#and at the same time; those detailed illustrations with symbolism behind them;;

[darabeatha]

/ I remember how I was never able to understand how artists on p.ixiv could fill up pages and pages of drawings of one character but since A.rjuna and M.octezuma happened, I now understand how

[kuroshitsuji-igurisshu]

Bitter Rabbit cafe

𖤐Hello everyone Kuronians𖤐

Those who have been following me for a long time will have realized that i madly loved the bitter rabbits' black label, so much that i now have various products of this amazing as well as interesting pop-up store. When i saw the first visual, the first illustration that yanuzza created for this event, i immediately noticed those little critters, they are the protagonists of this cafe after all; besides them being adorable, it almost seemed to me like taking a step back and relive very similar emotions as the emerald witch arc's. Are they just cute products or is there much more behind it all?

During the morning of december 14th Cutie Pie opened the advent calendar's box, and in the drawer number fourteen he found two pawns in the shape of a rabbit. This animal not only symbolizes for cutie pie the end of everything, but also what should have been the most special day that he impatiently waited for; other than that our kid despite everything managed to make his little big dream come true, that is opening a toy shop where bitter rabbits are the main piece of the collection. The rabbit is not just an animal, it's a symbol that like a circle encloses many situations: Cutie Pie's past, the weakness of character that he thinks he has (the word "rabbit" is also used as a synonym for "coward" after all, and also we could tie it to the fact that that day he decided to run away, to impersonate his brother instead of facing the issue) and even the relationship between him and sebastian, as we know, the stronger animal eats the weaker one. Crazy how everything can be enclosed in one unique symbol.

Another thing that really interested me about this cafe is that yanuzza said that these fun and adorable Bitter Rabbits are alive, in fact as we can see we find Sebastian's bitter rabbit ready to serve another dish to the client, while cutie pie's is sitting on the floor in a very adorable manner indicating with its little hand something on the menu. All bitter rabbits of this edition are animated and i find it extremely interesting because as soon as i saw them i wondered if they have the same characteristics as the Tsum Tsums, i mean like the ones from twisted wonderland, where not only the tsum was similar to the main character, but looked exactly like it was exasperating their behaviors, in fact the word tsum tsum contains (or is similar to, i don't remember) the Japanese word that means "similar". I'd like to dive deeper in this topic about the bitter rabbit cafe because we know that the bunnies are alive but what personalities do they have? Are they the same as the original characters are they like twisted wonderland's Tsum Tsums?

If it was like that it would be an interesting story because not only we'd have a Sebastian BR with his true personality mocking his young master all the time and teasing him, but we'd also see cutie pie's BR with his true personality, the personality of a child that lost his family and that despite all the cracks and tiny pieces to pick up, shyly tries to move one step at a time. Anyway, considering the way they were drawn, it makes me think that this could be true and exactly for this reason it would really be great to have a second edition where the personalities of the rabbits are shown more into detail. I want to end the post by focusing for the last time the attention on these stuffed animals. According to the psychologist Maslow, every human being has six needs that need to be satisfied at the right age, and when these needs aren't satisfied we carry them inside inseparably: if for example the need for security isn't satisfied, as adults we'll try to to unconsciously satisfy the need for security for example with an older partner or with a solid financial position that can give us security.

Considering the same need, the stuffed animals have the same calming and reassuring effect, it's no coincidence that children use them to fall asleep. Other than that i asked myself a question... If cutie pie is impersonating his brother, the BR doesn't have his appearance but Ciel's, so when he hugs it it's like he's hugging him. After all cutie pie isn't egocentric to the point of creating a stuffed animal that resembles him. I find that bitter rabbits aren't just cute plushies but are much more: a reminder of what has happened, a way to view himself in that "rabbit", a small flick of hope about having reached his dream despite everything, but most of all the object that Cutie Pie involuntarily uses to fullfill his needs that will probably never be satisfied.

————————IG post description——-————

Besides what you've just read, the rabbit (as absurd as it may seem) doesn't exclude our butler either, that is because the animal in question is a strong symbol in satanism in fact: rabbit, crow and goat are the triad that represents baphomet, that is to say satan. In the field of esotericism the rabbit appears again as a symbol of "rebirth" but also as a sacrificial animal (in satanic rituals you can offer a human or animal life). The term "rebirth" is pretty funny because in some way we can say that Ciel is "reborn" in the body of cutie pie considering that he decided to take the resemblance of his brother.

As i wrote the post i realized that the rabbit could have another way darker meaning. Since the beginning of the series we've been taking with us all the symbolism of chess with the attached pawns (so much that we have illustrations, figures etc.) thus, considering that in satanic rituals animals can be sacrificed as well, i wonder if that was a symbol, like a warning of what would be happening.

After all cutie pie himself uses the word "pawns" associated with the two rabbits, and as if that wasn't enough, the fact that vincent in chapter 132* talks with a priest about the infamous "st Michael's holiday" doesn't make us think of him as dad of the year.

*Even though it may seem absurd, i noticed that in books some authors play this "fun" game in which you have to sum up the numbers to discover a certain thing. Adding 1+3+2 we have as result a very shady 6. According to luciferians (they worship lucifer not as a symbol of evil but as a fallen angel) the number 666 doesn't indicate Lucifer or any other malevolent creature, but the human being as an evil figure. I don't know if it's random that in ch 132 we see the twins' past with a bit of a focus on Vincent's mysterious character, but in any way, the theory about the devil's number seems very spot on for kuroshitsuji.

If you are curious to see more of my posts, you can find me on IG as Kuroshiutsuji_itaru 😈

[vifetoile]

My ideas for

a proper commemorative edition of

The Princess Bride By the immortal S Morgenstern

Where did this idea come from? Well, in 2017 my cousin worked at HarperCollins, and she very kindly gifted me with a copy of their commemorative, Deluxe Edition of The Princess Bride by William Goldman. This edition.

And did I love it?

In short, Reader, No.

The faux leather cover did not match the gold foil, calligraphic font on the front. The artificially ragged edges of the paper made it harder to turn the pages than it should have been. The illustrations by Michael Manomivibul? Well, he can do very good work, but this wasn't a great example of it. I found the watercolors anemic and uninspired. Were those just plain stock photographs as chapter headers, blurred at the edges in Adobe Photoshop? Did anyone even care about William Goldman's hot fairy tale and the best formatting to frame its content???

In short, I thought it was a poorly designed "Deluxe Edition" for one of my favorite books.

So I hammered out a rough idea--- if I were the one in charge of making a Deluxe Edition of The Princess Bride, and let's say my budget was quite unlimited--- what would be my ideas?

Reader, the answers are under the cut. no images.

I think the endpapers should have a floral design, or better yet, a diamond pane pattern that alternates wristwatches and buttercups.

I think in the margins, the reader should get clues as to who is speaking at a given time. If the speaker is S Morgenstern, in the body of the story, then a little buttercup indicates that we're in the fairy-tale world. If the speaker is W Goldman, acclaimed Hollywood screenwriter, then the symbol in the margin is a wristwatch. Mundane and utterly out of place in Florin or Guilder.

I say we get some additional writings in there, by other writers who are game and eager to play in Goldman's metatextual sandbox. Stephen King is alluded to a great deal in the opening of Buttercup's Baby... Can we get Stephen King to wax poetic about his proud Florinese heritage? Naomi Novik pulls on her heritage to present the Guilder side of the story (that bald princess will get her due one day! What's her name... Noreena! Yeah!) The authors use that same tongue-in-cheek academic tone that Goldman uses, but of course each author brings their unique touch. Lean on that text-within-a-text aspect. 

Each chapter gets a full-color, full page illustration, which is done by Trina Schart Hyman.

Okay, yes, Hyman has passed away, but she remains the perfect choice for this project.

Why Trina Schart Hyman? Her illustration style is perfect fairy tale, bright and colorful, but also remarkably grounded. There’s dirt on the hems; long hair catches in the wind; a farm girl is beautiful when she carries buckets of milk; oh, the exhausted slouch of the wicked queen over her wicked grimoire. That fantastical yet human approach is perfect for The Princess Bride.

And there's more meta-historical details. After all, we're pretending this is all verifiable Florinese fact. So you can just imagine the illustrations we can weave into the text---

Official royal portraits of King Lotharon and Queen Bella and of course, Prince Humperdinck

A diorama of the doorknob with the tiny deadly little spider

Preserved as if in da Vinci's notebook, we find the Six-Fingered Sword and the glove left at Domingo Montoya's shack, left behind by the six-fingered man

Hats flying in the Great Hall during the disastrous dinner with Princess Noreena

Diagrams of the Machine

Valerie's recipe for hot chocolate

But there's one gap in the historical record, one that's just a tad important to the thesis of the book--- no firsthand portraits survive of Princess Buttercup. Perhaps Humperdinck ordered them all destroyed, or else the paintings were coveted for the overwhelming beauty shown in them, and were sold to the farthest corners, to the fabulously wealthy.

No original paintings of Buttercup survive. We can have copies of copies of copies--- (one in a Baroque style, one in a medieval style, you get what I'm laying down) and the copies don't really resemble each other, so the reader will never know what precisely Buttercup looked like.

And the ideal would be, an afterword by W Goldman (yes, he's dead too, and trust me I miss him an awful lot) where he put a proper cap on the world of Florin and Guilder (and Hammersmith). And a painting of the dread ship Revenge setting sail to a horizon where the clouds are clearing away.

Yes, that would be a pretty good edition of The Princess Bride.

[jcmarchi]

Breaking Traditions: The Impact of Digital Business Cards on Networking - Technology Org

New Post has been published on https://thedigitalinsider.com/breaking-traditions-the-impact-of-digital-business-cards-on-networking-technology-org/

Breaking Traditions: The Impact of Digital Business Cards on Networking - Technology Org

The traditional exchange of physical business cards is diminishing in the fast-paced digital era. Their more versatile and dynamic counterpart takes their place—the digital business card. Businesses, entrepreneurs, individuals, and professionals in every industry are adapting to the evolving networking landscape. It makes it even more important to study the impact of digital business cards on connecting, communicating, and building relationships.

This article explores the impact and influence of digital business cards on networking. Moreover, it sheds light on their advantages, the technology behind them, and the promising future that electronic business cards have shown us a glimpse of.

Business card exchange – illustrative photo. Image credit: Van Tay Media via Unsplash, free license

The Evolution of Business Cards

Business cards have been integral in the professional world for centuries. They are tangible symbols of a person’s identity, occupation, and contact information. However, as technology continues to evolve, things evolve with it. The evolving technology is changing the way we work and interact. Also, the digital age calls for a quick way to connect with people. Thus, the traditional paper business card needs help in keeping up with these demands.

Therefore, electronic business cards have greatly grown in the last few years. Digital business cards, often in mobile applications or web-based platforms, emerged as a highly needed resource. You can say that their emergence was in response to the need for more dynamic, accessible, and eco-friendly networking solutions. Technology gives these new-age cards advanced features, making them indispensable to any business.

Advantages of Digital Business Cards

Ability to add linkable content

An electronic business card allows users to include dynamic content such as links to their portfolios, social media profiles, and websites. Adding linkable content makes it simpler for the receiver to check the business and what it offers easily. The sender can showcase their achievements, work, and expertise in a way that a paper business card cannot.

Real-time Updates

Unlike paper cards that become outdated once printed, digital business cards can be updated timely. This ensures that recipients always have access to the most current information. It makes it particularly useful for individuals with frequently changing contact details or those involved in dynamic industries. Moreover, the price for reprinting a paper business card is the same as printing it initially. It makes no sense to pay for something again when you have an alternative to make real-time changes without extra spending.

Environmentally Friendly

The move towards sustainability is necessary as customers, too, want to work with sustainable businesses. Thus, professionals seek eco-friendly alternatives like digital cards. They contribute to environmental conservation by reducing the need for paper production and the waste associated with traditional business cards.

Interactivity

Digital business cards can incorporate interactive elements like clickable links, videos, and maps. This not only engages the recipient but also provides additional layers of information. Thus, it contributes to a more comprehensive understanding of the represented individual or business.

Easy Accessibility

Traditional business cards can be misplaced or forgotten. The stats say 50% of cards are thrown away when a recipient comes home. However, digital business cards are stored conveniently in the recipient’s digital devices. This ensures easy accessibility whenever needed, fostering lasting connections between professionals.

Analytics and Insights

Digital business card platforms often come equipped with analytics tools, allowing users to track how often their information is viewed or shared. This valuable data can inform individuals about the effectiveness of their networking strategies and help them refine their approach over time.

Technology Behind Digital Business Cards

The implementation of digital business cards relies on various technologies that contribute to their effectiveness and versatility:

Mobile Applications

Numerous mobile applications have been developed to create and share digital business cards. These apps often offer user-friendly interfaces, customization options, and seamless sharing capabilities.

NFC (Near Field Communication)

Some digital business card solutions leverage NFC technology, allowing users to share their information with a simple tap of their devices. This feature streamlines the process of exchanging contact details in face-to-face interactions.

QR Codes

QR codes have become a popular method for sharing digital business cards. Individuals can generate a QR code linked to their digital card, and recipients can scan it using their smartphones to access the information instantly.

Cloud-Based Platforms

Many digital business card solutions operate on cloud-based platforms, ensuring that the information is stored securely and can be accessed from multiple devices. This approach adds an extra convenience layer for users who switch between smartphones, tablets, and computers.

Augmented Reality (AR)

Some advanced digital business card platforms incorporate augmented reality, allowing users to create interactive and immersive experiences. This can include 3D visualizations, multimedia presentations, and other creative elements.

How does it affect networking?

There is no barrier to networking.

With digital business cards, you can network with anyone anywhere. No barrier comes with paper cards; you can only exchange them when meeting people face-to-face. With digital business cards, sharing contact details with others over chat or email, irrespective of their location, is easy, helping you network beyond borders.

Helpful in a virtual event

Virtual events are becoming common after the pandemic. With the help of digital business cards, one can share their details instantly with whomever they want to connect with at an event.

Conclusion

The impact of digital business cards on networking is undeniable. It is redefining the way professionals connect, communicate, and build relationships. With their dynamic content, real-time updates, and eco-friendly nature, digital business cards have become indispensable tools in the modern professional’s arsenal.

As technology advances, the future holds exciting possibilities for the evolution of digital business cards. Whether through the adoption of blockchain for enhanced security, integration with AI for smarter networking suggestions, or the immersive experiences offered by VR, digital business cards are poised to play an increasingly pivotal role in shaping the landscape of professional connections. Embracing these innovations is not just a matter of staying relevant; it’s a strategic move towards more efficient, sustainable, and impactful networking in the digital age.

