#and the way it’s portrayed with both of them

[wolfsong-the-bloody-beast]

I'm kind of obsessed with Blackwall's idealized ideas about the Wardens. He was once picked up by a Warden and lulled by the promise of atoning for his crimes and turning his life around, only for that opportunity to slip away when the Warden not only saved him, but sacrificed his own life to do it. This whole experience makes our Blackwall become a Warden in heart, if not in blood, but with his own ideas of what a Grey Warden should be - noble, brave, inspiring, heroic, self-sacrificial. Everything he now wants to embody. He knows well that he's not there, but he wants nothing more than to start from scratch and be that.

In his beliefs, he reminds me a bit of Wynne in Origins who tells the Warden at some point that the Grey Wardens are supposed to be more than killing machines and weapons against the blight.

“There’s more to being a Grey Warden than killing darkspawn and saving the world from the Blight. Ultimately, being a Grey Warden is about serving others, about serving all people, whether elves or dwarves or men. As a Grey Warden, you are a guardian of men. And you guard them because their continued existence is more important than you are.”

However, we know that's not exactly how it works. That's what they want the Wardens to be. The light against darkness. The shield against monsters.

Although it's not entirely wrong, either, I suppose, all things considered. The more darkspawn they obliterate and push back, the more people are protected from them. Of course, sacrificing their lives to fight literal monsters, which means those same monsters don't eat everybody's kids, ultimately is heroic, and it's something that must have been born out of the need to protect the world and its inhabitants (from the Blight). But to have idealized opinions of the Wardens to this degree, you have to ignore all the other shady stuff and the mentality we, as players, also know the Wardens for. The fact that the Wardens are primarily weapons to slay darkspawn, prevent and end Blights, by any means necessary. The last part is important. After all, they are the Grey Wardens, not the White Wardens. They recruit from all walks of life and are famous for taking in criminals. Not to redeem themselves and get a second chance at life, but because they usually have nowhere to go and nothing left to lose. It's not a coincidence that each of the Origins gets chosen by Duncan, not only because he sees them as capable, but also because they are in a situation they can't escape from. Either they join the Wardens, or they're done for.

We know the Wardens from a few games now, but does the public in the setting even know? Does the average person have any idea how far the Wardens are willing to go? Besides grand stories of slaying monsters in the dark and preventing the end of the world? Probably not. The order is very secretive. And it explains a lot. The Wardens end up sounding almost romantic, when being a Warden is anything but. Is it ignorance talking out of these characters? Perhaps.

It once again shows us this aspect of Dragon Age where you can't take everything a character says as a fact, because the setting is full of people who have no idea what they're talking about, but who are absolutely convinced that they do.

And yet, I can't help but also like Wynne's and Blackwall's romantic ideas about what the Wardens are or should be, almost knights in shining armour and all that. They're fairy tales, but they're beautiful fairy tales. And I can't fault the characters for wanting to believe it or even live it. Especially in case of Blackwall, who sees it as a way to make up for the crimes he committed, somewhat. In the end, this might actually be a bigger draw to join the Wardens than, "Got nowhere to go? Come suffer horribly and probably die gruesomely with us!" It all sounds great on paper, though. I can't fault Davrin for trying to find purpose in life by becoming a monster hunter, either.

And maybe a little bit of idealism doesn't hurt. Not only it's good motivation, but in the end, doing things by "any means necessary" doesn't always pay off, either. It led the Wardens into all kinds of trouble, like getting tricked into employing dangerous forms of blood magic and demon summoning, basically into doing their enemy's work for them. In their determination to win at any cost, they helped trigger a cataclysmic event. Maybe having some principles isn't so bad after all.

In the end, I can appreciate that we get to see the clash of the old and new blood in Veilguard, where there's hope for the order to transform into an organization that's less secretive, less exclusive, and hopefully less prone to letting corruption spread through its ranks and make other devastating mistakes. Duncan once said that letting people join the Wardens isn't an "act of charity", and I like how Evka and Antoine go, "Yeah, you know what? Fuck that." And that likely inspires more loyalty. I imagine Blackwall would like that.

[domiiomii]

It is interesting how shimmer came to be as an effort to bridge the gap in literal bodily strength/power against piltover especially seeing how so much of the population of the undercity is disabled and shimmer is used as a psychical enhancer by them (eg. sevika, silco, viktor) to close that gap. The negative association of shimmer as being a way to "unnaturally" overcome disabilities is also worth looking at, for example, Silco using it on his eye is one of the first actions we see of him and it is meant to create a negative/villainous association to shimmer, later on that same negative view is passed down onto Viktor as his use of it marks the beginning of his "downfall".

Silco's push to produce and use shimmer is based on the idea of Zaun finally having enough power to defend from the oppression of piltover, however just like Viktor's use of the hextech on himself, this is is seen as a negative because he is striving to destroy the status quo and therefore it is bad.

Despite the fact that shimmer is also shown to be literally life saving, in the case of both Jinx and Viktor, even then it has a negative portrayal as it is heavily emphasized that it permanently alters the person, in the case of Viktor he "loses his humanity" while for Jinx her mental state deteriorates heavily and she becomes even more paranoid. Even with Salo's more limited use of shimmer for medical/soothing purposes it is shown as something he has to hide and be ashamed of, as did Viktor when he began using it.

We can also see the difference in characterization when it comes to Sevika vs. Vi, there is this almost animalistic reaction in Sevika when she uses shimmer, her eyes glow, she growls, her whole body shakes, her body is being altered. By contrast Vi's hextech gloves, despite also being an enhancer are not portrayed as damaging to her because she is not disabled. In hand with this goes the fact that Vi's enhanced power comes from piltover and it is being put in service of defending it/the status quo. So in the same way that hextech is good as long as it only benefits piltover; enhancers are also good as long as they don't permanently alter the "natural" body and it is not disabled people using them to "unnaturally" overcome that disability and/or threaten said status. Sevika's "bad unnatural strength" losing against Vi's "natural good strength".

Much of the writing, in S2 particularly, has this heavy emphasis against anything that is "unnatural" no matter how beneficial it may be and how many people it may help. This negative association with the "unnatural" overcoming of disabilities is perfectly exemplified by Viktor becoming an "inhuman" being as a result of it alongside with the portrayal of the commune being unnerving because everyone is "unnaturally perfect". Meanwhile Mel's magic is never questioned as bad, because hers is natural, so there are no negative consequences to her using it unlike Viktor who literally "loses himself and his humanity".

This very reactionary writing culminates when the plot insist that "Viktor needs to accept himself" = not heal himself through "unnatural" means = accepting he has to die due to his lower social status either as a disabled person or as a person of the under city, however you read that, the plot leads to the conclusion that the "noble and moral" thing for Viktor to have done was just accept that the status quo can't be altered and he was wrong for trying to go against it.

[nmr0709]

Night of Secrecy

I actually started playing the game because of this wonderful person's edits of social media and finally caved.

This memory was NOT what I initially expected of Sylus tbh. Given the way he's portrayed popularly in media , I was very pleased with this memory. ( Also first major kiss card counts, Abyssal Blossom was a teaser)

First off, the relationship between mc and Sylus has improved. Vastly compared to their initial response to each other- Major improvement and mutual respect and care for each other. Kudos!

This memory has such sweet tones- from the start- the domesticity and trust of mc to have Sylus use her apartment as a safe space. Like fr goals man

( and Sylus doens't trust anybody easily- cue to Luke and Keirans's backstory)

And Canon Sylus bumping into doors as he's too tall. Him accepting her place and adjusting to his best to a more sedate lifestyle to match hers? Beautiful.

Bonus him showering and using all her bodywash

like man. We love you but plss

Their constant banter is also something that has become they feel like they've been togather for years ngl

Cue him picking her up from work, giving her a scare for being recognised, and then heading to a supermarket. So so so househusband coded.

Mc being very well versed in how to handle him and prepare for his eventually leaving and sneakily find out how she could join him? Absolutely. No doubts he'd do the same as well.

Sylus is an absolute sweetheart and green flag. Like

my man. I will die for you in every way possible.

