#assuming his arc is the same as in the books

[welcometothejianghu]

Welcome to another round of W2 Tells You What You Should See, where W2 (me) tries to sell you (you) on something you should be watching reading. Today's choice: 死亡万花筒 / Kaleidoscope of Death.

Kaleidoscope of Death is a 2018 Chinese webnovel about two young men who fall in love while basically playing a whole bunch of horror-themed escape rooms that can for-real kill you.

This novel was gripping. I could not put it down. It started out fun and ended up ripping out my heart several times. It does a good job getting the ball rolling with a series of adventures in weird worlds, then turns into a meditation about grief and loss and what it means to have something to lose in the first place.

This is the first time I've ever done a book rec! I'm doing it in conjunction with a rec post for the Spirealm, and originally I was just going to do this as a bonus section for that post. However, I felt they both deserve whole different posts, because they both have very different things to recommend them. I also think Kaleidoscope of Death a 100% necessary read if you've seen the show, because it provides some context that the show simply cannot include -- but it's not a necessary read before you see the show.

Therefore, I'm going to give you five reasons I think you should sit down with this one, and not a single one of these reasons is going to assume you've watched the Spirealm! The book is great and deserves to be read on its own merits, and then if you then start watching the drama afterwards, so much the better.

1. All the Cross-Dressing

(Yeah, I'm going to punctuate this one with screencaps from the Spirealm, because otherwise it's just a wall of text.)

I'm not going to tell you why the male characters frequently dress and pass as women, since the book explains the practicality of it better than I could. You just need to know that they often do, and it's never not kinda hot when it happens.

When you first meet Ruan Nanzhu, it is as Ruan Baijie, a stunningly beautiful and noticeably tall woman. Lin Qiushi, our POV character who is extremely confused for a number of reasons, spends the first whole arc talking and thinking about Baijie like she's a girl. In fact, one of the cutest things about sweet, earnest Qiushi is that he clocks Baijie several times, and every time he's just like, oh, she's so flat-chested, how unusual for a girl, anyway...

And this isn't even just dressing up! Stepping into the door worlds changes you physically based on your clothing and cosmetics. Nobody inside looks the same as they do outside, and nobody looks the same inside as they did last time they were inside. The rules that govern these transformations aren't even clear to the characters themselves! So, you know, have fun with that.

I'm going to say it's not an out-and-out trans thing, in that we're not dealing with an AMAB egg who will crack someday. Ruan Nanzhu is a very male-identified, penis-having man! He's just also pretty entertainingly comfortable with performing whatever gender makes him the most fuckable person in any given room. Lin Qiushi is not so inherently genderfluid, however, which means that when his gremlin sort-of-boyfriend makes him pretend to be a girl, it's a completely different kink.

Therefore: If you like it in any way when boys dress up like girls, you owe it to yourself to pick up this one. And if you like a fandom that likes it when boys dress up like girls, baby, welcome to the world inside the doors.

2. Those boys GAY

This is a textual romance. Lin Qiushi and Ruan Nanzhu are in love. This is a danmei novel about how they fall in love. There is kissing and there are fade-to-black scenes that explicitly acknowledge that the two of them have sex with one another. We even know that Ruan Nanzhu (usually) tops. This s not just me pointing at them and saying gaaaaaaaaaay. This is actual gay.

And it is gay that takes its fucking time. They do not actually hook up until well over halfway through the book, but they are physically affectionate from almost the get-go. Ruan Nanzhu is such a trickster and a liar that Lin Quishi finds it hard to believe that anything he does is sincere, which leads to nearly lesbian levels of wondering if it means anything when a guy demands you kiss him on the mouth when he's pretending to be your girlfriend. Meanwhile, Ruan Nanzhu is over here being the Kate Beaton comic about sitting here consumed with lust all evening.

