#and now i know everything about one very specific thing

[four-loose-screws]

Hi! I’ve seen people people say that Dimitri speaks in an informal rude manner in Japanese so him being super polite in English is weird changes his character a lot, but I’ve also seen people say the localization is just fine. Could you clear up please? Thank you!

This ask has been in my inbox forever, and I know other ENG/JP bilingual FE fans have weighed in on this topic before. But exploring the nuances of Japanese formal vs. casual speech is always super fun, so I want to share my own thoughts too. There's always a chance there will be more to learn with each new person's input on the same topic. Plus, I discovered some things even I didn't expect! So, I'll still offer everything I have to say!

First, I'll explain the full background this ask is referring to. Japanese has 2 major distinct speaking styles - casual and formal. I was taught to call the formal style "distal" - because it is more about respecting distance in social standing than being formal specifically. But formal is the more common term, so I tend to stick with saying formal most of the time.

The distinction between casual and formal is made with pronoun choice, word choice, and other factors as well, but the fastest way to differentiate the two is to look/ listen for the use of desu and masu at the end of someone's sentences. Formal uses them. Casual drops them. This concept is entirely foreign to English speakers!

Dimitri drops desu and masu most of the time. His "I pronoun" is also ore, and his "you pronoun" is omae - both casual, blunt, and masculine choices. But does speaking casually to most of the cast make him rude?

Short answer is... no, not at all! There's 2 major reasons for this.

Reason #1 - the rules for casual vs. formal speech are a bit different in reality vs. fiction:

Partially, Dimitri speaks casually because he is showing his personality. He's got all those traits most standard FE protagonists share - he's strong, straightforward, and wants to connect directly on a personal level with everyone he meets. He tries to convince several characters that they can speak casually with him, because he sees people as people, and doesn't want social status putting distance between them.

Fictional characters generally speak more in-line with their personality more often, rather than following the socially acceptable speaking rules of the real world. (Though don't get me wrong - casual real Japanese people will speak casually in more circumstances than the average Japanese person.) This is simply the style that Japanese writers largely choose. And I think it is one of the great benefits of Japanese - anyone can start to pick up on a character's personality archetype almost instantly, thanks to their speaking style!

Reason #2 - Dimitri is a prince, making him of high social rank:

Here's the second nuance to this - it is absolutely standard for a superior to talk to their subordinates in casual style.

In modern times, this is shown in the workplace. Bosses and those in other leadership positions will frequently speak casually with the staff in a lower-ranking position than them. The president of the office I now work at is Japanese, and he speaks very casually with me - I have to be formal in response though, because he's at the top!!

But in the past, this would have been a distinction made between lord/ royalty, and those beneath them. Which is the case that is relevant in Fire Emblem's setting.

Dimitri can also speak casually without coming off as rude, because he is one of the highest ranking people across all of Fodlan.

-

Okay, so that's the answer in broad strokes - but let's get a bit more nuanced, go down Dimitri's support partner list, and confirm whether or not he always speaks casually!

Group #1 - Dimitri and the other citizens of Faerghus (8 other Blue Lions + Gilbert)

Dimitri has a multi-layered relationship with all of the other 8 Blue Lions. They are citizens of the country he is a prince of, therefore he is ranked very highly in social standing above them. But they are also his friends, classmates, and later, war allies; placing them on the same social level in that regard. So the way they speak to him comes down to a little bit of column A - personality, and a little bit of column B - which aspect of their relationship with Dimitri they feel is the "main" one.

Gilbert is also here in this category, as another person from Faerghus.

Dedue: Dimitri speaks casually, Dedue speaks formally, as they have a lord/ servant relationship. Dimitri wants Dedue to be a very close friend to him though, and wants Dedue to speak casually with him - this is a major source of tension in their supports. In the end, being able to mutually speak casually with each other and be friends, is a place they may reach one day. With other characters, Dedue speaks casually.

Felix: As royalty above Felix's noble house, Dimitri speaks casually. Felix is Felix, so he speaks casually too. I imagine he sees Dimitri quite literally as more of a wild boar than a human being, much less royalty.

Ashe: Dimitri speaks casually, Ashe speaks formally. However, pretty much the whole point of their supports is Dimitri attempting to get Ashe to speak casually with him.. Ashe tries in earnest to switch, but in the end sticks with speaking formally, otherwise he feels too uncomfortable. His view of Dimitri as his prince is too strong for him to let go and speak casually.

Sylvain: Dimitri speaks casually, and Sylvain speaks casually more often, but actually switches to desu and masu more than once. When a relationship is "in-between" higher/lower social standing and friendship, it's not uncommon for at least one person to switch back and forth between casual and polite speech, depending on which side of the relationship they are appealing to more at the moment. This happens in real life too as people shift from strangers, coworkers, etc. to friends.

Mercedes: They both speak casually. In Mercedes' case, I think she's speaks more in-line with her personality rather than paying attention to social status.

Annette: Both speak casually, but Annette is well aware that there's something a little wrong with that - her father would never let her get away with it if he knew!

Ingrid: Dimitri speaks casually, Ingrid speaks formally. But I think Ingrid speaks formally with everyone.

Gilbert: As you can probably guess based on my comments in Dimitri and Annette's analysis, her father most certainly speaks formally with Dimitri! He is very formal and takes social heirarchy very seriously. Dimitri, as the prince above him in social status, speaks casually.

Group #2 - The other characters at the monastary:

Since the remaining characters are not from Faerghus, Dimitri is not their prince. They'll be more likely to view him through the lens of a different relationship than royalty/ subject.

Catherine is originally from Faerghus yes, but she has cut her ties from her homeland completely to serve Rhea, so she fits into this group now.

Raphael: Both speak casually. I think Raphael treats everyone like a life-long friend!! He at least attaches san or sensei (teacher) to the names of his instructors, but that's about it for formal language for him.

Marianne: Dimitri speaks casually. Marianne speaks formally, as she does with everyone. I think she even attaches san to everyone's name, conveying how much she keeps her distance from people, trying not to form close relationships.

Flayn: Dimitri speaks casually. Flayn speaks formally, as I think she does with everyone.

Hapi: Both speak casually. I think Hapi speaks casually with everyone.

Alois: Now *here's* where things get interesting! At this point, I really thought I would discover that Dimitri speaks casually with everyone. But alas, he does NOT! Dimitri speaks formally with Alois, while Alois speaks casually to him. Why? Well, while Dimitri is a prince, he's also a student at Garreg Mach (in Part 1 of course). In this way, he is below all Garreg Mach staff and professors in social standing. So it makes perfect sense that he'd speak formally and Alois would be casual in this case.