He always always puts her first. No matter what.

He embodies absolute devotion and worship in a way thats difficult at first glance but

look at his eyes and tell me he's not lying.

The kind of love where he'll sacrifice everything-even himself- for your sake.

Consent king. Care king. Comfort king.

Him being absolutely feral with the extent of his passion and love. But still gentle enough?

The hands. The arms. The kisses. The bites. The caresses. His blush.

Tell me he'll love so thoroughly that there'll be no doubt at all at the end of it.

And the fact that they can resonate( finally) at will without any issues? That mc actually reciprocates his intertwined palm? Gorgeous.

I canon he has a major hand kink and perhaps sensory deprivation.

Sylus also checks thrice for consent. Here's a man ready to do anything for you and your convenience. Don't like it? Dropped without even a second thought.

Bonus?

The both of them just getting back into their mission mode against Ever and him not being surprised she figured out his mission and played with him. And decided to join him at the last minute.

Mr and Mrs Smith vibes anyone?

The end note?

Hella sweet and spicy memory. Absolutely beautiful and just right. Really glad to see the progression of the relationship from hatred to trust to love.

Thanks for joining my rant about this hunk of a man who I would absolutely drop everything for.

[manosoutaweek]

Manosouta Week 2025

Welcome to Manosouta Week 2025! We’re hosting a week-long event to celebrate the relationship between Bronco Knight and Simeon Saint (or Horace Knightley and Simon Keyes, if you prefer the fan translation names). The event will run from February 8 to February 14 and include daily prompts to choose from. We accept late submissions, so don’t worry if you don’t finish your work exactly on time.

The rules and prompts are listed below. Feel free to contact us if you have questions about the event!

RULES

The focus of all submitted works should be the relationship between Bronco Knight and Simeon Saint, whether it's romantic, one-sided, friendship, or something else.

Including side pairings and characters is okay, but the focus should remain on manosouta.

All types of fanworks are welcome, such as fanfic, fanart, meta, playlists, videos, etc.

All submissions must be SFW (safe for work). Some level of violence and suggestive themes is fine, but nothing explicit.

Both official translation names and fan translation names are welcome!

Please tag your work #manosoutaweek2025 if you want the account to promote your submissions. You can also tag the @manosoutaweek account. For AO3 users, there is a collection.

We don’t want to restrict headcanons to any specific prompt. That means that even though we have no prompts for trans headcanons, gender swap, mental health headcanons, etc., you’re welcome to include them in all the works you create and portray the characters the way you prefer.

Please tag your work and use content warnings if your work contains elements that might upset people, such as major character death.

You may interpret the prompts in any way you want and make your works as fluffy or tragic as you prefer.

You may participate on however many days you want and post multiple works a day if several of the prompts inspire you. Multiple works for the same prompt are fine. You may freely remix and combine prompts.

Late submissions are accepted, but this blog may not be able to promote new works in a timely fashion after February.

No harassment of other participants or bashing any ships, characters or content is allowed.

P.S. We also have a Twitter account!

[lightningqueen11]

Thoughts about Akechi because he's infected my brain

We really never see the "real akechi" in Persona 5 or even in Royal, I think. That's not to say there aren't honest moments and real emotions, but every moment we have with Akechi is him trying to get us to serve some greater goal of his. In vanilla that goal is obvious: he wants to get close to you to further his vengeance on Masayoshi Shido. In the third semester that goal is less obvious but I'd say he wants you to think he's an irredeemable monster and that you shouldn't care about him so you reject Maruki's deal. Third semester is slightly more honest with Akechi- his convictions and feelings are all real, but he portrays them in whatever way will get you to do what he wants while keeping you at an arm's distance.

I think the only moment in the whole game where Akechi isn't putting up some sort of mask is after you beat him in the engine room. Before he's kinda having a big feelings moment so while it's honest, it's an extreme. After? He has no more reason to act, he just has his one request: destroy Masayoshi Shido in his stead. And you do, for the last request of the boy you never really got to know.

So who is the real Akechi? I don't think Akechi knows himself, I think he's lived so many years with a mask as Shido's Assassin or the Detective Prince or a pleasant boy that he doesn't know which is real. I don't think we'll ever see the real Akechi, not in anything mainline, both because they better not be making another Persona 5 and because there is no 'real' Akechi without the masks, without the deception. His character is like Joker's, he's constantly tailoring himself to be what he needs to be because that's the only way a bastard child like himself can survive. It's why I like wildcard Akechi fics so much, because he's just as malleable as Joker. They're rivals, after all.

[thewalrusespublicist]

"Tbh I was starting to feel a bit down about my blog and what I was putting out ( the eternal crisis on how to give full answers and opinions without being stupid, boring and annoying lol)"

OMG no way! Your blog is one of the best here! What i love the most is reading the analysis and meta from the users, there's always more information and good takes, and yours are always quite deep and insightful.

I would love if you share your opinions about Stuart as well. I feel like he is obviously more sanctified that he should be since he died young (like that insane quote from his mom saying that Brian told her that Stuart could have been the Beatles' manager, no way lol) and i feel his memory has been used to attack Paul, sometimes in a very unfair way. Like, i don't deny the teenage drama and jealousy that Paul felt about him but he *was* a shitty bass player and the band was Paul's future, he was allowed to criticized him not only for being John's new bestie. I also think John played with them both but i lack of your eloquence so i will love to read your take about it.

Hi anon! And the other anons!

Thank you again and to all the other messages I got, they were extremely sweet and really made my day. :)

From my inbox, it's clear you guys want to know about Stu and his role in the Beatles legacy. Well you asked for it and a novel you shall have. Be warned this might be the longest post I've done so grab like a drink or something.

A few disclaimers: I wish and had intended for this to be more of a deep dive into Stu as a whole person rather than just his relationship with John and Paul. Unfortunately I just didn't have the space to do it. If you want to know more about Stu I would highly recommend @eppysboys' blog which is the source for all things Stu Sutcliffe and where I got a lot of this info. Please check their stuff out. Also, I'm going to be a bit blunter on this than maybe I usually am because this topic has been irritating me for some time. Oh also I’m trying my best to answer a lot of asks in one post so please forgive if I don’t fully answer your specific ask about this!

Stu in a perfect world should be a fandom darling: an exciting cipher, a handsome artistic talent that died way too soon who had a major influence in the early Beatles style. It's like there’s this secret other James Dean looking mf Beatle hidden away to uncover, that's cool and he is cool! The problem is that he’s sort of becomes radioactive to talk about in a normal way due to how he's been portrayed and utilised in some biographies and fandom spaces, particularly those that have been infected by John Lennon aspirational boy bestie syndrome. As those types of spaces cannot seem to exist without tearing down Paul to prop John up as their special lil guy, Stu as John's other best friend has become the ideal heavy object to hit Paul McCartney over the head with. It's like a corrosive element, the minute Stu hits a Beatles bio, the biographer suddenly loses all training in objectivity and source work and starts waxing lyrical about 100 percent reliable never biased or wrong Saint Stu of Hamburg who died for our condom arson sins and that Paul McCartney should feel bad about every day of his life for not worshipping Stu and not accepting his own ‘place’ in life as John's just-some-guy placeholder best friend. I’ve personally seen so many posts and forums where Stu being mentioned leads to a legion of comments about how Paul could never have been Stu (correct both ways) and how John would never have even glanced at Paul for much longer if Stu had been alive. Sidenote: If you seriously think that the musical savant from down the road whom John went on to produce the most prolific song writing partnership in history with couldnt have kept his attention for long then I'm begging you on hands and knees to get your head out of the arse of your John Lennon body pillow and be serious. But anyway…

This boy bestie battle royale approach has in turn lead to a reflex reaction where Stu gets studiously ignored by other sections of the fandom as a precedent has been set that shining a light on him diminishes Paul and John's relationship with Paul. It's frustrating because if people weren't so keen to cut Paul out of his own story then we would get a much better nuanced view of every single person involved.