Even once they both acknowledge what they're feeling for one another, they don't get together right away. After all, they're playing a game of life and death where they lose friends left and right. Every time someone goes inside the door, there's a real chance they won't come out again. Is giving your heart to someone worth how much it will destroy your entire life when you lose them?

(Yes, says the book. Yes, it is worth it.)

The slow burn of their relationship is delicious, in part because the physical (though not sexual) aspects of it predate the romantic ones. It also has the fun hot-and-cold aspect where Ruan Nanzhu is incredibly affectionate inside the doors, then icy outside of them. Poor completely inexperienced, never-been-kissed Lin Qiushi does not know what to make of any of this. He can barely manage parenting a cat. He does not know how to handle a boyfriend who is also a girlfriend who is also (spiritually) a cat.

I also find it charming how much the gay part of it both is and isn't an issue. It's not that Lin Qiushi has a problem being in love with a man; however, the fact that Ruan Nanzhu is a man does mean the heteronormally indoctrinated and relationship-inexperienced Lin Qiushi takes much longer to realize what exactly those feelings he's having are. The book's world is one where heterosexuality is the assumed default, while queerness is unexpected but everybody's still pretty cool with it. Besides, no one's going to judge Lin Qiushi's gay yearnings, because who doesn't want to fuck Ruan Nanzhu?

3. HAKO ONNA HAKO ONNA HAKO ONNA

So as I was reading through @zintranslations' earlier chapters, I kept seeing translators' notes down at the bottom about being so excited to finally get to the Hako Onna arc. Okay, I thought, this is a lot of hype; I hope it doesn't disappoint.

Friends, it does not. This is the arc I was reading while screaming into a pillow. It's thirteen chapters long, tied for the longest arc in the book with the first door. It is a fucking nail-biter. It does the clever thing of taking all the things you've learned about what can happen inside the doors and combining them for a worst-case scenario.

The setup is pretty simple: There's a bunch of boxes. One has the exit. Most are empty. Some have things that help you. Some have things that hurt you. The more things you find that hurt you, the more things there are to hurt you. And you have to open the boxes.

All the door arcs are pretty well-written, so that you can more or less play along with their various adventures. Hako Onna, however, is exceptional. It's so complicated, but you can actually follow it. And you need to be able to follow it, because the multiple emotional gut-punches that happen in this arc all depend on understanding how the rules of the game have just been leveraged to fuck someone over.

Now I really want to play the board game -- which I was pleased to discover is a real board game! And speaking of board games...

sidebar: Betrayal at House on the Hill

I know this isn't technically related to the novel at all, but if you like board games, horror, and being incredibly dramatic, you owe it to yourself to try out Betrayal at House on the Hill.

It goes like this: You and several other horror-movie archetypes wander through a mansion, "building" it as you explore it, so the game layout is different every time. At some point (and it's based on so many random factors that you never know when it'll be) someone triggers a condition, and the haunting begins. All the players then get the rules of haunting explained to them -- except for one player, the one picked to do the titular betrayal, who gets a different set of instructions and becomes the antagonist. From that point on, the game is about either surviving or completing the haunting, depending on which side you're on.

I have played this game before with normal board game people, and they were like, eh, this is fine. I have also played this game before with theatre kids who RP and LARP, and we all had a fucking blast. So I'm going to warn you that you have to choose your crowd carefully. This is a game for people who do improv and voices.

4. The art of losing isn't hard to master

The book has a high body count -- higher than the show's, in fact, though that's related to how the book also has more characters than the show does. When you meet someone who can go into the doors, be careful how much money you'd lay on their survival.

Death after the doors comes so quickly, too. There's barely any time to say goodbye, if there's even any time at all. Often there's just a phone call telling our main characters that one of their friends or allies or enemies is gone.

Everyone who gets the chance to go through the door worlds is only able to do so because they're dying already. The more doors they pass, the more they get to kick that death further down the road -- but the more doors they enter, the more chances they take that they might die inside one. So really, none of the players can be that resentful of being forced to play a game that can kill them, since they're already playing it on borrowed time.

