#and the doom of the narrative you cannot change

[tiriansjewel]

it’s been years since my last true fixation on a musical but I regret to inform you all that I just watched the 2014 Swedish Jesus Christ superstar and I feel I will never be the same again.

[crazy-ache]

I’m never going to buy the “Elain is a spoiled rotten child” interpretation that I see floating around fandom. To me, Elain is a chronic people pleaser.

She desires to please everyone around her at the expense of herself. It is why she so desperately wants to be seen. She is deeply unhappy. Symbolically, Elain is described as a trembling fawn because she is frozen like a deer in headlights in the face of what she wants vs performing what other’s expect of her.

She does this because she is suffering from self worth issues and does not believe her needs or wants are important—and that she doesn’t possess value beyond her complacency and her superficial beauty.

In fact, I believe her book is going to be about becoming selfish. I HOPE it’s about finally becoming MORE SELFISH, which she has never afforded herself to be. I hope she’s selfish and leaves the cage of limitations that has been created for her in the Night Court. I hope she’s selfish and chooses love and a mating bond because she wants it. I hope she’s selfish enough to finally put herself first in order to become the strong and brave female character she was always destined to be.

[thegreatyin]

in case yall were wondering my all-time favorite undertale character is probably flowey tbh. like i love all of the cast but man flowey is just. he's the kind of character you could eat like a full course meal with how fucked up and in-depth he is. yknow

[direful]

godddd when it is super not 2:30 in the morning I NEEEDDDDD to sketch out a silvergifting the scorpion and the frog piece.

[aingeal98]

Han Sooyoung potentially the most doomed by the narrative character of all time. She wrote the entire narrative that doomed her. She was a lonely and neglected but otherwise normal child and then at some point in her young teen years she gets possesed by a god that uses her body every night to write the story that will destroy the world. Her mind and body are no longer fully her own, they've been hijacked by someone who is leaving her exhausted and with confusing dreams, someone who is sealing her fate and pushing her along towards her destiny without HSY having a single clue. She will follow the pre determined path this God laid out for her, will go through all the suffering and pain that this God has planned, until it is too late for her to turn back. When she finally realises the truth she will be in too deep, and her only choice will be to continue along this chosen path. She loves too fiercely to choose any other way. She will doom the world over and over again, selfishly sacrificing millions and selflessly sacrificing every part of herself because her monstrous heart is too full of love. This one boy she cares for must stay alive. There is no price she will not pay in order to make that happen.

After all this you'd think she'd be furious at this God but how can she? The god is her, just a version of her further along the narrative who cannot change her nature anymore than young Han Sooyoung or old Han Sooyoung can. The god will write and write to keep this boy alive without ever getting to see him or talk to him, and in the end she will flicker out to be nothing but a part of HSY's memories. Every version of Han Sooyoung is tied to this narrative, there is no one point where you can stop and blame a version of her. They are all guilty and they will all do it over and over again. They are too full of fierce, selfish love for any other alternative.

[songsofadelaide]

King Laios x succubus!reader who are both doomed by the (my) narrative™️ because: he is being pressured to find a wife to secure the future of the kingdom but he simply cannot help his fascination with the only (not so) monstrous creature that managed to bypass the Winged Lion's curse— a succubus who was shunned by her coven because of her lack of appeal and inability to seduce victims.

You swore that you weren't there to steal his life force, which easily convinces Laios to strike up a friendship with you (despite Marcille and Kabru's dissuasion). You visit him every night to converse with him about kingdom affairs. He doesn't ask questions about how you feed and maintain yourself since he considers it a private matter. You bond over his desire to see monsters again and your wish to form a more meaningful tie with humans.

The more time you spent together, the more you realised just how enticing his energy was to you, so you disappeared— not wanting your growing desires to pose a threat to the only human who saw you as an equal, who saw you as a friend.

Many years pass but Laios never married, opting for the wisest men of the kingdom to select his successor among the most brilliant men of the land instead. He often wondered where you were and what you were doing. Some nights, you let your curiosity get the better of you and check in on him, and you feel somewhat relieved that he shared his bed with no one else.

