popular within said story's fandom.

so, back to good omens- for me, this all relates back because of a question i've been messing with in my head recently, about why i've been less interested in fanfiction for good omens than i have been for the last few fandoms i've been, almost all of which have basically broken my ao3 bookmarks.

this question has been fucking with me for a while now, largely because i'm not entirely sure what's motivating it. a lot of times i can figure out pretty easily why i might personally not be interested in some parts of fandom, but that's not really the case here. from what i've seen this fandom seems to be pretty mixed in terms of age, & the writing that i have read is certainly no worse than i've seen elsewhere, perhaps even better in some places- and yet, i can't seem to get entirely into it, even getting frustrated as i can't find something to my tastes for an ao3 bedtime story as i've grown so accustomed. what caught me off guard is that this was an issue that i ran into while watching season 1 as well, back when the series was still quite popular but not blowing up like it is right now.

a lot of this may seem like (and likely is, at least in part) basic overthinking, but i mentioned it all here because the answer i eventually came to is reminiscent of my previous reflections above on the nature of fandom & how/why fanworks are created.

a couple paragraphs above, i used the example of art as an example of how fandoms that generate a lot of original artwork will often do the most when the original story falls into a sweet spot of character design, but notably i think that this sentiment applies to a lot more than just art. if you've ever seen the copious amounts of kpop & hockey rpf fanfiction that lives on ao3, it should be clear that this applies to writing too.

i wrote this essay a while back responding to an observation about the lack of a more extensive symbolic language in fanfiction & i've toyed around with the idea more since, particularly in considering the question of why a lot of what we see as the staples of fanfiction exist in the first place. in that post, my response largely revolved around an argument of why we create fanfiction- namely, that fanfiction is created as in tandem with deeper analysis of the original story/series, as a way of trying to practically apply character analysis to a new context.

the key part of that last sentence to me is how a lot of this revolves around character analysis (and shipping, but really it's the characters that motivate the shipping in most cases so. same difference).

i tend to instinctively separate fanfiction into two separate categories: fanfiction that is based out of the original world/canon of the story (including but not limited to fix-its, deeper analysis fics that take a scene & extrapolate from it, continuations, etc.) and fanfiction that takes the characters from the original story & plops them in an alternate universe/AU. while i separate these out as two distinct categories of fanfiction, i should also clarify that i don't think these two groups are necessarily equal in terms of number of fics- rather, the vast majority of fanfiction tends to be AUs, keeping the original characters & changing any & all aspects of the world around them. again, this may vary depending on the story & Vibe of the fandom at the time, stories like game of thrones or harry potter or homestuck might have a lot more in the canon category by nature of any major dissatisfactions the fandom has with how the original story was told, but in most cases AUs are more popular. this was a lot of the basis behind my argument that fanfiction is created as character analysis in fact, since the characters are the most important part that carries over from original story to fanwork, as well as can end up being one of the most debated/scorned parts when it comes to fandom drift (i.e. "that's out of character"/"he wouldn't do that"/and all other such arguments about fanon vs. canon characterization).

basically, my conclusion in this case was that i was a lot less interested in gomens fic largely because i have a really hard time separating the characters from the world in the case of this particular story. aziraphale & crowley being an angel & a demon and dealing with all of the bullshit of their world when it comes to heaven & hell are such integral parts of their characters in my mind that i have a much harder time getting behind AU fanfiction that plops them in a totally different context. it's just a much harder sell for keeping the characters in character for me. (i also tend to not like s2 fix-its just cause, idk they're just not my style, which is where a lot of the recent blast of energy has led us.) to clarify, this is not a judgement, just a matter of personal preference and a reflection of why, even if a lot of fandoms will look the same from the outside/involve the same things like art, fic, etc., an individual's mileage can vary wildly when it comes to how they interact with different things online.

*additional note, also for clarification: i do want to acknowledge that a lot of this depends on pure popularity as well, popular fandoms will often end up with basically everything in terms of fanworks just by nature of how many people are interacting with & thinking deeply about the story. my point here is more along the lines of the fact that even within the more well-populated fandoms, certain types of fanwork will often Stick Out more to me than others, or even be visibly much more common than in other fandoms, due largely to the original medium/structure of how the story.

so, speaking of aziraphale & crowley in more depth now- why does the world of good omens feel like such an integral part of their personalities when it comes to characterization? up next, let's talk about morality within the context of good omens' perhaps surprisingly secular take on heaven & hell.