[bestworstcase]

First of all thank you for pointing out that Tai's advice would obviously only be about the fights he saw not Yang attacking Adam since he would have no idea what exacly happened there unless Yang told him details and even if she did I doubt he would blame her for what she did. Secondly I really wonder why there is so much more hate towards Tai for his failings than other parents or parental figures such as Qrow or Willow whose alcoholism has had much more of an impact much more recently. Not saying we should write them off as bad I actually love how their relationship with the kids was handled and shown to be quite complicated. It just seems like Tai's depression and the consequences of that are irredeemable while the failings of others barely get a mention. I really cannot tell why that is. It can't just be people loving Yang so they don't like any flaws being pointed out right?

a few things, imo 🤔

i think a big part of that is that qrow/willow have like. A Reason.

not that tai doesn’t have reasons for being the way he is but there’s no, you know, clear specific Reason behind everything bad that he does. like, qrow’s terrified of his semblance so he isolated himself which makes him miserable so he drinks all the time as a way of coping with that. or jacques abuses willow and essentially stole her company out from under her, so she’s miserable, so she drinks all the time. right?

leaving it at that is reductive, obviously—qrow has a lot of additional layers of complexity and depth, and while willow is a far more inconsequential character than he is she nonetheless has nuance beyond having been abused into alcoholism. but, the point is that they have A Specific Thing that unambiguously caused their personal failings, and that Specific Thing is represented, for both of them, by the visual symbol of alcohol, which has the additional benefit of giving them something tangible and immediate that they can Choose Not To Do as an illustration of their commitment to getting better.

tai, though. tai has reasons—raven left, summer died, his team fell apart, the world is falling apart, he’s raising two girls by himself in a cabin in the woods with what seems like minimal outside support, he’s got a heap of his own emotional baggage, parenting is fucking hard even under the best of circumstances—but he doesn’t have A Reason. why doesn’t he tell yang about the prosthetic arm as soon as he gets confirmation from ironwood? why does he turn away when his daughter is suffering? why try to tough love her into taking a big step she just said she’s not ready for? why is he still at home in v8 even though he implied in v4 that he would like to find ruby? there’s no obvious single answer. the closest thing tai has to A Reason is that summer’s death left him acutely depressed for a while, but then he got better, and that happened almost fifteen years ago—it doesn’t have the same immediate presence in tai’s character that misfortune has in qrow’s or jacques has in willows.

and i think that makes people kind of uncomfortable? we see tai brush off yang’s feelings or do nothing when she has a flashback or make a callous joke at her expense and there’s no clean, easy way to explain why he does that—there’s just tai being a flawed human being who fucks up while earnestly trying his best, and tracing the nebulous tangle of things that made him into this person doesn’t satisfy that fundamental desire for A REASON in the same way that qrow being haunted by misfortune or jacques hollowing willow out into a drunken shell of herself does.

aaand sometimes when people get uncomfortable we lash out; we feel upset or angry at the thing that made us uncomfortable, and no one wants to be irrational so of course we try to find reasons to justify those feelings, and often when the thing that made us uncomfortable is a fictional character what that looks like is vilifying them. all the more so if the character in question happens to hurt a character we like and/or relate to, because that adds in a level of defensiveness on behalf of that character against the wrongs (real or perceived) done by the one we don’t like. and of course because this is all fiction it is largely consequence-free; the character isn’t a real person with real feelings who can be hurt by us ranting angrily about them on the internet, the character doesn’t exist. so the real-life incentives to like, check ourselves and remind ourselves to give other people the same compassion and understanding we give to ourselves largely just don’t exist in this context.

secondly tai’s particular failings are very much tied to his inadequate support of yang while she’s recuperating from having her arm cut off, which is such an enormous, enormously fraught scenario to begin with, and then he gets it wrong in a way that is going to feel VERY familiar and VERY personal to anybody who has had a mental health issue and/or physical disability at any point in their lives. his kinda, oh it’s all in your head, quit holding yourself back, mentality is—yeah. gkdshj i think a lot of people who really strongly dislike tai are probably responding to the ableism in his attitude toward yang, which just isn’t a factor with any of the other parents in the show.

and again yang being a beloved protagonist inflames that reaction; we’ve all heard this kind of shit a million times, often from our own parents, we know how much it hurts, and it’s very natural to feel indignant or enraged or sad or defensive on behalf of a character we see not just being treated this way but seeming to internalize these ideas about herself.

thirdly, both qrow and willow are 1. aware of their failings and 2. making active, genuine efforts to do better. qrow starts inching towards sobriety in v5, relapses in v6, and then not only gets sober in v7-8 but also starts to work through the emotional issues that sucked him into alcoholism in the first place. and willow made her entrance into the story by expressing concern for weiss’s safety, implicitly acknowledging her failures as a parent (“you left him here. with us.”), and providing weiss with evidence that proved jacques’s wrongdoing and led to his arrest; and then in v8 we see her overcome her panicky desire to drink so she can protect her children from the hound, both by helping weiss track it through the manor and throwing herself into physical danger to rescue whitley when it cornered him.

they’re both firmly on a trajectory of GETTING BETTER, and the narrative invites us to root for them. yes, they made huge mistakes, hurtful mistakes, but they know it, they regret it, and they’re trying so hard to do better and fix it.

tai, though? it’s an open question whether taiyang even realizes that he messed up, at this point. he did his best, and from his point of view it probably looks like yang made a full recovery, and now he’s… doing whatever it is he’s doing on patch while hoping his daughters are okay out in the world. he’s not getting better. he’s not trying to fix his mistakes, and in all likelihood he doesn’t even know that there’s anything TO fix because he’s been so isolated since yang left. there’s nothing for the audience to root for because hasn’t begun to change, yet.

it’s a lot easier to cut people some slack if you can see they’re really trying to do better than before, yeah? in fiction as in real life. if/when tai comes back into the story and starts having to confront his own failings i think it’s pretty likely that general fandom perceptions of him will soften up.

[a-nice-and-interpretive-fanzine]

[ID: A cream-colored banner that says "A Nice and Interpretive Fanzine: essays and art about the meanings we've found in Good Omens." There is a photo of a book page with a key on it behind the banner text. The photo source is rosy_photo on Pixabay. /end ID]

A Nice and Interpretive Fanzine: Information Masterpost

Welcome!

This is a zine for those of us who love the subtle, complex work that is Good Omens, and who’ve enjoyed the thoughtfulness of the fandom as people interpret how the many moving pieces of the story come together, creating a slightly different meaning for each of us.

To put it simply, it’s a book full of the fandom’s own analysis and commentary about the Good Omens TV show, enhanced with illustrations from our brilliant artists.

This zine is analytical in the sense that all the writers are expressing their own nonfiction thoughts and feelings about the show, rather than writing fanfic, but it is not meant to be heavily academic. Anybody who likes to pick apart the series and discuss it should be able to enjoy it.

The zine will contain essays by fans who are passionate about analyzing and interpreting different parts of Good Omens - the characters, the plot, the writing techniques for the book and script, the cinematography of the TV show, the popular content of the fandom itself. Accompanying these essays will be black and white illustrations from our artists.

How are you organizing this process?

May 1-May 15: Everyone submits their application to do writing or art through a Google form. Behind the scenes, I’ll be setting up a separate email and Discord.

May 16-20: Applicants will be screened during this time.

May 20: I’ll email everyone to let them know the outcomes of their applications. The final participants will get a link to the Discord server for the zine (totally optional, of course).

May 21: If there’s any clarification or solidifying of ideas that needs to happen, I’ll contact you and discuss with you by this point. This is also when artists will be matched up with essays.

May 22 to August 14: This will be a period of just working on our essays and art. The Discord chat and Tumblr will be there for support and for exchanging ideas!

August 15: Participants need to email their full works to the zine’s email address by this date. No special formatting is needed; I’ll do that in InDesign.

August 15 to August 31: I’ll be putting the zine together in InDesign.

September 1: Preorders will open.

September 30: Preorders will close.

October 1: The zine order will be placed!

October 15: Assuming all goes well with printing and shipping, the zines will be shipped out in waves starting on this date. If the printing or shipping from the manufacturer is delayed, then shipping will just start ASAP.

Writer Application HERE Artist Application HERE Asked and Answered Questions on Tumblr The Fanzine's Page on Twitter

Read below for more detailed information about the zine in a Q and A format!

What are the specifications for the zine contributions?

For writers, I’m starting with 3k words or fewer per essay (approximately 10 pages at the size of this book). This depends heavily on how many participants we actually get, so it may change!

For artists, I’d be looking at black and white works, 300 DPI, 5.5 x 8.5 inches or smaller. If your art is supposed to fill up the entire page (i.e. no white space), please make it a total of 5.75 x 8.75 inches with nothing too important around the edges to account for bleed during the printing process.

Can I submit an essay to this zine if I’ve already posted it on Tumblr?

Not as you’ve already posted it. We don’t want to just copy/paste the exact thing that hundreds or perhaps even thousands of people have already read.

However, it IS fine and maybe even a good idea to take the same thought from your post and refine it, preserving your same thesis. For example, a lot of Tumblr posts are just us fans jotting down 5 or 6 paragraphs of random thoughts at 2 AM, but some of them are really cool thoughts! Expanding them and turning them into a bona-fide Essay would make those posts into excellent zine chapters. And you can copy small pieces of your own language as long as the whole thing isn’t just pasted word-for-word.

How long do essays have to be? Is there a limit?

With the number of writers we have, I've calculated that each person should ideally keep their essay to about 6000 words. There is wiggle room.

There’s no real minimum for your contribution; some analytical ideas are really good but can be expressed concisely, so it’s okay if your essays only come out to a few pages typed. For reference, with our book size, a page is about 300 words.

What happens if the zine sells a lot and you end up not only breaking even, but turning a profit?

It’ll go to charity. While I’ll ask the participants what they want to do for certain if we do make enough money, my suggestion will be donating it to Alzheimer’s Research UK in honor of Sir Terry Pratchett.

I’m not really comfortable calling this a “charity zine” up front since I simply don’t know if it will raise a significant amount. For the most part, I just want the thing to physically exist, which means breaking even, and don’t want to make it more expensive for buyers than it needs to be to afford the printing costs.

What kinds of essays are you talking about? What could be included?

In short, any analytical thoughts about the Good Omens TV show - and possibly even the fandom as it interacts with the show - are possible inclusions for the zine.

To expand a bit, think about the meta posts you see floating around Tumblr. Often these involve analyzing characters, or picking up on patterns in the plot. Sometimes fans use their own background knowledge to write posts about the significance of certain costume choices or the way music plays into each individual scene. Some posts examine the ways the series approaches gender, while others might discuss ways that the characters present as neurodivergent. That’s how diverse the pool of possibilities is for subjects in this zine.

How does art come into this?

Images will be black and white, to match the bookish mood of the project overall. Images can range in size from a half page to a full page.

I’m planning to talk to the artists and authors and loosely pair artists with essays that appeal to their personal interests.

I know how to illustrate a story, but how do I illustrate an essay?

There are infinite answers to this! I’ve seen some beautiful symbolic artwork in the fandom already (e.g. a number of takes on Aziraphale munching on an apple with Crowley in snake form curving around him), and there are tons of symbolic motifs to draw from, but these are not the only options. An artist illustrating an essay about cinematography, for example, could draw a well-known scene from an alternative angle. An essay about Heaven as a capitalist corporation could be illustrated with a cartoon of Gabriel giving some sort of excruciating PowerPoint presentation. A character analysis could be accompanied by a simple portrait. And on and on. I’m not interested in limiting the possibilities by trying to make a list, but just know that there are many and you don’t have to make it complicated if you don’t want to.

If the writers can reuse their essay ideas, can artists reuse their drawings?

Similarly to the writers, if you already have an interpretive drawing that you’re in love with, artists can use the same ideas and the same fundamental composition that is present in their own existing work. However, it has to be redone in some significant way. Whether it’s taking something you drew in 2019 and redrawing it using an updated style, taking a sketch and turning it into a lined and shaded piece, or redoing a full-color drawing so it presents more strikingly in black and white, it shouldn’t be identical to the thing you’ve already posted.

So how are you choosing participants here?

It’ll be based on what people are interested in writing about (or illustrating). I’ll be looking for people who are passionate about their essays, but I’ll also be looking for variety. It all depends on what people want to offer, so I won’t know for sure what it will look like put together until everyone’s application is in.

For artists, I’ll be trying to figure out whose style looks like it would adapt well to illustrations in black and white, and also who demonstrates an interest in the same subjects as the writers.

If we don’t get a lot of applicants, I’d love to simply include everyone, but I can’t commit to that without knowing for sure how many people are involved.

Do I have to use a formal writing style to participate?

No. You should use a style that makes your thoughts and ideas as clear as possible, but as long as it’s understandable, you can also get a little artistic with it. You can “write like you speak,” though perhaps in a more organized way. You definitely don’t need to worry about stylistic rules like not using the first person. This is not academia.

Is this zine going to center only on Crowley and Aziraphale?

That remains to be seen! It depends on what ideas show up in the applications. There will be a lot of the ineffable partners for sure, but whether the whole zine will center on them or whether there’s plentiful stuff about other characters will depend on what the participants suggest.

Do we have to agree with all your personal interpretations of Good Omens to be in the zine?

No! In fact, I’m assuming that a number of essays will contradict each other, too, and that’s perfectly okay. The zine is a sampler of fan interpretations meant to inspire, not instruct. It’s not “Here’s a fan-made guide on how to understand this TV show,” it’s “Look at all these moving parts and how many meanings we can find in them. What does it mean to you?”

However, there are some basic rules and assumptions by which I’m working here.

I don’t personally have the energy to include essays that are highly critical (“negative”) in this zine. It’s analytical but also meant to be fun.

I’m pretty focused on the TV adaptation. This isn’t “no book analysis allowed” but just that the essays will end up being weighted toward subjects that apply to either the TV show or both the book and the show.

Each writer should focus on making their own points over disproving other fan interpretations. If you’re writing in an expository style, it’s normal for the essay to contain rebuttals to opposing ideas, but these should be minor supporting points, not the heart and soul of your essay. For reference, I’d say the majority of meta I see floating around on tumblr would follow this rule just fine.

Essay ideas that seem to contain bigoted or exclusionary sentiments will not be accepted (no TERFy stuff, for example).

What kinds of editing will go into the zine? Are you going to argue with us about the contents of our writing?

While I might ask you to elaborate on certain points in your writing or clarify your thoughts about your subject, I’m absolutely not here to ask you to change the thesis, opinions, or headcanons on which your writing is based. If I really have a problem with your initial idea, I’ll tell you that up front and politely decline the contribution.

While formatting the zine, I’ll make minor edits if I think I see a typo or misspelling, something small and obviously unintentional. As with any other zine, your content won’t be changed without consulting you.

Is this a SFW zine?

Yes. If people want to discuss sexuality in a theoretical way, like erotic subtext, that would be allowed. There are canon references like Newt and Anathema’s moment under the bed that might come up, too. But there will be nothing explicit, and since these are essays instead of stories, there will be no “action” going on between characters. Let’s just say sex isn’t a forbidden topic, but it will be like discussing it in English class.

As for other topics that could make the zine NSFW, like gore or extreme language, I don’t think they will be an issue. Some dark topics, like abuse by Heaven and Hell, may be discussed, but they will be warned for, and these are not stories, so you aren’t going to see violent actions playing out.

Will there be any “extras” like charms or stickers?

I’m not sure yet. I’m most inclined to keep it simple, because of the nature of the zine, but would be open to including some bonus items if there’s an artist who’s really passionate about it.

With that said, I am pretty committed to making a hardcover edition of the book available, in addition to the standard softcover version.

You’re doing this with only one mod?!

Yes. I personally find it easiest. While I’ve worked on multi-mod projects in other domains and adore all of my co-mods, it’s a little bit different when it’s a project with this many moving pieces that includes real-life components like printing and shipping. Though there are a lot of individual things to be done, I am experienced with all of them, so it’s less overwhelming to just take on the whole project. That way, I know exactly what needs to be done and when, and there are no issues with assigning tasks.

What qualifies you to run this zine?

The résumé answer: in fandom, I successfully solo-modded a large not-for-profit zine in the past, the @soulmakazine2018, and while I can’t speak for the whole fandom, it definitely seemed to be well-received. <3 In real life, I’m a case manager and this involves coordinating and communicating with a lot of different people including my 100-person caseload, budgeting services, and filling out all kinds of paperwork on the fly, all skills that can be imported into zine work.

The practical answer: well, I’m the one who decided to start this project, so if you like the sound of it, you're stuck with me. I say with encouragement and enthusiasm that if you’d like to do a different take on a commentary zine, you should absolutely do it.

[mostlysignssomeportents]

Watomatic, for lower Whatsapp switching costs

Any discussion of monopolization of the web is bound to include the term “network effects,” and its constant companion, “natural monopolies.” This econojargon is certainly relevant to the discussion, but really needs the oft-MIA idea of “switching costs.”

A technology has “network effects” when its value grows as its users increase, attracting more users, making it more valuable, attracting more users.

The classic example is the fax machine: one fax is useless, two is better, but when everyone has a fax, you need one too.

Social media and messaging obviously benefit significantly from network effects: if all your friends are on Facebook (or if it’s where your kid’s Little League games are organized, or how your work colleagues plan fun activities), you’ll feel enormous pressure to join.

Indeed, in these days of Facebook’s cratering reputation, it’s common to hear people say, “I’m only on FB because my friends are there,” and then your friends say, “I’m only there because you are there.”

It’s a form of mutual hostage-taking.

That hostage situation illustrates (yet) another economic idea: “collective action problems.” There are lots of alternatives to Facebook, but unless you can convince everyone on Facebook to pick one and move en masse, you’ll just end up with yet another social account.

This combination of network effects and collective action problems leads some apologists for tech concentration to call the whole thing a “natural monopoly” — a system that tends to be dominated by a single company, no matter how hard we try.

Railroads are canonical “natural monopolies.” Between the costs of labor and capital and the difficulty in securing pencil-straight rights-of-way across long distances, it’s hard to make the case for running a second set of parallel tracks for a competing company’s engines.

Other examples of natural monopolies include cable and telephone systems, water and gas systems, sewer systems, public roads, and electric grids.

Not coincidentally, these are often operated as public utilities, to keep natural monopolies from being abused by greedy jerks.

But the internet isn’t a railroad. Digital is different, because computers are universal in a way that railroads aren’t — all computers can run all programs that can be expressed in symbolic logic, and that means we can almost always connect new systems to existing ones.

Open up a doc in your favorite word processor and choose “Save As…” and just stare in awe and wonder at all the different file-formats you can read and write with a single program. Some of those formats are standardized, while others are proprietary and/or obsolete.

It’s easier to implement support for a standard, documented format, but even proprietary formats pose only a small challenge relative to the challenge presented by, say, railroads.

Throw some reverse-engineering and experimentation at a format like MS DOC and you can make Apple Pages, which reads and writes MS’s formats (which were standardized shortly after Pages’ release, that is, after the proprietary advantage of the format was annihilated).

This is not to dismiss the ingenuity of the Apple engineers who reversed Microsoft’s hairball of a file-format, but rather, to stress how much harder their lives would have been if they were dealing with railroads instead of word-processors.

During Australia’s colonization, every state had its own governance and its own would-be rail-barons. Each state laid its own gauge of rail-track, producing the “multi-gauge muddle” — which is why, 150+ years later, you can’t get a train from one end of Oz to the other.