One night, he caught you leaving through his window and cornered you. He asked you where you've been and what you've been up to, and even commented about how your beauty hasn't changed even after all those years. You remarked on how handsome he still is even though he is already an old man. He finally asked you the most taboo thing of all: what did you feed on?

(You tell him the truth: You fed on the life force of living creatures— not enough to hurt them, though— rather than having intercourse with men. How could you bring yourself to harm humans after being friends with one?)

Laios was both pleased and relieved with your answer. He then offered you to take his remaining life force, eventually admitting that he wanted to offer it to you long ago but was afraid you'd rebuff him or be offended. You granted him a night of blissful dreams but not enough to bring him to his grave and vanished from his life for good— in fear you might kill him from loving him too much.

[starry-bi-sky]

"Stillborn? No, still born" Danyal au -- VLAD MASTERS THE BITCH HIMSELF

*Points at Vlad* THIS MFER GOT SOME TEEFS TO HIM. !! Okay okay, Vlad Masters in the stillborn au is different compared to most of my other aus in the fact that I am far more heavily leaning into his original ambitions of wanting a family and being desperately lonely. Because you know what wanting a family implies? Wanting to be a parent.

Fucked up father figure that could've been Vlad. Complicated love-hate relationship between the only two halfas in existence.

Danny hates Vlad, but he hates even more that he's genuinely considered his offers of mentorship. Vlad is the only halfa around, and they both have fire cores. Danny has these powers he doesn't understand, can barely comprehend some days, and can't control. But Vlad does. Vlad can. And Vlad wants to help him. He's the only other person who can get close whenever Danny runs too hot. Whenever his igneous hair cracks, splits, and spits back out into magma and his friends can't get close, Vlad can.

His hair is made of magma, which runs so hot that people need specialized suits in order to get near it. He physically cannot get close to the living as a ghost unless he's calm enough for his hair to cool into igneous rock. Which isn't as often as he would like. And sometimes he's too hot for other ghosts to get near unless they have fire cores -- which Vlad has.

There have been many times when Danny's having a meltdown (literally) and gone somewhere to be alone, to let his anger and hurt and loneliness overflow and spill out, that when he's come back to, Vlad's right there with him as an anchor. It's desperately frustrating, it's the only time they can get along. They don't say anything, Danny just turns and clings onto the only person he can touch as a ghost.

Its not fair. Vlad wants to kill his foster dad, and Danny can't let him do that. But he wants to be trained by the man, he wants his help and wants what he can offer. But Vlad can't step away from his revenge long enough to let him. It's just not fair. He thinks for a moment that maybe it could work, and then Vlad does something to remind him that no, it can't.

Vlad Masters sees too much of himself in Daniel Brown -- from the way he holds himself, to the defenses he puts up, his quiet anger that builds and builds and builds until it explodes. That simmers beneath his skin. All the way down to the fact that they have matching cores. This boy is cut from the same cloth as him, and by god does he want to help him. He's always wanted to be a father, and Daniel Brown is too much like him for him to ignore. He genuinely, truly cares about Danny and his wellbeing.

He wants to help him, child just let him help you. Let him kill your foster dad so he can adopt you himself and help with these powers that terrify and intrigue you -- he knows what that's like to have something that you can't control, to have a heat that you can't cool down from. "We're in the same boat you and I, let him help you please."

But his methods are all wrong, and Danny is too much like him -- stubbornness and all -- for him to agree when they oppose each other so greatly. But again, Danny is much like him -- which means that Vlad is equally stubborn, and in every single one of their fights he's parental. He's annoyingly parental. He drops his interest in Maddie to focus his efforts in trying to coax Danny onto his side. It's like trying to get a traumatized cat to trust you, and on some levels it works. It's like he makes some progress, and then moves too quickly and the cat immediately runs off and you have to start back from square one.

TL:DR; Vlad and Danny both want to find family in each other but they're too different to get along and ultimately they are doomed by the narrative to be at constant odds with one another unless one of them is changes, and it doesn't matter who.