2. the amorality of heaven & hell (ft. the crowley quote apples you know the one)

(warning in advance that this section may be a bit limited since i'm not going to get super far (or very far at all, really) into the whole religious-analysis aspect of good omens.)

i've been binge-reading the original pterry & gaiman book for good omens over the last few days and it's been very fun seeing all the slight changes between the tv show & the original. you can really see the hand of the original creators in how the tv show was translated, even just by looking at which parts made it and which parts were deemed worth cutting out. i suppose having one of the original creators right there helping build everything really helps make a book -> show translation work, since the ASOUE tv series was also pretty well received- something about knowing what's the core of the series & truly important to keep in, and having more time to tell the story itself?

anyways, i have a short list of notes that i've been taking as i read, conversations that stand out to me or footnotes that particularly amused me, but i keep coming back to one line that stood out to me quite early on. in context, this line comes from crowley during the conversation where he is first attempting to fully convince aziraphale about stopping armageddon, specifically when they're talking about exerting equal forces on warlock to make him normal:

"You're saying the child isn't evil of itself?" [Aziraphale] said slowly. "Potentially evil. Potentially good, too, I suppose. Just this huge powerful potentiality, waiting to be shaped," said Crowley. He shrugged. "Anyway, why're we talking about this good and evil? They're just names for sides. We know that."

(pg. 67)

"They're just names for sides." if i had to pick one line to sum up the view on religious morality of this series, this would likely be it.

on the one hand, i tend to interpret a lot gomens' take on heaven & hell within the context of its political stance, something that is particularly obvious through a line from gabriel in s2e2 where he tries to clarify to aziraphale that heaven isn't trying to hurt job directly, but instead is just not stopping hell from doing horrible things to him. while there may be some additional nuance to add to this take within the context of british politics that i don't really know well enough to add about, i'm inclined to see this from the side of my own familiar american politics, which might hold some weight considering how long mr. gaiman's lived around here. point is, my current interpretation of that line is that it helps in more clearly establishing the analogy of heaven & hell as the story moves forward into newer seasons and thus more contemporary politics, equating heaven with mainstream liberal politics & politicians and hell with conservatives.

this stance seems to be emphasized even more in the tv show than the book which makes sense considering its been coming out more recently, and especially in season 2 which is still quite caught up in a lot of quarantine-based reflection. (the tv show puts a lot more emphasis on heaven & hell in general, actually, perhaps initially a byproduct of actually being able to see those environments in their entirety and all the angels & demons that populate them- but we'll get to that.)

the book takes a slightly different stance that, fittingly, seems more reflective of the time it came out. in particular, i was struck a lot more when reading the book by adam's rise (fall?) to power, and how much of it was motivated by a burgeoning nervousness/pessimism about climate change and the anxieties of younger generations that comes with inheriting an earth that feels so fucked up. honestly if anything it's only gotten more relevant in that respect, what with the current vibe on the internet & the hopelessness of the doomer gen z gang, but it also has a distinctly different flavor to me from the tv show, which i think is largely because it's less connected to Formal politics since again we see a whole lot less of heaven & hell as such distinct, bureaucratic entities.

instead, there is a very distinctly amoral aspect to heaven & hell that we get through lines like the one above and especially from characters like crowley. this is why i argue that good omens, despite having so many religious elements, is such a deeply secular take, especially when it comes to its ethics & morality- Good and Evil, notably with the capital letters in this case, has very little to do with actual actions and much more to do with the name that you stamp on top of said actions. heaven & hell and the angels & demons that we see directing and watching and generally fucking with aziraphale & crowley throughout the story are distinctly separate from humanity, and as we see even more as the story progresses, distinctly unaware about what it even means to be a human, in both a deeper philosophical & very basic and literal sense. Good and Evil is simply another name for the sides- and thus the true ethics is something separate, and based in a deeply human experience.

in my opinion this is also why aziraphale & crowley, lovers of humanity and also to some degree spokespersons of it from how much they've "gone native," tend to be so deeply at odds with both heaven & hell and always end up agreeing with each other over their own supposed sides. what makes aziraphale & crowley so distinctly different is that they ascribe to the same ethics & morality that humanity does, or at the very least are trying to figure out ethics & morality & How to Be a Good Person in the same horribly messy way that humans do, separating them from the black & white "this side Good & this side Bad," logic that the rest of heaven & hell instinctively ascribe to.