Hundreds of designs for interoperable rolling stock have been tried, but it’s proven impossible to make a reliable car that retracts one set of wheels and drops a different one.

The solution to the middle-gauge muddle? Tear up and re-lay thousands of kilometers of track.

Contrast that with the Windows users who discovered that Pages would read and write the thousands of documents they’d authored and had to exchange with colleagues: if they heeded the advice of the Apple Switch ads, they could buy a Mac, move their files over, and voila!

Which brings me to switching costs. The thing that make natural monopolies out of digital goods and services are high switching costs, including the collective action problem of convincing everyone to quit Facebook or start using a different word-processor.

These switching costs aren’t naturally occurring: they are deliberately introduced by dominant firms that want to keep their users locked in.

Microsoft used file format obfuscation and dirty tricks (like making a shoddy Mac Office suite that only offered partial compatibility with Windows Word files) to keep the switching costs high.

By reverse-engineering and reimplementing Word support, Apple obliterated those switching costs — and with them, the collective action problem that created Word’s natural monopoly.

Once Pages was a thing, you didn’t have to convince your friends to switch to a Mac at the same time as you in order to continue collaborating with them.

Once you get an email-to-fax program, you can discard your fax machine without convincing everyone else to do the same.

Interoperability generally lowers switching costs. But adversarial interoperability — making something new that connects to something that already exists, without its manufacturer’s consent — specifically lowers deliberate switching costs.

Adversarial interoperability (or “competitive compatibility,” AKA “comcom”) is part of the origin story of every dominant tech company today. But those same companies have gone to extraordinary lengths to extinguish it.

https://www.eff.org/deeplinks/2019/10/adversarial-interoperability

Just as a new company may endorse standardization when it’s trying to attract customers who would otherwise be locked into a “ecosystem” of apps, service, protocols and parts, so too do new companies endorse reverse-engineering and comcom to “fix” proprietary tech.

But every pirate wants to be an admiral. Once companies attain dominance, they start adding proprietary extensions to the standard and fighting comcom-based interoperability, decrying it as “hacking” or “theft of intellectual property.”

In the decades since Microsoft, Apple, Google, and Facebook were upstarts, luring users away from the giants of their days, these same companies have labored to stretch copyright law, terms of service, trade secrecy, patents and other rules to ban the tactics they once used.

This has all but extinguished comcom as a commercial practice. Today’s comcom practitioners risk civil and criminal liability and struggle to get a sympathetic hearing from lawmakers or the press, who have generally forgotten that comcom was once a completely normal tactic.

The obliteration of comcom is why network effects produce such sturdy monopolies in tech — and there’s nothing “natural” about those monopolies.

If you could leave Facebook but still exchange messages with your friends who hadn’t wised up, there’d be no reason to stay.

In other words, the collective action problem that the prisoners of tech monopolies struggle with is the result of a deliberate strategy of imposing high technical and legal burdens to comcom, in order to impose insurmountable switching costs.

I wrote about this for Wired UK back in April, comparing the “switching costs” the USSR imposed on my grandmother when she fled to Canada in the 1940s to the low switching costs I endured when I emigrated from Canada to the UK to the USA:

https://www.wired.co.uk/article/social-media-competitive-compatibility

Today, there’s a group of tech monopoly hostages who are stuck behind their own digital iron curtain, thanks to Facebook’s deliberate lock-in tactics: the users of Whatsapp, a messaging company that FB bought in 2014.

Whatsapp was a startup success: founded by privacy-focused technologists who sensed users were growing weary of commercial surveillance, they pitched their $1 service as an alternative to Facebook and other companies whose “free” products extracted a high privacy price.

Facebook bought Whatsapp, stopped the $1 charge, and started spying. In response to public outcry, the Facebook product managers responsible for the app assured its users that the surveillance data WA extracted wouldn’t be blended with Facebook’s vast database of kompromat.

That ended this year, when every Whatsapp user in the world got a message warning them that Facebook had unilaterally changed Whatsapp’s terms of service and would henceforth use the app’s surveillance data alongside the data it acquired on billions of people by other means.

Downloads of Whatsapp alternatives like Signal and Telegram surged, and Facebook announced it would hold off on implementing the change for three months. Three months later, on May 15, Facebook implemented the change and commenced with the promised, more aggressive spying.

Why not? After all, despite all of the downloads of those rival apps, Whatsapp usage did not appreciably fall. Convincing all your friends to quit Whatsapp and switch to Signal is a lot of work.

If the holdout is — say — a beloved elder whom you haven’t seen in a year due to lockdown, then the temptation to keep Whatsapp installed is hard to resist.

What if there was a way to lower those collective action costs?

It turns out there is. Watomatic is a free/open source “autoresponder” utility for Whatsapp and Facebook that automatically replies to messages with instructions for reaching you on a rival service.

https://play.google.com/store/apps/details?id=com.parishod.watomatic

It’s not full interoperability — not a way to stay connected to those friends who won’t or can’t leave Facebook’s services behind — but it’s still a huge improvement on the nagging feeling that people you love are wondering why you aren’t replying to their messages.

The project’s sourcecode is live on Github, so you can satisfy yourself that there isn’t any sneaky spying going on here:

https://github.com/adeekshith/watomatic

It’s part of a wider constellation of Whatsapp mods, which have their origins in a Syrian reverse-engineer whose Whatsapp comcom project was picked up and extended by African modders who produced a constellation of Whatsapp-compatible apps.

https://www.eff.org/deeplinks/2020/03/african-whatsapp-modders-are-masters-worldwide-adversarial-interoperability

These apps are often targeted for legal retaliation by Facebook, so it’s hard to find them in official app stores where they might be vetted for malicious code.

It’s a strategy that imposes a new switching cost on Whatsapp’s hostages, in the form of malware risk.

Legal threats are Facebook’s default response to comcom. That’s how they responded to NYU’s Ad Observer, a plugin that lets users scrape and repost the political ads they’re served.

https://www.eff.org/deeplinks/2021/04/553000000-reasons-not-let-facebook-make-decisions-about-your-privacy

Ad Observer lets independent researchers and journalists track whether Facebook is living up to its promises to block paid political disinformation. Facebook has made dire legal threats to shut this down, arguing that we should trust the company to mark its own homework.

Whatsapp lured users in by promising privacy. It held onto them post-acquisition by promising them their data would be siloed from Facebook’s main databases.

When it reneged on both promises, it papered this over by with a dialog box where they had to click I AGREE.

This “agreement” is a prime example of “consent theater,” the laughable pretense that Facebook is “making an offer” and the public is “accepting the offer.”

https://onezero.medium.com/consent-theater-a32b98cd8d96

Most people never read terms of service — but even when they do, “agreements” are subject to unilateral “renegotiation” by companies that engineered high switching costs as a means of corralling you into clicking “I agree” to things no rational person would ever agree to.

Consent theater lays bare the fiction of agreement. Real agreement is based on negotiation, and markets are based on price-signals in which buyers and sellers make counteroffers.

A “market” isn’t a place where a dominant seller names a price and then takes it from you.

Comcom is a mechanism for making these counteroffers. Take ad-blockers, which Doc Searls calls “the largest consumer boycott in history.” More than a quarter of internet users have installed an ad-block, fed up with commercial surveillance.

This is negotiation, a counteroffer. Big Tech — and the publications it colonizes — demand you give them everything, all the data they can extract, for every purpose they can imagine, forever, as a condition of access.

Ad-block lets you say “Nah.”

https://www.eff.org/deeplinks/2019/07/adblocking-how-about-nah

The fiction that tech barons have “discovered” the “price” that the public is willing to pay for having a digital life is a parody of market doctrine. Without the ability to counteroffer — in code, as well as in law — there is no price discovery.

Rather, there is price-setting.

Not coincidentally, “the ability to set prices” is the textbook definition of an illegal monopoly.

[chubbybeaver77]

FF7 LTD: CLOUD’S TRUTH REVEALED - Chapter 10 [scenario analysis]

Honestly, I was re-watching FF7R footage to get some illustrations for another analysis and came across this, so this is a totally accidental catch about the LTD of FF7. I didn’t ask myself questions this time.

ATTENTION:

If you do not care or cannot handle LTD, then please skip this post.

I acknowledge the scenarios are more than just LTD. They are also about character building and the friendship between Aerith & Tifa. I respect all characters and the devs. However, please understand this post is an analysis about the LTD element of the scenarios.

If you are cool with all that, please read on. Thank you!

In Chapter 10 of Final Fantasy 7 Remake, we have Cloud, Tifa, and Aerith as our team members and it is probably an amazing chance for the story to tell and develop the relationships between them. In the sewer, the game set up two bridge collapses and there are intentions behind those cutscenes just like probably any other cutscenes the devs put in this Remake and I am, as a fan, very grateful for their attention to detail. I also like to compare because sometimes you need to place one thing next to another to understand what it truly is. By comparing the scenarios of the two bridge collapses, I think I have found the truth about the LTD from Cloud, at least up until this point of the story (after all that happened between Cloud – Tifa and Cloud – Aerith from the beginning till Chapter 9).

With the first bridge collapse, you see Cloud crossing first and then Tifa. Both crossed the bridge successfully. Then, it was Aerith’s turn. Aerith had trouble. When she was in trouble, we saw the screen showed Tifa and Cloud. Cloud was at the back and Tifa at the front. Cloud was out of focus and Tifa was in focus. At its peak, the bridge started sinking. It was Tifa that immediately took action and reached for Aerith. Cloud, however, stayed out of the screen, implying he either didn’t take action or his action was not important enough to be displayed on the screen. Then, we heard Cloud telling Aerith what to do: “Jump!”. Aerith jumped and Tifa was ready to catch her. Cloud was back on the screen, holding onto Tifa while his eyes focusing on Aerith.

Because Cloud barely talked or expressed his feelings openly, we - fans -  have been watching his action carefully to find out what he really meant/felt/thought. So at this moment, who did he care about? My answer was Aerith definitely because she was the one he looked at and she was the one in trouble, even though he had that tendency to touch Tifa. But, let’s check the second bridge collapse.

The second collapse came shortly after the first one. It happened when both Aerith and Tifa crossing. However, if you looked closely, the one truly in trouble this time was Tifa. The screen shows only Tifa being in trouble, not Aerith. You also heard Tifa saying “Huh? No way!” which tells you how she was in trouble. Actually, Aerith was closer to the other side so she was in a safer position. Tifa was near the middle of the bridge and she probably thought she could not make it to the other side, so she turned around to run back. This time, Cloud was in focus. Even a close-up shot was used to tell the audience how he felt.

His face had a stunned and scared expression and it quickly turned into a determined one. Cloud didn’t just stand and told Tifa what to do. He instantly ran toward her. Aerith noticed Tifa was in danger and Tifa was wrong by turning back. So, Aerith took Tifa's hand and pulled her forward together. When Aerith took Tifa's hand, you would see Cloud was already in action in the back. As the two girls moving to the other side, Cloud continued rushing behind. I think the force of such action was too much for him to stop while it also seems he didn’t even want to stop (because he couldn’t feel assured enough if he wasn’t the one that rescues Tifa himself?). The bridge collapsed completely.

You can see him falling almost at the same place that Tifa was at the last shot before the trouble occurred. It’s safe to say that Cloud saw Tifa in trouble, and without thinking, he immediately rushed to rescue her; within such a fleeting moment, he was so determined and projected himself precisely to where she was. That’s how he got himself in trouble. Luckily, the girls rescued him. Then, Cloud turned to Aerith and said “Sorry ‘bout that” and she replied “No need to be”. Why did he apologize to Aerith? Because to him, she was a bystander in that circumstance. How was Aerith a bystander? Because Tifa was in danger and he was so reckless about saving Tifa, thus he bothered Aerith. When Tifa and Aerith went ahead, Cloud was caught looking down sighing. He caught himself. He was such a cocky and try-to-play-cool dude, that sigh was most likely not about his own danger. It’s more like a sigh of relief that the tension of Tifa being in danger was over or he was disappointed about himself for acting recklessly and thoughtlessly because he wanted to protect Tifa.

So we see here, in almost two identical situations, Cloud responded differently when each girl was endangered. It really shows how deeply Cloud cares about Tifa and how much she means to him compared to Aerith. Through his action, Cloud has involuntarily revealed who matters the most to him. However, I don’t think that the devs would go this far just to compare how Cloud cares for Tifa more than Aerith (at least true till this point of the story) just for the sake of the LTD. Remember in FF7AC, Cloud was the one that felt guilty about Aerith’s death more than any other team member? Remember in OG, he acted weirdly before Sephiroth appeared and killed Aerith?

I think there is a high chance the Remake will show in detail how Cloud’s role/Cloud’s failure played in Aerith’s death, which caused his deep guilt in AC. Had he been determined to protect Aerith as he could for Tifa, would have it been different?

After all, here I include the video with slow-motion so you can see it for yourself.

If you have enjoyed this, please check out my other analyses for FF7R:

TIFA AND THE MOON SYMBOL – WALL MARKET [symbolism analysis]

WHAT DID CLOUD CALL BEAUTIFUL? [cinematic analysis]

BONUS only for Cloti: Cloud lost his shit and rushed toward Tifa without thinking the same way.

[imnobodyuknow]

Surpri--  Oh...

So, a few weeks ago, I shared a Vocaloid drawing entitled “Life is Good,” which showed four different Vocaloid characters enjoying the good things in life.  That phrase, “life is good,” while true, is a bit of an incomplete description of life, as I’m sure you know if you’ve lived it long enough.  For that reason, I decided to do something I don’t usually do, especially with characters I like -- draw them experiencing some of life’s more difficult parts.

In the top-left corner, Hatsune Miku is dealing with a sudden burst of anxiety:

In the top-right corner, Megurine Luka is sobbing under a deluge of depression:

In the bottom-left corner, Kagamine Len is showing frustration with himself as he deals with shame:

And in the bottom-right corner, Kagamine Rin is grappling with one of the most insidious (and destructive) emotions ever to be grappled with -- anger:

What inspired me to draw these depictions of some of the ugliest parts of the human experience, you ask?  The human experience itself.  While I don’t like to dwell on negative emotions (or think it’s even a good idea), I find it very helpful to acknowledge and study them in order to have better control over them.  One of the best ways to do so, I’ve found, is to describe them in as much detail as possible.  As someone who is no stranger to all four of these emotions, I decided to describe them in a visual way, using these members of the Vocaloid family to illustrate them.  Not surprisingly, I found it to be somewhat cathartic.

I did have some context in mind for the Vocaloids, however.  In Miku’s picture, she just made a startling discovery that left her disillusioned; the lightning in the background represents this sudden shock to her system.  In Luka’s picture, she recently broke off a loving relationship with someone, which left a deep wound in her heart; the pouring rain symbolizes the sorrowful state of mind she’s in.  Appropriately, she’s also wearing pajamas with weeping willows on them.

In Len’s picture, he found himself doing something he knew to be wrong, and is now struggling not to hate himself for it; the spotlight shining on him represents the harsh criticism he faces from his conscience.  And finally, in Rin’s picture, she is attempting to push an angry memory out of her mind, only to have it replaying over and over again and burning her up as much as it did when she first experienced it, which is illustrated by the fire in the background.  I hope that life hasn’t this unpleasant for you, but if it has, know that you’re not alone.

And also...rejoice that you’ve made it through those unpleasant moments!  If there’s anything good about them, it’s that they’re in the past, where they belong.  And when the good times arrive (and they will), you’ll have all the more reason to celebrate them.

(Art by Miku_tap_jp)

Besides wanting to project some of my negative emotional experiences onto paper, I also wanted to try drawing characters with some different-colored lighting -- purple for Miku, blue for Luka, and red for Rin.  It turned out to be a lot easier than I anticipated, especially since they each only needed a few different shades of the same color.  I also wanted to see how well I could convey strong emotions realistically with pencil and colored pencil.  As I often do, I looked at my face in the mirror to get some of the details right -- the wrinkles in Miku’s forehead, the pattern of teeth in Luka and Rin’s mouths, and Rin’s hands.  For the last one, I took a picture of myself just to make sure her hands looked believable.  Here’s what that looked like:

Making the flame background behind Rin, on the other hand, was a bit more of a challenge than I anticipated.  It ended up looking only kind of like the picture I used for reference:

Colored pencil has its limits, unfortunately...plus I didn’t think it through all the way.  X |

Interestingly enough, this picture was partly inspired by a similar one I once found of the Doki Doki Literature Club characters dealing with their own specific struggles.  It’s a little too disturbing to share here, but it reminded me of what made me enjoy that game -- the harsh reality that was injected into its otherwise cartoonish characters.  As unpleasant as it was (not to mention being overexaggerated at certain points), it made them that much more relatable.  You could say it was a helpful reminder of something I already mentioned: None of us are alone in our struggles.

An interesting thing happened as I was finishing up this drawing -- I’ve been reading a daily devotional called The Upper Room, and the reading that day included these words:

“Life is hard.  Loved ones might die despite our faith and prayer.  We may get divorced even when we trust.  Diseases can be incurable or fatal.  We may pray, live faithfully, and trust God, yet still face unthinkable tragedies.

