#and quite fitting i suppose

[deputy-morgan-malone]

What Form of Love Does Your Ship Embody?

I was tagged by @socially-awkward-skeleton, @direwombat, @fourlittleseedlings��, @shellibisshe​, @clicheantagonist​ and @voidika​ to do this uquiz for my ship/s, thank you!

Not tagging anyone since it’s been a while and this quiz made the rounds, but as usual, feel free to take this as an open tag if you’d like to do it! :)

Deputy Morgan Malone x Joseph Seed (FC5)

Morgan:

love as religion

[ love as the sole object of your reverence--nothing about you is holy, but maybe your love for another is ] when sappho said "in the crooks of your body i find my religion" and when the cast of les mis sang "to love another person is to see the face of God" and when halsey said "i found God, i found him in a lover" and when katherine philips wrote "to the dull angry world let's prove there's a religion in our love"

 Joseph:

love as religion

[ love as the sole object of your reverence--nothing about you is holy, but maybe your love for another is ] when sappho said "in the crooks of your body i find my religion" and when the cast of les mis sang "to love another person is to see the face of God" and when halsey said "i found God, i found him in a lover" and when katherine philips wrote "to the dull angry world let's prove there's a religion in our love"

[Interesting fact - I thought I’d done this quiz before, and I had, here, and got a different result for Morgan, Love As Being Known.  This being the ship, I did fill it in this time around thinking specifically about how Morgan would feel about Joseph, and their situation, which maybe skewed the result a little bit?  Or it’s just been a while and she’s evolved a little as a character, or I was on the fence about a few questions and answered them differently]

[greenheartart]

[shalomniscient]

as the world caves in. || multiple x reader

AND HERE IT IS / OUR FINAL NIGHT ALIVE / AND AS THE EARTH BURNS TO THE GROUND / OH GIRL IT’S YOU THAT I LIE WITH / AS THE ATOM BOMB LOCKS IN / OH GIRL IT’S YOU / I WATCH TV WITH / AS THE WORLD CAVES IN

cw. major character death

notes. felt silly

arlecchino

You find her against a broken pillar.

Her once pristine suit is in tatters. You can’t even discern anymore where red fabric ends and blood begins. The black feather-like horn in her hair has cracked, revealing crimson enamel, pulsing in tune with the balemoon above both your heads. Her curse, once up to her elbows, has creeped up to her shoulders, her neck, and just below her jaw. Each breath she takes is labored, pained. One of her wings lies uselessly by her side, while the other is just a stump.

She will die here.

But that’s fine, because you plan on dying right along with her.

Arlecchino’s head snaps up as you hobble over to her. The second coming of the cataclysm hadn’t exactly spared you either; a rifthound’s cursed teeth had sunk deep into your thigh. The wound is likely fatal on its own, though the abyssal corruption spreading through you at an alarming rate only solidifies your death sentence. Still, it doesn’t stop Arlecchino from snapping at you as you approach, brows furrowed, her clawed hands digging into dead soil.

“What are you doing here?” she hisses. You really know the extent of her injuries and exhaustion now—if she was in even slightly better condition, she’d have picked you up and flown you right back somewhere safe. But she isn’t, so you let yourself slide down the pillar next to her with a snort.

“What does it look like?” you huff. “I’m here for you, idiot.”

She gives you a look between incredulity and despair. “You—“

“If you think I’d ever leave you behind, I’m going to smack you.”

Arlecchino quiets at that briefly. You lean your head back against the pillar, a remnant of a building ravaged by the angry surge of the Abyss, and shut your eyes. You can feel Arlecchino’s eyes bore into the side of your face, tracing the line of your jaw, the swell of your cheek, then the shape of your lips, as if to memorize you. When she speaks again, her voice is remarkably soft.

“You’ll die,” she whispers, and you turn your head to her with a smile, meeting her eyes. You take her larger hand in your own—your wedding bands meet with a soft clink of metal.

“I’d follow you to oblivion and back, Peruere.”

Something in her expression shutters, and Peruere leans down to press her forehead against your own. She’s so close, like this. Close enough for you to see the way the veins and arteries in her neck pulse under curse-marked skin to a beat that mirrors your own; close enough for you to feel the way her breath fans over your cheek; close enough for you to kiss her.

And you do, free hand cradling her cheek while the other cups the nape of her neck. Peruere returns the kiss like she’s trying to press her soul against your lips. To give it to you instead of whatever higher power will claim it in the end. Her hand in yours squeezes gently, her thumb brushing over your knuckles. Her remaining wing rises, a little shakily, and wraps around you, pulling you closer. You smile into the kiss, even as wetness gathers in your lashes.

Peruere wipes them away with her thumb. Draws back just enough to look you in the eyes one last time, selfishly. The earth wails in the distance, cracking and splintering, and the wind howls above your heads. The crimson balemoon shines impassively down as the herald of the apocalypse, cold and unfeeling. But Peruere’s wing around you is warm, and her palm caressing your cheek feels like being at home.

“To oblivion and back,” Peruere whispers, and then the world ends—

—but at least for you and her, it ends in love.

shalom

Shalom has always known you would meet a solitary end. She had said as much to you, back in the bureau when she had first met you—or rather, when you had first met her, in your fragmented memory. And some part of her was content with the fact. She’s smart, diligent. A HUSH. She could learn you utterly and completely, dive into and discover the depths of your heart before her time runs out.