I will say, somewhat cryptically, that the book has a positive ending that leaves open the possibility for other positive things. The path to that positive ending, though, leads through some pretty wrenching takes on living through grief. It's not even all rah-rah and it-gets-better, either -- the text acknowledges many times over what it means to have someone that life isn't worth living without.

And that's maybe not what you expected from a BL horror adventure webnovel, but it's what you're gonna get! Ha ha!

5. What He Is

Which is the title of the first extra chapter, which is not extra at all, but is in fact a necessary explanatory piece that whacks you upside the head like a two-by-four and recontextualizes the entire story.

...Yeah, that's all you're going to get from me about that. You'll understand when you get there.

Have you put it on your reading list yet?

The way you have to read it is a little convoluted: @zintranslations has chapters 1-17 and 63-end + extras. Taida Translations has chapters 1-62. So no matter where you start reading, you're going to have to switch sites at least once.

There are also apparently Portuguese, Indonesian, Russian, and Spanish translations too? And the original Chinese webnovel, of course. And some audio dramas and subs linked to from this Carrd, which helpfully has other information, like content warnings for specific chapters, in case the horror aspect of the story gives you pause.

Anyway, once you're done reading it -- or even before you're done! -- you should absolutely go watch the Spirealm. I think it's clear from both rec posts that I definitely like the book better, but I appreciate having the drama to bring so many scenes to life, and I think the casting is great. Also, I don't think reading the book makes you like the drama less! Rather, I think reading the book gives you insight into the awkward and sometimes terrible choices the drama had to make to survive -- which in turn gives you the ability to see through those choices, on to what the show always wanted in its heart to be.

I do find it funny how "Kaleidoscope of Death" and "Death's Kaleidoscope" technically mean the same thing, but they sure read different, don't they?

[kingdomoftyto]

...BIG FEELS AND BIG PLOT DEVELOPMENTS AT THE END OF THAT BOOK, HUH

[mxtxfanatic]

@lifeofmysteries seeing as this post is about the characters staying true to their moral characters and not about how each of them view their respective love interests, this comment doesn’t apply here.

On this note, though, a major part of sqq’s character is not about him not acknowledging his care for lbh and therefore running away, it’s about him learning to prioritize how lbh feels towards him as the victim of his actions rather than what he imagines lbh “should” feel about him as the person who has continuously (been forced to) hurt lbh. That’s why every kind thing (if we can categorize literally sacrificing your life for someone as merely “kind”) sqq does for lbh post-abyss he specifically says he does in an attempt to give lbh peace of mind and a happy future, and why maigu ridge is the point where he finally realizes that lbh would be happier just being with him sans the grand gestures that ultimately harm both sqq (physically) and lbh (mentally as a result).

Sqq knew from the very first mission that all the “characters” were real people. He talks himself into “seeing” them as characters only as a coping mechanism under intense stress (such as when he kills the skinner demon). And that doesn’t even work because if it did, he wouldn’t have cared to change anything about the world of pidw. Sqq’s whole “lbh would’ve walked into the abyss had i asked” thing was about him finally realizing the extent to which lbh would forgive him for anything because of his love for sqq, not him realizing lbh is “real.” If anything, to go back to my post, the only thing sqq would have learned was that kindness is, in fact, a narrative-changing act, but the thing that puts sqq in league with the other protags is that he fully expects his kindness to mean nothing to anyone but he chooses to be kind anyways because transmigration did not change anything about him being a good person.