there's a lot of nuance here, which is also why i think there is such an emphasis on moral ambiguity (and love, but we'll get to that) throughout season 2. the story of job, grave robbing, & questionable attempts at matchmaking- aziraphale is working through a lot of Shit right now when it comes to trying to figure out what the Good thing actually fucking is, and i think it's key that a lot of that is motivated by crowley himself. crowley might'e been cast out of heaven for asking too many questions, but aziraphale is there & listening to them & giving them the serious thought they deserve, and that can't be overlooked.

sidenote: i couldn't figure out a place to shove this in, but i also wanna point out that a lot of this is tied to the idea of growing over time too. on the same page as the quote transcribed above is another line from crowley leading up to aziraphale's question that puts a lot of emphasis on the fact that warlock is going to be a product of nurture, not nature. again, this is an argument against basic black & white assigned-at-birth morality for the ability of humans to grow & change over time and be influenced by the people around them.

it's notable that despite adam's supposed origin as a Son of Satan, what really gets him to stop the apocalypse in the end is the fact that he doesn't really give a shit about all this big plans but instead just wants to hang around his friends. there's a lot of emphasis in the book placed on how beautiful & nice tadfield is as a place for a young kid to grow up, how well loved & fiercely protected it as as something beloved to adam. while he might be overwhelmed when faced with the full picture of how horrible the world can be, ultimately what he cares about is loving & taking care of the people & places that he grew up learning were precious, and the only way to do that is to keep growing & changing yourself within that world and trying to help it also grow into something better, not throw it all away just for the slightest chance that you could restart. a message worth taking the time to think about, at the absolute very least.

3. finding morality w/in humanity: crowley & aziraphale and speculation for s3

i have complicated feelings about both aziraphale & crowley throughout a lot of the show and especially in season 2. i think a lot of people, myself included, are inclined to see crowley as the voice of reason in this season, and for good reason- as i mentioned before, a lot of aziraphale's deeper questioning of the status quo and goodness (Goodness) as a whole is motivated by questions from crowley.

i kiiind of mentioned this in my previous essay, but to state it more clearly, my take on crowley is that he's arriving at the right answer for the wrong reasons, and, conversely, aziraphale is arriving at the wrong answer for... kind of also the wrong reasons but also slightly for the right reasons. let me explain.

crowley is clearly much more aware of the flaws in both heaven & hell than aziraphale is, which seems to be the basis behind a lot of his motivation in asking aziraphale so many questions in the first place. he's also, as maggie & nina point out in s2e6, deeply lonely, often running away or getting ready to fight literally anyone that isn't aziraphale (or humans, but that's a little more complicated). from his reaction to beelz & gabriel getting together, i think it's pretty clear that he still hasn't entirely given up on the whole alpha centauri idea, and it makes sense- as i said in that last essay, crowley basically won the argument at the end of the previous season when it comes to aziraphale & crowley, "making [their] own side," so he doesn't have much reason to face any of his personal fears until maggie & nina basically point out that they exist directly to his face. once they do point it out, however, he's very motivated to act & does so almost immediately, even after hearing what aziraphale has to tell him and being pretty thoroughly devastated by it.

my point here is that crowley is correct in seeing the toxicity of both heaven & hell, he's just flawed and largely motivated by fear (up for debate if that's all it is, but i certainly think it's a big part of it) in his desire to run away from it all. it's not quite armageddon, again he's going more flight > fight here, but he's still ultimately giving up and that's not a great conclusion.

on the other hand, as some others on this site have pointed out, aziraphale is certainly showing a lot of strength in his willingness to keep fighting & try to change things for the better, but it's not hard to see how that belief has been twisted. one of aziraphale's biggest flaw in motivation at this point imo is that he doesn't just believe in goodness but Goodness, the kind that's tied to heaven always being right & all actions being morally Good so long as they're done under the name of heaven, and that clearly also isn't great.

thus what i think the both of these two really need ultimately is that deeper connection to humanity, and the ethics born from humans interacting with humans. we can already see how strong these two are when they collaborate, even when they're doing their absolute best to be as subtle as possible, but what i think they need is to once again be grounded by humanity, not to get so caught up in the bullshittery of heaven & hell and Good & Evil, but once again find a goodness defined by the world that they mutually love so much and stick with it.

i keep tossing a question around in my head about whether or not aziraphale & crowley are going to end up human by the end of this series. it feels natural that they would, they're already so at home and in love with earth & around humanity, but i'm also not entirely sure if that would be a happy ending for them considering how long they've watched & loved the world as it's changed. perhaps taking this post into account is another push towards humanity as a happy ending, not running away to a cottage to get away from the world (i just can't see running away to a cottage to be together as as happy ending, sorry- it might work for beelz & gabriel but not for aziraphale & crowley), but choosing to settle down within that world that is so dear.