She does achieve her goal, in the end. But she also falls terribly in love with you, and now the thought of being without you makes her unbroken heart constrict in her chest.

Now here she stands, in this field of lillies she once haunted. This realm of Mania, deceptively beautiful, with a cloudless blue sky stretching on endlessly. She can feel the gaze of the Illusory Moon crawl up her spine, but that is not her concern. No, her concern is you, standing off into the distance, alone—a solitary figure of grey against the blinding white. And somehow, you just know she’s there; like Orpheus for Eurydice, like something bone deep in you compels you to turn around and look.

But Shalom doesn’t disappear like Eurydice. Instead, she steps forward and slots herself into your arms instead with a hum, her hands splaying on your shoulder blades, holding you close. She buries her head in your neck, breathes in your scent—lillies, always lillies—and speaks.

“This is it, then.”

You nod. Card your fingers through her wine-red hair. “This is it.”

“It’s quite peaceful,” she muses, shifting to rest her ear against your chest. Your heartbeat thuds, calm and powerful, and Shalom lets her eyes flutter shut at the rhythm. You manage a small chuckle.

“For now. It’ll get quite ugly soon, at least on the outside,” you murmur. Your lips press a kiss to the top of her head. “You shouldn’t be here.”

She laughs at that. “There are many things I shouldn’t be, and yet, here we are. Mostly because of you, you know.”

“You know what I mean,” you huff, and she smiles. Of course she does. This is your solitary end, the cold calculus of the universe that demands your life in exchange for the world. If she was still HUSH, she’d see it as a bargain. But she’s not HUSH anymore, just Shalom, and suddenly the price is too high, too unacceptable.

“I know.”

“Then why are you here?”

“I’m selfish,” she admits, voice barely above the breeze rustling the flowers by your feet. “I don’t want to be in a world without you.”

Not when you are the one who gives it meaning.

You’re silent for a moment, before a rueful expression pulls at your lips. You shake your head with an affectionate sigh, resting your forehead against hers. You know better than to argue with her. Your hand finds hers, intertwining your fingers and squeezing gently. No words are exchanged between you, but no words are necessary. Her hand squeezes back, and then you’re turning, facing the growing light at the end of the horizon. You’re her Orpheus amidst the flowers, leading her forward step by step until the light devours you both. To life, or to death, she doesn’t know. She doesn’t quite care.

For like Eurydice, what else mattered besides the hand in her own, the proof that she was loved?

kujou sara

Sara once thought she knew pain. Cuts and bruises, arrowheads and sword slashes—none of these are new to her. Her body is a canvas of scars from her time as a warrior, some pale and faded, while others are pink and freshly healed. Pain is inevitable, in a profession such as hers. Sara once thought she knew pain, but nothing could have ever prepared her for the agony of seeing tears paint your soft cheeks as you lie in her arms, staining the burnt soil below you red with your blood.

It feels like someone has reached into her chest, fingers curling around her heart and squeezing tight. Everything else has faded to a dull sensation; the arrows lodged in her wings as she shields you both from the world; the gash in her side from an axe-wielding hilichurl; the throb in her skull from when an Abyss Herald had managed to get a lucky hit in. The war around you both is now an afterthought, even as the skies rage and the Abyss spills forth like a hellish tide. No, the only thing she can focus on is you, as your lips painted red part and whisper to her brokenly.

“Sara,” you choke out, “I love you.”

Sara leans down, pressing her forehead to yours. Her golden eyes meet yours, and she hopes you can see the sincerity within. “I love you too, dearest.”

Your breathing rattles ominously in your chest, and Sara holds you tighter. Closer. A small comfort as death approaches you both on silent feet, ready to collect. Your fingers grip the front of her uniform tightly, staining her white uniform red. “Promise me,” you rasp, and Sara exhales shakily.

“Anything.”

“Find me again,” you plead, your voice so small she would not have heard you, were it not for her tengu senses. “In the next life, promise you’ll find me again—“

She grips your hand tightly. “I promise. I promise, my love, so wait for me.”

She doesn’t even know what awaits either of you beyond this. Is there even such thing as a next life? Heaven? Hell? She doesn’t know, but she doesn’t care. If there is a next life, she will find you, over and over again until the end of time. If heaven doesn’t exist, she’ll build it with her own hands for you. It it does, she’ll meet you there. If hell exists, she’ll carry you out on her back herself. Sara would do anything for you—all you have to do is ask. She kisses you as your breathing slows, your final breath mingling with hers. As death’s shroud settles on her shoulders, she memorises every line on your face, the set of your jaw, the arch of your brows like they’re her north star, to shine forever in her sky and lead her home. Home, wherever you are.

(In another universe, a pair of crows roost on a powerline. In another, a black obi is tied around a beautiful kimono. In another, a museum’s display katana rests peacefully in its delicate sheathe.

In another, she stands hand in hand with you again, looking at them all.)

[ashipikaur]

whoever reblogs this PLEASE put what you think kazu is showing them in the tags. TYVM

[descendant-of-truth]

If I may throw my hat into the ring here, I think the source of a lot of problems in the writing of Miraculous can be boiled down to its confusion over its target demographic.