So let's put aside all of our defenses, cut the John Lennon loved one ranking system bullshit and lets look at the actual question here which is what was John and Stu's relationship really like and what did he mean to John?

John and Stu met at art college a year or so after Paul and John met. Up to that point John and Paul had their fun little codependant thing going on but Stu quickly became a huge fixture in John's life. Stu had things that Paul couldn't really offer at that point in time. John was at his heart a musician who aspired to be seen as an artist (he would later express surprise that he didn't become an artist). Stu was the passionate artist who knew tons about the art of the period that could teach and inspire John. Their creative leanings meant they could work on projects together and share art notebooks and poetry. (Including yes the one with anti-semitic story which I mention again as I believe it's an important thing to remember when it comes to both John and Stu and the culture of the time.) Stuart by the sounds of it was even writing a novel about John at the time of his death. They were fascinated and inspired by each other.

So, creatively they fired each other up but more importantly perhaps, Stu and John were peers. It's funny to think about when you see the Beatles later but at the time Paul and George were the kids in their school uniform coming to see their cool older friend at art school. That's an important divide. When Paul and George's parents insisted their kids do their homework and go to bed, John and Stu could stay up and talk all hours of the night, which they did. They also could rent a place together and spend long hours chatting (despite John moving out later after realising electricity cost money lol.) There's a different dynamic that the age similarity offered as well. Whilst Paul would later somewhat grow into this role, Stu could act as an authority figure to John as well as open up to John in a way you can really only do with your peers. Stu was the person John opened up to throughout Stu's life:

How long can one go on writing and writing like you. I now don’t really know who I’m writing to or why it’s quiet peculiar. I usually write like this and forget about it but if I put it in a little part of my [almost?] secret self in the hands of someone miles away who will wonder what the hell is going on or just pass it off as toilet paper. Anyway I don’t care really what happens because when I think about it, it’s so bloody unimportant – but what is important who has the right to say that this letter is not important and this is a something any way – anyway – anyway – yeah! I wonder what it would be like to be a cretin or something. I bet it’s gear. & how are you keepin Stuart old chap are you as ok – is life as good – bad shite, great – wonderful as it was or is it just a thousand years of nothing and coolness on and on and on. I think this is it Goodbye Stu don’t write out of – er what is it? well not because you think you ought to write when you feel like So goodbye (from John you know the one with glasses) ANYWAY BYE BYE see you soon I don’t know why I said that I remember a time when everyone I loved hated me because I hated them so what so what so fucking what I remember a time when belly buttons were knee high when only shitting was dirty and everything else clean + beautiful I can’t remember anything without a sadness So deep that it hardly becomes known to me so deep that its tears leave me a spectator of my own STUPIDITY + so I go rambling on with a hey nonny nonny nonny no

Extract from a letter to Stuart Sutcliffe from John Lennon, 1961

By lots of accounts Stu was gentle but firm when it came to telling John he'd gone too far. John references this aspect of Stu to Hunter Davies:

"I looked up to Stu. I depended on him to tell me the truth. Stu would tell me if something was good and I'd believe him."

The Beatles: The Authorised Biography (Hunter Davies)

In this way I kind of see Stu as a proto-Yoko. John was so insecure and uncertain about his grip on the world and reality that he relied on Stu to be his point of reference and guide. Paul did this too later and I think in Hunter Davies John mentions this, but not at this time period and not as much due to their competitiveness. This may be why some people saw Stu as the person that really understood John at this time period:

"During the turbulent adolescence that prefaced a turbulent manhood, hardly anyone knew Lennon as intimately as Stuart Sutcliffe. If they weren't exactly David and Jonathan, June Furlong, one of the life models at Liverpool's Regional College of Art, had "never seen two teenagers as close as those two."

The Gospel According To Lennon by Alan Clayson

Now this person likely never met John and Paul together but this is only one of many similar quotes and even Julia captain of John and Paul's friendship boat seems to agree there was a period where Stu dominated and Paul 'kept his distance' from the John-Cyn-Stu 'menage-a-trois'. But the friendship wasn't perfect and his position as John's ultimate best friend was never iron clad. This is best outlined by the shit they pulled when John convinced him to join on Bass for the Beatles.

Despite being John's best friend, Stu was teased and bullied:

"They argued as usual amongst themselves, but most of all they picked on Stu, the newest member of the group. John, George and Paul had been with each other long enough to know that rows and arguments and criticism didn't mean much. If it did, you just argued back. "We were terrible," says John. "We'd tell Stu he couldn't sit with us, or eat with us. We'd tell him to go away, and he did." At one hotel they stayed at, a variety show had just left. There had been a dwarf in the show and they found out which bed he had slept in and said that would have to be Stu's. They certainly weren't going to sleep in it. So Stu had to. "That was how he learned to be with us," says John. "It was all stupid, but that was what we were like."

The Beatles: The Authorised Biography (Hunter Davies)

Why John encouraged this I have no idea, maybe jealousy over Stu's looks and wanting to play people off each other? Things were tense in both Scotland and Hamburg, especially between Stu and Paul. As I said in my last post, the girls were fighting and it was mutual. Paul was mad for both fair and immature teenage-boy reasons. Stu could not be bothered with the bass most of the time and couldn't really play well and was only there as he was '(John's) best friend' (ouch for Paul). Paul conversely had given up higher education to be there and was sending lots of money back home. He also was dating the girl Paul fancied. Stu was popular with the new group and also did mean things like help John steal Paul's money when money was really tight for him. Paul in turn was a passive aggressive, jealous and mean. It all came to ahead in the punch up onstage which according to Spitz came about from Paul wanting money back and saying that Stu could borrow some from Astrid. Stu goes for him and reports vary from full-on bust up to embarrassing scuffle. Stu then goes to where Astrid and Paul's gf Dot are, demands Dot leaves and goes on a rant about Paul. Now all of this must be framed in the context of Stu receiving increasing brain damage from his condition that seemingly lead to mood swings and anger. Nevertheless, the mutual needling and anger, as well as John's refusal to do/say fuck all about it, especially given how protective John was of Stu, suggests that it wasn’t straightforward and/or John may have been playing some games to make both feel threatened. This would also make sense as to why we hear conflicting accounts of John and Stu being the centre of everything and everyone else in orbit AND John and Paul being the centre and everyone else playing catch-up, as well as John giving Paul the lead to take him round the Reeperbahn when John got dressed in the gorilla costume. (I know Paul may have just been the closest there but that always gave off bestie behaviour to me.)

(I did get an ask about how John and Paul's friendship survived it, I think it was damaged by Hamburg. When Paul got back home he got a job at a construction site and there's just a vibe of everything being a bit on tenterhooks. John also acts a bit weird at the period, not talking to anyone for a few weeks then making a lot of weird demands from Paul. I'm really not sure what to make of it.)

Even when he's back in Liverpool, John still writes long letters to Stu and vice-versa. I can't find it at all but I’ve read a really sad interview with John saying he missed his best mate and it's a shame that he's not with them. He had no idea at that point that Stu had already died of a brain hemorrhage at 21.

John is said to have gone into hysterics when he found out Stu had died. A lot of people who've spoken about this time (Aunt Mimi, his sister Julia, the Exsis) concur that at this point Stu was his best friend and the death shattered him. He even told Astrid he wished he could give his life for Stu’s. This is backed up by the fact that John never forgot Stu and his shadow lingered for the rest of John's life:

Stu was recalled in In My Life

Years later, after John composed the first of his truly poignant and heartfelt Beatles songs, "In My Life"—with its lines about "friends I still can recall/some are dead and some are living"—he revealed to me that the two people he had had uppermost in mind were myself and Stuart Sutcliffe. And then he stunned me with a statement that I'd never heard him address to anyone—least of all to another man. "You know, Pete," he said softly, "I do love you. But," he quickly added, "I loved Stuart as well."

Weird that Paul isn't mentioned surely you think that he would be mentioned if Pete was there too okay, okay my tin hat is going away this isn't the time

Pete Shotton, Nicholas Schaffner, John Lennon: In My Life

In 1965 John drew Stu on a postcard

He apparently said this about Stu prior to sending the postcard, prompted by an article about Stuart.