Catherine: Same situation as Dimitri and Alois - as someone who serves as an instructor at Garreg Mach, all students like Dimitri are below her in status at the monastary. So Dimitri speaks formally, and she speaks casually.

Byleth: I left Byleth for last, because while Byleth is a professor at the monastary... Dimitri speaks casually with them. I imagine this has more to do with Byleth being the self insert than anything. Everyone bonds to Byleth on a deep level faster than magnets stick together.

And that's all I can think of to say for now! This is a super fun example of how nuanced Japanese's casual vs. formal language can get, and showcases one of the many reasons why Japanese has such a high barrier of entry for anyone learning it - including young native speakers! You don't get all this desu and masu stuff, until finally you just do.

Let me know if I missed anything, or if anyone has any follow up comments to make!

I apologize it took me so long to respond to this one! Thank you anon, and all readers, for waiting! I hope it helped explain even more of the trickier nuances of Japanese.

[naomistares]

since your art style has changed (and i love how expressive and mischievous? it feels now, idk if that makes sense but i admire the heck out of your growth) what does your process look like now? do you use the same brushes as before? do you want to talk about what you love about your work now? i saw your tag about tlt redraws now that you like your art and it made me curious. anyway love your art so much, nori!

hi!! thank you so much for this very cool question!! i guess before i just drew without much putting any thought to like... anything at all haha, only when i started doing comics was when i actively tried to make myself enjoy the process more.

i just thought about what I hated and tried to change it and just do a lot more art studies in my own time and try to really think about everything... like composition ! and like with colors, i didn't like how i only used to use desaturated tones, when i enjoyed more colors in other art i see.

or with poses, i didn't like how everything i drew felt very static to me, it still does but i'm getting better!! so i've studied dynamic-ness and whatnot.

i didn't like how "realistic" i would naturally go with proportions while drawing when my personal taste enjoyed more cartoon-ish and whimsical proportions, so i tried to be a little bit more loose with that but i'm not all there yet. for example, when i do some reference studies in my own time i find myself copying it 1:1 as it is, so now i try to incorporate it into a specific style without just copying it, it doesn't feel like i benefited otherwise!

i'm also trying to currently improve my lineart, i'm finding it much more enjoyable to draw with a thin brush! my lines were often thick and bulky and not super clean.

and yes!! i used to be loyal to like one or two brushes but i'm just trying new things constantly and it definitely affects the general vibe of the drawing, i've been obsessed with pencil brushes but i'm retiring it for a bit for a more jagged brush that i'm obsessed with now lol (still haven't posted anything with that, (working on it) but it totally changed the vibe.)

i feel like i often know when something looks right but i struggle on how to get there at times, but lately i've been seeing more right than wrong and just generally enjoying drawing.... drawing is my favorite thing.... i clocked in 9 hours yesterday on procreate.

[ghost-bison]

Doctor Who: 1x08 The Satan Pit (2006) / 60th anniversary special 2/3 Wild Blue Yonder (2023)

I frankly love that parallel. One scene taken out of each of the two RTD eras.

First there's the colour palettes. You can see that they're polar opposites. RTD era1 was warm all the time as talked about in this post (which I love dearly, I keep referencing it in my posts), and then we have RTD era2, which has a more modern-looking, colder palette for science fiction.

But it's also a directing choice for the mood I think, cause on the one hand, we have Rose who, we all know, would even give up on seeing her mum again if it meant she got to spend the rest of her life with the Doctor (quite like Donna back in series 4 actually, who was very prompt to say she was going to travel with Ten forever). On the other hand we have Donna in 2023 who's now got a daughter and a husband and who hadn't even planned on doing a trip with the Doctor in the first place, let alone at the edge of the universe. I mean, they were just supposed to go see Wilfred! On one side we have Ten who's slowly recovering from the trauma of the Time War and falling in love for the first time in a while and re-learning that he deserves to be loved, too. On the other side we have Fourteen who, just as Donna put it, is "staggering", and as Fifteen said, is "running on fumes". He's got FOUR regenerations worth of trauma on Ten who was already struggling as it was with one (since the Time War I mean. Maybe two if we count Nine, cause who knows what he's been through between his regeneration and meeting Rose). Fourteen went through losing Rose, Donna, Amy, Rory, River, Clara, Bill, and he went through Pandorica, billions of years imprisoned by the Time Lords in his own personal hell, finding out about the Timeless Child, etc... and now, on top of everything, he's got to deal face to face with the guilt of what he did to Donna as she's been given back to him. Anyway, it's dark, when you think about it. No wonder the colours are so much colder in Wild Blue Yonder.

Then there's the music. In The Satan Pit, the soundtrack, The Impossible Planet, has a mystical quality to it. It's slightly creepy (I mean, it IS an episode about Satan), but it's mostly mysterious. Ten and Rose are only 500 years away from home. But in Wild Blue Yonder, Fourteen and Donna are 100 TRILLION YEARS away from home. The soundtrack from that scene, The Edge of Creation, isn't just mysterious, it's eerie and ethereal and perfectly encompasses what it would feel like to stand somewhere so impossibly alien it has become supernatural (if you can't tell I am obsessed with that track and episode lmao).

I love the contrast between Rose and Donna and the questions they ask. Rose's question is cute, she's like "I've seen it in films, is that it?", it stems from a place of curiosity, like she doesn't really realize the deep shit that they're in. She's just a kid. Whereas Donna's question, it stems from a place of dread: "Where's the light?". It almost has a "The Licked Hand" quality to it (if you don't know that story: the girl is scared, she puts her hand under the bed, her dog licks it. She goes into the bathroom, finds her dog dead in the tub, and written in its blood are the words 'humans can lick too').

Then, finally, there's the order in which things have been done: in The Satan Pit, Rose remarks they're "a long way from home". Ten takes a long look at her, and seeing that she seems a bit scared, he explains to her how long it would take to get home. In Wild Blue Yonder, Fourteen first explains to Donna how long it would take to get home, and only THEN, he takes a long look at her, and finally Donna says "that's my family, over there". It parallels Rose's sentence in the sense that they both talk about home and how far away it is, but they use different words for it with a different meaning behind. Donna is more specific on what she'll be returning to when it's over (her family), whereas Rose, who isn't as grounded as her, just says "home" (which, for her, probably just means the place she grew up). I also love the contrast between Rose's "a long way" and Donna's "over there". The first implies foreign, the second implies close enough to see. What's interesting about this bit is Donna is further away from home than Rose is, geographically speaking. But for Rose, Home is actually the Doctor, just him, so she has no problem saying she's "a long way from home" since she doesn't mean it in the same way Donna would. So for Donna, when she says "over there", it's because the Home she's talking about is closer to her heart, and she's probably trying to reassure herself that she'll see her family again (I used to do something like that when I was in primary school, I'd travel all the way back to my house in my head to kiss my parents on the cheek because I was so homesick).