There are two very clear audiences the show is trying to cater to:

Grade school girls around 5-10

Teens/young adults around 15-20

And this results in some. unique conflicts in the show's internal logic.

Because it's a superhero show for little kids, it's full of fun, bright colors, wacky villain-of-the-week designs, and the characters are all very straightforward with exaggerated personality traits. The cheerful, clumsy, scatterbrained girl protagonist, her utterly charming and goofy (but slightly clueless) love interest, her cool best friend, her mean bully, etc.

This extends to the romance; the show is so comedic that Marinette's nervous crush and Cat Noir's flirting are played up for laughs. Their more "problematic" behaviors read as cartoon shenanigans first and foremost, which I do think was the intention - they're both shown as being more than a little ridiculous for acting this way, so they're not exactly trying to encourage people to emulate them. They're allowed to be genuinely wholesome, too, because it's nice to give the kids something to go "aww!" at, but it's not meant to be more complicated or deep than that.

And of course, it's gotta follow a sweet and simple episodic formula! A conflict in Marinette's civilian life, an inciting incident to get a side character upset enough for Hawk Moth to turn into a villain, Ladybug and Cat Noir show up, there's fun banter, Ladybug uses her Lucky Charm to figure out a wacky solution to the problem, and boom! The day is saved, Marinette and/or someone else learns a moral, and we get a cute little end screen showing all the key players of the episode.

The one aspect of the show's setup that's a little more serious is the fact that Adrien has a super controlling and distant father, but even this is something that doesn't necessarily break the kid-friendly tone for the first season or two. Superhero shows in particular like to put in some stuff that's a little more emotionally challenging for the viewers, even when they're mostly comedic, so it's not totally out of place here.

For example, while they tend to have more grounded tones overall, Spider-Man cartoons are aimed at kids and regularly keep the conflict between Harry Osborn and his father, Norman, intact; often including the plot point of Norman being the Green Goblin, a notorious villain. It's a similar deal with Adrien, and his dad secretly being Hawk Moth.

You can easily anticipate drama coming from this, but the show primes you to expect it to work out fine in the end because every other conflict so far has been wrapped up in a nice little bow once the episode's over. Though I will say, the choice to have Hawk Moth be Gabriel instead of his own, separate character is perhaps the first sign of the tone shift to come.

And, uh. it sure is a shift.

See, Miraculous does not start out with what you'd call a... plot. It vaguely alludes to there being more going on behind the scenes, but the only thing it really tries to get you invested in is the Love Square dynamic. Marinette and Adrien dancing around each other while fighting crime IS the plot, and it's clearly going to end with a cool final confrontation with Hawk Moth.

You expect it to end like... well, like the movie. Identities are revealed, Gabriel realizes the error of his ways when he finds out he's been fighting his son this whole time, and they may or may not make up but he almost definitely gets arrested. Marinette and Adrien kiss, roll credits.

This is not what happens, because the plot the writers actually had in mind is complex in a way that I would argue is meant for the same audience as YA novels. And with that plot comes a lot of darker, weightier traits to these otherwise silly characters.

Marinette isn't just scatterbrained and nervous, she has debilitating anxiety and an increasing need to be in control of everything due to the stress she's under. She has panic attacks on-screen. She's not just great at strategizing, she also knows how to manipulate people, and does so with increasing frequency - and to Cat Noir at times, no less. Her positive traits haven't gone anywhere, she's still loving and creative and sweet and doing her best to help everyone she can, she just. has all of that other stuff going on, now.

Adrien isn't just a charming, goofy, clueless love interest with a gazillion skills and a controlling father, he's like. actively being abused, and in some cases straight-up mind controlled. His tendency to heroically sacrifice himself so that Ladybug can do her Cool Protagonist Thing is gradually but unmistakably reframed as being a sign of suicidal inclinations. He has identity issues out the wazoo and he doesn't even know he's an artificially created human yet, because everyone in his life is keeping secrets from him and/or lying to his face about crucial information.

Information like, uh. how his dad died???

Yeah, so we're at a point in the story now where there was no satisfying conclusion to the Gabriel plot, no team-up, no moment where he realizes he's been fighting his son, none of that. He still has something akin to a change of heart, but he also still kind of gets what he wants - the Miraculous of the Ladybug and Black Cat, which he uses to rewrite the universe with a wish. It's just that instead of reviving his wife, he trades his life for Natalie's. Of course, he was already dying anyway, which was his own fault but he did force Cat Noir's Cataclysm onto himself, so, that's another thing poor Adrien is going to have to deal with at some point.

And because there's all these astronomically messed up things in Adrien's life, and Marinette's the one who got to learn about all of it before him, she decides that maybe it would be better if he just. didn't know about it. Which is understandable, if I was 14 and had all this information about my boyfriend's life that he didn't, I wouldn't know how to begin telling him about it, either.

But. can you see how we've maybe lost the plot, here?

Here's the thing: starting with a simple framework and gradually getting more complex and subverting the audience's expectations for how the main villain is going to be dealt with is not a bad thing. The fact that it gets darker over time is not an issue. I actually think that all these developments are, themselves, pretty cool! I'm a sucker for angst and complex character dynamics and the show is absolutely giving me those things.

The problem is that it didn't just start with a simple framework, it started with the framework for a different demographic entirely, and perhaps just as importantly, it never actually... stopped.