[childofearthandstarryheaven]

My biggest discontent with Hades 1 was that, because of the roguelike mechanic, nothing changes in the end. The Olympians' cruelty towards mankind was hinted, the Chthonic gods' cruelty towards human souls was shown, but nothing was done about it. No one can escape the status quo. The surface was always stuck in Demeter's genocidal winter. Sisyphus would forever be in Tartarus. Eurydice could only stay in Asphodel. etc. etc.

But Hades 2? Then the status quo is already great. Chronos destroyed Olympian authority long before Mel first embarked on her journey. Sisyphus and countless other souls are released. They are FREE. Meanwhile, genocidal rapists like Zeus and Poseidon are trapped on the mountain, unable to do anything to humanity ever again.

Mel can be an annoyance to Chronos and Prometheus, again and again, but she cannot fight the meta structure of the game itself. The siege is here, forever, just like Zeus and Hera's torturous marriage. Since now they are not able to torment the mortals out there, they can only torment each other. And Apollo.

There is nothing Mel can do. Mel cannot make the Olympians happy. Mel can belittle mortals, Prometheus and Chronos all she likes, but she cannot make the Olympians love each other, just like she cannot make Hecate her true mother.

As long as the basic roguelike gaming structure holds, neither Mel nor the Olympians could ever be free.

But Sisyphus is free. Prometheus is with Aetos, and both are happy. Though Chronos is clearly not happy about being beaten by his granddaughter again and again, he is at least no longer in pieces, which is still a tremendous improvement, and a permanent one nonetheless.

So, in a sense, Chronos and Prometheus has won already, while Mel is doomed by the game itself. She may have a character arc, she may be slapped in the face by Pandora's truth (mind you, Pandora is not bound by the roguelike mechanic, she is a NPC without encounter, if plot requires Pandora to break with Mel, Pandora can just leave the camp; but the player can only have Mel fights through the underworld or Olympus), she may change her outlook altogether. But her current goals? Death to Chronos, restoring the throne of Hades, and saving Olympus?

She'll never succeed. This is roguelike, not linear RPG.

But this also knits up the narrative beautifully. The answer to the question 'are we the baddies?' is 'yes'. The Olympians are baddies. Mel is a baddie for aiding these genocidal rapists.

Unlike Arachne, who didn't choose to become a spider, or Pandora, who didn't choose the jar, or even Odysseus, who could not choose Athena but could only be chosen, whenever Mel leaves camp to fight, she is knowingly choosing to fight for a bunch of murderous despots out of her own free will.

And her punishment is exactly the gaming mechanic itself, now and always.

[citizen-zero]

Some people have been making the joke about the characters of Dracula being stuck in a time loop but honestly it got me thinking about how epistolary novels feel like a potent manifestation of the concept of being doomed by the narrative

Because when I read a non-epistolary book, I’m not left with this sense that it’s all going to reset because the events of the book aren’t happening according to a very specific timeline. Like, sure, maybe specific dates get mentioned in the book, but it’s not as rigid as having a diary or letters with exact dates laid out over the course of six months.

Because Dracula has a definitive start date and end date, the characters are fixed in time and being (sometimes literally) railroaded. Your sense of the passage time is very concrete and there’s not a ton of wiggle room. Like, a book such as…idk, The Great Gatsby that doesn’t have any dates in it (IIRC) feels timeless. Sure, maybe it takes place in spring and summer, but you can kind of lose track of that because there isn’t a calendar keeping you aware of the date. Gatsby has to die within a certain window of time in the year but you’re free to imagine that as being whenever you want.

Not so in Dracula. Jonathan HAS to be on his way to Castle Dracula on May 3 and 4, he HAS to be there until at least late June. He cannot be already at the castle on May 2, and he can’t leave until after a particular date has come and gone. Every event in the book has to happen on or about the date it’s written about, there’s no room for deviation. We are free to imagine what might happen between specific dates (especially in the long stretches with no updates) but ultimately it all has to conclude in a specific event happening on a specific date.

That really lends the book the sense of being a time loop because we can pin down a pretty much exact timeline of the book. We know that these characters are locked in, and on the dates of the novel they cannot meaningfully deviate from the text. And because of that, they’re doomed to live those events out on the same exact date every single year for all time.