The card had been sent from Genoa mid-way through the Beatles' Italian tour. [...] But the conversation had become maudlin when I reminded him that he was going to talk to me for an article about Stuart. [...] In that sad telephone conversation before they set off for Milan, I asked him if he was happy: 'I'd be a lot happier if Stuart was still part of us,' he said, 'The Beatles would be complete.' And before he rang off he said 'Ill send you something.'

He also appears on the cover of Sgt Pepper

As mentioned, Stu gets mentioned in Hunter Davies in terms of wistfulness and guilt AND he gets a mention in John's insane 'if I were a homosexual' ramblings in early 70s. According to Yoko, John also wanted Yoko to write letters to him and didn't think it would be strange because Stu wrote letters to him.

I have a pet theory that as with a lot of things for John, his unresolved grief over Stu really came to the fore in the late 60s now that he had actually had a chance to sit down and think about things. I believe it was partially why he wanted Yoko to write letters and why he gets mentioned in the early 70s as a collaborator/best friend and not in 1980 where John only gives that credit to Paul and Yoko. I think with the cracks with Paul, John had started to think back on his old friend and guide and what advice he would give.

Stuarts presence is still felt throughout the seventies:

“He told me everything. He loved to talk about Hamburg. There were no secrets. It was the kind of life I never knew…. It meant total freedom. At his side always was Stuart, sweet Stuart. There wasn’t a time in John’s life when he didn’t think about Stuart. He spoke always of his love and respect for Stuart.”

Yoko discussing Stu in When They Were Boys: The True Story of the Beatles’ Rise to the Top by Larry Kane

Coming to grips with his death is also present in Skywriting

SEAN O’HAIRE: What happened to Stuart Cliff? DR. FISCHY: What happened was a full exchange of energy where it was not needed within the expression of your own self or in the energies involved around and about you. We cannot call it a happening. We’ll say it is an awakening, for in that way it has served an expression from the past to the present and to the future to where there shall be more of that incomplete vibration expressed to you in a more fuller understanding.

Skywriting by Word of Mouth, John Lennon

This isn't exhaustive but I think from all this it's pretty clear that John adored Stu, John grieved Stu and kept grieving Stu. Stu had a specific place in his life as a confidant that he tried to recreate with Yoko. At the time of Stu's death, he was John's best friend, probably slightly over Paul. Stuart had been able to be both a friend and paternal presence, a confidant and an artistic collaborator. His presence and loss was one of the foundational points in John's life.

But as we've been asked to play this stupid game and so many bios like to make a hoopla about it, were they at their closest ever as close as John and Paul were at their height?

No.

How do we know? Because John told us so:

" He [Paul] still is the closest friend I've ever had, except for Yoko, so I'm still close to him whatever goes on."

John Lennon to an interviewer, 1971

But Walrus! John just says shit! How do we know he isn't leaving out Stu because the press don't know Stu. Well true John does just say shit but this is at a time where John isn't the most glowing about Paul and he's had no problem mentioning Stu in this time period ('one of my best friends ever' would have made a similar point).

But Walrus again! If John picked Stu over Paul when they were young why wouldn't he be the boy bestie of all time, and why would John say that he was closer to Paul? Well, because of the environment and timings. Stu's death happened near the beginning of John and Paul's major bonding moments. If you look at their personal timeline, Paris, the Nerk twins, and getting signed happened just before Stu died. That's missing the major years of Beatlemania, Key West, LSD, Paul growing more into being John's peer and a load of other huge moments in their lives. It's like how John writes to Cyn in 1962 about wanting the house to themselves and not have Paul around all the time. Would you say because he feels closer to Cyn then that John in his overall lifetime loved Cyn more than Paul? No, because relationships change over time and theirs were no exception. (One thing to consider as well is that we don't yet have many letters between John and Paul during their Beatles years and earlier, probably because they were spending so much time with each other. We know a couple exist that Paul considers too personal for publication but I'm sure there are others. It's easy to understand what John felt for Stu as we have the letters, I think we would also have an easier time understanding what John felt for Paul if we had the equivalent of those.)

At the end of the day Paul was the man he believed he had a psychic bond with, the man he couldn’t shut up about, the man whom he’d conquered the world with with their endless collaboration, the man with a twin personality to him and according to John spent more time with throughout the 60s than he had with Yoko ever. To be frank if Paul had died in 67' I don't think this would have been a conversation.

As mentioned early, in early 1970s John elevates his partnership with Stu to his collaborations with Paul and Yoko but by 1980 he’s pretty clear that Paul and Yoko are their own category.

"I was saying to somebody the other day, “There’s only two artists I’ve ever worked with for more than a one night stand, as it were. That’s Paul McCartney, and Yoko Ono.” And I think that’s a pretty damned good choice!!"

John Lennon interview with DJ Dave Sholin, 1980

There are of course the what ifs. Would Stu still being alive mean that John was not as close with Paul? Maybe, highly doubtful though as the Beatles experience was so intense. If Stu remained a Beatle would John be as close with Paul? If Stu remained a Beatle he wouldn't be Stu so no. At the same time who knows what it would have been like if Paul and John were peers from the off? I said this to @the62ndbugsfan when it comes to Stu vs Paul (hi girl sorry i've made our chat a whole ass post lol) but to go a bit Wuthering Heights, soulmates are made as much from the earth as they are of the stars. What binds us is our experiences just as much as our personalities. There may be a universe where Stu and John took on the art world together or became inseparable bffs again after the Beatles disbanded, but it is not our universe. In this universe Stu tragically died and John and Paul chose to become Lennon/McCartney and artistically unite themselves forever.

Even going back to Stu's lifetime, I've said it before and I'll say it again I find it interesting that not only did John choose to go to Paris with Paul rather than pay to meet up with Stu somewhere but that they arranged to meet up with Juergen and nobody told Stu until they'd already gone. Stu was shocked and didn't know if it meant the end of the Beatles which is a pretty big thing for him not to know about. Why didn't John tell him if they're apparently still writing long letters? Was it because he really wanted to do this with Paul and didn't want to hurt Stu's feelings? And that's really the point I want to make here. Due to his trauma John was preoccupied with reinforcing ranking of relationships within his life. But the thing is friendship rankings are made up guidelines and the reality is far more complicated. You can have a designated best friend but feel closer to another friend at times, you can want to do one thing specifically with one friend and not the other for various reasons. You can (as I do) have more than one equal best friend. Friendship as with most relationships are in a constant state of flux and each friendship you have will give and mean a different thing, even if they are of similar value to you.

Paul may have ended up closer to John than Stu had been, but that doesen't make John's relationship with Stu any less special. Nor does Stu negate the significance of Paul. Whilst both fit into John's pattern of intense relationships and demands related to that, both had unique positions and meaning to him. Considering what I've gone into about John's closeness to Stu, it actually says something deeply, borderline unnervingly, intense about John and Paul that Paul pipped Stu to the post. Maybe it's time Beatles bios accept the fact that John Lennon just wouldn't be into them like that, stop using a tragically prematurely deceased young man as a prop in their jealous psychological warfare against Paul McCartney, stop perpetuating one of the most damaging games that John did to his loved ones and allow both relationships the space to shine and showcase the amazing talent that was the Beatles and those that surrounded them.

[haru-dipthong]

Fansub Release + Notes on the translation process for Utena ep 17

We're back! Apologies for the hiatus, Christmas and Oshōgatsu had me too busy with family stuff to stick to my usual rate of translation.

This time, instead of general translation notes, I'd like to show my working! Where do I start with a tough line, and how to I end up on the translations I settle on?

いつも私を守ってくれた

For example, this is an interesting line, and the final translation is a bit out there if you look at it without seeing the thought process. The key word here is 守る, which is often translated as “protect”, so the lowest-hanging fruit for this line would be:

She always protected me.

But it sounds weird and conspicuously like “anime-english” which I always try desperately to avoid. So I tried this instead:

She always took care of me.