So that's that I guess

[seaofreverie]

Sparkstember Day 18: Balls (Bullet Train)

Sometimes (oftentimes) it's true that all you need are Balls. I personally absolutely love Balls. I'm a big fan! Ekhem. Today I'm using the help of (I mean, copying most of the passages from it) my earlier Balls rant that I have written down after my first listen of it back in January. I really love this album and I don't want to completely skip over saying a couple words on it at least but I really don't think I have the headspace to write anything very good for it today. I'll still try though!

So yeah, Balls. It's a great album, fun and chill (in my sense of what I call and consider chill anyway), consistent, as Sparks albums tend to be, and as I suspected / hoped it does fit this specific vibe of driving around at night somewhere city-like and illuminated. Or being on a train deep at night and looking at the world zooming by (if you'd even see much of it on a train at night anyway.....). And I do think that it's not so dissimilar to Gratsax (I'd say now that it's definitely darker and moodier than its predecessor...). So it's interesting to think about how it's considered to be one of the "weak" ones (by music reviewers at least) while Gratsax is so beloved in comparision.

I will admit, I don't really know what the big problem with this album could be. As I said, it's fun, it has the melodies, it has the energy, it has the theatricality (I like seeing how more and more orchestral instruments such as strings are being incorporated into the music, in a way the jump into Lil' Beethoven two years later doesn't come of as THAT much of a shock because of this. The evolution of sound here is fascinating!) I really like the intense beats, just as much as the more laid-back and moodier pieces. And there's lots of gold to be found in the lyrics department as always.

One more thing I wanna say is that at some point I wondered if this music sounds older than it is. Maybe it does? But then I remembered that this was 2000 and honestly when I think about it, there just IS something about this album that fits so well with the Y2K image and vibe and all. Sparks 2000 and all that.

Favourite songs (and other highlights):

Balls: I mean. It's Balls.

Scheherazade: absolutely LOVE this one and I had the strangest impression of it sounding very familiar when I first heard it. Months later I found out that it was just briefly featured in TSB so I think that explains it (I will talk more about my TSB viewings on TSB day. EVERYTHING has to be explained in excruciating detail, lmao)

The Calm Before The Storm: bugsonas 4ever. Song itself is amazing too

How To Get Your Ass Kicked: how can a song about getting your ass kicked be so pleasant and relaxing, it always keeps cracking me up, how perfect that is actually

Bullet Train: I love it how introducing the topic of the song with a "It's the [topic of the song]" is a reoccurring theme on this album. Thank you Sparks for this ode to technology and art (these lyrics always have me giggling). And also it just goes hard as heck

It's Educational: a perfect fusion of / sequel to I Thought I Told You To Wait In The Car and Progress (it's mostly the vocal delivery that reminds me of the latter)

The Angels: such an odd one here but I still like it a lot, I apparently said that it sounds "surprisingly mainstream for Sparks but somehow in a positive way". It's very sweet and I absolutely love how Russell sings here, it's so different from what we're used to but that only makes it hit you even more in the feels, lol. And I actually prefer the alternative version of this song that's featured as a bonus track, and I do think that's in big part because you can hear Russell better on it (or that was my first impression of it at least and it kind of stuck)

[lara-cairncross]

OKAY. SO. I just looked through the entire fairy au tag..I apologize for all the notifs .... bUT that being said, because I just looked at everything, I don't think any of this has been discussed much, so I have a few questions!! (This is actually a really long ask I apologize for that as well)

Do the turtles give gifts to April? I know there was talk about Donnie making like tiny versions of what he thinks are his own ideas and inventions for April to use, but do the other turtles ever make anything for her? I noticed like a vine kind of looking ring that she had in the size comparison with Leo, and I was wondering if that was given by one of the turtles, or if she already had it just because she would definitely make herself a little ring out of like flower stems or whatever. ALSO. ACTUALLY. It looks similar to what Mikey has around his arms and legs, sooooo ??? (And is that bracelet she has, also in that drawing, possibly from one of the turtles as well ?)

And, does she ever make anything for the turtles? AND AND AND does she ever make anything with the turtles? I feel like she would make things with Mikey, like jewelry and stuff idk

OH AND ALSO. I'm curious about Donnie's glasses. Because they are clearly different than Bobble's with the water drops, are Donnie's like glass or something? Like actual lenses or whatever?? Aaaand did he somehow make them himself, while not being able to see very well before making them, or did someone else help him with that? And how did he get the materials for them?

I realized I'm extra curious about Donnie (and his glasses specifically help-) and extra EXTRA curious about April's interactions with the turtles.... I'm wondering if you have any ideas about the kinds of stuff they do together? Whether just April and one of the turtles, or all five of them together, or any combination?

Anyway yeah that's it for now. I really really really really love this au and I will probably come back and ask more questions because RHAHWWSUWHSWHHSHWNWKEZJEJHRHEHFHGEGS they're my favourite silly goofy little guys fr!!!!

AHSHSHFHE PLEASE DONT APOLOGIZE FOR THE NOTIFS OR THE QUESTIONS !!! getting spammed makes me feel so loved mwah <3 I know this ask is from a while ago, but I remember seeing you all over my "activity" tab :DDD

Yes, the turtles all give gifts to April! she has SO many little trinkets laying around her cabin from the fairy boys, bc she never throws any of them out,,, even if a lot of them are kinda useless to her lmao (looking at Donnie's "inventions" for this one). The little flower stem ring around her finger is just something she made for herself (probably after one of the boys taught her, I'm thinking Mikey?), but the bracelet was intended to be a gift from Leo :D he finds all kinds of pretty rocks/gems/lost things around Neverland when he's making deliveries and finding materials and stuff. April gets a lot of old jewelry and seashells and things from Leo! Raph tends to give her little things that his animals have shed (pretty scales and feathers, maybe the occasional antler or talon?), and Mikey will just. Fill her house with flowers. And not, like, cut flowers-- just CLUMPS of dirt and roots all over April's counters. All the boys will help him do it too, and April feels too bad to tell them to stop HAH

2. Most of what April "makes" for the turtles is just various human dishes that they want to try! She gets a bunch of weird snacks for them too-- like, can you imagine a fairy trying a Taki for the first time? A SOUR PATCH KID??? Donnie drinks one single drop of hot sauce and dies immediately lmao. She doesn't really make them gifts, but she'll buy Donnie whatever cool human materials she thinks he can make something out of (more on that later--), and she'll get specific video games and phone apps and movies that she thinks the boys will like!! And maybe the occasional bigger gift, like a stuffed animal for Rose :) ALSO YES she would totally make flower crowns and rings and stuff with Mikey!! gotta do smth with all the flowers he's dumping in her living room rip