It adds the same layer of dread/grief/futility that you might feel when playing a game and reading in-universe diaries/news stories/etc from the early days of the game’s apocalypse. You can’t change the events of the past no matter how much hindsight you have, and none of us can change the canon events of Dracula no matter how much foresight we have. Jonathan is always going to be on his way to Dracula on May 3, and he’s always going to be completely unaware of what’s waiting for him.

[arashi-no-saxlphone]

Screaming along to Requiem this morning and it made me think of the "people like Sol but not I-No" thing again and I just wanna say I know there's issues with how GG handles their women sometimes but like... the GG women are REALLY fucking cool and good. I-No is one of the most incredible narrative foils in fiction to me to both Axl and Sol in different ways. You have Sol Badguy, doomed savior, and I-No, who though we weren't totally aware of it at the start of her character story, has also been put into the same role. The two are at odds because of the future I-No has been cursed to know about and burdened with the idea that she can change said future, and she and Axl are two sides of the same coin in that I-No is stuck in a cycle of chasing a future she cannot change while Axl is stuck in a cycle of chasing a past he cannot return to. And she plays those roles EXTREMELY well. She's written to be a tragic character, doomed by the narrative, because she only has half of what she needs to get what she wants. And she's a Magical Foci - not human - and yet there's deeply human qualities about her that she can't fully embrace because of what she is and the circumstance she's trapped in. I-No willing throws away what little of her humanity is left because she's lost and tired and the crushing weight of all of humanity's hopes being placed into her is so much to bear that she becomes numb - that is a completely understandable reaction that I think anyone can relate to: the exhaustion of existence becoming so great that you just want to give in. She is a foil to Sol, who despite the loss of his humanity refuses to let it go, and chases it to the end, and because of that he's able to save the world (again) at the end of strive. I-No's existence and role in the story is just the other side of Sol Badguy's- it's crazy to me to like one and not the other; their value and narrative weight is identical in my eyes.

Millia and Jack-O both have incredible things to say about the value of one's identity and sense of self. Baiken is a killer example of the gruff revenge-seeking broken person archetype (a role stereotypically fulfilled by male characters) finding acceptance and managing to heal. Bridget tells an exceptional coming-out story (one of the best arcade modes in the game imo the conversation she has with Ky at the end about his fear of going public about his family still gets me). Ramlethal and Elphelt's journey to independence and understanding themselves as more than weapons or puppets. These are characters with incredible narrative weight and substance. It's the essence of Guilty Gear to me.

I don't know, I just thought about this for too long cause of Requiem and thinking about I-No today so sorry for the incoherent dump here.

[mirefireflies]

i am once again thinking about a series of unfortunate events and the way that it twists the idea of being doomed by the narrative. specifically the song at the end of the first season and the effect of having the villain, a cartoonishly evil and awful man, sing about the inescapability of tragedy. because he IS the tragedy he is what causes all the unfortunate events and suffering… but when he sings that there’s no happy endings it almost seems like he’s also trapped in the narrative. the story has already happened, its being told to us after the fact when it’s too late for anyone to change how it ends, but the song creates this strange feeling that olaf is also doomed, except he’s doomed to be the villain in this story. it’s not as if he makes any effort not to be the villain of course, but for just a moment, you realize that his fate is also already written and his role in the story cannot change because the story cannot change. he has already done all these terrible things and the story has already been written but then there’s this brief moment of awareness, where all the characters turn to the audience and say “this is a tragedy and it has no happy ending and that’s just how the story goes,” and it’s as if none of them have any control over the narrative, not even the villains. that’s just how the story goes

[typellblog]

Illyasviel von Einzbern: The Hole at the Center of Fate/Stay Night

Emiya Shirou is the beating heart of Fate/Stay Night. Every character radiates outwards from Shirou, shapes and is shaped by him. He fights against foils like Archer and Kirei while growing alongside the three main heroines in each route.

There's really only one character who precedes Shirou in influence, who shapes him near-completely but cannot himself be shaped.

Emiya Kiritsugu is already dead, after all.

It's his legacy that drives the novel - but something oft-undiscussed is that Shirou only has half of it. He inherits his father’s justice, and the one that inherits his ruthlessness is Illya. Thus, Illya’s relationship to Shirou is dictated from the start.