“But even knowing this, we can continue to pray and live for God -- to believe that God is good, right, and lovely, and that God’s ways are peace.  Even when things go wrong, God is still by our side in the struggle.  And we can find joy in knowing we are never alone.”

This bit of insight seemed to go perfectly with this drawing’s message, so I thought it was worth sharing here.

Another interesting coincidence(?) -- Easter is coming up in just a week from today!  I don’t know about you, but I’m about ready to see some light in the darkness, and what better way to celebrate it than to remember the new life given to us by Jesus’ death and resurrection?  Whether you’re someone who celebrates it or not, I hope you’re able to handle every trial life throws at you, and that you won’t forget to focus on the good times.

Life’s still good, after all.  ; )

[iwriteaboutkpopsometimes]

Hyunjin "Play With Fire (Feat. Yacht Money)" (원곡 : Sam Tinnesz) | [Stray Kids : SKZ-PLAYER]     ~A Love Letter~

I talk about why I love this video so much and deliver an excruciatingly detailed play by play of it, but why read a two thousand word, five page essay on a three minute video when you can just go watch the aforementioned three minute video? Forget me spending hours writing this, why are you here, seriously, it would take you significantly less time to watch the actual video. Regardless, enjoy my attempt to refrain from saying the same three things, “he's so cool”, “I love him”, and “this is so good”, in exchange for a  more, hopefully, academically professional sound.

Watching him perform never fails to put me in a trance, it’s incredibly captivating how precise and sharp while simultaneously lively and energy-filled his movements are. This video feels reminiscent of enjoying a movie I’ve seen countless times, memorized every line of dialogue from, and genuinely think of every part as the best it has to offer. I greatly missed seeing him dance and having this as his grand welcome back into the spotlight is nothing less of a gift. Every second leaves my heart pounding and as excited as the last, as he continuously tops himself the longer I watch. I feel that revisiting the video is the least I can do, for giving it only one view doesn’t feel morally acceptable if I intend to truly appreciate it for that art that it is. Dramatic of me? Perhaps, but I can’t help but perceive it as more than just this one video that was uploaded onto their YouTube channel. It isn’t just about all of the work he and others put into the making of this particular video, his choreography for the song was a result of years upon years of practice and learning different techniques. A performance this good doesn’t only involve technical skill though, but also skill in regards to one’s inner mind. To have confidence in one’s self, to hit every move powerfully, to know what you’re doing and be unapologetic about it, that is skill. Sure, the performer is at the focus of any performance, but don’t forget that it’s also about the audience, it is after all for the enjoyment of the viewer. If the audience senses your doubt and insecurity and uncertainty, it will make your stage that much less enjoyable. Whatever you feel, they can feel too. When I watch him, I don’t feel any of that. In fact, I feel the exact opposite, I feel inspired, motivated, confident, excited to advance in my own endeavors. The emotion that this video evokes from me goes beyond anything Stray Kids or K-Pop or even dance itself, it makes me want to be a better person, be kinder to myself and work harder. That might sound like a lot for one video to do for someone, but it’s the truth. All of the details, even down to the individual frames, it all works together to create the most gratifying viewing experience. At the time of writing this, the video has just hit five million views and has over one million likes, only a mere three days after its initial upload.

The first shot of his footsteps alone,  as he goes to stand in front of the mirror, I already feel this sense of importance coming from him, delicate, yet powerful. The setting, cold and empty, yet inviting, it makes room for him and gives him just enough light to be seen, for he doesn’t need all that much help to surely shine. The credits that pop up use a dark shade of pink-red for it’s background color and white text that acknowledges the same deep red imagery and text associated with the material of the original work. His outfit is neat and pristine with some sparkle, resembling one a prince would seem fit. He stares at his reflection, holding a sheer white ribbon in his mouth, gathers a section of hair behind his head and proceeds to tie it with said ribbon. The music starts as he finishes tying and lets his arms fall down at his sides. The over the shoulder shot looking into the mirror, shows that his expression is neutral, almost calm. This can most certainly be described as “the calm before the storm”, except the storm itself is antonymous to a tragedy, because when the singing starts, it’s as if his performance persona was turned on by a switch, a charismatic possession that took place in a matter of seconds that sends chills down your spine in the best way. His previously neutral, calm-like expression and gently resting arms are quickly replaced by the sudden placement of his right hand around his neck and a look that resembles more of  a vengeful, hesitant, and somehow playful one. Similar to what I’d imagine a villain would look like right before being bested during an epic fight sequence at the climax of a film. It’s satisfying to see him popping to the beat’s rhythm, his arms, wrists, and head smoothly illustrating the flow of the words, his focus and the secure angles he’s able to form before even fully utilizing his lower body. On the line “Got secrets I can’t tell”, he delicately places his pointer finger in between his teeth, as he turns back to meet the camera with his eyes, the shot now semi-closely focusing on both Hyunjin and his reflection as opposed to just one or the other. He extends his right arm, his hand forming a fist, and the camera movement making it as if I’ve been punched and sent flying. He stumbles to the middle of the room, does an opening gesture with his arms, like a proud baker showing off their completed wedding cake, along with a dramatic spin incorporating his thin, white, flowy cape. Reaching the pre-chorus, we get to see the room more clearly, like the stone pillars and the contrast of the small, warm lights on the walls to the grand grayness radiating from the large window that makes him appear as a near silhouette. There’s a certain holiness about him spending a count with his head down and arms out, much like the Crucifixion of Christ, before showcasing more of a demonic energy when he faces the window with his body, but bends backward and looks to the camera upside down. He rips off the cape, tosses it behind him, to his right. This could symbolize a transformation, an abandonment of a particularly purer image of oneself, a liberation. The music picks up, and the manner in which he dances is like a visual representation of one’s inner turmoil combined with an agenda to seduce those watching, wanting to dance for himself while taking us along for the ride. Now that the first minute of the video is out of the way, let’s continue.

The music fades into the background and the video takes on a sudden widescreen and grayscale appearance as he falls back on his right hand, flings his left hand over to his right shoulder, as though he’s been shot, and is being supported by his knees. He leans forward, places his right hand on the ground in front of him, uses his left hand to push his right knee over to achieve ideal balance, setting up his body roll. He extends his right leg back, getting close to the ground, and there’s something quite feral, yet intimate about the way he traces the length of his arm with his face and left hand. It looks like he’s taking out his frustrations through his moves while never sacrificing the detailed quality of the performance as a whole. It reminds me of how it’s more than common for artists to use their pain in their art, whether it be a point of well-intentioned expression with a specific purpose or simply an outlet for them to channel into. Hyunjin is the definition of aggressive elegance. The fullscreen, colorful display and music entirely return when he spins and lands on the ground in a Spider- Man esc pose, the room a lot warmer than even before the stylistic grayscale section. There’s hints of red, acting as a match that’s set to illuminate and ignite the puddle of gasoline that is him and his performance, that replaces the once colder, icy blue that previously enveloped his silhouette. He bounces to the beat showing off his proud, devilish smile that, instead of striking fear, makes me feel proud, as I’m essentially rooting for the villain in the movie. If the transition to the grayscale widescreen was him getting shot, then the transition back to fullscreen color is him emerging from his grave, an awakening. His shirt is no longer neatly tucked into his pants, but rather, hanging very loosely and mostly unbuttoned. He covers his face with his left hand, pulling it down for just a second before revealing his expression that has swiftly reverted to a roughly indifferent one. The inner conflict has greatly subsided, and focuses on the hesitant-free embracing of his newly discovered self, one of immense confidence and sex-appeal. Although, something about the flow of how he averts his gaze, looking to the left and not the lense, while pointing and doing body rolls at the camera, covers his eyes with crossed arms, and then allows for his hair to cover his eyes as well, makes me feel like he doesn’t want the viewer to know he is still at least a little bit shy. He quickly makes you forget though, because the next and final minute exaggerates everything he’s shown us up until this point, taking it to a whole new, spectacular level.

The bridge of the song creates a slower, softer atmosphere, which is beautifully interpreted with how Hyunjin carries himself during this part. Bigger gestures that blend into each other seamlessly, centering on really taking up the space he’s in. He gently and precisely lowers his body to the floor, collecting a white rose between his teeth. As soon as he returns to his upright stature, the setting changes dramatically. His hair now completely down, he’s under a spotlight in an otherwise pitch black and foggy room. There’s blue and red light reflecting off of his white top and his skin as he dances. This part feels more humane compared to the rest, with more of an obvious balance between sharp, impactful moves and tender, compassionate ones. He draws attention to his shoulders, brings his hands and feet close to his body, and showcases his red lit back. I particularly enjoy when he flicks his wrists and twists his ankles to the right in unison on the second syllable of “unstoppable”. For the “legendary animal” part of that line, his arms create a cage-like structure by doing a climbing motion and carrying it over all the way to the left. A cage in which he destroys the walls and breaks out of, shown by him punching downward on beat. From holding the rose in his mouth to holding it in his hand, he brings it over his head to his left shoulder, and raises his heels. He carries the rose down and around his left arm, his left arm momentarily resting at his waist, his right arm extended downward, he raises his heels again. His whole body lowers as a rigid wave starts at his up flicked wrists and subsequently elbows and shoulders. This collection of gestures results in petals falling off of the rose. He then inevitably throws it into the void, out of the reach of the lovely spotlight. I see this spotlight dance as a danse macabre, or dance of death. The white ribbon, white shirt, and white rose all coming together to illustrate this innocent and pure quality to him, that through this dance, he finalizes the renouncement of. He is more than ready to embrace a new and different side of him, but especially to get rid of the older and repetitive side that felt restrictive more than anything. The spotlight dance ends with Hyunjin looking directly into the camera, tracing his right hand down his chest and to his side, and the camera backing away. The last chorus of the song brings us back to the oh so familiar main room, Hyunjin’s hair back to being tied up, the lighting is the same, but there’s something that stands out. His shirt is on the verge of being completely unbuttoned and that allows for something alluringly shiny to be fully in view compared to before. The video comes full circle with Hyunjin’s hand around his neck, he stands in the hallway, and walks away a new man as the screen fades to black. 

As I wrap up this essay on Hyunjin’s “Play With Fire (Feat. Yacht Money)”, original song by Sam Tinnesz, Stray Kids: SKZ-PLAYER, the video has reached six million views, a million more than when I first started writing this, and I feel proud to have spent a day simply pouring my heart and mind out on this wordy display of my appreciation. Don’t be fooled though, for my necessary research, I guess you could call it, for this project may no longer be so necessary, I shall continue to watch and applaud the masterpiece and experience that is this video for my own personal enjoyment, much like how this whole piece was written for my own personal enjoyment. It was an interesting challenge to properly voice not only the contents of the video but also my thoughts and feelings on it. Hyunjin is a highly valued dancer, member of Stray Kids, and person and five pages isn’t ever going to be enough to fully explain the respect and admiration I feel for him and his various projects. I think he’s really cool, I experience all sorts of fiery euphoria watching him dance, his rap and singing alike are addictive as hell, and he’s pretty, haha. I missed him a lot while he was inactive, and I’m so happy to have him back and doing great things as per usual. I’m excited to see what he and the rest of the group have left to show us this year. I advise you to watch the video if you haven’t, but somehow ended up reading an essay on it first, and if you’ve already seen it, watch it again, yeah. I’ll leave you with lovely thoughts and lovely vibes and I hope you too can appreciate the work he’s put into the video, as well as my work on this essay. Thank you for taking the time to read my love letter, essentially, and bye for now ^ ^

[blogbyliv]

Personal Reflection

Liv Gardner 

Women’s Writing Worldwide

Prof. Richard

30 July 2021

Personal Reflection

Growing up as a young woman in a conservative town where feminism is seen as an outlier, devil-made, radical set of ideals, my understanding of the term has always been mixed. From birth to age 14, the concept was somewhat foreign. What little I knew about it did not bear a positive connotation and it seemed to always loom in the background, an uncomfortable topic, like race or sex, that no one seemed to want to discuss. As I moved into a different high school, one away from my hometown, one advanced and labeled as a college preparatory school, things changed. I was exposed to new teachings, new ideas, new people, and the connotation and anonymity of the word in my life changed. As we fast-forward to today, I look at things like this course, one that my pre-teen self could have never imagined would exist or let alone would be one that I was taking, and I admire the impact it has made on my overall body of knowledge. While the world around me has not changed, the community still bearing the same traditional and sexist sentiments as always, it seems as if I have, undoubtedly for the better. 

As I searched for inspiration for such a project, I tried to look back through the TedTalks we often annotated this summer. Many struck me again with the veracity of their messages, but there was one in particular that moved me just as it had the first time: a young woman who was speaking about her Indian heritage and culture. I listened as she talked about the traditions that involved the garments and accessories of the women. She explained how Indian women took pride in their beautiful bangles and colorful saris, but how this would so quickly change once their husbands passed. Their saris would only be allowed to be white and their bangles would be broken. Their lives were seen as irreparable once without a man. This struck me then, just as it did again recently. The clothing, shoes, and accessories that women wear can often say a lot about their culture, how their culture views them, and what they value. At the same time, there can also be heavy misconceptions about these garments that can mark a group of women indefinitely. In my commonplace project, I wanted to explore all of these things. There are countless cultures across the world that are often overlooked, or, conversely, noticed, quickly misunderstood, and then passed by. Coming from a household where my mother owned her own boutique, I knew this was a topic I wanted to explore. Through my blog, I worked to highlight specific garments of different groups of women and look at what each said explicitly about their circle. In my choices of cultures and clothing, I also sought to find pieces that represented various topics and concepts that we had learned and explored throughout the last eight weeks. 

There were various objectives I wanted to meet with my writing for this project. The first one was to highlight misconceptions that we commonly have about certain cultural garments. One example that I used for this was the hijab. Through our unit on Islam and our extensive readings on the wearing of the hijab, I was drawn to highlight its ability to be a fashion statement just as much as it is a religious one. Society, because of media misrepresentation and single stories of the culture, has often linked the hijab to the idea of subjugation. Many see it as the antithesis of feminism. In reality, it is quite the opposite. Musliim women who choose to wear a head covering do so by their own free will. While some states do still exist that make it a mandate to cover, most are progressing away from this traditional and sexist way of operating. For the majority of Muslim women, covering is seen as a privilege and a religious duty that exhibits their dedication to their faith. This dedication, as mentioned before, does not mean it has to be unfashionable. I wanted to highlight through my blog the many prints and styles of hijab that exist for Islamic women to dress and have fun with. Another misconception surrounds the kimono of Japan. For many, the depiction of the kimono often stems from some form of fighting movie that was Americanized and popular in the states. It also typically pictures only a male wearing such garments. Through this blog I wanted to show that traditional garments do exist for women and in actuality are much more complicated than the males. While this might simply be a stylistic detail, it seems to be the culture’s own reflection of how they view women as a whole, touching on another objective I sought to meet within my project. 

Throughout this project, I also wanted to achieve a series of connections between the garments and some of the specific topics we learned throughout the summer. One of these was colonialism and post-colonialism. We can look specifically at the dress of the Herero women to see this illustrated. Mimicking much of the 19th century Victorian women’s dresses, the Herero women are known for their clothing called the Herero dress. The garment that identifies the women are not of their own creation, but yet a piece of German socialization that was left behind following their early 20th century invasion. The Herero dress still exists today, but not for the reasons one would assume. In their pursuit to convert and conquer the Herero tribe, the Germans were the perpetrators behind a mass genoicde that wiped out a majority of the tribe. Not only did they leave behind trauma and pain, but also their style. The Herero women of today wear the dress not to show that they were products of cultural diffusion, but rather as a symbol of rebellion. By wearing the piece on their own terms and in their own styles, they believe they have taken back a bit of their history and made it their own. Another piece of clothing that we can see through the eyes of post-colonialism is the maasai shuka. The Maasai are a group of semi-nomadic people residing around the area of Kenya in Africa. Brough to the area by both Scottish missionaries and colonizers, the shuka resembles a blanket and can be draped in various ways to cover and protect the body. It is known for its bright colors and prints that can vary based on location in the region and the group of people within the Maasai that wear it. 

Aside from connections to our learning topics and exhibiting the misconceptions of some cultural pieces of clothing, I also wanted to highlight basic garments that were traditional in some popular nations, but are often overlooked within the eyes of Americans. These are pieces like the Ao Dai in Vietnam and the tichel in Judaism. While the garments can be interwoven into the themes and objectives mentioned prior, the emphasis on their existence is what I really sought to highlight within the blog. 