Tbh, I think if you read an mxtx novel with the expectation that the story’s hero is meant to learn some valuable lesson that fundamentally changes their character and views on life, then you are reading her books wrong. There’s not a single mxtx protag (currently) in existence who changes by the end of the story. It’s the world they live in that is changed because of their actions:

—Shen Yuan’s Shen Qingqiu transforms a toxic masculinity fantasy into a queer romance in which the unhappy stallion protagonist with a harem in the 100s is given his monogamous happy ending with a husband he actually loves and values with reciprocity. They fuck off to their forever honeymoon after exposing the corruptness of the cultivation world that ruined Luo Binghe’s life to begin with, and all of this was only possibly because Shen Yuan was just a genuinely nice fucking person. The world lives to see another day and a fuckton of people who died (or didn’t even get to exist) in the original stallion novel get to live long, more fulfilled lives in Shen Yuan’s revision.

—Wei Wuxian is killed for sticking up for a condemned clan, is resurrected against his will, and still stands by his actions in his first life while protecting those that continued to wrongfully condemn him. As a reward, the corpses of the people he died protecting save him and his loved ones (and the rest of the bystanders who killed them), he bags himself the most perfect and perfectly matched man in the cultivation world, and he continues to help others and do what he wants to the ire of the cultivation world who are now too embarrassed to fight him. The younger generation look to him as a beloved teacher, protector, and role model to aspire towards.

—Xie Lian rebelled against hierarchy as a beloved prince of a prospering kingdom, then as a beloved god against the older gods, then as a reviled scrap gods against the then most popular gods of the present day. He was always willing to lend a hand to anyone who needed it and to never hold resentment even if that kindness blew up in his face (and it often did). He gets to marry the man (ghost) who has seen him at his best and absolute worst and chooses him unconditionally, something no one else has ever done before. At the end of the novel, he is the god that all the other gods look to for guidance and strength.

None of these stories humble these characters for being good people. Even when their morally righteous actions net them unimaginably terrible results, even when they falter in the face of their failures, they ultimately remain true to their goodness. And none of the books humble them for that, because being good is not a character flaw. So in short: please stop talking about how mxtx protags “needed” to learn valuable lessons to “be good people” when they were already good people from the very beginning. These stories are not about how the world changes people but how genuinely good people can change the world just by actively being kind even with no benefit to themselves and especially if that kindness leads to detriment.

[twilightcitysky]

Everything Is Meant (long S2 analysis, part 2)

Part one here

Okay, so that's how I think the pre-creation scene and Gabriel's arc connect to Aziraphale's choice. I also think the ineffable bureaucracy speedrun exists to prove totally different things to Aziraphale and Crowley: Aziraphale loves that they can love each other but notes they have to run away to be together; Crowley sees this and immediately thinks "hey, we can do that too!", forgetting that running away is not a solution Aziraphale has ever been interested in. It's the mentality of an individualist vs a group-oriented mind, and neither of them is necessarily wrong, it's just that their priorities are different and they HAVE TO TALK ABOUT IT, which they don't.

Continued analysis under the cut:

3. Let's take the Job minisode. Why include it? We already mentioned that it proves Aziraphale remembers Crowley as an angel, since he mentions it. And he believes Crowley is the same person he always was, and that he doesn't want to harm Job's crops or animals or children. Crowley tries to convince him he's a Big Bad Demon who is all in on this assignment, but fails utterly to kill even a single goat, soooo... Aziraphale comes to the conclusion that he knows what Crowley wants. Alert! Alert! This is a big problem! Crowley says, "What do you know about what I want?" Aziraphale: "I know you." Crowley: "You do not know me." But because Aziraphale got it right this time, he goes ahead assuming he'll always get it right, which is a crucial failure when it comes to the final reckoning. He doesn't ever ASK Crowley what he wants, he just assumes. When you assume you know what someone wants, you usually assume their priorities align with yours... he couldn't be more wrong about that. The Job minisode sets up this dynamic for them, and they never really manage to change it.