She is everything his father left behind, the first gatekeeper of the moonlit world of death and magecraft that Shirou now finds himself in. In this role she transcends routes, appearing at the end of the third day to deliver a near-lethal attack just as the story branches off.

She seems intent to deliver Kiritsugu’s baggage to Shirou, to make him reckon with the past that he himself never experienced; the truth that a hero can only help those he sides with while many others are left alone in the cold.

In this way her very existence is a far more fundamental challenge to Shirou’s ideals than that of any other character - and yet this challenge is met only indirectly. Much of the information regarding her true identity and relationship to Shirou is elided until the end of HF.

She functions similarly to Sakura, a character who totally changes the reader’s perception of the first two routes in retrospect. The reveals about Illya force us to reevaluate how positive her ending in the Fate route really is.

In the narrative of Heaven’s Feel, both Illya and Sakura are considered ‘doomed’ - able to be saved only by Shirou sacrificing his own life to Archer’s arm.

It’s the crux of their characterisation, in the same way that Saber’s pursuit of the Holy Grail leads her into timeless and uncountable doomed battles. In a route based around that character, you would expect fixing it to be the main thrust of the plot.

And so just as the Fate route is focused on Shirou clashing with Saber over her lack of regard for her safety, and Heaven’s Feel is focused on accepting even the ‘impure’ parts of Sakura, there is no route focused on showing Illya that she needn't give up on having a normal life.

Instead all of her scenes in Heaven’s Feel are about accepting that she cannot have one.

This is the hole in the center of FSN that I’m talking about. Its absence is felt keenly throughout the novel, because Illya has another role besides a specter of Shirou's past. She embodies the prize and object of the Holy Grail War itself - the very same wish-granting device.

Many of the characters in this story are not fighting for the Grail specifically, but nonetheless their strong personalities and desires cause them to clash with one another, in a process Kirei sees as comparable to everyday life.

Their wishes, both in the form of the dead’s regrets and victor’s will, enter the neutral, empty Grail in order to produce a miracle. The only one not allowed a will of their own is the vessel of the Grail, who, in absorbing these desires, must completely erase their humanity.

Illya is not intended to have a reason to pursue the Grail, nor any life beyond obtaining it. The war is premised on the sacrifice of the Servants, yes, but nonetheless they enter as contestants. Illya, like Justeaze before her, enters the ritual only as a sacrifice.

And yet an outside element is introduced. Illya being part-human, the product of an actual family rather than just a clone allows for her to have personal motivations. She holds on to her resentment of Kiritsugu, despite knowing that it’s pointless, because it’s all she has left.

A parallel can be made to the Grail itself. Supposedly a pure wish-granting device, it becomes corrupted through the influence of Angra Mainyu, one small, perverse wish colouring the whole thing black.

The desired salvation of the Einzberns, their thousand-year project relies on being able to reproduce the miracle, to understand every component part of their attempts in order to draw ever closer to the Third Magic, but Illya is a random factor, born to a human parent.

She’s also their greatest creation since Justeaze. Miracles, after all, exist because they are not understood.

The corruption of the Grail with the darkest desires of the world is just the inevitable result of any wish - the price of becoming a human instead of existing as a machine. Live long enough and anyone would turn into Zouken, higher goals suborned by a base desire to escape pain.

Like Illya the Grail is a failed project, a tool that can only provide salvation of a limited nature & only fulfill its purpose incompletely, proof positive that true perfection does not exist in the world of Fate/Stay Night.

In Illya’s case the bug in her programming comes fundamentally from a desire for family, for someone to be close to her. Despite her dysfunctional initial approaches she’s perfectly capable of living normally alongside Shirou.

The issue, then, is the Grail War itself.

Her two sides, two different origins, come into conflict here, and her role as the Holy Grail consistently wins. Not because she desires it in any real sense, but because she doesn’t believe that she can do anything else.

Consider how the Fate route ends with Saber and Shirou trying to live without regrets, accepting both the negative and positive aspects of the past without dwelling on that which cannot be changed.