This translation gets the literal meaning across better, but it has a fatal flaw. The word 守る has strong connotations with masculinity in general and throughout the series, yet “taking care of” someone makes it sound too feminine. In this line, it’s important that Juri’s masculinity is emphasised and contrasted against Shiori’s femininity. So then I thought, maybe this:

She was always protective of me.

But this is no good either. The くれた in 守ってくれた makes it clear that Shiori views the care/protection that Juri provided as a positive thing, yet this translation comes across as slightly bitter. In English I think “being protective of someone” has the nuance of restricting one's freedom, like an overbearing parent.

I felt like there were no good options for this line! Then it struck me like lightning:

She was my rock. (no orange because I didn't use an equivalent word at all)

“Being someone’s rock” is such a masculine thing! It also carries these patriarchal notions of stability (masc) vs instability (fem), which I think the series tries quite hard to weave into the story as criticisms of patriarchal gender. Juri at least in part represents women who seek success not through liberation for all women, but by becoming a patriarchal dominator herself.

Not to mention, 守る is often depicted in RGU as being something that a man does to their female lover. The “my rock” translation also carries romantic connotations, which is obviously important for how the Shiori/Juri relationship is portrayed through the dialogue.

This translation departs from the literal meaning quite heavily, but it preserves the subtextual meaning much better, which I think is more important in this case.

あの動き、まるで先輩の剣だ。

The way she moves... it's exactly like Juri. (my initial translation, which I didn’t use in the end)

The word 剣 means (literally) sword, but it can also be used metaphorically to refer to someone’s sword technique. Take this panel from Ranking of Kings:

それは王の剣じゃない！

That’s no way for a king to fight!

That’s not the “sword” of a king!

So the question is — how do you translate this when the swords are both literal AND metaphorical? When Utena says 剣 in this line, they’re talking about the technique (剣 as a metaphor). But the writers want us to make the connection that it is also literally Juri’s sword, pulled out of her heart, which in turn is a metaphor for her anger, insecurities, and angst. It's a metaphor for swordsmanship, which is meant to be interpreted as literal through dramatic irony, which literal meaning is meant to be reinterpreted as a deeper metaphor. I love Utena.

If the swordfights can be interpreted as philosophical debates, the swords can be considered the worldview that each character wields. Since the Black Rose duellists don’t use their own swords, they could be said to be tapping into, stealing, and exploiting the worldviews/swords of their respective victims, represented by their literal ripping the sword out of the victim’s 心 (heart/mind).

With no word in English that can capture the metaphorical triple meaning of 剣, I had to settle for something else:

Those moves… it’s like she stole them from Juri. (no red because I didn't use an equivalent word at all)

I think this phrasing gets across a similar feel that 剣 does. The base reading, and the one that the uninformed and naive Utena intends, is that Shiori is just imitating, “stealing”, Juri’s moves. The next level up is that she literally did steal something from Juri — the sword from her heart. Then the final level is that what she stole was not just a physical sword; she literally stole the metaphorical moves by stealing the sword, because the moves are the sword, the sword is the angst, the angst is the worldview!

Thank you to @dontbe-lasanya for your amazing edits as always!

Follow the blog if you'd like to keep up to date with new episode releases. For all episodes released so far, go here:

Rose divider taken from this post

[littjara-mirrorlake]

what's your favorite part of Plane Shift: New Phyrexia?

The way it allows me, and all players and DMs who use the book, to tell more nuanced stories about Phyrexians.

It was one of my main goals from the beginning to create a supplement where Phyrexians were as viable and diverse a player lineage as any other, capable of becoming beloved, morally complex characters. It is not a coincidence that in the book, I have completely abolished the alignment chart.

I am trying to make Plane Shift: Mirrodin/New Phyrexia compatible with both Mirran and Phyrexian-centered narratives, and as a setting guide, it should allow for either to be played out. However, I do push strongly not to portray Phyrexia as a plague or scourge to be eliminated (as the Mirran side and Magic story usually describes it), but as a dystopia. Phyrexians are not faceless monster stat-blocks but nuanced potential allies, enemies, and player characters whose relationship to Phyrexia-the-empire and recognition of its harms vary broadly.

The book is built assuming a mixed Mirran and Phyrexian party (though it's not required), and if/when I get around to commissioning cover art, it will reflect that. Of course, games can work with only Mirrans or only Phyrexians, but the focus on revolution and dystopia also makes it possible for them to work together cohesively and compellingly in a single adventuring group.

[theweeklydiscourse]

Many people have made the point that Sarah J Maas describes her female characters and characterizes them in a manner that feels specifically “male” and objectifying. I believe that the kind of strange male spectatorship she employs in her writing is meant to be one of the pleasurable elements of the stories she writes and one of the features that makes her writing popular. Here is a passage from John Berger’s book Ways of Seeing that explains what I’m talking about.

“Men act and women appear. Men look at women. Women watch themselves being looked at. This determines not only most relations between men and women but also the relation of women to themselves. The surveyor of woman in herself is male: the surveyed is female. Thus she turns herself into an object of vision: a sight.” (John Berger, Ways of Seeing)

With this in mind, I understand Feyre and Rhysand’s relationship as one that gives the reader-identified character a kind of pleasure as a result of them being objectified and sexually admired by a high-status figure. The exhibitionism that Mass frequently uses to create sexual tension (ex. Feyre being scantily clad and groped under the mountain and portrayed as Rhysand’s “Harlot” in Hewn City) operates both as a way for the male love interest to demonstrate his pride in objectifying the heroine’s body, and establish her status in relation to his. In Hewn City, Rhysand’s reactions add doubly to this pleasure when he violently attacks Keir for insulting Feyre. It does not matter if the action was illogical and contrived, what matters more is that through this action the reader can see themselves being looked at and reacted to by male characters. This in turn strengthens the reader-identified character’s worth as a desirable object.

[rowie264]

Councilors vs Chem-Barons

Remember that creators wanted to "show there is merits and flaws on both sides"? While I still feel that agenda in the first season, the second season is... well.

The easiest way to see that creators wanted you to be more sympathetic to Piltover is to look at the rulers of both cities. The Council is flawed but mostly fine, while Chem-Barons are purely bad.

You can protest that 'wait, but in s1 we saw that the Council is corrupted' and... i agree with that. But let's take a closer look at all members with information from both s1 and s2, hmm?

Torman Hoskel was portrayed as silly and easily manipulated person. He is the worst among them.

Salo makes the same appearance as Hoskel in s1. But in s2 he becomes disabled. This is the easiest way to manipulate you into sympathizing him. Of course, this wouldn't change your view of him completely, since his personality remained the same, but you can understand his anger (his suffering is shown on the screen). Besides, later when Viktor heals his legs, Salo changes, losing his arrogance and becoming a good person.

Irius Bolbok is strict, composed and slightly harsh ruler (remember him saying to find the culprit no matter what). But he isn't shown as bad as Hoskel and Salo in s1. He is quite decent.

Shoola was portrayed as reasanable ruler from very beginning. She was the first who said "They [zaunites] may not be your preferred consituents but they're still our people." She was the first after Mel who voted for Zaun's independance. In s2, we see how she cares about people rather than acting in the interests of revenge like Salo.

Cassandra Kiramman was also showed as good person even in s1. She might not be active Zaun's simpathizer but she did schedule an audience for Caitlyn and Vi giving them a chance to change Councilors opinion about Zaun (ofc it's bc Cait is her daughter but Cassandra could just deny her). Also in s2 we learn that she built a ventilation system which makes her the only Councilor (beside Jayce) who actually did something for Zaun.

Mel Medarda is shown as a woman who does things for her own benefit, manipulating others. But she still did vote for the independence of Zaun (albeit for personal reasons). You also can't say that she's a bad person or that she's done really bad things for her cause (like Silco for example).

Jayce is a bad politician and has made few mistakes, but at the end of the day, he is a good man.

Heimerdinger is portrayed as good person as well.

Even though we know that all of them are corrupt (except Heimer) and that they have ignored Zaun for decades, only one of them has no good traits and completely unlikable (Hoskel).