Growing up in a household dedicated to profiting off of and maintaining what you look like, I have always understood the power, both positive and negative, that clothing holds. Fashion gives us confidence. This can be confidence in ourselves, confidence in our faith and religious ties, or confidence in our culture and nationality. Regardless of its form, it gives us a boost, a push that allows us to feel empowered in all that we choose to do. Yet, there is another side to its power. Fashion also creates divides. It can separate one class from another, one nationality from its neighboring state, and even one age group from those above and below it. Regardless of its purpose or the role it plays for the women and other individuals who wear the pieces, all fashion can be united under one word: beauty. Each piece featured within this project shows dedication to a variety of things. There is dedication to the garment itself, dedication to a nation of origin, and even dedication to a specific religion. Each of the pieces show intricate designs and bright colors, all of which represent those who wear it and the regions from which they originate. They also embody the strength of the women who wear them. For the Herero women, we see the capability to overcome cultural subjugation and persecution. For the Muslim women, we see the power to separate themselves from society and profess their faith and beliefs through the covering of their hair. For Jewish women, we see the fortitude to break a tradition long dominated by men, and the slow and progressive adoption of the tzitzit into daily wear. Each has their own story, their own origin, their own connection to those who wear them, yet all embody beauty and promote the strength of the females who are fighting for a place within their own cultures and within society as a greater whole.

[notthatiwilleverwriteit]

I'd love to hear your opinion on She Li's tattered t-shirt. When we see She Li in Mo's flashback, where he's 13, the shirt he's wearing is black and 'intact', just a normal shirt. However in recent episodes, when they're enjoying freetime after school, more often than not, we see him sporting a black shirt with holes and frayed edges. Now. I don't think that he never changed his shirt since he was 13, haha, since he obviously grew taller etc. But what do you think is the reason for him always

Hello, Elaine!

I think I have talked about SL’s appearances only once before:

My thoughts on SL’s piercing

Overall, I think SL is someone who pays attention to what kinds of clothes and accessories he wears. First of all, I imagine he has the kind of money to spend on fashionable clothes. Secondly, I think he has a certain image to uphold. He’s not only the leader of his own group at school but also seems to be involved in the underworld crews outside of school. In that world, outward appearances are probably very important.

Just my general take on SL when it comes to the subject before diving into your ideas and notions.

SL and clothes

Since we’re talking about one outfit, I figured I would browse through the comic and see what kind of clothes I could find. You mentioned that SL’s wardrobe seems rather monotone compared to the other characters, and I would agree but he has more variety if you look into the chapters. He also hasn’t been featured in the official illustrations as often as the main four, and it’s usually in those where the boys wear a lot of different outfits.

But let’s see! I’m not sure if one can draw any deep interpretations based on what SL wears, but I think there were a couple of interesting findings.

Black and brown (ch. 178, 184, 203, 283):

I was surprised to find this combination of a black T-shirt and brown pair of pants featured four times in the comic. That seems like a rather “neutral” outfit - it fits both school and his late-night activities. They don’t look particularly flashy but rather almost something that would blend SL into the crowd.

He was talking to his supposed superior in those clothes (the man who wanted MGS to take the blame for his underling). He walked around the school in them. But he as a younger kid also led his group with a ruthless iron fist while wearing those “normal” clothes. I’m not saying this outfit necessarily has any particular, “deeper” meaning behind it, but it made me think about his unpredictable side. Him wearing those kinds of clothes reminds me of an unhinged bad guy character that looks “normal” on the outside but is the most twisted of them all.

The ripped black shirts

I think the ones we have seen so far are two different shirts. This is what he wore when he came to see MGS in the hospital (ch. 248):

This was the shirt he was wearing when he threatened MGS at the train station (ch. 317):

They look similar but at a closer look, I think they are two different shirts. The sleeves of the first shirt seem to have slits in them while the second one’s are just frayed. The backs are also different. The second shirt doesn’t have those kinds of vertical cuts. Of course, this could just be a case of inconsistency in the art, but to me, they are two different shirts.

As much as I think SL could wear “normal” clothes like the black T-shirt and brown pants from earlier, I would say this kind of look fits his character, too. It’s flashy, stands out, and probably has cost more money which gives him that kind of status as well. It makes him look like someone who cares about what they’re wearing. Those clothes are a part of his status and image when he walks around the city with his group.

On both of these occasions when he was wearing that kind of tattered shirt, he was also being intimidating and had a strong aura of unpredictability. Of course, he has been those things while wearing “normal” clothes as well, but I think that kind of outfit enhances those sides in his character. The frayed, tattered shirt comes across intimidating to me. For some reason, in my head, it puts him above others in those scenes.

I also found your notion about “intact” interesting. Again, sometimes a shirt is just a shirt, and I’m not trying to reach to some kind of interpretations with this per se. But I couldn’t really see a young SL wear that kind of tattered shirt. He doesn’t feel “mature” enough for it. Or wear something super flashy when he’s around people who are above him in the hierarchy.

Could the tattered shirt be seen as a symbol of him becoming more disturbing as he has gotten older? Hmm. Perhaps, but it also gives me vibes of reading too much into things. I would say SL was plenty disturbing even when his black shirt didn’t have holes in it.

Other black outfits

Black in general seems to be often SL’s color when he’s featured in the comic. I think SL wearing an all-black outfit has been utilized at least twice so far.

This was SL’s outfit when HT learned he had given MGS the piercing holes (ch. 282):

Wearing black while being surrounded by others’ white or otherwise light colors makes him stand out when HT glares at him. He almost pops out from the crowd at HT when his gaze sweeps the mass of other students. SL also seems somehow sinister wearing all-black in this context when HT had just listened to what he had done to MGS.

Another time when SL was wearing nothing but black was when he saved MGS (ch. 319):

SL was covered in very dark colors from his umbrella to his shoes. Overall, the color palette of that flashback was interesting. Almost everything was either black or shades of grey. The biggest blotches of something else were MGS’s jacket (white) and his T-shirt and the garbage (both yellow).

Black is an interesting choice for SL’s whole outfit for that chapter. He did save MGS’s life but then immediately took a rather dark direction by saying it’s better if the homeless guy doesn’t wake up and twisting the situation around so that MGS now owed him. His outfit, black from head to toe, almost seemed to make him a part of that alley and the world of violence and unpredictability. Almost like a camouflage of sorts. He saved MGS only to hunt him himself. 

Other black clothes include his long black coat (ch. 241)

I think wearing that kind of big black coat (...BBC 🤭 Shut up, Venni 😒) made him at least a little more intimidating when he threatened JY. Combined with the way he was keeping his hands in the pockets, it made him look in control of the situation. All he needed to do was to smirk and take a step.

For some reason, that coat has always been one of my favorite outfits for SL. I like that it’s long and seems like it’s a bit baggy on him. I like the detail of the hood. I don’t know if you’ve read Twelve by Nick McDonell, but that jacket always gives me vibes that remind me of that novel. I could picture both SL and one of the characters in the novel - perhaps Claude, a psychopath who is also interested in bladed weapons - wearing that kind of jacket. They stand in the shadows of some alleyway, the rustling hood pulled over to hide them in the darkness. They’re hunched next to a brick wall, smoking a cigarette, fiddling with something in the pocket, and waiting for something. 

The Kill shirt

Apart from the black shirts with fraying and holes, I think the grey-blue “Kill” shirt has been another rather flashy outfit (ch. 267):

Though, I’m not sure if that “kill” was really meant as...killing? Even for SL’s character, having “kill” written on your shirt would be rather on the nose, I would say. I know SL often wears edgy clothing but...Really? Also, MGS wore a yellow jacket with “KILL” on the sleeve in one of the Christmas chapters (ch. 271). So, perhaps it’s some kind of inside reference or a brand or something.

I don’t know...I know the “kill” combined with SL’s character and the fact that he pulled a knife on HT is a very tempting connection to make, but for some reason, I’m reluctant to put them together. It would have the subtlety of writing the “dark side” on Darth Vader’s chest.

Black vs. white

According to my browse of the comic, SL has worn pure white only once (ch. 293/294):

This outfit of white jacket/shirt and black pants have two interesting outcomes. First of all, I think this has been the most “normal” outfit SL has worn in the comic so far. The black T-shirt and brown pants from earlier weren’t flashy but this outfit makes him look like the other students the most. It should be noted that so far we haven’t seen SL wear the school jersey/uniform like everyone else. The school doesn’t seem to have a dress code per se but many students wear the shirts/pants/skirts of white, black, or yellow and with black-and-white stripes. This is the first time we have seen SL have that same “white top, black bottom” combination as everyone else. (Well, the boys at least.)

This is interesting considering we also learned things about SL’s past in ch. 294. We got to know about his parents arguing and him seeming to prefer his own company. He had a syndrome that set him apart from others, made him a bit of a freak and weird. At the hospital, he came across something he wasn’t capable of but what seemed to fascinate him and maybe even something he was envious of. In retrospect, I think it’s interesting he was wearing the same colors and type of clothes as everyone else while he also perhaps became a little more...kid-like in our eyes.

Another thing him wearing white “created” was the contrast of colors between him and HT when SL went to taunt him (ch. 294):

In a way, the colors they’re wearing go “against” the kind of characters they are and what roles they play in MGS’s life. White is often associated with good and pure. Then again, it also fits the image of being a savior that SL seems to have of himself or at least how he likes to portray himself. He’s the bright light that will help you and set you free. Meanwhile, HT is wearing black which carries very different meanings: bad, doom, threat. But in truth, he’s the opposite of that when it comes to his role in MGS’s life.

I suppose that kind of positioning of the different ends of the color spectrum also raises the question of which color is more “powerful”, black or white. I would say both colors can be absolute. White can be blinding and overwhelming but its balance is very easily disturbed. Nothing can really overtake black.

...You asked about a shirt, and I gave you a full wardrobe.

Thank you for your question, Elaine!

[revlyncox]

Naming Our Joy

Taking note of all of the things that make us happy - large and small - is a helpful practice. This Platform Address was written for the Washington Ethical Society, June 20, 2021.

We started a project at our house on June 1. Even though we’re not yet back to spending a whole afternoon indoors at the library with the children, we wanted to collectively celebrate the experience of a summer reading club. The kids used several sheets of flip chart paper to draw one hundred rectangles, plus doodles and illustrations and instructions for a shared reading chart. Everyone in the house has their own color of magic marker to color in a rectangle with the name of a book as we complete it. Reading, for us, is a delight. Asking each other questions about what we’re reading is a love-language. And so, as the rectangles have bloomed in six different colors throughout the month so far, each one has been a small notation of joy.

Sometimes we think about the seasons of our joy only in terms of peak experiences. We think of the Winter Festival, or New Year’s Eve, or the state fair, each a symbolic splash on a monthly page in the scrapbooks in our minds. If you’re a person who celebrates birthdays, maybe that’s an important milestone. Maybe camping or travel or visiting family we can rarely see sticks out in our minds as we anticipate our hopes for the year ahead. These are all good things. And yet peak experiences are not the only things that bring us joy.

It seems to me that paying attention to all of the things that bring us joy can help carry us through times of transition. Many things in our shared lives are improving, and we’ll get back to some of our favorite big, celebratory events in adapted ways; meanwhile, let’s value all of the things that keep us grounded in the best of who we are and who we can be. Today, as we hang on the cusp of summer, celebrating parents and graduates and weddings and pride, yet still aching from a difficult year and a half, let’s open our minds and hearts to all the forms of joy we can name.

Today’s story, “A List,” from Frog and Toad Together by Arnold Lobel, gives some hints about how to notice joy. The attention to detail in this story, the room Lobel makes in the narrative for pause, and the enduring friendship that is the focus of the entire series are all helpful lessons for us as we gather up sparks of happiness in our own lives, fireflies that may be only with us for a moment, but whose lights we can remember for years. From this story, I learn that small things count, that it’s important to rest and reset, and that we can find joy when we travel together.

Small Things Count

As we are naming our joy, small things count. Frog begins his day by checking off tasks like, “get dressed” and “eat breakfast.” Those things matter. There are days when self-care is a victory, and days when we need to practice self-compassion because those tasks are out of reach. In some ways, it’s a practice of mindfulness, of paying attention to where we are in the moment. As we dress, we can notice the feeling of fabric on skin, and we can hold in loving kindness all those who saw to the completion of that garment.

I think back to times when celebrating small things got me through the day, or helped me inch toward a distant goal, or just brought me back to center after being knocked off balance by the regular turns of daily life. After my children were born, I decided to give fitness walking and running a try. I had never done that before - my favorite team sports up until that time were swimming and frisbee - but something about taking time for myself with my headphones every day was appealing at that point in my life. So I got a “couch to 5K” application on my phone to help guide me through workouts that started very small, and gradually increased until I could participate in a whole race.

The first couple of days were frustrating. I felt like I spent more time lacing up my shoes than I did actually running. But eventually, because there were records, I could look back and see my stamina increasing over time. Not every day, because some days are better than others, but over time there was improvement. I could celebrate when I could run rather than walk for a whole minute, and then a whole five minutes. When I was able to value the time I spent on the practice, even if all I could do that day was walk around the block, I had more energy to keep going. I did get to run in a race eventually. I have since switched to a different form of exercise for my regular workouts, because I have age-appropriate knees, but I did learn something about finding joy in small achievements. Sometimes we need to work up to things gradually, and when there are setbacks we need to work up gradually again. Writing down the joys and the milestones can help.

Focusing on the positive aspects of the experience and on the signs of improvement helped me sustain a practice. The same can be true for groups. I think people at WES have experienced Appreciative Inquiry before. Sometimes we think of Appreciative Inquiry in terms of a meeting or an event or a process of discernment, it’s also a paradigm shift in our organizational life together, a perspective where we lift up and leverage strengths rather than focusing on deficits. The philosophy of Appreciative Inquiry was developed by David Cooperrider and Suresh Srivastva at Case Western Reserve University in the early 1990s. So Appreciative Inquiry has been around for awhile now, and there are newer ideas we need to incorporate about competing value systems and multicultural competency, yet I think it is worth returning to an approach where we ask questions about what’s working and build a positive vision for a future we can move toward together. To bring out the best we can be, we need to identify and nurture what’s best right now.

As our community gradually re-emerges from the pandemic and builds toward a new normal of accessibility, inclusion, compassion, and justice, we will face setbacks, and the speed of our hopes may outpace the reality of how fast we can go without leaving people behind. Let’s find joy in each moment, each time we find ourselves sharing time or space or intention. When you appreciate something about WES going forward, write it down. Ask questions about how members can keep doing what you do well. Share your excitement about small things with others. Make a list, because small things count.

Rest and Reset

The second thing we learn from Frog and Toad about naming our joy is that we can rest and reset. The first thing on Toad’s list is “wake up.” That’s what makes it the beginning of the list. Every day is new. The last thing on the list is “go to sleep.” Toad does not take for granted that he will automatically remember to rest at the end of the day, he puts it on a list. Maybe some of us need a reminder sometimes, to care for our bodies instead of pushing to do one more thing. And when he doesn’t know what else to do, Toad pauses. Now, as the reader, we can imagine that it would also have been a fine choice for Toad to let go of his attachment to his list and either help Frog try to find it or create a new plan, and maybe that’s something some of us need to hear as well, but I also have some admiration for a character who will simply pause rather than rushing into the next thing without consideration.

We’ve talked before at WES about the tension between our focus on “deeds, not creeds,” and the philosophical foundation of the inherent worth and dignity of every person--value that people simply have without earning it. What we do, and the impact we have, is of greater concern than the intentions of our minds or the secrets of our hearts. Yet we cannot forget that worth is inherent, even if we or our neighbors haven’t achieved any great deeds lately. So I hope we can encourage ourselves and each other to rest. People need time to bask in their inherent worth; to notice the beauty of the people and world around them and within them; and to care for their own valuable, precious being. It may be the case that allowing rest for ourselves will also remind us of the inherent worth of others, and will lead us to create a world where every person can have what they need rather than putting up obstacles to separate the worthy from the unworthy. Rest may give us a foretaste of the Beloved Community. Rest creates room for the experience of joy.

The reset part is also important. We can experience time as a kind of river, and there are ways in which the past and the future flow into one another, yet most of us experience time as moving. The past and the present and the future are connected, but they are different from one another. Rest gives us an island in the river so that we can separate them, looking back and looking forward and looking around us so that we can differentiate what was from what is and from what we anticipate will be. Things that brought us joy in the past are worth remembering fondly, but that doesn’t mean repeating the same thing will bring us the same joy or is even possible. Being present in the here and now, resting in the sense of not striving or problem solving or planning or fixing, helps us experience what is bringing us joy right now, without diminishing that joy with comparison to the past or the future. Frog and Toad go to sleep. Maybe tomorrow they will take another walk, or go swimming, or grow a garden, or write a letter. But the comfort of being in that moment is where we pause at the end of that chapter, and pausing helps us value the joy in that moment. Rest and reset to highlight the joy of the present moment.

Travel Together

A third thing we learn from Frog and Toad is that traveling together can help us amplify joy. The thing on Toad’s to-do list that transforms his day is meeting up with Frog. As companions, they support each other in new discoveries, they affirm each other, and sometimes they can be of service to their friend in a way that brings its own kind of joy. When Frog sees the list, he says, “Oh, that is very nice.” Frog appreciates the project his friend has worked on, and that’s a source of happiness. When Toad is disappointed about losing his list, Frog sits with him, simply being present, the peace of friendship providing a balance to the sorrow of a project gone awry. As the evening nears, Frog reminds Toad of something on his list, and reconnecting with his project brings Toad the excitement of a reclaimed goal. There is more joy in their adventure together than there would have been for either of them alone.