Consider how Illya in the Fate route doesn’t say a single thing about her condition, refuses to burden others with that knowledge, accepting the fact of her death and instead choosing to live in the moment.

Consider how the Unlimited Blade Works route is about Shirou trying to live without regrets, accepting that he will not always succeed, that his self-sacrificing nature will hurt him, but nonetheless his pursuit of that goal is worthwhile.

Consider how Illya’s death is used to illustrate this, how she cannot be saved regardless of whether Shirou makes the choice to intervene or not, how his sorrow is used as proof of his brokenness and his ability to move forward regardless is used as proof of his strength.

Consider why the Heaven's Feel route is named after the ritual that materializes the soul, why this is identified with salvation and rebirth by the Einzberns. I would argue that the Third Magic is a metaphor for the process Shirou undergoes throughout the novel.

He evolves from a machine into a human, gaining his own desires and the will to live. And just as Heaven’s Feel, the ritual, requires a sacrifice: Justeaze’s blood forms the foundation, so too does Heaven’s Feel, the route: Illya spends her own life to fully realize Shirou’s.

In moving past Kiritsugu’s legacy, he moves past his belief that his life is worth less than others. He wants to live, wants to let Illya save him, wants to let her sacrifice herself for him. In moving past Kiritsugu’s legacy, he moves past Illya.

I don’t blame him. I just want to emphasize how significant to this novel the existence of suffering is, how important the figure of someone who cannot be saved, how necessary a single person’s sacrifice. And how this falls on Illya in every route.

In the latter parts of the Fate route she quickly disappears from story relevance. Her functions as a Grail offer a convenient excuse to have her sleeping for much of the day, as it does for Kirei’s kidnapping of her, stringing her up as a sacrifice to open the gate.

In UBW we have Gilgamesh brutally ripping out her heart. He values her purely for her core, which holds the Grail, tossing aside the rest of her body.

If her role as the Grail is what drives her doom, though, she is at least partially able to overcome this at the end of Heaven’s Feel.

For a brief moment, Illya escapes the bonds of fate by uniting her deeply personal wish with the impersonal functions of the Grail.

She also dies. She fucking dies, okay? I’m so tired of talking about this as though it’s supposed to be a good thing, as though we’re just supposed to accept it as the best possible option.

It works precisely because we know there is another, because we know for a fucking fact that an Illya route could have existed, that her salvation is possible not just from a meta perspective but directly implied in-universe.

Illya’s power is to grant wishes, but she is incapable of giving voice to her own. She needs someone there by her side to tell her that it’s okay to want to live, and yet- Shirou is so fucking broken that he needs her to do that for him instead.

Illya could have lived, but she doesn’t, and in not doing so she carries half the weight of this story’s tragedy on her back.

In a way this is an excuse for the lack of an Illya route. I really do think its blatant absence adds something to Fate/Stay Night, really sells the tragedy of HF, becomes even more beautiful precisely because of its unattainability.

It’s a comment on how the artistic process, materializing your soul on paper if you will, is an inherently restrictive one, rife with failure and things left on the chopping board.

But it does not, not for a second, mean that we should accept the lack of an Illya route. It doesn’t mean the desire for it is a bad thing. It doesn’t mean that its addition would make Fate/Stay Night worse.

It would, however, become a different game at that point, and here I want to pay respect to the one that has lived alongside me for twenty years.

Thanks for reading, and happy anniversary to my favourite story of all time.

[sarahreesbrennan]

Avoiding my email as at this point I fear there are bears in there…

Received a very interesting question but it is also very spoilery, so. Beware Long Live Evil spoilers!

There are many versions of Time of Iron, for many people have entered the story, and you cannot exist in the story without changing it. Keeping the different versions in your head isn’t as complicated as you would think. It’s like having the different POVs for every character in your head, for any scene, so you know why characters act the way they do.

For instance in the scene where the Cobra and Key first meet we see what Marius is thinking. But it’s a very different scene from the other two POVs.