3. FUN FACT ABOUT DONNIES GLASSES (I've been waiting for someone to ask about this--): He started off with glasses/goggles that were similar to Bobble's water-drop ones!!! He only figured out to make glasses with actual lenses once he met April, and got to study HER glasses! His own glasses are made of, like, cheap magnifying lenses April bought him, and he cut them down to size :DD The metal on his goggles/shell/glasses is all also stuff that April bought for him-- probably like, wire of different sizes. She gets him a lot of human materials to play around with hehe

4. Group activities with the boys + April can be anything, really. Her family's cabin is kinda in the middle of nowhere, and April is a city girl at heart, so sometimes the boys will force her to go hiking or exploring in the woods with them :D She hated it at first, but as time goes on, she gets more used to the bugs and the wildlife and everything-- especially since Raph and Leo will do their best to scout out routes beforehand so she doesn't get freaked out by anything. Movie nights are also really common! So are video games, to an extent? But it takes basically all four turtles to maneuver one X-box controller, so it's a little more rare lmao. April definitely wins 90% of the time.

5. As for individual activities-- those are also a bit more rare. The two boys April interacts with one-on-one (or two-on-one) the most are Leo and Mikey, since they're usually the least busy, and Leo can fast-fly them to April's cabin and back really quickly. Typically though, Leo doesn't go to the cabin unless all five of them are available to meet up!

(...although Leo starts bringing Mikey more often once Mikey loses his job. teehee.)

AHHEHFHER THANK YOU FOR ASKING SO MANY QUESTIONS!!!!! I loveeeeee getting to worldbuild a bit :DDD I STILL CANT BELIEVE PEOPLE ARE INTERESTED IN THIS LIKE THATS CRAZY TO ME LMAO

let me know if you have any more questions! thanks bby <3

[kirain]

This was a post from a HOT minute ago but do you still accept discussion on the whole Gale/Mystra debate?

I have questions about Gale approaching the nerherese magic Mystra warned him against. I know it can be argued he was doing it to be accepted by her, to feel equal in a relationship with a goddess where he could never be equal, but where is any in game content to support this? I can’t recall anything except for some lines about Gale saying that despite being with a goddess it wasn’t enough and he pushed her boundaries. Thank you very much!

Hello! Tbh, I feel like I've said everything I need to about Gale and Mystra (especially now that the game's been out for over a year), but I'll try to give a short response to you and one other anon I'm working on answering, as you were both really polite about it and I appreciate that.

There are several points in the game where Gale says the gods make "playthings" of mortals, and that Mystra never saw him as "worthy". He never explicitly uses the word "equal", but it becomes clear throughout specific interactions that all Gale wants is to be seen as an equal to his partner. That's why he abandons his ambition if you convince him he's good enough as a human. He doesn't say he pushed Mystra's boundaries, but rather that he "wasn't satisfied". And he wasn't, because she made him feel inadequate.

That's also why he won't remain in a relationship with Tav unless they ascend alongside him. Imagine having immorality and all the power of a god at your fingertips, but rejecting it because someone says, "You're fine, though." I don't think most people would walk away from godhood just because of a few honeyed words—especially when they're doomed to die—but Gale does. He also says during his conversation with Tav that he initially wanted more power to "serve Mystra better" and to prove his love to her. One could argue that's a deflection from the truth, but he says the same thing to Mystra at the temple, when he's fully penitent and seeking her forgiveness. He wasn't lying.

Plus, Gale's ambition changes through the acts. During Act 1 and 2, he's willing to die for Mystra, to prove his devotion and contrition. But by Act 3, he's angry. Scared, as he already was, but angry on top of it. He sees a way out and he takes it. By that point, his only ambition is to live, and he'll even give that up if Tav encourages him to stay mortal or become Mystra's Chosen again. All he needs to hear from Tav or Mystra is "you were already worthy". As in worthy of being seen. Worthy of being treated as an equal. Mystra didn't give him that.

[beauty-and-passion]

CCCC Vol.1 - Cacophony: the beginning (2/5)

And finally, after a long time, welcome back to the Cacophony act.

Mucka Blucka gave us a good summary of the current situation and an interesting foreshadowing of what will happen along the way. All we know (for now) is:

Heart is the leader when the story starts

There was an initial attempt at compromise among the three sides

Mind doesn’t accept Heart as leader and tries to appoint himself as the new leader instead

Something happens, a fixed event on the time loop that changes the status quo (the Juno incident)

The consequences of this event will lead to Heart’s apathy and Mind taking full control

Oh and let’s not forget that these things should still happen, but have already happened too, because we’re stuck in a loop.

So, in order to better understand the whole thing, it’s time for us to “enter” the loop, by its starting point - or, well, the “peaceful period” prior to the big incident. And this “beginning phase” is developed through the next three songs.

<- Previous post - First post

_______________________________

Never Meant to Know: introduction from Chonny

Never Meant to Know is a song about the mysteries of life. Many things are unexplained, and many questions will never have an answer. This evokes a sense of uncertainty, of insignificance in comparison to such huge enigmas, but also a sense of communion, since we are part of these enigmas and live alongside them.

And now, I can hear your questions:

Why is this an introduction from Chonny?

In the Q&A, Chonny said that he made this album because he wanted to explore the mysteries of duality and mental dissonance. In his words:

“The idea that the same brain can produce completely separate and juxtaposed conclusions from a single input is strange, and something I’ve noticed fairly frequently throughout my currently short life. CCCC is a manifestation of those dissonances from an extremely personal and biased perspective, in song form.”

Our brains and the complex mechanisms behind our reasoning are a mystery still mostly unknown. And Chonny knows that, considering it’s one of his interests. Hence, with this song it’s a bit as if he’s trying to make us understand that too: we are facing something mysterious and we will do it through Chonny’s lenses - specifically, through the characters he made, to talk about the themes he wanted to explore.

Does that mean this is an introduction from Chonny as an author?

It’s very possible and I kinda like the idea. But it can also be an introduction from Chonny as a character.

Why? Well, everything will be clearer in the Concord act, but if this is a loop, that means all we will see already happened - so it’s not just events, but memories too. And a Chonny who already saw and experienced all of them has a higher awareness of himself and his mental processes.

So this introduction can easily come from a Chonny who, right after the Concord act, starts the new loop, while still retaining the awareness he developed by already experiencing it.

Okay, but why is the introduction here and not in the Calamity act?

As we saw in the previous post, the Calamity act served to close the previous time loop and connect to the new one.