[paceplace]

it's kind of a shame the devs back in tto never thought to give certain NPCs, particularly the storyline and SOS-relevant ones, special outfits that no one can obtain as a way for them to stand out from the others. i'm pretty sure i've said this before but i've always been fond of the alternative outfits clara, flippy, and professor pete wore in their character trading cards and i think it would've been neat to see how they'd go about making personalized designs for all of them in accordance to their role in the tooniverse/personality/shtick (if applicable).

pretty sure the closest thing the folks over at disney did to give their npc's "uniqueness" aside from their shops was altering flippy's in-game model/making it so that his name can't be something that's accepted by players so people can't make a toon thats an exact replica of him and giving two (2) npc's colored gloves but that's it.

[unproduciblesmackdown]

saw ppl talking on twitter About It rather than directly what they were talking about when in recent months they were testifying to a Casual R Word Usage increase & i never saw it on twitter b/c yknow for as relatively few ppl as i Ever followed that activity has decreased a lot lately & i don't think i ever followed accounts where it would apply anyway & very rarely look at even Trends or anything else sitewide. but i feel like i'm seeing a bit of it on here more recently at least in recommended posts that are clearly just drawing from very general Humorous Posts genre like yeah that's just uh y2k style rword usage

[playingonedchess]

[redacted] most stupid city why even bother

[butchdarling]

Transcript:

Alex Hirsch: The way that Craz and Xyler talk where they're like... They'll have the intelligence of like, a golden retriever or a fruit roll-up that came to life. Like I remember, those were some of the jokes that Matt drafted into the script that made it all the way to the end, like I didn't want to touch those because it was such a funny, like, their thought process.

Mike Rianda: Yeah.

Matt Chapman: Do you remember, there was one where, it may have been the one where they eventually say "Mabel's saying something right now!" or whatever, where one of them eventually said something like "[goofy] Are you thinking about the Olympics?"

Hirsch and Rianda: [laughing]

Matt Chapman: And the other was: "[goofy] I totally am!" And we found out you can't say "the Olympics"

Mike Rianda: That is like, heartbreaking, because I have thought about "are you thinking about the Olympics?" since this was on the air.

Alex Hirsch: Yeah, that's... We weren't allowed to use proper nouns in the series, so we couldn't say "superbowl" we had to say "football bowl", and a line like "[goofy] Are you thinking about the Olympics?" "I am!" Like, without the word "Olympics" it was nonsense. Like, it was already nonsense? These guys sort of remind you of an old t-shirt of a logo, like, but without being able to reference it, it was like, abridged too far. And that was often the most heartbreaking thing was getting a joke that we all busted up at, and then I get the note and I can't think of a way to save it. I'm always trying.

End Transcript

can you guys please listen to this cut bit from the gravity falls director's commentary because it's killing me

thank you @lesbianrecordplayer for the transcript

[ditzydoe444]

thinking about mean jason who has a love-hate relationship with reader nd fucks her dumb on his fat cock after a nightly patrol — getting all his frustrations out😻😻 .

god i need him.

MDNI 18+

mean jason! x reader

jason todd smut

you and jason weren’t officially together but were also hooking up. despite that, it was a love-hate relationship, jason said that you were too demanding at times, and clingy, whilst you told jason he was the opposite. he was too cold and not emotionally available when you wanted him to be.

it was well past the middle of the night, where jason had just returned back from his nightly patrol due to the slam of the front door. “look who decided to finally come back,” you retorted, crossing your arms across your chest. you knew jason’s schedule all too well, and you also knew that due to the rocky relationship the two of you were in, it also meant that he would stay out longer in patrol just to stay away from you.

“save your commentaries for tomorrow morning, i’m not in the mood right now.” he grumbled. of course he wasn’t. he was never in the mood to discuss the weird relationship that you two had. “i just think it’s unfair that you go and disappear in the middle of the night when your patrol is over”, he immediately cut you off by standing right in front of you. his tall frame towered over yours.

“you better shut that pretty little mouth of yours, or i’ll do it myself,” he narrowed his eyes. you always had an issue of being a bit of a brat, and jason never tolerated it. stubbornly, you tilted your chin up, refusing to back down. “i think the issue is that you can’t handle my attitude,” you raised a brow.

jason let out a low chuckle, “trust me sweetheart, i can very very well handle your attitude.” he stepped closer, caging you in like a predator. “so you better shut that pretty mouth of yours before i fuck it myself, stuffing it full will keep your mind occupied from being a brat.”