For as much complexity and intensity they're injecting this story with, they're still working under the logic of it being "for young kids." We still get goofy villain-of-the-week designs with equally goofy motivations, and the supporting cast is stuck remaining two-dimensional no matter their circumstances. Chloe is the most blatant example of this - she was made to be a simple bully first, so no matter what else they do with her, she has to remain straightforwardly evil.

This, I think, is the reason that Gabriel is a more nuanced and "sympathetic" antagonist than her, and why so much care goes into Adrien's character as a victim of abuse while Chloe is just a Problem Child despite suffering similar neglect; she wasn't made to be interesting, and so the show is resistant to changing that. Gabriel and Adrien, however, were already made with nuance in mind, and so they're allowed to develop as characters. And at the same time, it's a kid's show! We need to teach the kids what kind of behavior is acceptable, and Chloe's home life isn't an excuse to treat people badly, so--!

...Oh crap we're supposed to be teaching kids about acceptable behavior. Uh. Um. Quick, bring back the ice cream akuma who cares way too much about his ships so that Cat Noir can learn about consent! Uhh, but don't change his character too much afterwards, he's only marketable because of his silly flirting, and we can't lose that.

Yeah, remember when I said that the romance having problematic elements to it used to work well enough because it was clearly just exaggerated cartooniness? It wasn't free from criticism or anything, but you could see how it was intended to be endearing and silly, right? You were supposed to point and laugh at Marinette's convoluted plans to spend time with Adrien, at Cat Noir's dramatic flirting attempts that Ladybug herself fondly rolled her eyes at.

The tonal shift into deep character exploration kinda paints the previous stuff in a worse light, and to an extent, I think the writers know that. It's hard to laugh at Cat Noir being flirty all the time when he's also supposed to be taken completely seriously, and the more Ladybug rejects him, the more it turns into harassment, and it. kinda just stops being funny, even with the comedic framing.

It's also hard to laugh at Marinette's crush being so all-consuming when they try to tell us (in what I can only assume was an attempt to get people to stop complaining) that she's like this because it's fueled by an event in her past, one that made her so scared of loving the wrong person that she now needs to know Everything about them before asking them out. Her cartoon antics aren't funny under that light, it's just concerning, but they're dedicated to keeping it up anyway.

The show runs on straightforward cartoon logic where you're not supposed to think about it too hard just as much as it runs on grounded, closer-to-real-life logic where people are messy and complicated and actions have consequences. It's so divided that you can hand-pick parts of the story that are influenced by one or the other pretty easily, and depending on the episode you can find instances of both in the same 20-minute time span. Maybe even multiple times!

Neither thing they're trying to go for is bad, and neither is a better approach than the other, but forcing them into the same show makes both sides suffer.

It's not just hard to laugh at the parts I mentioned earlier, it's hard to take Gabriel seriously as a villain whenever you rewatch an episode and remember that he has a once-per-episode pun-based speech that he says so self-seriously that you can't help but laugh at. It's hard to take him seriously when you remember that he repeatedly akumatized a Literal Baby and practically threw a tantrum every time it didn't work, or when he randomly steals (and enthusiastically performs) his nephew's musical dance number, or something similar that you would only do for a cartoon villain aimed at five-year-olds.

And I can only imagine this whole show is a marketing nightmare, too. Hey, little girls, here's your cool role model! She's cute and smart and talented and powerful and can fix anything by shouting the title of the show! Hope you're having fun watching her tell her boyfriend that his newly-deceased father (who used deepfakes of him to sell merchandise that's built to enslave the population and then locked him in a solitary confinement chamber in another country) was actually a hero who sacrificed himself to stop the main villain instead of, y'know, being the main villain! Aren't you excited to watch her wrestle with the guilt of this lie for the next season or so? Doesn't it just make you want to buy her merchandise??

Like. what is even happening right now. what am I watching. how did we get here and why did we start where we did if this was what the story was going to be about

[psychomusic]

oc time again! + her town & culture (heavily inspired by pre-roman italic populations)

she is suri sauthon (she/her). her story is linked to my swtor imperial agent, tar'x, but most of her life except for the one year away where she meets him, is spent in a town in the mountains of mirial.

despite mirial being cold and desert, and many cities developing underground, her town flourishes thanks to a force nexus, venerated in the form of an ancient, sacred, alive crystal. the ecosystem of that mountain depended on what "the horned crystal" was capable of giving them, but mirialans couldn't live off of that alone, so they developed trade and some rudimental technology, even if oftentimes it was bought thanks to the highly profitable trade of a plant used to make medicines that slowed down aging and had overall healing properties.