But what do we have with Chem-Barons?

Finn is an idiot and power-hungry.

Rennie is too. She lost her son, which to some extent makes you understand her attacks on memorial (not justify, just understand), but the show itself does not even focus on this fact, ignoring that little nuance.

Chross's goons force children to work in the mines. He also fights for Silco's chair to gain more power.

Smeech's business is connected to shimmer (i guess he provides it after Silco's death?). Only, unlike Silco, Smeech isn't shown as someone who uses shimmer simply as a tool to achieve a higher goal (nation of Zaun). He is just power-hungry like others. Also s2 shows that he doesn't value his own people.

Margot is unloyal as well. "I'd rather favor my chances with Topside". She fights for power like others.

Silco is the only one who commits bad deeds for a higher purpose. All he wants is an independent Zaun, not power itself. We see his positive traits such as dedication to his city, love for Jinx and others, which makes him the only really likable among other Chem-Barons.

Of course the government doesn't represent people themselves. We saw that there are good people in Zaun and there are bad people in Piltover. But you know what it does represent? Creators' true view of Piltover/Zaun conflict.

Despite everything Piltover was ready to grant Zaun independence. The Council was shown flawed but the characters themselves were not completely bad persons. You, as a viewer, can understand and sympathize them. Creators made sure you will sympathize them.

But Zaun? Bandits and criminals who don't think beyond their pockets. The only person who did and tried to do something good for Zaun was wrong, bc s2 promotes us "violence is not the answer" and "power of forgiveness" agenda.

So where are the "merits and flaws on both sides" again?

[memientom0ri]

Analyzing the metaphorical connection between Squid Game/Round 6 and the movie Parasite.

Before we begin, it is important to know that these two films are different metaphors for social inequality in South Korea; a social factor that is caused by:

• Gender discrimination: women receive 36% less than men;

• Racial inequality: immigrants face difficulties.

• School bullying: 15% of students report it.

• Stress and mental health problems.

Now let's analyze the metaphors of the two works and how they resemble each other, despite the different ways in which criticism is portrayed in both.

SQUID GAME:

The metaphor in the form of social criticism shows us how human beings subject themselves to absurd situations when there is no other option, and how those above the lower class have control over that class and over society (politicians, millionaires, businessmen, among other important positions).

Here are the points I gathered to write my review:

• Games portray the need, fear about society and (de)valuation of life. Players both value and devalue their lives as they choose to continue playing, even when they see people die, because the combination of the need for money + greed (this greed that equals the lower class to the upper class, showing us that some of those who are above were also inferior), does not make them want to stop because the world out there will humiliate them, devalue them and kill them little by little, just as it happens in the game.

• No matter how superior you think you are to someone, whether it's due to intellectual, social or racial level, within the game everyone is humiliating themselves equally because they need the same thing: money (representing not only the literal money that the lower class needs, but also social validation, the minimum of respect, to be taken seriously).

• The real world is no different from the game: politics controls society as the boss and guards control the game; work (or lack thereof), represented by sadistic games, is necessary to obtain money and social validation.

• Bad people are just as sadistic as the controllers of society and the game. Since, in both seasons, bad people were responsible for sowing chaos among the players, killing each other before the games even started. People in society don't care if you need it as much as they do (even if they are in the same social class as you), they will walk all over you if they have the opportunity.

The sadism of the upper class.

The controllers watch the players kill each other and are killed during the games with class and tranquility, not lifting a finger to help. The villainy of the series represents how those above do nothing to change (even though they could),because they don't want to give up their money, because they don't care, because they've been consumed by greed for a long time.

• We are > always < being controlled by someone above us.

In both Season 1 and Season 2 we see 456 approaching and becoming attached to Player 001 (the first being the old man, and the second being Inho), both Bosses of the game infiltrated among the lower class. I observed this detail as a suggestion that there will ALWAYS be someone above controlling those below, even people in our daily lives. It is unconscious, but it is a form of submission; we obey those above us because it is moral to follow the rules. From teachers above students, parents above children, to bosses above employees and politicians above citizens.

I am passionate about the way film directors manage to fit these criticisms in such creative metaphors. It's like in The Matrix; which suggests that we all live in a control system, with the metaphor of Artificial Intelligence. It's so different from Squid Game, but at the same time the same.

In 2022, Lee Jung-Jae won the Emmy for Outstanding Lead Actor for Squid Game. The series received 14 nominations in total and won 6 (including Best Director).

Lee Jung-Jae made history by becoming the first Asian man to win this award.

PARASITE:

The metaphor here is less "fantastical" than in Round 6, leaning towards the more realistic side of the critique.

A poor family is hired to work in the house of a rich family, but it is not as simple as it seems. Tired of extreme poverty and a difficult life, The family devises a plan to gradually infiltrate the wealthy family one by one, until they are all working in the house.

They begin to take over the wealthy family's house as time goes by, but the film wanders through situations where social criticism masterfully made by Bong Jon-Hoo, it surprises and terrifies us in the face of such inequality.

The place where the poor family lives is well below the streets above, and they have to go down very long stairs to get there (it is interesting because it metaphorically shows how the lower class is so far below, that they live in a place where the sun barely touches).

At a certain point in the film, the poor family finds a man in a terrible situation, living hidden below the house of the rich family (once again, there is always someone below, even below the lower class. It can always get worse), and when they find this man, the mother of the poor family does not even listen to him, picks up the phone and says she is going to call the police; this scene suggests a lack of empathy that can be present even in the most needy. She did not even think that she herself could be in that man's place if she had not gotten a job in the house of the rich; she forgot that she is also inferior, but, as I said, there will always be someone worse off; and that is when people feel superior, even knowing that they are not.

Just like in Squid Game, in Parasite we see social inequality represented in two uncomfortable, different but equal ways.

Players vs. Bosses / Poor vs. Rich = Us (society, lower class) vs. Them (politics, industries, corporations, digital influences, upper class)

Below = Players / Poor family

Above = Bosses (001, guards) / Rich family

Metaphor: poverty, financial need/validation/respect = Games / Job in the rich house

Metaphor: politics, industries, companies, millionaires = Boss/001/guards / Rich family

The series and film have been widely awarded and recognized for their metaphorical perfection and cinematic work.

In 2020, Bong Jon-Hoo won the Oscar for Best Director, Best Film, Best International Feature Film and Best Original Screenplay for Parasite.

There is a lot of xenophobia behind the industries, so it is important to remember and highlight the victory of these great artists. Korean cinema is incredible, but it is undervalued.

[expertfool]

i can’t really get over douglas adams rewriting adam and eve as ford and arthur. there are many things about it that blow my mind. that they are both men. that it was the 80s. that arthur is presented as eve. that it is all intentional. that trillian—who is the other last human being along with arthur—could’ve been there instead of ford, more accurately portraying the adam and eve story, and there is literally no good reason for her not being there as zaphod, ford, arthur, and trillian had all been in that time machine and yet douglas adams pairs ford and arthur off instead of the last two humans (and notably male and female). the only reason trillian is not there in place of ford is because douglas adams specifically did not want her to be. she continues to be a part of the plot in the book, although it is not critical to the plot (in the restaurant at the end of the universe) that she be there with zaphod instead of with arthur (though it’s better for her character), so the choice of who is paired with who is very purposefully based on relationship and not plot requirements.

i think this point is even furthered by mostly harmless—arthur and trillian do end up conceiving a child together, but arthur is not even there at the conception of his own child. he is completely without any romantic or sexual desire or intentions towards trillian. donating sperm is the most sexless way of conceiving a child, and douglas adams chooses to do this after intentionally pairing ford and arthur as adam and eve. when arthur finds out he has a child, he doesn’t think of himself as missing out on a relationship with trillian, instead asks “what about zaphod?” without jealousy or frustration. despite the sexless-ness and detachment of the act of donating sperm that was never even intended for child conception, arthur loves his daughter unconditionally and without reserve.