**

and god did he keep you occupied. you were currently sprawled out on the couch, your legs on top of his shoulders whilst his fat cock bullied your cunt. “the only way to keep your mouth shut is to fuck this pretty little hole huh?” he grunted, his thrusts never faltering one bit. “such a fucking slut.”

your mind had gone blank, jason had always fucked you dumb. he always fucked both your mouth, cunt and ass, making sure they were filled with his cum. essentially he would just cum all over you. “all you do is whine and get fucked like a whore,” he groaned, his large hands gripping your waist tightly. “whilst i do all the hard work, going on patrol, working and earning money for you.”

one of his hands went up, towards your neck gently squeezing the sides. “all you do is just sit back, relax and get fucked like a slut, seems quite unfair don’t ya think darlin?” jason looked at you expectantly, but you couldn’t even think properly, giving occasional whines and moans. you were fucked dumb.

“what was that? no more smart retorts from you huh?” he grinned, his thrusts were now deeper, moving the couch across the side of the living room. you were nothing but a whimpering mess, your whole clenching on him like a lifeline. you were at his mercy, his use to use and fuck as he wishes.

your mind was blank, all you could even think about was how much you loved this. how much you loved him, and his fat dick. “come on sweetheart, i’m sure you can think of something to say. you were talking so much before,” he teased. though you really couldn’t think, “i l-love this,” you whined, you loved every part of this. his cock bullying your tight cunt, and god how you looked forward to him fucking your mouth and ass.

he grinned. “i love this too, having you all to myself, mine to love, mine to fuck.”

you were close, so fucking close.

“j-jay,” you whined, gripping his bicep for dear life. you were so close, and you knew it wouldn’t be your last orgasm. jason always fucked you until you were completely limp, giving you at least a few more orgasms. two were child’s play for him.

the moment he pinched your clit, you came and came hard. you squirted. covering his cock in your slick, where some even went to his pubes. “there you go,” he grinned, “coming on my cock like a pretty little princess,” he cooed. “now, you better hold on sweetheart, because i don’t plan on stopping.”

[vaguely-concerned]

My two cents on how much of Mind!Varric is Rook’s mind trying to fill the blank space and how much is Solas actively talking through a convenient blood magic paper doll of the mind: I think it's a mix of both, a truly collaborative psychosocial horrorshow if you would, but waaaay more towards the second. It feels too directed and tactical at times to be anything else. Rook's mind is willing to go along with the denial phase as far as it can fucking carry them to not have to face the grief and regret and does its part in papering over details that don’t make any sense, the way brains will strive to create coherent meaning even out of deeply confusing input, but to my understanding it's a collaborateur in how that plays out, not the instigator or control center. Solas is using it as a path to agency and to gather insight into Rook as a person unguarded as he can't count on in his own guise. (That stoic option that leads to him being like 'oh I see you're cautiously denying me access to your inner life. well. at least you still have Varric to talk to. y'know as an outlet :)'. You absolute BITCH Solas! That alone convinced me that he HAS to have an active hand in it on some level.)

My guess is that it takes considerable effort on Solas’ part to make Mind!Varric do anything more involved or complicated than seeming to sit up in bed and give casual commentary, and that’s why he keeps having eerie five minute shallow pep talks with you before he announces he conveniently needs a nap aaanyway good luck kid you got this haha. When he’s just spouting NPC lines from his bedrest, I’m ready to believe that could be Rook’s mind being allowed to improv lines for him more freely because it’s less about Solas trying to get something out of them or working an angle and more ‘Still here! Still totally alive and fine and the mentor figure you know and love and trust :) don’t even worry about it! Thankfully there is no war in Ba Sing Sei, as we all know’ upkeep work lol. Rook’s mind is allowed to set the tone of Varric, the outlines, but not always the content. 