May it be so for all of us. Sometimes companions are hard to find, and most relationships come with moments of tension and conflict, yet there are ways we can cultivate a practice of presence with one another that amplify joy, make sorrow more bearable, and help sustain us on the journey. Some of the secret is in the first two things we learned, that small things count and that we can take time to rest and reset. Small affirmations and appreciations make a difference in our relationships, they help us find joy in each other. Taking time to rest, being fully present even when our companions are having a difficult time, letting the new day reset us for the here and now to be with our loved ones as the people they have grown to become, all of these are practices of friendship that make room for joy.

Over the past year and a half, we have had to reassess what it means to travel together. We share time differently than we used to. We find connection in chat messages and text messages, shared movies over an internet connection, recorded sentiments and songs, notes back and forth about books we’re reading, and cards in the postal mail that are ever more precious. May it be so that in-person connections become more practical for more people, but that does not take away the value of the connections that sustained us during this time. We don’t need to devalue the ways we had to adapt, and we definitely don’t need to abandon the people for whom those adaptations are still needed. We are better together, and that includes the friends who have limited mobility, or sensory sensitivities, or transportation challenges, or delicate immune systems. Our beloveds of inherent worth come in many varieties.

I believe there are spectacular adventures ahead for WES. This continues to be a vital community of exploration, mutual support, and action for justice. We will find new ways to live out WES’s core values, and become ever more fluent in new and old ways to connect as members journey in collaboration. We are better together. In that, there is joy. I invite you to continue that joyful journey and your commitment to WES.

Conclusion

Our joy is cultivated and uplifted when we notice it in progress. This is especially true of the small joys, the moments of contentment, discovery, and affection that sneak up on us without being scheduled. Taking note of our joys - writing them down, sharing them with each other, savoring the moments, naming these times as what they are - helps us to experience them fully. Small things count, so give every moment of joy its due. Rest and reset, finding ways to be fully present and to bask in your inherent worth. Travel together, with appreciation for your companions, respect for their inherent worth, and joy in what you can discover in your shared journey.

[cyn-00]

Moreid one shot, 17 - "my hands"

Season 9, episode 3 "Final shot" (this is the one where the team has to catch a sniper: initially they thought the unsub was motivated by racism, and when they discover that the gun was the same used a few months before by "The General" - in prison, ex leader of a white supremacists group - to kill a black councilman - Adrian Clay - AND that in one of the shootings the assistant d.a. prosecuting him for that crime was killed; they decide to interview him. Re-interpretation of the scene where Morgan and JJ hold hands to make uncomfortable "The General" - racist son of a b*tch - during the interrogation... only there's Reid instead of JJ ;)

I believe @amplifreid and @smileythirteen asked me to tag them ❤️

Also, in my imaginary world, Morgan and Reid are a well established couple by season 9, but to illustrate this scene properly I think it was way better to assume they weren't a couple yet. Also with the same intent, the interview to "The General" (Adam Dawson) happens in an interrogation room with the one-way mirror glass and everything. Bear with the divergence from the actual scene - some of Dawson, Morgan and JJ's (=Reid) lines do remain pretty much the same, though

Read it on AO3

-------------

"Look at the change in his posture when Morgan got in..." Blake sighed, staring attentively at the interrogation room on the other side of the one-way glass. "Cocky. This guy's not gonna give us anything useful."

Rossi gave her an agreeing look, silently mimicking her head-shake while his hands slid in the pockets of his jeans.

"We'll have to work with that. Playing the black agent card is our best and only shot." Hotch replied.

"It's also very much obvious..." Blake added half-heartedly.

"He'll be too blinded by hate to even notice." Reid reassured her with a shrug, finally saying something after being glued to the glass for a few minutes with his arms folded on his chest, concentrated on the interrogation.

-

"Mr Dawson," Morgan greeted the convict with a fake polite tone, closing the door behind his back.

He sat in front of him and crossed his hands atop the metallic table. "Do you happen to have wondered why you're here?" he asked, squinting his eyes.

"I have a few guesses, yes." Dawson answered confidently.

Morgan tilted his head, while his brows shot up. He'd already picked up on what type of attitude the guy was planning to pull off on him for the whole duration of the interview. 

"Would you mind naming a couple of those for me?"

Dawson sighed, nodding his head. "I guess we're talking about my past involvement with the Southern Aryans."

"Past?"

"Past. Look, I even got my tattoos removed." he confirmed, not hesitating to show him the laser scar on the inside of his arm with a self-complacent grin, even if constricted in his movements by the cuffs chained to the table top.

Morgan couldn't bring himself to feign praising at the thought the guy once marked his skin with symbols and slogans to proudly remind himself and others that not only he was a racist son of a bitch, but more than that he also acted upon those retrograde and disgusting ideologies of his. So he just nodded, not even bothering to actually look at Dawson's arm.

-

Hotch's phone rang in his pocket, distracting him from the dynamic slowly - very slowly - unfolding in the other room.

"What is it Garcia?"

"My baby is in there with Dawson right?? Not that you aren't my baby too, sir- I MEAN you guys ALL are my babies regardless of our age gap-"

"Garcia." Aaron reprimanded her.

"Yes! I'm- I'm sorry, back to business: I managed to dig deep and dirty into every single detail about the murder of Adrian Clay, and in general every little, petty criminal activity this group of disgusting bigots have committed." she paused, gulping so noisily they could all hear it through the phone.

"They- they have engaged in a series of, quote unquote, 'harassments of any sort', in those areas of the city principally frequented by the lgbtq+ community through these past couple years. And- and Clay himself was rumored to be homosexual, but there's no reliable source for that." she explained in a rush, like she wanted to get it out of her brain as quickly as her breath allowed her to.

"...don't know about you, but I'm not all that surprised the shitheads are also homophobic. Those things don't sound like anything a group of neo-nazis wouldn't do, am I right?" Rossi snorted. "They'll target anything 'impure'." he air-quoted the word.

"Yes, that's what I had imagined too, I just- I just hoped I didn't have to get to the point of reading proof of it with my poor, pretty eyes! Like these guys weren't evil on earth already..."

"Garcia, is there a reason why you're telling us this?" Hotch furrowed his brows. They were running out of time, and Morgan was running out of questions aiming at making Dawson say what they wanted him to say.

"Actually sir, I hoped you'd ask because YES, there is a reason, and I know that this is not part of my job but I was thinking that maybe...you guys could use his homophobia at your advantage?" she kept it vague and stopped for a second to catch a reaction. Anything at all. But the others stayed silent to digest that idea.

"like, one of you boys could go in there and act a lil? Believe me I would sacrifice myself for that role, but you know-"

"Actually, that's not a bad idea at all. As Blake said earlier, Dawson was probably expecting us to use a black agent anyway, but this could actually set him off because it's a part of the group's criminal activity that's been hidden from the media and the general public. We're not supposed to even know about this." Reid spoke his mind out loud, receiving in response complete silence and three - well, four, if you count Garcia - pairs of eyes staring at him.

He stared back at them with his lips parted. "W-what? I'm right, right ?"

"You are." Blake simply said, raising a brow.

With a little delay compared to the others' - which NEVER happened - Spencer's mind started to process what that whole staring contest was supposed to mean.

"No- guys, I'm- I'm too young he won't- he'll never fall for it! If you take in account that I look way younger than I am, the age gap between me and Morgan is too wide, he's not a fool I can't-" he was starting to stutter and flush and almost hyperventilate to the point Hotch had to interrupt him.

"Reid. You know it has to be you." he gave him an apologetic look.

Reid wasn't trying to dodge the situation because he had a problem with fake flirting - he did not have a single problem with doing that. On the contrary: fake flirting for an interrogation or the like was the only way for Spencer to manage to pull off a flirty attitude with someone, covering it up with the fact that he was simply good at acting, since in actuality flirting wasn't exactly his first natural skill - it was Derek's. Problem was: he had to flirt with Derek Morgan, not someone.

On the other hand, Spencer also perfectly knew why it was their best shot to send him in instead of Hotch. Still, it was worth the try to dissuade him.

"You could do it, right?" he asked apprehensively, the tone of his voice lower and less certain than before.

Hotch knew he didn't need to explain it to him, so he didn't bother, keeping his gaze steady. Blake took on that duty for him, though:

"Spencer, you are exactly Dawson and his followers' stereotype of ideal human being. You're young, educated, intelligent, attractive, and more importantly: white." she paused, seeing that Reid had embarrassedly dropped his eyes when she mentioned him being attractive. Guess Morgan wasn't the only one labeling him as 'pretty boy' then.

"The only thing that parts you from being total perfection in his eyes, is your sexual orientation." she concluded.

"The minute we send you in, he'll think you're there to save him from an uncomfortable interview with a black agent. But when you'll start making avancés on Morgan, the guy will freak out." Rossi added, straight up.

Making avancés on Morgan. Dear God - Spencer knew he could do that with a minimum effort, and certainly without Derek making a big deal out of it; however the issue was: he would never get away with the physical reaction the avancés on Derek 's part would certainly trigger in his body, would he?

"THAT's what I meant!" Penelope's squealing voice filled the room all of a sudden, reminding them that she was still on speaker phone.

"Alright, thanks Garcia, that was a good catch." Hotch's firm facial expression never wavered an inch, even when he complimented her.

"Duty, sir."

"We can't call Morgan out, though. It has to be unexpected." he added, now only talking to his teammates in the room.

Without waiting for the others' agreeing - there was no need for that: he was right - Hotch pressed the button that allowed him to talk into Morgan's earpiece.

-

"Morgan. Guy's not only racist, but also homophobic. We're sending Reid in."

Morgan swallowed, trying not to make Dawson notice that he received an unspoken command he wasn't quite sure whether he'd be ready to obey, nor handle - emotionally AND physically.

When the door opened a second after, though, and he glanced over his shoulder at his tall, lean colleague standing behind him, waiting for permission to come in, Derek figured it shouldn't be all that hard to flirt with that.

"Pretty boy! Have a seat, we're having fun here." he gave Spencer his brightest grin, hand gesturing at him to come closer.

The younger agent smiled awkwardly and closed the door, making his way to the chair only 5 inches beside Derek's - who, by the way, was overly aware that their knees would inevitably touch if he didn't pay attention to keeping his legs glued together.

As Spencer got comfortable in his seat, keeping eye contact with him and subtly brushing his tongue in between his pink lips, Derek wondered if that was gonna come naturally to Spencer as it surely was to him. From the look on his face and his body language, Derek was leaning toward yes as an answer to that question.

"Mr Dawson is sick and tired of me." Derek scoffed, leaning back in his chair to stretch an arm on the backrest of Spencer's. "Guessing you came here with a few questions of your own?" he asked him.

"I did." Spencer replied, squinting at Dawson with an inquisitive look. "Mr Dawson, by any chance you've kept in contact with the other members of the Southern Aryans' group?"

"Agent-"

"Doctor." Derek pointed out dryly. "Doctor Spencer Reid." the way he pronounced his name caused Spencer to shift in his seat. Morgan wasn't quite sure why.

"Doctor, then." Dawson snorted, eyebrows raised in surprise as to why the older agent cared that much about specifying the other's title. "As I was saying: I'm in prison. My opportunities to socialize are...somewhat limited." he replied sarcastically. Which was how he'd been doing it at every single question Derek had asked.

The fact that he was managing to keep that cocky attitude was a sign that he wasn't uncomfortable enough. Everyone had imagined he would've got all jittery the second the nickname "pretty boy" would've come out of Morgan's mouth. Apparently so, Derek had to step up his game.

"Spencer, baby," Derek called him so he'd lean back in his chair as well, drawing his face farther away from "The General" and from under the blinding neon light beam illuminating the area of the table.

-

Reid leaned back as Morgan had implicitly asked him to, crossing his arms on his chest. Spencer, baby. The instinctive part of his brain didn't hesitate a second to recognize the combination of pet name + uncommon use of his first name, associated with Derek's deep voice. Probably because he'd imagined his colleague calling him that a thousand times, along with other names - some less appropriate than others - he couldn't keep his mind from drifting to when he heard that voice of his. The other part of his grey matter though, the logical, predominant one, the one used to Morgan only calling him by his last name or "pretty boy" and "kid" at most; sent a tingling sensation from the canal of his ear where the words reached him, all the way down to his arms and hands.

Spencer kept his gaze on the convict sitting across from them, as he realized Derek had inched dangerously closer to his ear. Dawson shifted nervously in his seat, jerking his eyes away from the two of them.

"You think we should kiss at some point? " the man asked mockingly at last, whispering and with a hand half-covering the motions of his mouth: he was acting like he didn't want Dawson to be able to hear, or read his labial - which, on the contrary, was exactly his plan.

Spencer froze. He tried to keep his look on Dawson unchanged. What he could NOT control, though, was the sensation of heat spreading up his neck, 3 inches from Derek's mouth. Dawson, too, was very noticeably trying to contain his sickened reaction, which turned out to be a mere close-eyed sigh and an irritated clench of jaw.

Reid pulled off the most natural chuckle he could, before answering out loud.

"I don't think it'll be necessary." it was true: Derek had asked only as a joke, and Spencer understood that. But he kinda wished in that moment it were appropriate for him to reply "yes, please, tongue me down during an interrogation."

Derek leaned forward again, finally removing his eyes from that spot of Spencer's jawline below his ear that moved as he spoke.

"Anyway. That's not what we heard." he said, pointing at him and Reid with his finger. "Rumor has it that you're in charge. In fact, you're still known as 'The General'."

"Some folks would like to, uh, imbue me with a great deal of power. But it's a mantle I choose not to accept." The General answered, his voice less arrogant than before and maybe even ever-so-slightly hoarse.

"So you COULD call the shots, you just... choose not to...?" Reid asked, unconvinced and a bit concerned about what kind of annoyingly fake-innocent answer the guy would give this time.

"That's what I said. How can I lead when I no longer believe, 'pretty boy' ?" Dawson replied, back at it with his smug tone, air-quoting the nickname.

Spencer had the abrupt - albeit fictitious - feeling that someone was knotting his guts with their bare hands, when he heard the man pronouncing those two words. Sacred, two words, only reserved to Morgan.

"Doctor Spencer Reid, is my name. Thought you were smart enough to understand it the first time." he said ice cold, leaning forward, knuckles white from crossing his hands too tightly over the table top.

"You're not allowed to call him that." Morgan stated, his black eyes piercing through the man in front of them.

"With all due respect, that's what you called him earlier, agent Morgan."

"With all due respect, Spencer is MY boyfriend, not yours." Derek bit back.

The lack of hesitation in pronouncing the words 'Spencer is my boyfriend' and how good they sounded coming out of Morgan's lips, along with the way he untangled Reid's hands to take one of them in his, warmly and comfortingly intertwining their fingers to loosen the tension in his phalanges - all of it, made Spencer's heart speed up, and his lungs hitch as he breathed, and his mouth water, realizing now more than ever how much he actually wished all of that could be real.

-

"Although I bet you wish he was your boyfriend, don't you?" Morgan added, teasing Dawson even more. The man snorted, but his body language was telling them that he was struggling to keep an unbothered attitude.

"Is that why you killed Adrian Clay? Because he was black and probably had a boyfriend, just like agent Morgan here?" Spencer asked.

Derek looked at him with his brows raised, pleased at how well he was keeping up with his game. Though, that sensation managed to ease only partially the slight but sudden feeling of discomfort that hit in his chest, at the news that the councilman that was killed was black AND gay, just like...him? Was he bisexual? The things flashing in Morgan's mind in reaction to the proximity with Reid's body, and that feeling of having his hand melting in his - the feeling that holding Spencer's hand was right - were making Derek doubt even more his already unclear understanding of his own sexual orientation. Doctor Spencer Reid was making him doubt once again his sexual orientation.

Clenching his hands in tight fists, Dawson made an effort to visibly swallow the expectedly offensive comments he bore on the matter - Derek found himself mentally thanking him for that - and shifted his eyes toward the wall at his left, too disgusted by him and Spencer to keep looking at them any longer.

As soon as he did that, Morgan felt Reid's hand slipping out of his, much to his silent disapproval.

"Alright Derek we- we're wasting our time here." Spencer mumbled, turning his back on Derek with his eyes low and placing a palm on the table top, about to stand up from the chair.

Derek had the impression that Spencer's reaction was somewhat genuine, that he really was starting to get triggered by The General's attitude - righteously. But, as selfish as he knew it sounded, he didn't want Reid to leave his side. His hand. Him.

Before he could effectively get up, Morgan wrapped his hand around that spot on Reid's arm, the crook where his forearm met his bicep, a couple inches below his shirt rolled up sleeve; that spot where his exposed skin was sensitive enough that those curling fingers sprung tickling chills everywhere, intense to the point of Spencer freezing in place and turning his head to give Derek worried puppy eyes and sweet, slightly pouty lips that Goddammit can I just KISS them off his face?