Think of it as raising the curtain on a show or turning the screen on: the story hasn’t started yet, but the preparations are made. You get a little glimpse of what has to come (Mucka Blucka) and now, the story can finally start after a little “prologue/disclaimer” (Never Meant to Know).

And who can make the introduction of the story, if not the character who is closer to Chonny’s reasoning?

_______________________________

Spring and a Storm: introduction from the Soul

Of course it was Soul who introduced us to the story: he was the last and first voice in the previous loop (Dream), it makes sense he opens the story too. After all, he’s the one closer to Chonny.

Soul’s introduction has some elements already hinted at in Mucka Blucka: a romance, the concept of writing songs for himself, but also writing a specific song and feeling good about it (we’ll get references about it in Haiku and Hidden in the Sand).

He also hints at conversations with a mysterious “she”: weather, religious beliefs, life mysteries. But instead of simple, plain answers, there are dark undertones and twisted, complicated thoughts. All hints that Chonny’s mind is a lot darker and complicated than it seems.

And we’re about to see it.

_______________________________

Night: the starting point

This song is just one huge metaphor so follow me.

Under Soul’s suggestion, Heart leaves a light on “underneath the moon”.

Since the moon and the night are both associated with Heart, they can easily serve as metaphors to identify Heart’s leadership.

On the other hand, the sun and the light are associated with Mind. So by leaving a light on underneath the moon, Heart is implying that, while he’s being in charge, he’s still leaving a door open/he’s giving Mind a chance to come closer.

Please notice: the idea of leaving the light on (aka giving Mind a chance to come closer) wasn’t Heart’s. It was Soul who suggested it. Why, you may ask? Because Soul has one goal and one goal only: to unify. And they can’t do it, if they do not stand together.

As soon as Heart leaves this chance on, Mind comes closer. And despite what we might think, he doesn’t immediately start bickering with Heart. On the contrary: they sing the chorus together and confirm their intention to cooperate and become one again.

I want to see your eyes Looking back and out through mine

There is still harmony, at least for now. The three characters are working together (“Tonight, all the black, and the grey and the white”).

But the more the song progresses, the more a sense of confusion and incomprehension starts to grow.

Why? Well, Chonny said to us from the start: it’s because of the contrasting nature of Heart and Mind. It’s because they are opposites that can “produce completely separate and juxtaposed conclusions from a single input” (Q&A).

But what are those conclusions? And when were they drawn?

The conclusions are drawn here:

Something is here Only thought

And in order to understand what are the conclusions, we need to see the entire song from Heart’s and Mind’s different perspectives.

From Heart’s perspective:

He’s the current leader, he “controls” Soul (read: Soul is siding with him). Soul tells him that hey, let’s welcome the other side. This way, we’ll become one again.

Heart follows his advice and welcomes Mind. They all reconfirm they want to become one, they try to work together into being one again.

But Heart’s and Mind’s nature are too contrasting. And the more time they spend together, the more Heart starts to worry about Mind. It’s a feeling, so it’s confusing and cannot be logically explained, but Heart fears Mind’s growing influence.

So, a thought takes shape in his mind: he must intervene before it’s too late. He must do something to stop Mind.

From Mind’s perspective:

Heart is the current leader, he’s controlling the Soul (read: Soul is siding with him). Mind approaches them and they welcome him. They all share the same goal: to become one again. They reconfirm it, they try to work together.

But Heart’s and Mind’s nature are too contrasting. And the more time they spend together, the more Mind notices Heart’s inability to be a leader. He’s not doing his job well. He’s too confused, because feelings are not as clear as logical thinking.

So, a thought takes shape in his mind: he can be a better leader than Heart. He can control the Soul too. He can do his job better than him.

What do you want? Everything else will fade away

Mind doesn’t reply to Heart’s question, but he doesn’t need to. They already reached their own conclusions.

Heart now is sure: Mind is dangerous, he must do something.

Mind now is sure: he can be a better leader, he will become that leader.

And with that, the line “everything else will fade away” seals the conclusion of the “peaceful period” and the beginning of the story. No more understanding, no more common goal to pursue now: Heart and Mind are drifting away, following their own goals.

And the gap between them will soon become wider.

-> Next post

(How about a coffee? ☕)

_______________________________

📌TAGLIST: @mudpuddlenl @allmycrushesaredead @aquatedia @whatishappeningrightnow @effortiswhatmatters @bella-in-a-bag @doydoune @forever-third-wheeling @payte @hypnossanders @idontreallyknow24   @imcrushedbyarainbowoffical @patton-cake-and-crofters​  @hereissananxiousmess @purplebronzeandblue​ @cynicalandsarcastic​ @lost-in-thought-20 @andtheyreonfire @riseofthewerewolf @rosesandlove44 ​​@arya-skywalker @csi-baker-street-babes @reesiereads @dracayd-universe @starlightnyx​ @stubbornness-and-spite @averykedavra @joyrose-fandomer @mihaela-tbg @igonnatalknothing @thatoneloudowl @grayson-22 @softangryfuckingdepressed @theotherella @nevenastark @coldbookworm @boopypastaissalty @varthandiveturinn @roses-bubbles @cuter-on-the-inside @snixxxsmythe @charmingcritter @analogical-mess @emphasis-on-the-oopsie @selfdestructivecat @yangwalkerao3 @the3rddenialist

[macabr3-barbi3]

God, That's Good

Chapter 7: Wait

Alastor tries to ease Lucifer's impatience, and Vaggie comes by for a favor.

Tags: more brooding, banter, A PROPER KISS

Before I rant about my writing wife some more, I do want to advise that once we get past this chapter, things will be getting quite a bit darker and more explicit. There's murder; there's blood; there's cannibalism; there's a little sex (not dark, but still warranting a warning I think LOL). If you know the musical/movie I'm sure you have a vague idea of what's coming. Be mindful of these things from chapter 8 onwards- I'll make sure to put specifics in the tags for each chapter but PLEASE don't read if you think these things might be triggering or upsetting to you.

Back to our regularly scheduled vibes- as always, huge thanks to @fraugwinska for helping me stick to a normal schedule and being one of my absolute best friends and most enthusiastic supporters 😍 ALSO thank you to everyone that has liked/reblogged/commented- this AU has me in a chokehold and I'm stoked that others are enjoying reading it as much as I've enjoyed writing it

PSSSST: Wednesdays have even more to look forward to! If you love Alastor being a questionable hottie as much as I do, check out @hazelfoureyes with A Doe in Fall that is ALSO updating on Wednesday evenings! I promise I'm very normal about this story and Hazel's writing in general (she said, lying, being very not normal about either thing)

Chapter 1 🥧 Chapter 2 🥧 Chapter 3 🥧 Chapter 4 🥧 Chapter 5 🥧 Chapter 6  🥧Chapter 7

Despite her promise to visit soon, it’s a fortnight later and the Beadle still has not come by Lucifer’s barbershop.