ERIC: Night in with the bestie. He’s sad and that is sad but not unusual, Rahela is narratively doomed so nothing to be done, so excited to have met Lia and so hoping to avoid the Emperor, uneasily aware the story is coming for us but mostly thinking about my writing…

ERIC: OH NO NO NO! OH MY GOD THE EMPEROR IS OUTSIDE MY WINDOW COVERED! IN! BLOOD! ERIC: And now Marius wants to fight him! I must prevent this. ERIC: suddenly this is the most stressful night of my life.

Many more stressful nights to come…

Whereas for Key it’s a pretty nice night.

KEY: Time to kill that guy from earlier, yay. KEY: Wait new handsome man wishes to give me money? Yay. Court is fun it turns out, aristocrats shower you in cash and other people clean up after your murders. Very luxurious. KEY: I guess I’ll kill that guy another time. 😌🔪

Sadly for Key, few such nice nights to follow.

… Except for different versions of the book, you have to think about what would have happened differently, as well as different thoughts. Who would you be, if that one thing hadn’t happened? Marius’ POV chapter titles are about the Cobra, because he’s what happened to change the course of the narrative.

In Eric’s version, Marius had survived up to where Eric had read, though that doesn’t necessarily mean he would survive until the end - the series is unfinished.

In Eric’s version, Marius had a different part, I wouldn’t necessarily say bigger. We would see more of him from Lia and Octavian’s POVs, and everyone is different through different eyes.

Without the Cobra, Octavian and Marius would have been much closer. This complicates Marius’s later relationship with Key. This also complicates the relationship with Lia which we know in that version is explicitly romantic, with a kiss.

Eric will tell Marius more about his version, but Eric’s now very aware of how much the story will and can change. He and Rae have different pieces of a puzzle, and they’re not even sure if it’s the same puzzle at this point.

And Eric doesn’t even know how his own murder happened. Only that it did.

[thefallenangelsgang]

I'm losing my fucking mind

Or: I just saw Lord of the Rings the Musical at the Chicago Shakespeare Theater and my brain chemistry has irreversibly changed

I'm too genuinely scrambled at the moment from travel to make a solid post (I am multiple states away from Illinois and I hate city driving) but I cannot shake the life-changing experience that was.

SPOILERS AHEAD

(Spoiler free tldr: story is changed sometimes severely to make a sub-3hr runtime or to simplify, but the message doesn't get completely lost. Tolkien fan approved)

First issue I can see everyone having is how much the story changes because it does change a lot. Rohan and Gondor being merged is probably the most glaring. I think it works because the show is more focused on the Hobbits (specifically Frodo and Sam). Personally I can look past it. My one issue is the missing Sam monologues (mount doom is a rather swift sequence, I'd have liked to see Sam give his devotion speech and his speech about the shire while waiting to die) those would have made insane songs but alas. The ending still was a gut punch though so it's more a personal preference thing.

First thing that blew me away was the technical aspect. The lighting and set design was GORGEOUS and EVOCATIVE. There were multiple times lighting alone drew me to tears.

The puppetry is immaculate. The nazgul chase is singularly some of the most beautiful choreo I've seen and I'm a slut for puppetry

The cast play all of the instruments live on stage, sometimes while doing choreography (nothing will prepare you to see Legolas holding a fucking trumpet or Boromir strapped into a goddamn accordion)

The costuming is more accurate to the original editions' illustrations which I found endlessly charming. One difference is, for safety (probably OSHA), all the hobbits (and Gollum) wear Sandals. This is never discussed. I love that.

BOROMIR IS KILLED BY HIS OWN SWORD WHICH I CANNOT EXPRESS HOW PERFECT THAT IS NARRATIVELY

GOLLUM PLAYED BY TONY BOZZUTO IS NEARLY INDISTINGUISHABLE FROM ANDY SERKIS

(I am not joking about this. Somehow he has mastered Andy's physicality and voice work. It truly was a sight to behold.)

Saruman/Elrond's actor (dressed as a hobbit) was hanging out in our section during preshow and was having a grand old time.

Bilbo and Frodo were in the main audience bothering people. Frodo was playing a stick and ring game and got absolutely shown up by some 10 year old he invited to play.

The Entmoot took literally 2 minutes (the way I had to stop from HOWLING at that)

I was SOBBING at the end, like actually.