"C'mon baby, I just have a few more questions" Derek settled to say, softly, trying to recover from that fucking look of his.

"No seriously, can- can we just g-"

"Hey, hey, hold tight. We haven't even got to the point yet. It'll only take a second and then we don't have to see this son of a bitch's face anymore alright? Promise." Morgan reassured him; pitch black irises staring straight into hazel brown ones.

Spencer sighed and nodded, as Derek loosened the grip. He leaned back on his chair and crossed his arms, annoyed but ready to listen to more of the man's crap.

Dawson snorted. "You must have quite the nerve to come in here and insult me, tell me I'm a racist and a homophobic-"

"Nobody said either of those things, Mr Dawson." Derek tilted his head. "We asked, and you didn't answer. Not verbally anyway. Seems to me that now you are the one saying those words, uh?"

"What do you know about today's events?" Reid cut it short, not even willing to wait for Dawson's reaction at Morgan's insinuation.

"Today's events?"

"You must have heard about the shootings." Derek specified, carelessly leaning on the backrest, and decided it was the moment to do what he had planned on doing since Spencer entered the room.

-

Reid had his eyes fixated on Dawson, to catch every single twitch of his facial muscles, or minute movement of his body.

Suddenly he felt a hot, broad hand wrapping around his inner thigh. He sincerely hoped the only physical reaction to that were his toes curling up inside his shoes, or at worst how his breath got stuck in his throat for a second, and nothing visible on the outside - because on the inside, he could feel his whole abdomen heat up at a concerning rate.

When the man's hand started stroking back and forth, each time his palm went upwards it seemed to Spencer that it was getting closer and closer to that part of his body he wished so bad Derek wasn't aiming for - at least not in that context. Spencer tightened the grip of his hands bracing his arms, thanking God that shirts were made of cotton and not paper that would start flaking off under the squeezing pressure of sweaty fingers.

He couldn't allow himself to take his eyes off Dawson, especially now that he'd seen Morgan's hand on Reid's thigh and had immediately stiffened up; his temples glimmering with sweat under the neon light.

Dawson gulped nervously and looked away from the whole rubbing of skin on fabric, bringing his gaze back to Morgan's smirking face. "Enlighten me."

"The assistant d.a. prosecuting you for the murder of Adrian Clay was killed." Reid condensed the explanation, realizing that if he wanted to look natural he had to say something. He admittedly did a pretty good job at keeping his voice steady, considering Morgan's hand seemed having no intention to find rest any time soon.

A confused scowl crinkled the convict's face.

"Did you order that hit?" Derek asked. To be fair, both him and Spencer were almost 100% sure by then that the guy had no idea what they were talking about.

"I had nothing to do with it." Dawson asserted without hesitation, his voice deep and unfazed.

By that point, Spencer had relaxed into the other's touch, and he didn't know whether it was supposed to be a good sign or not. He didn't know whether the fact that he melted like jelly under Morgan's hands, even being usually uncomfortable with touching in general, was a good sign because it meant that he felt safe within their friendship and trustful of him; or it was a bad sign because it meant that his body was designed to be touched like that by his colleague and him only. He didn't know whether it was good that if he thought of anyone else - his former crush JJ, for instance - touching him in a way that wasn't finalized to be emotionally comforting, he would picture it as uneasy regardless, be it 30 seconds or 30 minutes long; whereas he was almost certain that that very same kind of touch applied upon his body by Morgan's hands would be in equal parts electrifying and soothing each time, all the time.

He wasn't supposed to try and understand any of it, though. Nobody was asking that of him - Derek wasn't asking and would never ask that of him. There was no need for Spencer to spend hours analyzing how that kind of approach would affect him. Because it was an unrealistic scenario that didn't belong in his future, anyway.

A growing wave of self-consciousness and realism woke Reid up from that thought. All of a sudden he realized he couldn't bear staying there any longer than a couple minutes at best. Hence, he speeded things up.

-

"You had nothing to do with it?" Spencer's calm voice echoed in the room that had been silent for a while. Dawson didn't repeat himself.

Derek was ready to throw in the towel - he was frustrated that the case wouldn't come to a solution as easy and logical as a white supremacist targeting the assistant d.a. prosecuting him, but on the other hand he couldn't say he hadn't enjoyed spending time touching Spencer without the commitment of having to admit he would've wanted to do it regardless of the interview.

With the corner of his eye he saw Spencer finally untangling his arms and stretching one of them toward him. He didn't have the time to take a mental guess on what he was planning to do, that he felt his feather-like fingers slightly brushing against his nape.

Derek's palm stopped moving on the other's thigh, immobilized, the moment Spencer's cotton-hand spread to cup the back of his neck; a lukewarm and soft sensation growing on the very surface of his skin as well as deep inside his chest - nothing short of a cheesy metaphor, if you will, of how Spencer's touch had the power of rocking up both his emotions AND his body.

When Spencer's thumb started tracing slow circles on the side of his neck, Derek found himself imperceptibly tilting his head back to sink into his touch; trying not to put pressure or, way worse, squeeze the other man's thigh, who might've taken it as a cue that Morgan was enjoying what he was doing. He most certainly was, by the way.

"And that would be, because you're not racist or homophobic anymore?" Spencer ultimately asked.

God, he was smarter than he gave himself credit for when it came to pushing all the bad guys' buttons. And they couldn't even get mad, with that face that he had. At least, Derek knew he could never - best case scenario, he would limit to sprinkling said face with kisse- ahem, what?

-

"I'm done talking to you." Dawson claimed, having pulled himself together enough to bring back almost entirely that confident attitude he had when Morgan first got in.

"Oh, we are too." Morgan said arching his brows. He stood up on his feet, regretting detaching from Reid's contact immediately after.

"Mr Dawson, I can't tell you how impressed i am with you!" he added dry-wittingly.

Derek leaned forward over the table and grabbed the man's hands in his own, cuffed to the cold, metallic surface. He kept his eyes no more than 7 inches from his, making sure he couldn't escape them.

"So I'd like to shake your hand, and congratulate you for making such a positive change in your life." he said, his voice low and thorough, resonating in The General's ears.

Dawson lost his cool and instinctively tried to snatch his hands away from Morgan's grip, soon realizing it wasn't his grip he couldn't escape, rather the one obliged by the chained handcuffs.

"I'd be really careful." Morgan advised, a stabbing glare in his eyes.

"Because somebody might think you still believe."

Clearly, Derek had long lost any interest in keeping the boyfriend-play going: he looked furious and quite nauseous - and it was his God-given right to feel as such. Nonetheless, that was nothing but the millionth proof that Spencer had no reason to fantasize about their relationship becoming something more, someday.

Morgan stormed out of the room. Reid followed a few seconds after, which he'd spent shooting Dawson one last glance - not nearly as threatening and blood-freezing as his colleague's, but still.

-

When they got on the other side of the glass, Reid felt all eyes on them - especially on him, for some reason. It was like someone slapped him back into reality.

"Sorry guys, I- I kinda snapped." Morgan finally spoke up, a hand on his hip and the other rubbing his face.

"Don't. It was very much understandable." Blake reassured him, waving a hand and shaking her head.

"Well, what can I say?" Rossi changed the topic. "Great job in there." he added with a hint of smirk, arching a brow and shifting his gaze from Spencer to Derek and viceversa several times.

"Pretty boy here did all the work." Derek's tone was lighter now, as he pointed at pretty boy.

Spencer bit the inside of his cheek, unable to even say a due "thank you" - it would've come off as pathetic in that moment, to say the least.

"It- it was kinda useless, though...he had no idea what we were talking about." he said instead, sighing disappointedly and crossing his arms on his chest.

"He didn't even explicitly confess anything about his past crimes that we brought up. We literally only managed to confirm that he's a racist, homophobic piece of shit." Derek scoffed.

"We didn't need to put up a show for that though, did we?" he concluded, as his previous frustration arose again; seconds before splitting his way through his standing teammates to get out of the room.

They followed him with their eyes, and once the door was closed - slammed, almost - behind him, they got back to looking at Reid, who was frowning deeply.

After a long silence, Rossi nodded his head toward the door, like he was giving him permission to go and talk to Morgan.

Reid sighed and followed Morgan's previous steps, trying to hide how his words and tone from earlier had someway offended him. Judging by his demeanor and his glances in the interrogation room, Spencer could've sworn Derek seemed to have almost enjoyed it - he didn't care that it was probably more of a mocking kind of enjoyment, rather than a genuine 'I enjoyed touching you'. It was still something. And, at the end of the day, Derek Morgan had rubbed a hand on his thigh 2 inches from his groin, for Christ's sake, how dare he keep complaining?

He was startled awake from his paranoia by Hotch's hand, placed on his shoulder the second Spencer had grabbed the door handle.

"I hope I didn't push you too much. I'm sorry if I did."

Spencer shook his head. "Not me. I don't know about Morgan, though."

-

"Hey" a soft voice awakened Morgan from his thoughts.

He stopped pacing up and down the hallway and raised his eyes from the floor. He truly wasn't expecting Reid to follow him.

"H- hey, kid."

"Everything alright?"

No. Nothing was alright. From how wrong and dirty Dawson's behavior made him feel, to how right he found himself unwillingly thinking the contact with Spencer's body was: NOTHING was alright.

"Yeah, yeah I'm fine." he answered anyway.

Spencer nodded, unconvinced. And this time it wasn't because of his capability to read his colleague and best friend like an open book, rather simply because Derek didn't know how to hide his discomfort anymore.

Reid made a few steps forward, supposedly to make the conversation more intimate - though nobody was really around, so that left the other a bit confused. Plus, boy was definitely too close now, if it was Derek's to say.

"Look, I- I'm sorry it had to be me, I tried to convince Hotch to do it at my place but- but he said that I was more suited to be-" Spencer almost hiccuped. "...for the role, because I'm younger and-"

"Hey, hey, it's alright, it's not you." Derek interrupted him, placing a hand on his shoulder, seeing that he was starting to get flustered and even guilty on some measure. He also noticed how he avoided the word 'boyfriend'. He wasn't sure what to think of that, though.

"It's him. How he looked at us- at ME. I just- I don't know, I just can't believe some people out there really think it's not normal to be gay or black or both, that's all." Derek paused. "as if one could help it, right?" he snorted.

Spencer raised his eyes from the floor. "Yeah. I get that." he murmured.

Derek chuckled a little as a thought popped into his head, taking his hand off of Spencer's shoulder and shoving it back in his pocket.

"Honestly I don't know if I could've done it with Hotch. He's my superior, it would've been...weird, lemme tell you."

Reid giggled and...blushed a little? At least that's what it seemed. Morgan didn't take it well, though: he thought he'd made him uncomfortable.

"I mean," he swallowed sheepishly. "I mean, I hope I didn't...mess you up. I know you're not comfortable with touching."

-

Mess him up. That was cute. Derek Morgan had "messed him up" the second he had introduced himself to Spencer on his first day at the BAU. The guy had never known Spencer as not messed up.

"W- what?? No, no absolutely not, it was part of the thing. We- you had to...touch me. Wouldn't have worked otherwise." Spencer replied, furrowing his brows and shaking his head vigorously.

Silence.

"I have to ask you this..." Morgan said, regaining his usual teasing attitude. Reid wasn't sure if he was supposed to be relieved, because it meant the man had relaxed a little; or if he should start worrying about what that attitude would imply. Probably the second.

"Ask what?" Spencer hoped his heart couldn't be heard as loudly from outside as it was inside his ears.

"Was it all...acting?" Derek paused, and Spencer faked a confused expression, because before answering he had to be sure he meant what he thought he meant.

"...cause it looked very natural, if you ask me." Yeah, he did mean what Spencer thought he meant.

Morgan looked around quickly and came even closer. He non-chalantly took Reid's tie in his hands and straightened it - earning a gasp from him - biting his bottom lip like he was really concentrated on the task - which he wasn't. He didn't give a shit if his tie was ok, he was clearly doing it to make Reid's blood pulse out of his veins.

"Was it? Natural?" he repeated, almost murmuring at that point.

Spencer didn't know what to answer: he had stopped the train of thought that would've eventually led to a proper answer to that question when he was in the interrogation room, and he had suddenly realized that Derek would never ask such a thing of him. And there he was: asking it to him.

"I guess, kinda...? I- I'm not sure-" he finally replied, his chin tilted down to follow with his eyes what the man's hands were carefully doing with his tie, taking advantage in the fact that Derek couldn't look at his face in order to do that.

He couldn't stop his mind from drifting to that imaginary place where Morgan's hands would most definitely not stick to adjusting his tie; that place where he was allowed to wonder that if the man was so good at adjusting ties, then what else could those nimble fingers do.

As if that weren't enough already, Derek ran his tongue in between his lips, before speaking up.

"Me neither."

Suddenly, he raised his eyes to look at something that was happening behind Reid's shoulder. He coughed and nodded in that direction, forcing himself to take his hands off Spencer.

Reid turned around and saw it: Hotch, Blake and Rossi were walking their way toward them; luckily chatting instead of looking at Morgan "adjusting his tie" or whatever.

-

"And did you mind? My hands, I mean." Derek whispered in his ear from behind him, making him wince at how those words flowed smoothly in a hot, steamy wave over his neck.

Spencer didn't turn around, nor look at him with the corner of his eye - which he could've easily done. He concentrated on staring forward at their teammates approaching closer, rather than on the inviting heat radiating from the man only a few inches behind him.

"...n- not- not really..." he muttered, not sure what kind of nerve pushed him to give Morgan even the slightest hint that he could've enjoyed it, instead of denying adamantly.

Another breathy, humid whisper tickled his ear.

"Me neither."

[jackcinephile]

L'Inferno (1911) Movie Review!

As promised, we're gonna be celebrating this Spooky Season with a Devilman Crybaby headcanon! In order to fully express my HC, I will be reviewing icons of horror cinema and literature that helped contribute to many of the themes and ideas that are prevalent in Go Nagai's original manga. So, without further ado, let us descend into the Blind World. Put all fear and cowardice aside. I will be your guide through this eternal place, where you shall hear the shrieks and see the tormented spirits who all bewail the second death.

And how appropriate? Because our first film is the 1911 adaptation of The Inferno by Dante Alighieri. I suppose it's only right to begin this saga of horror films with one of the first horror films ever made. Okay, "first horror film" is actually debatable, so keep in mind that I said "ONE of the first." In any case, it remains one of the most important landmarks in horror cinema.

"Stopped, in the middle of what we call life,

I looked up and saw no sky, but rather a dense cage of leaf and tree and twig,

For I was lost."

The film opens as the iconic poem does. Dante Alighieri is a middle-aged man who finds himself lost in a dark, gloomy forest. This opening of the story always had a way of making me feel somewhat lonely and isolated. In my interpretation, I always saw this forest as being symbolic of how Dante felt after the death of Beatrice. Allow me to explain...

For those who don't know, Dante met a young girl named Beatrice when they were both nine years old. The young boy immediately fell in love with her, even though they hardly interacted. Despite their lives continuing in separate directions, Beatrice had always and forever held a special place in Dante's heart. When he received word that she had died, Dante was absolutely devastated. He felt that she deserved to be immortalized in what he intended to be his magnum opus; The Divine Comedy.

I believe that this opening to the Inferno is actually Dante going to a journey to find Beatrice so that he could say goodbye to her. Along the way, he got lost, both literally and spiritually. That, in my opinion, is what this forest symbolizes. In many ways, this opening kind of reminds of the opening to Silent Hill 2, just from how dismal it is.

Having said all that, I think the film does a very poor job of conveying those emotions. Sadly, I just don't feel any of the despair that was present in the original poem. He just wanders around for a few seconds, then steps out into a clearing. But don't worry! As soon as Dante steps into the clearing, the film IMMEDIATELY gets better. Upon entering this clearing, Dante finds himself at the base of, what I believe to be, Mount Purgatory. I can only assume that's where he is, because the gates of Hell are at its base, and Dante seems to suggest the gates of heaven are at its summit, just like Purgatory. Unfortunately, his path is blocked by three ravenous beasts: a leopard, a lion, and a she-wolf, all representing different Earthly sins. He runs back the way he came, before being rescued by a strange apparition. It's here that the film begins to remind us all of why the original poem is regarded as a self-insert fanfic...

Upon introducing himself to the apparition, Dante learns that it is the actually the ghost of Virgil, author of the Aeneid. The significance of Virgil being in the story is that he was Dante's favorite poet of all time, and Dante always longed to meet and interact with him. It's literally a self-insert fanfic of Dante meeting and interacting with all of his inspirations. It's honestly a mystery to me why I love The Inferno so much, because it's everything I hate! It's a Catholic's fanfic about why he sees himself and his friends as morally superior and why everyone he ever disagreed with is going to Hell. Somehow, in spite of all that, I still love it.

So why did Virgil even decide to help Dante in the first place? Well, remember when I talked about Beatrice dying? It turns out, she descended from Heaven into Hell to ask him for help, because she knew how important he was to Dante. She tasked Virgil with being Dante's guide, after seeing that he has gone astray.