He would be the first to admit that he broods on it. Between customers of his now booming business, he spends hours sat in his chair staring at himself in the mirror, trying to find the remnants of the man he used to be. He watches the tendons in his hands move as he shaves the gentlemen of New Orleans, thinking that they surely were not the same hands of Damien Diggory though they remained on his body all the same. Families came and went through his door, constantly reminding him of what he had lost, what the Beadle and Adam had to pay for, making his unease at her absence grow more every day.

He sat now in his empty shop with one of his razors in hand, staring down at the blue of his eyes reflected on the blade. He felt empty, numbness creeping from the pit of his stomach to his limbs and making his whole body feel like a hollowed out shell of a person- he looked the same, sounded the same, but the substance inside him was either missing or in the process of rotting where it sat. Charlie was still out of his reach, his revenge on hiatus until the Beadle saw fit to grace his shop with her presence. Everything was at a standstill, and the lack of activity beyond shaving was making him a madman, always pacing around the upstairs, approaching the entrance to his family’s old apartment and retreating like a coward.

A creak of the floor alerts him to the door opening, three soft knocks letting him know that it’s Alastor. He can hardly look the man in the eyes these days after he had embarrassed himself that night two weeks ago, when he had tripped into Alastor’s lap and pulled him into a kiss. It was embarrassment more than anything; thinking that he had reciprocated had been nothing but a figment of Lucifer’s drunk imagination, as Alastor hadn’t mentioned it since. Sometimes his eyes will fall on the younger man while Alastor is busy doing something else, and he uses those stolen moments to learn the curves of his face, imagining the blade skimming over his cheeks if he ever gave him the chance to give him a shave. 

Alastor comes behind the chair, leaning his elbows on the back above Lucifer’s shoulders. “I thought you had no customers today,” he says softly, watching Lucifer in the mirror. “What are you doing up here, hm? Plotting?” He smiles slyly, the corners of his mouth turning up and giving him a mischievous look. “Or pouting?”

“It’s been a fortnight,” he laments, snapping the razor closed and placing it on the stand beside him. “Why has she not come?” He stands from the chair and starts to pace- surely he looks like a madman, stalking between the apartment door and the sizable chest that held his spare towels and aprons, hands taking through his hair. 

Alastor sighs, his smile still in place. “Oh dear, a tantrum. How unbecoming. And just when I’ve started to think you were respectable.”

Lucifer scoffs. “Come now, Alastor- you don’t think it strange that she’s not arrived yet? You’d think such an ‘esteemed member of society’ could keep to a date.” Perhaps his air quotes and exaggerated accent were a tad childish, but it still makes Alastor laugh through his admonishment. “I’m… antsy, sitting around and waiting for her. They have to pay for what they did to Lilith, to me-”

“And they will.” Alastor leaves the chair to approach him, the proximity when he finally stops making Lucifer’s heartbeat pound in his throat. “Patience is key, my good man.”

“I’ve waited for so long already,” he groans. “Was fifteen years not enough? Must I wait another ten before I’ve avenged the wrongs against us?”

“So she’s a few days past when she said she would come,” Alastor says flippantly. “Do you not think that your over-eager manner won’t scare her off? Cause her to alert the Judge?”

Lucifer says nothing, not wanting to concede that he’s correct. He keeps his eyes on his feet, that hollow feeling returning to his chest and muffling the sound of Alastor’s voice as he continues talking. What would he do if she never came? Then surely Adam would never have reason to set foot in his parlor; he would never have his vengeance, Charlie would be lost to him, Lilith would be dead with nothing to show for his avenging her-

“Lucifer.” His head jerks up, and Alastor is watching him with narrowed eyes. “Did you hear anything I just said?”

He’s sure his face flushes. “Of course I did,” he lies, “you were… shit-”

The smile returns to his face. “I was saying,” he says softly, “that perhaps you can use the time to update your bearings. Get some flowers, hang some decor on the wall- that will likely sway the Beadle’s mind as far as recommending your establishment to the Judge, if the walls are not bare as though you’ve just moved in.”

“I have just moved in,” Lucifer points out petulantly. “I’ve only just started taking customers this last fortnight, I’ve not had time for bearings as you well know.”

Alastor claps his hands together, the sound making Lucifer jump. “I’ll send Husker for a floral arrangement for you- I think it will really cheer the place up.” He glances at Lucifer, a slow drag of his eyes up and down the barber’s body that almost makes him feel shy with the heat it contains. “I was also thinking that the unknown waiting period we find ourselves in is not a wholly bad thing. Perhaps I’m old fashioned, but I find that half of the fun in a plot is making the plan itself! Especially when one has a partner.”

And to Lucifer’s surprise he steps closer, bridging the already short gap between their bodies and taking Lucifer’s hands in his own. “I, for one, have also been enjoying this time simply getting to know you.”

He thinks his brain stops working, the way his mouth stammers to get out a response to that. “Oh! Well, I- I mean, I’ve also been, you know. Enjoying you.” Alastor’s head tilts in amusement, and Lucifer realizes what he’s said. “Enjoying your company, I mean! Fuck, I’m sorry-”

“There’s no need to apologize,” Alastor murmurs, and he releases one of Lucifer’s hands to slide around his back, pulling him fully into his chest. “We did say that we would revisit the intimate portion of that night when you were no longer intoxicated. Tell me, Lucifer, are you under any influence at this time?”

He doesn’t trust himself to speak, so he shakes his head. It shakes some logic loose- that kiss had been a mistake, the door wasn’t locked if a customer approached, he was less than ten feet from the apartment he had shared with his dead wife- but doesn’t stop him from allowing Alastor to lean in and press their lips together.

It’s so much better now that he’s not drunk. The kiss is soft and gentle for a bit, simply their lips touching as they learn the ways they fit against one another. It’s not until Alastor fists a hand in his shirt to keep him close that Lucifer even considers trying to deepen it. His hands tremble from nerves instead of liquor when he reaches up to hold the back of Alastor’s head, fingers threading through his hair while a broken noise tears itself from the back of his throat. Alastor responds in kind, making a soft sound that’s lost in Lucifer’s mouth as he parts his lips, his tongue shyly seeking entrance that Lucifer is all too eager to give him.

Lightning sparks behind his eyes, heat flooding his veins to pool low in his stomach, and he knows he needs to end the kiss before he does something that both of them may regret- though he hates to break the intimacy of the moment, ravishing Alastor in his parlor was not on his agenda for the day. He would need time to plan, to properly court the baker perhaps before inviting him to his bed- not to mention the extra time he would need to whisper pleading prayers to Lilith to forgive him.