note: everything that's generated by this nexus has these healing properties BUT they have to be processed, except for those who bathed in the waters of the cavity under the crystal - the "real" nexus, but not the worshipped one. the waters were sacred but they were not thought to be miraculous, unlike the crystal, who instead was thought of as the keystone of the ecosystem: without it, everything would fall apart (and that is partially true: the cavity was the "real" nexus but thanks to the crystal, also strong in the force, the properties were spread all over the mountains). those who bathed in the cavity's waters - so, all of the town, who had a sort of baptism there - could eat the plant, make whatever food with it, and not only that plant, but everything generated by the nexus, that, again, had similar properties. this allowed people to live up to normal life-spans without advanced medicines or, much, really. to those who didn't live there, though, after the processing, had incredible effects, slowing down aging - for those who took it regularly - and making people able to live up to half a century more than the average]

originally, there were four tribes of nomads that lived thanks to horned farm animals that decided to settle down into one bigger town and other smaller settlements, to live off of transhumance. this division of the tribes stayed into the political and social organization: every person belonged to one tribe specifically, and had slightly different rituals and culture. for examples, each tribe had their own priests and healers, with different techniques and traditions. the town, tho, was guided by a group of people in the high priesthood, a position you could reach only by having earned the trust of all tribes. those high priests had many roles: they guided the people into sacred processions common to all the tribes, they managed the trading with outsiders, they did the maintenance of the temple of the summit (the one that functioned as casket to the crystal) and created a special liquid to offer the crystal that helps it grow.

this particular temple was important because 1. it was very visible, from every angle of the town, and it became an important identity symbol; 2. it stored the venerated horned crystal; 3. it had the altar where sacrifices were made for the crystals. that altar had a hole connected to the cavity, that allowed the liquids to reach the underground; 4. it had various symbols: statues representing each tribe + the high priesthood, and typical mirialan tattoos carved into the wood of the trees that served as columns for the temple, symbolizing 8 values that who dared to enter HAD to have; 5. it was on the way to an important lake (called "mother lake" because the lake the town was built around to depended on the waters of that other lake) where they traveled to in important processions; 6. it was said that a the wizard who unified the tribes made it with its magic, making the plant grow to hold the temple's roof. this wizard was, actually, a force user, obv.

BACK TO HER THOUGH: she's daughter of one of the high priests, who was in charge of managing the trades with outsiders, and lives in a house on the mountains with her mother and him. her parents are from different tribes (that's one of the things that earned him trust from the 4 tribes): when a child is born from two different tribes, they don't pick one to allign to, but they're usually linked automatically to the one with more relatives in it (in her case, the father's tribe: she had many uncles and aunts on his side while her mom only had one sister).

later, though, she got quite tied to her mother's tribe due to a mysterious illness that only her mother's tribe healer was able to cure. she spent 4 years (from 10 to 14 years old) living with the healer and learned her secrets. to better study, she wrote them down. when she returned home, she studied to become a priestess with her father. at 22 (the average age: you can't become priest before your 20s), she was supposed to take a test and become a priestess, but the healer of her mother's tribe died and the tribe asked her to take her place. she couldn't technically do that, but both tribes estimated both her and her parents and she was allowed to become both. she then decided to try to become a high priestess, and became one at 25 (a quite young age). being part of the council, she tried to convince the various tribe healers to unite their knowledges and write them down, and eventually made it. healers still remained tribe based but they now had an "upper, inter-tribe level" similar to high priesthood.

years later, the sacred horned crystal is stolen from the temple by some Hutt mercenaries looking for a profit. given the trust she has earned from all the tribes and the fact that her father is the high priest that deals with outsiders (and she's been hearing stories and advice about it since she was little), she is the one tasked with getting it back. without the growing crystal, the keystone to their ecosystem, the village would have lasted only a few years. in hrr quest, she meets imperial intelligence agent tar'x laran and, as they "solve the mystery" and fight to have it back, they get closer. they'll get married and have a daughter, Vegoia (who's the only one who actually will get to the plot of my story. this was all background)

[iwritenarrativesandstuff]

Chapter 105.5 Thoughts: Control, Manipulation and Partnership

Or, how Chuuya is actually the most qualified character to land a victory over Dostoevsky.

I just want to preface this with: I think Chuuya has woken from the brainwashing. We can't see his eyes, he's holding his hat again, and look at the progression of his face and expression from the last few chapters with him (these are in order btw from left to right).

I'm not completely sure how he did this, but I chalk a lot of it up to sheer stubborn determination on Chuuya's part, mostly because it's funny and he was clearly fighting back before Dazai's speech. However, I find it likely the speech did contain some kind of code - others have pointed out how "Goodbye!" might be a reference to the original author's last unfinished book and we know skk's codenames for things generally are based off their real counterparts' works so, maybe he'd already broken out of it, maybe there was something in there that gave him the final push - who knows at this point honestly? Either way, it means Chuuya had the capacity to break out of the vampire curse on his own and that's incredibly funny to me for many reasons but mostly:

Fyodor: "Bold of you to assume Chuuya's ability can't overcome flooding."

Dazai: "Bold of you to assume Chuuya's personality can't overcome brainwashing."

But really, this highlights something interesting here, both in what Chuuya's role is ultimately intended to be in this arc, and in the way Fyodor and Dazai manipulate and value others in very different ways.

I've said it before but it bears repeating: we already know that Fyodor is an excellent long-term planner, while Dazai is effectively able to counter him because Dazai shifts into thinking like his opponent. They're foil characters for a reason; they're both highly intelligent, manipulative, and willing to play the long game for the sake of winning against their opponent.

Thing is, I also stand by the idea that personality-wise, they're not similar at all - and that has serious implications for the people they are connected with. The build-up to the prison escape arc really highlights this. Some examples:

Chapter 46: Fyodor believes that all people are sinful and foolish and that his goal is to remove sin. Dazai believes that all people are sinful and foolish but asks what's so wrong with that.