This is where the film's innovation starts to take shape. Beatrice has often been drawn as having a halo around her head. The problem is, how do you show that in a film made in 1911? The effect was strikingly realized with, what I assume to be, spinning rods covered in reflective material. I can only guess this is how it was done, but it appears right to me, because that's how a similar effect was created for the lightsabers in the original Star Wars. It looks like the rods were placed behind the actress, so that the rig couldn't be seen, making it appear as if the light was emanating from her head. This scene also displays an early appearance of wire work on film. In those days, that shit wasn't easy. It was even harder to hide the effect, which this film does fairly well.

So, Virgil explains to Dante that he must take him on a pilgrimage through the three different stages of the afterlife. To be perfectly honest, I never understood why. Maybe I'm just an idiot with little to no reading comprehension. It's also a factor that I haven't read parts II and III of the Divine Comedy, so maybe it's elaborated better in there. From what I gathered, since Dante is going on a journey to find the literal Stairway to Heaven (Led Zeppelin intensifies) Virgil needs to take him to Hell and Purgatory, so he can face his sins and better appreciate Paradise. And thus, Virgil's pilgrimage to lead Dante through the Afterlife begins!

"Through me, the way to the City of Woe

Through me, the way to everlasting pain

Through me, the way among the people lost

Divine Power made me

Eternal I endure

Abandon Hope, all ye who enter here"

That is the inscription above the Gates of Hell. It is here, that Dante is already planning on turning back. Virgil literally tells him to stop being a pussy, and I was satisfied. Once they enter the gates, it becomes apparent to the viewer, if it hasn't already, that this isn't just an adaptation of Dante's work. This film is actually a cinematic translation of the ICONIC illustrations by Gustave Dore that were created in the middle of the 19th century. So much care and detail was put into recreating his AMAZING artwork, that many consider to be his magnum opus. This film was basically the Zack Snyder's Watchmen of its day!

Those familiar with the story will recognize this iconic scene that is being recreated onscreen. Dante and Virgil have come to the shores of Acharon, where the souls of the damned board Charon's vessel to be taken before Judge Minos, who lives in Limbo.

Speaking of Limbo, that is the first spiral of Hell Dante visits. This is where good people who weren't Christians come to face eternity. Their punishment is meant to be the denial of Paradise, but if you ask me, it doesn't seem so bad. Apparently Dante felt the same way, because this is where he meets his other great inspirations, such as Homer and Ovid! The poets all enjoy their visit together before Virgil must take Dante on his way. This is honestly the part that makes me cringe the most. Nothing reeks of self-insert fanfic more than meeting your idols and being greatly respected by all them. This is exactly why I abandoned my Silent Hill fanfic.

Anyway, Minos's throne lies at the lower boarder of Limbo. The king himself appears as a giant naked bearded man with a snake tail. The tail is used to determine the punishment of sinners by wrapping around Minos's own neck multiple times. However many times the tail coils determines which spiral the sinner is sent to.

And here we get to my favorite scene in the whole film: Lust! This spiral perfectly displays the true innovation of special effects. In this spiral, sinners are punished by being caught in a tumultuous whirlwind. The wind symbolizes the tumultuous feelings that arise between lustful lovers. It's one of Dore's best illustrations, and it blows my mind that the filmmakers were able to recreate it so well!

Our two pilgrims move onward to the Spiral of Gluttony, where we come across Cerberus. He guards this spiral, but Virgil subdues him by throwing a clump of dirt in his face (still more respectful than Lore Olympus). Honestly, Gluttony is nothing to write home about. It's just a raining landscape with people laying in the mud. Still, I have to give credit for the meticulous recreation of Dore's art!

Down in Greed, who else do we find guarding this spiral, other than Plutus?

SIDE NOTE: I've read a very strange "translation" of his dialogue. The original line reads, "Pape Satan, Pape Satan, allepe!" Strangely, no one seems to agree on what exactly this means, so most translations are different. Particularly, in the case of Douglas Neff, he translates "Pape" to "Papa," which is strange because "Pape" means "Pope" in Itialian. Then, he changes "allepe" to "you are my king." Let's also not forget that Plutus was also occasionally used as an epithet for Hades and/or Pluto. This means Douglas Neff literally wrote Hades to say, "Daddy Satan, I worship you" (still more respectful than Lore Olympus)!

In the Spiral of Greed, the sinners are forced push heavy sacks of gold around for eternity. Once again, this scene is nothing special, but still an admirable recreation of the illustrations that inspired it.

The next scene, however, shows off more of the innovative talent that makes this film so amazing! Virgil and Dante move on to the Spiral of Anger, where the sinners are punished by being submerged in the black sludge of the River Styx. The only way across is by boat. This is where Phlegyas comes in. The two poets stand by a giant tower which they use to signal for passage to the City of Dis. Along the way, the boat is stopped by Dante's political and intellectual rival, Philipo Argenti. It's here that one realizes just how petty Dante truly was. "Oh, I disagree with you politically. Therefore, you deserve to drown in sludge for all eternity!" He sounds like people I used to know. Hell, he sounds like me in high school!

All while this is going on, we see an amazing special effect of a double exposure of Dis in the background. It's an amazing miniature of the city's outer wall, optically printed to take up the entire top half of the screen.

Finally, they make it to the other side of the river, where we actually get a cameo by Hades' and Persephone's children! No, not Zagareus, Makaria, and Melinoe. None of those people were Hades' and Persephone's children. I'm actually referring to the Erinyes (also known as, the Furies). They block Dante's entrance to the city's gates, so Virgil calls upon the aid of an Archangel to rid them of the Furies. It is here that Dante asserts the superiority of Christianity over the Hellenistic faith (still more respectful than Lore Olympus).

Within the City of Dis, Hell begins to look more like how we always imagined, with fire and brimstone. In the Spiral of Heresy, sinners are stuffed into eternally burning ovens embedded in the ground.

Beyond that is the only omitted sequence from the poem. In the original Divine Comedy, the Spiral of Violence is originally guarded by the Minotaur! Beyond that are sinners, stewed in a boiling river of blood (The Phlegethon). On the banks, we see a heard of Centaurs practicing their archery on them. These are the individuals who were violent towards other people. In order to cross the river of blood, Dante and Virgil must ride on the back of one of the centaurs. You know, having heard of centaurs' notorious reputation for being horrible rapists, it makes me concerned for the sake of our Pilgrims. Maybe they didn't include this in the film because they couldn't figure out how to make a centaur?

On the other side of the Phlegethon, Violence continues into the suicide forest (*Logan Paul reference here*). Here is where sinners, who were violent against themselves, are punished. Once judged to this spiral, they grow into trees. The symbolism being that trees are a symbol of life, of which these sinners have deprived themselves. I'm surprised this scene isn't more controversial. After all, seeing as how seriously mental health has been taken recently, it's fucking awful to tell someone they're going to Hell for committing suicide! As a peice of horrific imagery, I love this scene, but knowing that Dante actually believed this makes me despise it.

In addition to being a horrifying concept, this scene also includes one of the first instances of bloodshed in a horror film. Virgil explains to Dante that he can speak with the sinners if he breaks one of their branches. When he does, blood sprays out of the tree like a drinking fountain!

After a brief conversation with the sinners, Dante moves on to the final section of violence, where people were violent against God. Here the sinners are punished in a desert that perpetually rains fire.

Now, not every special effect in this film is good. Because when Dante rides down to the eighth spiral on Geryon's back, it is such a stiff, unnatural, badly puppeteered marrianet that they couldn't even keep stable for the shot!

"There is a place in Hell called the Malebolge..."

Now, we get to my favorite part of the whole poem: The Spiral of Fraud. Here the deceivers are punished in a myriad of ways, depending on how they lied to others.

In the first Spiral of the Malebolge, those who pander towards others are mercilessly whipped for all eternity. This marks the first appearance of the classic image of the winged demons that we all know and love.

In the second spiral, the flattererers bathe in a stagnant pond of their own feces and vomit. This symbolizes the value of the words that they spew at other people. I think this might be where the expression, "You're full of shit," came from. Think about it; you say that to people whom you think are lying to you, and this is in the Spiral of Fraud.

Incidentally, this punishment was referenced in a Turkish horror film called Baskin -- a film about a small group of off-duty police officers who crash their car and wake up in Hell. In that film, the main characters realize they're in Hell when they find demon raping someone, while shoving her face in a bowl of her own face and vomit. Baskin is not a part of this HC, so I'll have to talk about it later. For now, I'll just say it's one of the best horror films I've ever seen!

In the third spiral, those who joined the Catholic Church for their own personal gain are buried head first, with their feet sticking out in the air.

In the fourth spiral, fortune tellers have their heads turned backwards. This prevents them from looking forward, symbolizing their attempts to see into the future.

In the fifth spiral, the sinners are repeatedly dipped in boiling tar. This scene is especially interesting because it shows that the demons we see aren't actually monsters. They're just creatures doing their jobs, punishing sinners. In fact one of the demons named Malecoda assigns a group of demons to help escort Dante and Virgil through the rest of the Malebolge. That, unfortunately, doesn't work out, however, because the demons are distracted by a sinner trying to escape, so Dante and Virgil move on alone. What's also unfortunate, is that other demons, who assume that Virgil and Dante are also sinners trying to escape, chase them into the next spiral. Luckily, each demon is confined to their own spiral, so they can't keep chasing them.

In the sixth spiral, the hypocrites are forced to wear robes made of solid gold. They also find Caiaphas nailed to the ground. As someone who has Jesus Christ Superstar on his top three list of favorite albums, I was happy to see Caiaphas get referenced.

In the seventh spiral, the thieves are bound by snakes, whose venom causes them to burn to ashes. One thief in particular gets attacked by a giant lizard that makes him into a lizardman (someone tell Alex Jones).

In the eighth spiral, the false advisors are eternally engulfed in flames.

In the ninth spiral, the sowers of discord are viciously mutilated. My favorite part about this scene is that it's one of the first instances of gore in a horror movie. The prophet Muhammad has been cloven from his belly to his throat with his guts spilling out all over the place. That's right! Muhammad is depicted in the Inferno. Not only that, but Gustave Dore drew him. Damn. Dante has no chill. Hey, the founder of the most homophobic religion in the world rots in eternal Hell? I'm not complaining! This kinda makes up for the portrayal of suicide victims.

In the tenth spiral, the falsifiers are punished with enternal leprosy.

At last, we make it to the Spiral of Treachery, at the center of the earth. Here, the traitors are frozen within the Lake Cocytus.

"Lo! Dis Himself!

Emperor of the Kingdom of Woe"

Finally, at the climax of this horrific epic, we see Satan, and it's not what you're expecting! He is in the very center of the lake, frozen up to his waist in ice, and forced to eat the three greatest traitors of all. His body is covered in course fur, and he has three heads and six wings. Satan's appearance in this story is disarming and almost pathetic in a way. You'd imagine Satan to be this fearsome king, but he's just shown to be suffering like everyone else. It's kind of sad, really.

The film ends with Dante and Virgil climbing down Satan's leg fur and ending up at the base of Mount Purgatory.

L'Inferno is one of the first true masterpieces of horror! It's hard to believe that this movie is almost 110 years old! Just think of how it would have been to see it in theaters for the first time when it was new. We owe it to this film for proving the language of Cinema could be used to tell the most epic stories possibly conceived.

You can watch the film for yourself here:https://youtu.be/cMUPbPOGPdM

Now, you're probably thinking, "What the Sam Fuck does any of this have to do with Devilman Crybaby?" Well, for starters, in Go Nagai's original manga, the character Asuka Ryo implies that Dante's Divine Comedy might have been based on a true story. This is futher validated when the demon Xenon appears and bears a strong resemblance to Dante's description of Satan. But beyond the surface-level details, let's discuss some of the deeper implications of what Hell actually is. Within this headcanon, the Afterlife is an entirely separate dimension, occupying the same space as our Earth, but invisible to our eyes. There is a way, however, to see and explore this separate dimension. You see, when different dimensions intersect at certain angles, they sometimes leave gaps through which we can come through and cross over to the other dimension. It was through one of these gaps that Virgil was able to find Dante. These angles and gaps between dimensions will be further explored in a later film.

[inyoursheets]

7 8 20!

What do you think are the characteristics of your personal writing style? Would others agree?

uhhhhhhhhhhhhhhh im not sure???? ive been sitting on this ask bc i have very little insight into my own writing style bc i know next to nothing about writing i just do it / my brain basically just goes: let’s make these two characters kiss!!!! and then i decorate around that a little. but here’s my attempt pls correct me if im wrong

unnecessary  details just cuz

internal dialogue-esque / glimpses of character’s inner world

the occasional metaphor

the opposite of time jumps. time…..falls? yeah

?????????

idk

Is what you like to write the same as what you like to read?

i mean yes, but not exclusively

Tell us the meta about your writing that you really want to ramble to people about (symbolism you’ve included, character or relationship development that you love, hidden references, callbacks or clues for future scenes?)

i like this format let’s do more of it

OK SO warm water includes ~symbolism things~ in the usage of color + doors/anything that could be used as a door (like windows)

the fic was born out of me seeing an illustration of an apartment in a lot of blues yet giving of a very warm, home-y vibe anyways

cue me going crazy with blue + warmth / blue + the space that rio & beth share, which evolved into lots of water-y imagery ??? bc water is blue i guess

water is so rich

anyway

other spaces and people in the fic get their own core color(s), which we’ll see later in the fic as well

idk something with color i haven’t thought it all the way through but it kept coming in handy during the writing

then for the door thing -- it’s such an easy, obvious way to indicate transition / closeness / distance / the changing relationship between beth and rio in this fic

so this is why many a threshold appears in this fic

bc in some ways the line between friendship and romance and the dance between them, the ever-present potentiality of something more feels like standing on a threshold and somethings swinging more to one side and sometimes more to the other??? i guess????? idk if im explaining this right

some examples:

we begin the fic with a door locking when beth comes home -- the door gets locked bc what they are at the start of the fic is steady, while ambiguous

The weight of it’s-only-Wednesday is settled deep in Beth’s shoulders as she steps into the apartment, locking the door behind her and toeing out of her shoes, only to kick them next to Rio’s without a look.

then things start shifting slowly, starting with everybody’s favorite cashier observing the pair, convinced they’re a couple -- so the door starts swinging

“Like a goddamn puppy,” is the last thing she hears from behind the register, as the doors swing closed behind them.

we get some rio-in-the-threshold action, trying to maintain some sense of distance / boundaries, which we learn is not a new habit

It’s late when Rio suddenly bursts in her room, the way he always does -- leaning his torso inside the room, his left arm stretched, his hand on her doorknob, but leaving his feet planted firmly in the threshold, like he’s trying to avoid stepping onto holy grounds.

he gives in, goes into beth’s bedroom, but after aria’s interruption of his speech, he closes off again

“Yeah. Yeah, let’s go back to bed,” he says, voice devoid of the anger it just held. He moves away, touching Aria’s shoulder as they make their way to the hallway, and he glances back at Beth with a loaded look that pins her into place.

He waits a beat, then shuts the door without so much as a goodbye.

then! a wild thanh appears at a door!

Beth’s thoughts fly back to this morning, to Thanh’s lingering kisses at the door after their lazy, hungover attempt at morning sex, which involved more laughter than anything else. It was nice. Light, in a way she had missed.

we get to see rio near a door again, trying to get some distance (again)

“Rio,” she starts.

He turns back around when he reaches his bedroom door, dark eyes taking her in with an incredulity she can’t make sense of. His voice is hoarse when he finally speaks.

“Does it matter?”

He disappears inside. The question lingers.

then there’s windows, also indicating that there’s always something more possible between beth and rio -- which is why their windows never shut (just like rio’s in canon). any mention of a window shows that potentiality

examples:

It’s a silence filled with noise -- the hum of the fridge, the sound of the oven working, their upstairs neighbor playing bass-guitar, the sounds of the street below them flowing inside from the window that’s cracked open in the living room, and vaguely, a conversations being held out in the hall.

(…)

Beth shivers, the cold wind coming from the window that’s cracked open in the living room suddenly strong enough for her to feel her nipples pebble and get goosebumps all over.

(…)

His hands warming her shoulders steady her, despite the erratic pace of her heart. It feels like they stand there for hours, in their living room, early dusk bleeding from the windows and spilling into the room with the rush of the street down below. He’s just calmly taking her in without moving away.

in future chapters we’ll see the contrast between beth and rio and beth and thanh and aria and rio through windows, such as (spoiler):

Unlike those big, awkward ones in her apartment that never shut, Thanh’s windows -- floor to ceiling, sleek, dripping of casual wealth, much like the rest of his place -- don’t open.

so yeah! windows! doors! colors! also water! in the first chapter and in upcoming chapters!

idk if any of it does exactly what i want it to do, but it’s useful for me to play w these things, so that’s fun. and that’s all that matters in the end, i guess

thank you for letting me ramble!!! meta writing asks!!!!