Lucifer pulls back, his resolve nearly broken when he sees the way that Alastor’s lashes flutter, a noise of confusion escaping him. “We-” He clears his throat, embarrassed at the low rasp of it. “We should stop for now. Which is not to say that I don’t want to kiss you more! I do, very much,” he rambles, and Alastor merely blinks slowly and watches his mouth move as he had that first night. “Just, we should take this a bit more slowly. I don’t want to take advantage of your kindness-”

“Rest assured, Lucifer,” he purrs, “you are not.” And that makes him lose his train of thought for a moment, with how husky and low the words come from Alastor’s mouth.

“Haah, well, still. I would like to take this a bit slower and do it right. If you would allow me to, you know, properly court you, I would very much like to do so.” He sounds stupid, he realizes, like a child with a crush asking them to check ‘yes’ or ‘no’ on a piece of paper; he just hopes Alastor isn’t put off by the formal request. Perhaps he would prefer something unspoken, more blinding, unplanned kisses that steal both of their breath and leave them panting and wanting more.

But thank God, Alastor simply smiles at him and takes his hand again. “I would like that as well,” he says, and Lucifer thinks he could just collapse from the relief he feels. “We shall go at whatever pace best suits us- though I hope you’ll forgive me if I seem a bit impatient at times.” He watches Lucifer’s neck as he says this, and the barber knows he follows the movement of his throat as he swallows. “But by that logic, if I can wait for what I want, surely you can as well.”

Lucifer opens his mouth to respond- to admonish him, or perhaps pull him in for another kiss- when he hears the creaking of the stairs. He has just enough time to step back from Alastor before the door swings open, and he manages to hide his disappointment that it is not the Beadle, like he hoped, but Vaggie.

“Mister Morningstar!” She crosses the room to greet him with an enthusiastic handshake. “It’s been ages, I haven’t had much time to make it to this side of New Orleans but I’m happy to see you’re in business. And hello to you as well, sir,” she offers to Alastor, who gives her a small smile and turns to tidy something on the shelf behind him. “Mister Morningstar, I admit I have a favor to ask of you- there’s a woman, you see-”

Alastor scoffs behind them, and Vaggie’s eyes narrow into slits before she continues. “She is kind and beautiful, and stubborn beyond belief; she’s opened my eyes to so many new ideas and theories, and- her guardian poses a problem to any intentions I may have towards her, but late last night as we talked and the Judge called her away, Charlie slipped this into my hands.” She holds up a key, dark and dangling off a red ribbon. “It must be a sign, don’t you think?”

“Charlie?” He could hardly dare hope that it was her- that the Judge Vaggie spoke of was Adam, that such an opportunity to have her back was simply being dropped into his lap like this. “Charlie. And, the Judge, you say?”

“Charlie- Charlotte, I suppose, that is her name. And the Judge Cain and his lackey, the Beadle Sera Dempsey. They patrol the alley behind Cain’s home at random hours but despite this we’ve found days that we talk for hours before they can interrupt us. She is perfection, Mister Morningstar, and even if she doesn’t return my feelings I want to see her free from these jailers she’s in the care of. If I can convince her to leave with me tonight- perhaps later in the week, depending on when that horrid Judge is home- could I bring her here for shelter for an evening? Just until I can find a coach for hire to take her North with me, or wherever she wishes to go.”

She finally stops talking, taking a deep breath while she waits for Lucifer to answer her. He finds his words stuck in his throat- yes, bring her, please, bring her to me- and is dismayed to find a lump in his esophagus, halting his words behind the threat of tears. He clears his throat, blinking his eyes a couple times to rid himself of emotion. “You may bring her here,” he says, his heartbeat rapid in his veins, and Vaggie’s face lights up with joy. 

“You’re a blessing, sir, thank you! I hope to see you again tonight, but in any case, I’ll come with Charlie soon!” She shakes his hand again, the force of it making him stumble, before she releases him and is back out the door as quick as a flash.

He turns almost absently to Alastor, who gives him a smile. “Who could have guessed?” He says cheerfully. “You’ll have her back before the week is out- possibly even before the day is done!”

“Charlie will be coming here,” he says distantly, and then it hits him like a train. “Charlie is coming! Oh God, what will she think of me? I need to- shave, maybe, or- should I grow it out? My beard was grown out when she was young, maybe that’s why she no longer recognizes me-”

“Lucifer.” 

Alastor approached him slowly, like one might a feral animal- and that’s what he had felt like lately, some untamed beast stalking around his shop, so perhaps Alastor was right to take a cautious approach. “Perhaps we focus first on getting her here before you spiral about letting her know who you are, hm?”

“You’re right,” he says, and thank God for Alastor to help him keep a level head. “Of course, making sure she gets here safely is the most important part. But- we should clean the place up a bit! How soon do you think Husk can bring those flowers you mentioned? And I can dust the apartment, make sure that everything is tidy-”

He’s interrupted by the creaking of the stairs again, the bell at the bottom ringing loudly to signify someone coming. He expects Vaggie again, or even perhaps the Beadle at last. But to his confusion, it’s neither- Sir Edward Pentious stands in the doorway, his small assistant at his side and carrying a bag that was far too heavy for her slight frame and causing her to tilt to one side. 

“Sir Pentious,” he greets cordially, “and… young lady.”

“I’m Niffty, sir,” she giggles, reaching a hand out to vigorously shake Lucifer’s. “Nice to meet you when you aren’t beating my boss in a shaving contest- and his shop is way nicer than yours too,” she directs to her employer, and he flushes a dark shade of red. “Are you sure you want to be a barber?”

“Niffty,” he hisses, and gently shoves her behind him. “I was hoping to speak with Mister Morningstar alone,” he directs to Alastor, who shrugs with a soft hum and leaves Lucifer’s side.

He meets Niffty at the door. “Well, aren’t you just a little wisp of a thing!” He says when he sees the bag she carries. He takes it from her hands and gestures her down the stairs. “Come along, I’ll see if I have anything adequate for you to eat…”

His voice and Niffty’s enthusiastic reply fade as they descend, leaving only Lucifer and the growing grin of Sir Pentious.