Chapter 64: They decide to have a "super-happy chit-chat" about their problems. Dazai's solution to Fyodor's issue with his lazy subordinates is to get them to think lazing around is a bad thing so they will put in effort of their own. Fyodor's solution to Dazai being unable to woo the waitress is to isolate her from her job, house and family so that she can only rely on Dazai.

Chapter 77: Fyodor believes god is perfection and harmony, and thus that the people capable of change are the superior ones with most control. Dazai believes god is the accidental and illogical and believes it is the ordinary people who fight and live in that uncertainty who create the greatest change.

So, what's happening here? Fyodor's manipulation is shown to be very exacting and direct. He leaves no room for error and regards people on a hierarchy - God above all, himself as a servant of God's will, and the sinful and foolish humans he has little regard for. Dazai's manipulation involves manipulation of the situation, and is often indirect. It involves people coming to the conclusion he intends for them to on their own. And from his later dialogue with Sigma, we see he doesn't regard the world in that same kind of hierarchy.

Now, look at the way Fyodor picks an item and Dazai picks a person when starting the game. Look at the way Fyodor refers to Chuuya respectfully but brainwashes him entirely and mocks Dazai for not being worthy of "using" his ability. Look at the way Dazai is a complete ass to Chuuya but ultimately lets him make his own choices (begging people to take note of that moment in Stormbringer where Dazai cuts himself off to correct his referring to Corruption as Arahabaki's true power to Chuuya's true power).

So, the actual strength Dazai has over Dostoevsky then, is not really his strength at all, it's the strength of others and their choice and willpower to act in the way they believe is best. It's the only means of getting a leg up on Dostoevsky, otherwise they will continue to go around and around in circles forever.

And Chuuya is the best candidate for finally throwing Fyodor off his game.

Firstly, let's just establish something: no matter how mad he is at Dazai, he's not going to side with Fyodor, not willingly. Fyodor threatened the Mafia in the Cannibalism arc by attacking Mori, first of all. I doubt he's forgiven him for that. Secondly, Fyodor embodies everything Chuuya can't stand about Dazai, at the very least, younger Dazai - the manipulation, the lack of consideration and connection with others, the callousness and lack of regard for life.

Well, perhaps he's not quite as irritating. +1 point for Dostoevsky I guess?

But lastly, it is more advantageous for Chuuya at this point to help fight against Fyodor, especially since most of the Mafia has been vampirized by his organization. Helping the Agency stop the terrorist plot will help the Mafia by extension by undoing that. And we know from Stormbringer that no matter how much Chuuya is personally hurt, he considers taking out the threat to his people a higher priority. Always.

(You could make the argument that he was told whatever Teruko told Atsushi and decided to join, but not only do I find this wildly out of character, but if that was the case then there would've been no reason to brainwash him.)

That said, I don't think this was preemptive "Dazai's master plan #3057", and in fact, I stand by the idea that Dazai had no idea Chuuya was going to be in the prison. It is very, very important to me that for the rest of this arc, no matter what Chuuya does, that his actions are his own. Not Fyodor's, not Dazai's, but his. And not just because I hate that he's being controlled right now and that freedom of choice has always been important for Chuuya.

But because it makes narrative sense.

The vampires are a bit silly, yes, but they represent the way Fyodor and Fukuchi think - humanity will commit atrocities. They cannot be trusted to make their own decisions. They want to make a world that is free by... mind-controlling people so their plans work without a hitch. In short, they choose, on behalf of others, to sacrifice human autonomy for peace. So, if we are going to turn this arc around, we need to have characters breaking out of that control and thinking for themselves, in spite of the uncertainty of the outcome.

We already see this with Atsushi in the last chapter! He finally takes initiative and makes that choice to leave the room when he doesn't exactly know what the right thing to do is. And this is also why I don't think Teruko is wholly convinced by the DoA either - she lets him go. She gives him the freedom to choose what he does with that information.

Another one of the focus characters here is Sigma. Sigma is a guy who has no past, whose humanity is questioned, who keeps being used by organizations for his valuable ability, who has no home but desperately wants one... oh wait. Remind you of anyone's younger self? This could go one of two ways: Chuuya fails to assert his autonomy, leaving Sigma to learn from that failure, or, Chuuya succeeds in asserting his autonomy, leaving Sigma to learn from his success.

I think it, by necessity, has to be the latter. Sigma's at a tipping point right now, and I think seeing someone try to assert their freedom only to fail would damage him greatly. And I think it's a waste of Chuuya's character honestly.

Chuuya needs to assert his autonomy in this arc. Not just for thematic reasons but because I can think of no one else who can effectively break the "super-genius stalemate".

I keep hearing "Dazai knows Chuuya" in response to Fyodor calling their bond shallow, and that is absolutely true! But Chuuya also knows Dazai. Incredibly well. Odasaku knew Dazai's soul, but Chuuya knows Dazai's mind, knows his strategies and ways of thinking without even needing words. What's more, Chuuya has thrown off Dazai before and done what he didn't expect him to.

Which is nifty, because Dazai and Fyodor think a lot alike. Chuuya is in a unique position to thwart Dostoevsky because he may actually be able to predict him to a degree. Chuuya can absolutely land a victory against him, and it's excellent because it would be completely unexpected to Fyodor, who apparently thinks Chuuya's strength lies only in what his ability has to offer and not much else.