these points paired with the scene where arthur is given a prayer tailored to him in mostly harmless, “protect me from knowing what i don’t need to know. protect me from even knowing that there are things to know that i don’t know. protect me from knowing that i decided not to know about the things that i decided not to know about…it’s what you pray silently inside yourself anyway, so you may as well have it out in the open…there’s another prayer that goes with it…protect me from the consequences of the above prayer.” just really lend itself a lot to the idea that arthur was maybe possibly intended to be read as gay. or at least makes it very easy to read arthur as gay.

i’m also fascinated with the contrast of ford and arthur portrayed as adam and eve eating the apple which would give them the knowledge of good and evil and allow them to understand the consequences—obviously these characters are adults and already know these things, making this metaphor a euphemism for something else—against the prayer arthur receives for himself in mostly harmless. it is like a reversal of what eating the apple in eden achieves. eat the apple, receive awareness of something, three books later receive a prayer for the exact opposite. these things also existing at contrasting times in ford and arthur’s relationship���that ford and arthur had been isolated on a beautiful planet together during the apple in eden bit but had not seen each other in years and had a bad argument in mostly harmless during the time arthur received the prayer. i do think the prayer means something else for arthur in the plot (though actually, douglas adams almost always uses events in his books to have more than one meaning in the series so..), but these things being so intentionally written always makes me wonder if douglas adams meant something about arthur’s sexuality and his relationship with ford.

[below-et-almost]

tw: the section on Aphrodite brings up a dub/non-con curse

I haven't thought about the Iliad in years. Like a decade. but OH man this au has me so excited about putting Maedhros in this world!!! He's outside of Arda and the role he bound himself to within it, and he can do serious good here! Also, he can sow some serious confusion.

Somehow, Maedhros is even more lost than Odysseus was... What next, is he gonna get lost enough to land himself and his band of refugees in Ithaca? And what kind of advice can Tiresias give him for getting back to Beleriand?

The shipboard adventures are gonna go rather differently, with this crew. Circe, for one, may be less initially aggressive towards a ship full of refugee women and children; but, going by her other various exploits, quite probably not for long. There are several directions for that encounter that pop to mind, actually.

Circe as Sorceress Fatale is attracted to this exotic and unusual hero/leader now under her power, and she gets cursing-level offended when this interest is not reciprocated.

Something dealing with how Circe 'purified' the argonauts of murdering Medea's brother. While the ritual in and of itself is not super important to Maedhros, I think that it's super interesting how she both purifies them even before knowing what they did and then, after the telling, denies them hospitality. There's something there about personal forgiveness (she doesn't give it) versus offering second chances (the purification) and her not offering then hospitality to these people as the continue to pursue the pre-second chance goal. And I think that oath-bound Maedhros could have a very interesting discussion with her about second chances and the sunk cost fallacy. Especially this Maedhros, who has found himself lost in a world not his own, who has found himself outside of his oath-bound role for the first time in centuries and whose preconceptions about the world have just been rocked.

Also super interested in how Ares, Aphrodite, and Hephaestus' attention will affect the adventures of our intrepid crew.

It could be fun if Hephaestus is curious about the metal alloy technology Maedhros is wearing. Also, if he knows that Maedhros isn't his son and figures out that Aphrodite genuinely does not believe him to be hers, he's in a position to be even more curious! Which is to say, Hephaestus chatting with and/or throwing 'little' challenges and puzzles Maedhros' way to try to figure him and his origins out.

Ares is also paying attention, which I think is hilarious. Or, at first I thought it was hilarious. Then I started seeing parallels. Maedhros' deeds of great valor and orc-terrifying ferociousness are very on-brand for Ares. The narrative is also very ambivalent towards him in much the same way as mythology is towards Ares, and for much the same reasons. The warlike attitude and aptitude to help defeat the enemy threat is praised, but, like the sons of Feanor on Doriath and Sirion, Ares can and will bring that same violence against his supplicants. And he's also often portrayed as humiliated by his pride... like the son of Feanor who for all his fearsome oath and deeds of valor did not damage Morgoth, attacked elves, and refused mercy only to kill himself.

So: Maedhros has got the courage and physical prowess and bloodthirsty attitude-- and he hates this part of himself and how he's turned it on his fellow elves. Meanwhile Ares is all for belligerence and warfare and has to be ritually chained-in-effigy in order to not continue causing strife after helping to repel enemies. They could have a really interesting dynamic. Like, Maedhros would absolutely despise Ares, but I think that Ares could roll with that enough to continue to initiate interesting interactions.

Aphrodite... she is pissed, and she is powerful! There's some tension re: how powerful Aphrodite is, which we can see even in the Iliad, where she both kicks off the entire war with her curse and gets scolded by Zeus for getting injured on the field of battle, where she shouldn't be because she doesn't have power there. (But in other instances she is associated with battle thru Ares or even thru the physicality of battle itself-- and later from the influence of Venus Genetrix of Rome-- and in other hymns she seems to have great power over all things that procreate.)

In any case, her curses are potent. She needs to give Maedhros a good curse! This could be some awful whump scenario, or this could be a hilariously ineffectual curse to desperately and effeminately (going off of the idea of active/passive roles in male-male relationships and the domination of a woman by her husband or lover) long for a relative-- thwarted by Maedhros already being a sad widower for his cousin and liege. I'd consider the former more likely, except the latter would fit well with the themes of the narratives not knowing how to handle their swapped characters. Idk perhaps she ineffectively and hilariously curses him the first time, and when that doesn't work, she either curses him to have sex with someone/thing he'd really rather not or makes his dick fall off /shrug. But she can't like, gainsay her first curse, so she's stuck with curse options that don't change his amorous emotions/cause a permanent mental state that would make him forget his priorities?? So we can have the humorous moment, the acknowledgement of Aphrodite's power, and the fact that the way in which Aphrodite didn't understand Maedhros blunts her curses from 'chronic mindfuck' to 'serious trauma but at least it's not permanent mindfuck'.

Maedros in Troy AU

Long, long post about my very niche obsession. Original AU by @sweetteaanddragons can be found here.

Every so often when I'm listening to EPIC, my mind will play six-degrees-of-Kevin-Bacon and I'll end up back at this AU. This particular addition was inspired by my remembering that Achilles was a redhead (Or maybe strawberry-blonde, idk enough about the Greek language to say for sure. His son was a redhead, and he once went by the alias of "the redheaded girl.")

The morning after the sack of Troy is a somber affair, even, surprisingly, amongst the victors. The surviving Achaean princes limp their way back to the feet of the horse, finally able to take a headcount. Odysseus and Ajax the Lesser are missing, Neoptolemus is nursing a nasty leg-wound, and less concerning but equally inconvenient, Menelaus and Helen have absconded to Sparta to start their second honeymoon.

Neoptolemus, in particular, has been having a day. First he got paired with Odysseus, which he has come to learn means he's going to be acting as the muscle while the Ithacan takes the credit. Then Odysseus was granted the honor of ending Hector's bloodline, and Neo couldn't even say anything because the order came directly from the mouth of Zeus. (Odysseus already took his father's armor. Could Neo not at least be allowed his vengeance?) Then Hector's woman took a swipe at him with a dagger, which Neo handled quite easily, then a madman burst out of the crypts and nearly cut his leg off, which presented a bit more of a challenge.

The princes compare notes, slowly piecing together a picture of The Stranger who carved a bloody swath through their armies and then disappeared as quickly as he materialized. Finally, Eurylochus says what everyone else has been thinking (fearing). Towering in stature, redhaired, wearing armor that turned their blades and wielding a sword that pierced through bronze like soft clay? They all know who that sounds like.

Yes, the others reluctantly admit, The Stranger is most definitely the ghost of Achilles, returned from the grave to once again punish them all for the sake of some personal slight. (Neo can't stop thinking about the look in the man's eyes, that look of pity or maybe disappointment before he left the youth bleeding on the steps of Hector's tomb).

Diomedes is the only one to object. Aside from Neo, he was the only one to get a good look at The Stranger and live to tell about it. That wasn't Achilles. In fact, he made the man bleed, so he wasn't a ghost either. No one else seems convinced.