Somehow this production managed to keenly make me feel the ending of Frodo leaving for the Grey Havens more than the movies did. The Irony of Frodo leaving being both a hopeful prayer that there is a place where people bound with trauma and wounds too deep to heal can live in peace without pain and also a grim acceptance that sometimes people cannot recover was STARK

Frodo and Sam really push the narrative of this show up until the end and it hits HARD. God bless this cast with steady work, they all deserve it.

[azumasoroshi]

happy 12/24-25! i think too often about the “gege hates gojo” jokes because holy shit it is PERSONAL with gege

like yeah he sealed him and killed him but like. every aspect of gojo’s character is just so. gege really said “i’m going to make you the strongest character in the history of ever and you’re going to be cool and attractive and funny and your fans will love you, BUT:

The entire point of your character is that no matter how much power you have, you are helpless to save the people you truly care about

You’re so powerful that the only way you can narratively exist without destroying every enemy in jjk other than Sukuna is to get snatched away, sealed, get your powers taken away, or die (even in the fucking video game you only get a certain number of turns to act before you get yoinked)

You can never escape the system you were born into because your power has become your character

You’ll think you’re changing the system for the better but end up perpetuating the system anyway in allowing children to go on dangerous missions

You cannot supervise said children on dangerous missions because you’re running around Japan like a headless chicken at the whims of the higher ups

You never got the chance to fully grow up because a part of you died when Toji killed you and a part of you died when Suguru left you and what else is there left

Your own desire for power blinded you to your best friend’s depression and it’s one of your greatest regrets yet a part of you still thinks Suguru wasn’t strong enough to keep up which is why you keep saying you want strong allies who can keep up with you and you are just terribly equipped to handle your students’ emotional challenges and insecurities even though you try your best

You will never make any emotional connections as lovely as the one from your youth which you still cry about on the rare occasions you actually sleep

You will only be able to tell Suguru you love him right before you KILL HIM

No matter whether Suguru was your best friend, ex-boyfriend, crush that you never confessed to, or boy you only realized you were in love with after he left you, you will NEVER be able to get over him and an evil brain will use this against you and several people you care about will get fucked over because you cared too much

Even though your students/coworkers sometimes like you the first thing 99% of them think of when they think of you is “The Strongest” and even in your breakup arc Suguru, the one person you wanted to stand by your side and share the title, began to think of you in that way as well and distanced himself from you because of it.

The narrative requires that you be lonely at the top as a direct consequence of your power - even metaphorically, infinity separates you from the rest of the world and your wide range of destruction makes it so allies are a hindrance in battle and you could destroy the people you dare about in seconds (see: thank fuck todo stopped yuuji from stepping into range of purple)

You are going to fight the boy you may or may not have raised from childhood because of the other boy with Sukuna inside him that he asked you to save and you can’t hesitate because the last time you hesitated about someone you cared about you got sealed and people died

You may or may not have died to the strongest curse of all time and are left forever unsatisfied even in death because not only was your culty/cunty best friend not there to cheer you on, but you think Sukuna couldn’t even go all out against you, the strongest sorcerer of your time, despite strength being your whole thing

and as a bonus, you also “died” after cockily saying “Nah I’d win” which will get extensively memed on the internet at your expense”

like not to woobify gojo or anything but oh my god jesus fucking christ gege

he was like “ill make you hot as a treat mostly for myself because i like drawing hot men but you’re going to be so incredibly fucking doomed by the narrative in every possible way”

like he loves drawing shirtless men but he never drew gojo shirtless like gege!! GEGE!!!! what did he DO to deserve this level of narrative ire omfg

[your-internet-bf]

Hey, I just wanna remind you that you deserve to be treated well, and that includes by yourself. Would you say the things you say to yourself to a friend? No? Well, I know you can't just suddenly, magically stop thinking like that, but you can take steps to feel better about yourself. You are not disgusting or worthless or empty, you are not doomed by the narrative or incapable of being loved. You are worth caring about, and that includes from yourself. If you're waiting for a sign to treat yourself better, this is it. And for the things you cannot change, I wish you strength to bear them until you can.

Also, drink some water.