AND, on a (beautifully fucked up) character psychology level, I feel like Solas is indulging in actually getting to be the good supportive mentor figure to Rook with one hand to assuage the guilt he feels about what he's done -- and what he's going to do -- to them with the other. Same internal logic as he uses in Trespasser about the Qun. ‘Almost everyone is going to die from the course of action I’m doggedly pursuing eventually. But at least I can make their last years happier and freer and kinder than they would have been otherwise. and that kind of makes up for it right. a little bit. doesn't it. doesn't that make it better at least. I need that to make it better)'. Did I really take your beloved mentor and friend from you if you don’t know yet that I did? Some philosophers would argue not really! So it’s probably almost ok actually. Isn’t it even a little noble that I’m taking all this grief and guilt on myself and shielding you for now. With undertones that I’m not sure he would realize himself (and might be mortified by if he did) that he is so incredibly lonely, and even a dishonest and indirect emotional connection is more than nothing when you’re that desperate. In this setup he gets idk. Both the control he craves so incredibly badly in relationships and over himself, and the scraps, the fading afterimages, of intimacy and warmth and companionship, even second hand. The one thing Solas and Rook agree on deep deep down is that they really wish Varric weren't gone. They're handshake memeing this in the saddest and most creepy way possible.

I think an important element too is that Solas needs Rook and their team to *succeed* —  up to a certain point. He needs someone to hold the two other elven mean girls off until he can get out of here. Ideally, in a perfect world, even do all the hard work of killing them so he can swoop in at the end and do his thing when both sides are exhausted and out of resources to stop him, and then Bob’s your uncle! Same logic as he was using with Corypheus, and after that worked out so well, too! King of choosing to never learn from a single solitary mistake he’s ever made even though i fully believe he could have the capacity to Fen’Harel <3 The underlying idea isn’t flawed, you see, it was just unforeseen circumstances getting in the way. This time for sure it’ll all work out the way I cleverly imagined it in my head beforehand. Cue By Talos this can’t be happening etc. in the form of a statue almost crushing him like a bug. 

So he's providing guidance and forging Rook into a leader from two angles: one Rook might not trust, and one they probably will. Shaping them into what he needs slowly and carefully. He’s helping you hone your team into their most effective state, as he might have done with his own agents back in the day, setting up his chess pieces even if he has to squint through two glimpsed realities to do it haha. Pincer maneuver of an insidious stealth mentor you never asked for. Also… at one point mind Varric gives you a whole little monologue about how Solas' problem is that he’s always seen his interpersonal connections as flaws and see where it’s landed him, all alone and the worst part? it hasn’t even worked. it’s all been for nothing he’s back where he began with nothing to show for it but his mistakes. Like...that has such strong 'uh okay happy to play your therapist from two rooms away here what the fuck kind of traumadump is this' energy to me, I’m not sure Rook like. Thinks that much about Solas as a private person. So much of Solas' self-loathing and futile insights into his own flaws seem to shine through in Mind!Varric's dialogue all the time — I just can't believe that there's no guiding hand behind it as it were. 

Most of all. I feel like people underestimate the degree to which Solas is incredibly funny. As in, he has a very consistent and recognizable sense of humour. It’s one of my very favourite things about him. We must remember — it is crucial that we always keep in mind — Orlesian accent and wig Solas from May The Dread Wolf Take You (my beloved, the explanation for why I love this dude even with the. All of the everything else. No one does it quite like him). He is not at all above doing things or adding little flourishes for his own obscure amusement, in fact that seems to me to be one of his most consistent traits. The Randy Dowager Quarterly comment Varric has? The ‘Maybe this is the Dread Wolf’s revenge. Forcing us to house sit for him’ thing? To Me this is 100% Solas amusing himself in his boring Fade jail surrounded by the screaming hellscape of all his regrets. Source: it came to me as divine revelation through pure vibes trust me bro 

If nothing else I find it much more narratively interesting personally if the connection between Rook and Solas really is that defenselessly intimate and entwined (and so unbalanced!), and the sense of violation and invasion and betrayal afterwards consequently all the more nauseatingly intense. Even if you kept him at arm’s length in the open, he’s been under your skin the whole time, looking around, gathering what he needs to destroy you, wearing the face of a friend. Regretfully, probably, but choosing to do it every step of the way anyway. (Sound familiar, Inquisitor? Solas doesn’t have that many tricks when you actually look at it, he keeps returning to old tried and true ones like a dog with a bone haha.) Maybe he even genuinely meant some of it as mercy, which only makes it so much worse. It makes his sin against his own core principles of autonomy and the freedom of all beings in mind, spirit and body so much more juicily grave if it’s something he pursues actively and consistently, rather than it half-falling into his lap as a happy accident mainly orchestrated by Rook’s own subconscious. Solas, too, is at his very lowest point, the closest to giving in and becoming his own antithesis fully that he’s ever been, and it makes the choice of whether you still reach out your hand to him one last time or not all the more impactful and difficult.