Neo confirms that Odysseus went into Hector's tomb alone, and only The Stranger emerged. Sage nods are exchanged amongst the other princes -- Achilles must have returned to avenge his old comrade, Greater Ajax. But then why would he kill so many Achaeans after presumably taking his vengeance on Odysseus? (Agamemnon scoffs. As if Achilles ever needed a reason to be a pain.)

Then a messenger arrives, breathlessly announcing that Ajax the Lesser has been found. Specifically, he has been found dead by a blow from The Stranger's magic sword, lying at the feet of a toppled statue of Athena.

Now that's clearly an omen of some sort, though no one can agree on what message to take from it. Athena is Odysseus's patron, but is the toppled statue a sign of judgement or of disrespect? Does this have anything to do with The Lesser's cousin The Greater? Nestor suggests consulting the Trojan oracle Helenus. They left the boy tied up on Agamemnon's ship after Odysseus finished with him, and he was still alive the last time they checked. Perhaps he can interpret the omen.

This plan only makes it as far as the beach, where the gang discovers that both the oracle and Agamemnon's flagship have been stolen.

Suddenly it all makes perfect sense. Diomedes explodes -- yet again, Achilles is punishing them all for the sake of his feud with Agamemnon. The High King sputters out a denial -- he and Achilles were square when the man died. His conscience is perfectly clean. He still looks as if he is actively having a heart attack.

Nestor attempts to intervene. Diomedes shouldn't jump to conclusions... But if Agamemnon knows of anything that might have brought a vengeful Achilles back from the grave, he really should tell them. They promise they won't be mad.

Agamemnon has the horrible, sinking feeling that this might be about the fact that he took a leak on the ashes of Achille's funeral pyre. But he's certainly not going to admit to that. Wounded or no, Neo has a good couple of inches on him, and the kid is built like he strangles oxen for a hobby. He has that same twitchy look in his eye that his father always had.

This man cannot have been Achilles, he insists, and Agamemnon is going to bring back his head to prove it! (No one else is willing to set sail while the son of a Nereid might be after their heads, and Agamemnon is quite sure that they're one more bad omen away from sacrificing him to appease Achilles. It's what he would do, were he in their position.) Eurylochus and his crew quickly get pressed into service -- they need a captain, and Agamemnon needs a boat. And don't they want to avenge their fallen king?

Neo insists on coming along, much to Agamemnon's horror.

Maedhros isn't ready to panic just yet. Disorienting as that first night was, he's now fairly certain that he knows where he is. He's on the eastern side of the Sea of Rhûn. This is an inland sea, and the climate and general look of the people suggest that he's somewhere south and east of Dorwinion. He's a long way from home, to be sure, but at least he knows how to get back. He takes a moment to privately curse that storm Maia for dragging him so far out of his way.

He's fairly certain that the woman he rescued is the baby's mother. At least, she seemed very relieved to have him back. So if he recalls the storm Maia's threats correctly, that would make her the prince's widow. The others seem to tentatively consider her to be in charge, and she's at least attempted to communicate with him. Maybe she can help him get his bearings.

Unfortunately, she doesn't speak any of the Easterling tongues he learned from Bór. That's not terribly surprising. Rhûn is a land of many nations, and this particular clan must be rather isolated if they're still casting weapons out of bronze. That's fine. He might not invent new languages on a whim as his father did, but he does enjoy learning them.

The golden-haired girl hasn't stopped watching him. She looks away with a pained expression every time he catches her at it, but even now he can feel her eyes boring into the back of his head. He saw eyes like that once before -- the first time he saw a mirror after Thangorodrim.

The others give her a wide berth, though she does nothing apart from sit curled under the mast, arms around her knees. During their flight, she broke from her stupor long enough to lead them to this ship -- the same ship where they found the prisoner who Maedhros assumes to be her twin brother. It almost seemed as if she knew where...

But that would be ridiculous. She couldn't have known. Maedhros rather forcibly shrugs the notion off. They're twins. He's seen Amrod and Amras do far stranger.

On his first night, Maedhros was too preoccupied to look up. Even had he chanced to look at the sky, the smoke of the city's burning would have blotted out the stars. He spends the following day tending to the wounded, despite having nothing but torn clothing and seawater, and offering what comfort he can, despite speaking not a word of their language. When the sun sets, he forces himself to stay awake. One look at the stars will give him his heading, and from there he can plan the route home...

Oh. Maedhros doesn't know those stars.

Maedhros is beginning to suspect that he isn't in Rhûn.

More coming soon, by request of @sweetteaanddragons !

[dreamingthroughwords]

i could write like a 100000 word essay on hualian & their love but right now i’m thinking about just how tender it is and how they are with each other. the way they both show their love differently - hua cheng protecting, fighting, forming himself for 800 years for his beloved; xie lian with touch, grabbing hua cheng’s hand without thinking as the novel goes along before they get together and frequently thinking of him & always wanting hua cheng to be there so he can be the first person xie lian tells everything too, how xie lians confession of love was a simple hug but said “i love you” without him having to say it. their love shows in their actions, words, thoughts, in everything they do and that core love between them that bleeds through each page of the novel, the main story and the extras, is so tender, full of hope that there is someone out there who will understand you like no one else, someone who will stick by you at your worst and stay. hualian embody such tender love for each other that the the book ending with “no paths are bound”!” is just. there’s so many ways to interpret it but their love for each other is always, always at the centre of it

[thesummerestsolstice]

Elvish art genre that definitely exists in Middle-Earth: the captivity of Elrond and Elros (mostly just Elrond, especially after Elros dies)

The paintings– done mostly, but not always, by Sindarin and anti-Feanorian Noldor artists– are usually studies in contrast– Elrond as the bright, innocent child dressed in white; often portrayed as a small, frightened elfling, frozen at the moment he was taken from Sirion. Sometimes he is shown bravely resisting the cruelty of the Feanorians, other times he mourns for Sirion, or bows and prays to the gods for deliverance. Sometimes, he's given wings, both to stress his connection with Luthien and Elwing and to make him look more angelic and pure in comparison to the fallen Feanorians.

Maedhros and Maglor are the dark monsters the oath made them, with teeth, and claws, and harsh armor. Some of the more daring artists just portray Maedhros as an actual orc. While few of the paintings actually show the Feanorians' crimes, they're often portrayed with blood on their hands or swords, or simply surrounded by fire and destruction. They often demand, or threaten in the pictures, towering over Elrond and casting long shadows on him.

There's a few different sub-genres of these paintings. The ones that explicitly compare Elrond's situation to Luthien's kidnapping by Celegorm. The ones that feature a grateful Elrond being saved from the horrible Feanorians by whoever the artist is looking to valorize– Gil-Galad, Galadriel, Oropher, Eonwe, etc. The ones that show Elrond, locked in a dark cell, staring longingly out at Gil-Estel rising in the night sky. Some of the strangest are the ones that draw connections between the Silmarils being kept in Morgoth's crown and the twins– often with Maedhros playing the role of Morgoth.

Elrond hates almost all of these paintings. He feels like they take away his ability to define his past the way he wants to– to tell his own story. Most of them are grossly inaccurate, but most people don't know that, and dredging up all those really painful memories to try and correct people's assumption is hard. Sometimes, even when he does, people won't listen. Some of the paintings also seem... weirdly gleeful about the idea that Elrond suffered because of the Feanorians? Like they're trying to martyr him even though he's alive, and doesn't want to be martyred. It all makes him really, really uncomfortable.

There is one exception. It's not a very traditional example of captivity paintings. Elrond is at the center of the frame, shown not as a small child but as a young adult. Maglor and Maedhros are mostly unseen in the background, each with a bloody hand on one of Elrond's shoulders. Unlike the other paintings, instead of looking off into the distance or staring demurely at the ground, Elrond is looking straight out at the viewer His expression is hard to place. Anger? Acceptance? Defiance? Pity? Accusation? It's a very odd picture that unsettles almost everyone that look at it.

Elrond insists on hanging it in Rivendell.

[greatgoddyke]

but my heart is like a claw machine