Again, a secret little 'so sorry, gotta do it' for the next chapter. Pour one out for Pentious y'all

Chapter 1 🥧 Chapter 2 🥧 Chapter 3 🥧 Chapter 4 🥧 Chapter 5 🥧 Chapter 6  🥧Chapter 7

[mbat]

i literally read the book of bill days ago but its only now kinda hitting me how fucked ford and bills whole thing was though cause ford literally talks about being so unable to sleep (to try to keep bill away), and when sleep inevitably caught up to him, he would wake up to his body abused and things messed with and he just couldnt seem to find an escape (and he literally didnt get to truly escape until 30 years later)

(also keeping people awake for unhealthily long periods of time is another tactic used to mess with and control people because of how it impairs brain function)

listing off the things we see in those few pages in the book of bill:

i mean, punching and scratching at a steel door for hours would be so damaging to your hands and probably hurt like hell for at least 2 days after. then bill says he was hitting fords head against a wall, though its said in a post-it as if its a joke, but he also isnt exactly above doing that, and honestly he says most things like its a joke.

i also dont need to say 'bill really doesnt know how to take no for an answer' because he makes that very clear in literally any interaction we see with him.

bill literally puts a venomous snake near ford while fords asleep, which could have killed him if he wasnt lucky+skilled enough to deal with it.

he nearly gives ford hypothermia, and in the same action actively threatens ford with the idea of making him jump off of a high spot, and like ford says, doesnt do it just so he can send a message to ford about how hes the one in control.

he gets ford in trouble with not only the law, but also with other people that are probably not very happy with him after. he mutilates fords body in several ways, and i dont think i need to go into detail on them because theyre... so ew. and he even exposes part of fords body to the world. like, its just taking his shirt off, but thats still showing off his body in a way that he didnt agree to or want

and then he attempts to (or purposefully fails to) call stan, using fords voice to threaten suicide and tell stan that ford never loved him.

and he punctuates it with a final power move, in a hallucination that he creates, hes messing with stans memories and making him feel like his body was basically about to implode

and like. okay, we all joke about toxic old man yaoi, and its a good joke and toxic old man yaoi is great and its an interesting ship, but holy fuck.

like. to say the absolute least, that had to be so, so deeply violating. its no wonder that when we see ford in the past, when he finally contacts stan, he looks like hes on the verge of shattering into a million pieces. he just went through, and still wasnt yet out of, some deeply abusive shit.

like... everything coming out lately both in this book and what ive heard is on the website, mixed with what we already knew from the show itself... the stans are both so, so fucking tragic dude. their whole lives were thrown away over things that really didnt even need to be the way they were, and then they both get into situations that are pretty damn screwed, and those situations follow them for the rest of their lives. its basically a miracle that things worked out in the end for them.

i dont really have a point, i just had to talk about all that. i read almost all of the book of bill in one sitting, and while i was really enjoying it, i was also getting kind of tired of sitting in one spot only doing this one thing for several hours straight. i still felt a lot of the emotional bits of it of course, but man this part specifically just really didnt hit me until now.

i mean, to say the absolute least, i know what its like to feel violated in a similar way, though not anywhere near to the extent of what he went through at all. someone get that man some therapy got damn

[necrorotted]

wei wuxian is a xianzhou native, orphaned after the ship he was born on was destroyed. both his parents perished in this accident. he was rescued by the luofu knights, and was effectively homeless on the flagship for a short time, before being taken in by the jiangs.

the jiangs follow the path of the hunt. it's sort of viewed as a tradition among their family-- and wei wuxian was to be trained and raised to be much the same as them. which, went pretty smoothly actually, until it didn't.

despite his adoptive family's stance on things, and their devotion to the hunt and their fight against the abundance-- wei wuxian does all he can to study and understand other paths. as well as the aeons who lead them. including yaoshi and the abundance, which was... considered taboo by his family.

the more wei wuxian studied and explored, the more he came to understand that the abundance was not evil. rather, that ( despite suffering from this gift of a long life ) it seemed quite fair that immortality would have such a heavy cost. and in a very strange twist of fate and irony-- wei wuxian would feel drawn to the very path and aeon his family loathed so deeply. not only following the path of abundance but also, becoming an emanator of yaoshi.

he would be discovered unfortunately. a slip up, wei wuxian having been very stressed, after members of the cult sanctus medicus approached him about joining their ranks. multiple times even. it was after a conflict with his adoptive brother, that wuxian would go missing for 13 years.

after all that time, he would return!! under the same name, still an emanator with a wealth of knowledge. and an understanding of his path that he credits to that time on his own. when asked to talk about what he'd been doing all that time-- he explains he cannot remember. or that he doesn't wish to discuss the past.

wei wuxian never parts with his flute, and can use it to manipulate mara in a very broad sense. he understands mara, and accepts it onto himself as a consequence of immortality. ( a potential reason yaoshi's gaze was drawn to him to begin with). he still strives to learn all he can of it, and understand it. and potentially find some way to cure people of mara in the future. his status as an emanator helps a lot with this goal of his, and can be used to slow it's effects in cases caught early on.

as in all verses, wei wuxian has a phobia of dogs.

at current, wei wuxian is a trailblazer. experiencing what the universe has to offer him, and learning everything he can about mara. as well as providing what he can to those who truly need help.

[bigfatbreak]

Hello I love your art!!! I was reading through your changeling au and Felix mentions that fae are creatures of mirth. They literally need attention to survive. But what kind of attention? I guess I'm wondering because Adrien has been in the public eye for a while now, but has been personally neglected for even longer. What does that mean for him? Is he starving? Is he in danger of dying? Does he even know it? (I assume not given he doesn't even know he's Fae).

If he is starving / in danger of starving who is the first to realize this?

it depends on the mirth, on the attention, on what it is they seek. Without making things too complicated - I don't like to define everything into neat little boxes after all, there's fun in nuance - Felix is just explaining from his experience, the Fae he was with tended to be "entertained" by certain aspects of their playing, which was the mirth that kept them relevant. Relevancy more than anything is really what keeps their wheels greased.

In Adrien's case though, the reason he's cloying for so many names and to have so many thralls and attendants is because he SHOULD be a more social creature and has been kept woefully alone. He is kinda starving in the way a fae starves - he's relevant, but only in an image his father constructs OF him, which means it isn't REALLY him - and he has no one to play with. No friends, no lovers, and no rivals, makes a very sad fae

[moonkhao]

hi.

[averlym]

no one would notice if i ever vanished // if bodies could sustain // this never-ending army // like blood pumping through a vein

(click for better resolution!)

:OOO hello. anyway since these are all posters i'd have in an ideal world or smth and i'd like to store the high res versions somewhere,,, here's the google drive folder for them? hehe ''

close up!

[puppyeared]

save me old flipnote studio MVs.......

[mantisgodsdomain]

We ought to write more Pokemon fic some time. We want to recreate the Pokemon Manners/Human Manners cheat sheet that we made a few years ago we think that this site would like the Sliding Scale Of Politeness When Greeting A New Pokemon You've Never Met Before.

[talkorsomething]

I have Got to get more transgender