But listen. This also can't be skk's plan. I need Chuuya to sideline both of them. Both for the sweet, sweet catharsis of putting those two idiot geniuses in their places and also because I need Dazai to have screwed up. He wasn't wrong about people making their own choices in uncertainty. People need to assert their autonomy to create change. Dazai can't be wrong in this regard.

But with going ahead with the trap to drown Fyodor despite also having to drown Chuuya when he promised not to let him get killed... this needs to have been a mistake, otherwise the value of Dazai's emotional speech to him is diminished.

I want Dazai to try to laugh it off. I want him to say he always knew Chuuya would escape and then for Chuuya to deck him because "no, the fuck you didn't".

I really think Dazai hoped Chuuya would make it. Do remember that Chuuya was one of the first reasons young Dazai decided to try giving life a chance. The fact that he flashbacked to all his key memories with Chuuya says a lot. But his survival was no guarantee and it seemed very unlikely.

So, Chuuya is faced with the fact that Dazai nearly sacrificed him to kill Dostoevsky and save his new Agency friends.

And I hope he finally gets mad. I hope he finally expresses hurt on his own behalf for once. I hope they are forced to break their status quo that they have carefully maintained by not talking about anything ever. I hope they are pushed to uncomfortable places and that it is Chuuya who finally spurs this development.

Let Chuuya break the stalemate between Dazai and Dostoevsky. Let him shatter the status quo that him and Dazai have kept going for year after year.

Autonomous action in the face of uncertainty is necessary for change.

[layalu]

so i uhhhh. started PoE

[devilheartsblog]

Laios doodle

He’s a fun character. I know he’s suppose to look generic but I still think he looks pretty unique, maybe because of his personality and lore carrying most of his character. Otherwise I love it when he’s drawn as some thumb monster.

Oh and also he wasn’t meant to be autistic according to an interview, personally I’m a bit bummed out that we don’t have a canon neurodivergent character as a protagonist, but hey, autistic headcannons are always welcome as long as they don’t harass the creator or are mean about it.

[lunarharp]

pretty & cute witch men

[bookshelf-in-progress]

It turns out that I never research because it makes me think the details are the point instead of the story.

The story is the point! It doesn't matter if I don't have an entire world with all its history and cultural and political customs realistically fleshed out! Focus on the story and fill in the details later!

[sadrockandwaltzes]

Just some crappy Mikage drawings based on images from the show cause I need practice... I feel like I'm really getting the devianart experience tryna draw him😅😭

He looks much better in the show I assure you...

[writing on top left says 'Mikage Death Pose' since it looks very simpson death esque; writing for glasses (he looks so cool in his prof outfit) says 'stylish professor turned stylish librarian after pick-up attempt' (cause I accidentally gave him lipstick😅); middle left writing says 'shading fail' and 'dude being shady- not blushy; and bottom writing says 'Gah... She kept me waiting again!']

Favorite's definitely the bottom one

[bee-sidebranch]

VOLUME WARNING FOR HEADPHONE USERS👏

i love adding audio to stuff

[crazysnor1ax]

snorlax I think igs time to admit ur werewolfkin

Sighs loudly,,,,,,I’m never beating the werekin allegations am, I chat

[fadebolt]

A thingy I made for the RW Discord's Artfight-like event. The giant Snake-terator belongs to Discord user pebble3494.

[batsplat]

Pecco and Pedro are probably the people who more than anyone else want to beat Marc. Pecco because he is forced to do it for a matter of survival, his bet next year is to be able to win against Marc with the same bike. Pedro wants to win the first world championship with Marc in MotoGP, even better if he wins it against him, because of course that’s what he wants. I MotoGP your teammate is your first enemy, as surreal as it is, it would be more likely to see Pecco and Pedro helping each other (which would be unlikely anyway because they aren’t the type of people who do that) than one of them helping their teammate , especially if it's Marc. If anything Marc and Pecco have to be intelligent enough to at least not take each other out Portimao style, because in that case there will be someone behind them ready to bite

so I'm going to jump in right away by saying, I know this ask acknowledges it's unlikely but, yeah, pedro and pecco will not be helping each other in any meaningful sense - because they are both serious challengers to each other and they know it. sometimes, riders can be known to help non-team members in fairly small low-key ways (see in this post valentino accusing marc of deliberately towing ducati riders to get them ahead of his actual rivals in brno 2014). for both pecco and pedro, marc is definitely the bigger focus, but they are both perfectly aware of the danger the other poses, and will not be inclined to treat each other as anything other than an active threat

that being said! of course pecco has already nicely demonstrated this season that he does approach his marc fights differently than he does those with other riders (which is broadly the correct and smart thing to do, even if the specifics can be critiqued). portimao even gave us the direct comparison between pecco/pedro and pecco/marc! part of it, yes, will just be an element of self-preservation - marc is now back to being a major roadblock for winning any future championships, and he'll be in pecco's house so will of course require... extra attention. apart from that, it absolutely would be the most meaningful way pecco could win a championship, by beating the famous marc marquez on equal machinery... nobody has done that before, and it would instantly dispel any remaining doubts about pecco's ability and cement his legacy as one of the greats of the sport. he wants to beat marc so badly because marc is one of the two riders he's always been chasing... and marc's absence has left all the young pretenders in this odd place where they've taken the crown but don't quite believe it's theirs yet. (just to say this again, I personally don't share the view that marc's absence diminishes those titles in any way, but it is of course interesting when the riders themselves have these insecurities.) there was that interview from early-ish last year where pecco talked about some of his personal limitations and how he views his own status in the sport:

fascinating, isn't it? of course, I'm sure a second title will have helped to some extent in making him feel a little more entitled to that status in the sport - but this is not the kind of thing valentino or casey or jorge or marc ever would have said. there's a self-consciousness to pecco, an awareness of his uncertain, shaky journey to the top of the sport, how he's fully cognisant of how different he is to those names... which can be a problem at times - delusion is an athlete's life blood, and while the level headed insight pecco expresses here is arguably admirable, it is not necessarily helpful for him as a champion. on the other hand, sometimes lacking a little in the delusion department can be a good thing if it allows you to deliberately improve yourself, pushed on by the knowledge that you still have a long way to go... pecco's biggest self-inflicted wounds have tended to come when he's at his most comfortable - you can theorise about why this happens, but maybe that striver mindset is exactly what he needs to keep him going. it's still quite the admission to describe his 2022 season as more incomplete than either valentino or marc's title runs. (mind you, it's arguably even less complete a season than some of their misses - of course with valentino you have the obvious ones, but did you know that marc scored an average of 13.44 points in 2015 vs pecco's average of 13.25 in 2022? obvious caveat that in 2015 there were considerably fewer competitive bikes and barely any capable of regularly challenging for race wins.) the need to prove himself is always there with pecco... it keeps peaking through with him, and it absolutely peaks through in his approach to marc. yes, yes, acosta is the future, jorge martin has been his title rival more recently... but of course, beating marc would be special. do you think pecco ever dreamed that of it? do you think he really believed that he could before he was already premier class champion? with most champions, you would say it's likely. with pecco, I'm not quite so sure

as for pedro, yeah, obviously, that's just the cycle continuing lol. deeply curious what those two regularly competing at the sharp end of races looks like. pedro has kinda kept his distance, isn't that much of a marc fan himself... when he talks inspirations he tends to bring up schwantz, stoner, pedrosa, and of course rossi

schwantz is far from an unusual pick amongst riders, though as the years pass perhaps gradually more so - it certainly reveals an appreciation for the history of the sport. as do the other choices, in a way... let's not forget that acosta was eight years old when casey retired. of course back in the day casey and dani themselves got plenty of criticism for how 'boring' they were - that's just how these things go! nobody's ever nostalgic for the present etc etc

pedro did also talk last year about how the public wants celebrations and rivalries, critiquing how friendly riders are nowadays and saying people want battles like jorge/dani, valentino/marc, and so on (full clip here)

heartwarming: global number of people who still care about the valentino/sete rivalry is now confirmed at 2 (two)

obviously, you can't just go out and manufacture feuds because you're feeling like it, and pedro's had a pretty quiet rookie season in that sense. but once he feels like he's settled in and can challenge the infamous marc marquez in an actual title fight? on the basis of this rhetoric, you'd at least hope he's not going to be too shy in taking on the challenge. of course he too wants to beat marc more than anyone else... again, it's a question of legacy, how pedro clearly situates himself within the same lineage as both valentino and marc - even if personally he aspires to be more of a successor to the former than the latter. always better to take the crown for yourself, right? this is a kid who's clearly into the history of the sport and is already determined to make himself a big part of that story... weaving himself into that narrative by taking on a legend of the past, taking on the task of disposing with that legend himself. plus, given pedro is so aware of that history - he knows that what people remember are the rivalries. he wants some of that for himself! it'll be interesting to see how proactive he'll be in making that happen, certainly seems like an enterprising young lad

anyhow, yes, plenty of potential for both of those dynamics. and yes, they do very much want to beat marc - but if we're talking about who wants to beat him the most, jorge martin probably deserves a mention right around now. does have to be said that something dumb like the portimao thing is costing pecco and marc this year. it's kind of gone under given the sheer bucketloads of points all the title contenders are throwing away, but pecco would be eight not eighteen points behind in the standings if he had settled for sixth in portimao, and for marc it would be twenty four rather than thirty five points if he'd backed out of the move and had another go on the next lap. relatively unlikely to make a difference at the end of the season... though for mr title decider pecco bagnaia, it sure might be! I did joke about making the pecco/marc portimao thing tradition, but generally speaking two top riders crashing each other out isn't that common a thing, and it's pretty..? rare? that it's the same two riders on multiple occasions? I'm drawing a bit of a blank here, to be honest... then again, title contenders do seem to crash rather more than they used to (admittedly they also have a lot of opportunities now) - so maybe this is going to become a more regular occurrence. but what is more likely to happen is that when you have two competitive riders on the same bike, they do run the risk of taking turns stealing points from each other at the circuits where their bike is at its best. I think pecco and marc can probably minimise this given what a good all-round bike the ducati is across a range of different circuits, and also given that as individual riders they do at least seem to be reasonably distinct in what their strongest and weakest tracks are. all in all, I kind of doubt they'll cost each other like that next year... though admittedly if portimao is anything to go by I may be tempting fate