The other thing happens at the end of the minisode. Crowley acknowledges two crucial points: 1) he's lonely ("But you said it wasn't!" "I'm a demon. I lied"), 2) he doesn't think Aziraphale would like Hell. Aziraphale DOESN'T like Hell. Aziraphale hates Hell for what they've done to Crowley. He doesn't see Heaven as innocent or benign, but importantly, Heaven has never tried to hurt Crowley directly. They never threatened his safety. They never tortured him (as it's heavily implied that Hell did). Fast forward to the last ten mins of season 2: Aziraphale excited to tell Crowley that he can be an angel again BECAUSE: he never has to go back to Hell. They can never hurt him again, not the way they did before. And he doesn't have to be lonely anymore.

Last point before I leave Job: Crowley has the chance to cause Aziraphale to Fall, here, probably. ("I lied to Heaven to thwart the will of God!" "You did, but I'm not going to tell anybody. Are you? ...good, then nothing has to change.") He doesn't take it. He doesn't want Aziraphale to be a demon. He loves Aziraphale as he is. "Angel" as an affectionate. Aziraphale certainly doesn't use "demon" as a pet name for Crowley. I think they set up this scene to contrast the final one, and show how deeply hurt Crowley is that Aziraphale suggest he change.

4. Moving on to Victorian Scotland. This one confused me at first. I was delighted that they brought back the "the lower you start the more opportunity you have to rise" dialogue from the book, but apart from that I didn't really see the point of it. It seems like the statue of Gabriel and the fact that he and Beelz ended up at that pub in the present were more or less coincidental.

The point, I think, is actually not the girl, but the doctor. He's a person who is trying to do good by working in a system that's deeply flawed, and engaging in questionable moral practices for the greater good. (Cadaver dissection is still an essential part of medical school. You need dead bodies to understand living ones.) He shows Aziraphale a tumor he removed from a child who died, and Aziraphale clutches it to his chest. The camera zooms in and lingers to tell us that this is a guardian through and through. He wants to protect people. He wants to do good with every fiber of his being.

To Crowley, it's enough to just "be an us" with Aziraphale. He doesn't really want anything more than that. That's an issue! For one thing, it fosters unhealthy codependency, and for another, Aziraphale would never be happy without the opportunity to help and protect people. It's an essential part of who he is. Metatron knows that, and he plays Aziraphale like a fiddle. The doctor showed Aziraphale that you can make a difference even in systems that are flawed, and even if you have to do things you'd rather not do. Aziraphale doesn't want to go back to Heaven, but he truly thinks he can change things; thinks he can be a guardian with some real power. In his mind, that's the right thing to do.

Last thing that happens in Scotland: Crowley saves a soul from Hell, arguably, by preventing a suicide. He gets in Big Trouble. Whatever happened to him downstairs resulted in him coming back up, leaning on a cane, and asking Aziraphale to give him holy water. Go back and watch that scene knowing what we know now about the Victorian minisode. Ask yourself how Aziraphale must have felt. He likely blamed himself for what happened, because if he hadn't meddled then they never would have been there in the first place. He knew where Crowley was, and why he was there, and he had to sit with that knowledge for years. He desperately wants Crowley to be safe; is perfectly willing to push him away to keep him safe-- which is what he does do, the minute Crowley gets back.

Now think again about what Metatron offered him. A chance to keep Crowley safe forever. He'd never be harmed again. Aziraphale is going to take that offer, no matter what else is asked of him. He's shown over and over again that he'll sacrifice his own happiness to make sure nothing happens to Crowley. And he'll do it without talking to Crowley about it first, because he is a moron who doesn't know how to use his words. Leading Crowley to assume that Aziraphale doesn't love him. The idiot angel is doing it all out of love, but because he doesn't make himself clear Crowley doesn't know that.

Part 3: Maggie and Nina, and their roles as mirror couple/ Greek chorus!

[saintsenara]

What is your rationale for disagreeing with the fanon that the horcruxes affected Voldemort's sanity?

that it's literally canon that they don't!

i obviously don't have an actual problem with people using the idea that the horcruxes affect voldemort's sanity as a trope, if that's what works for their story, but what irks me is that this idea is often repeated by voldemort enjoyers as canon fact, when the impact of horcruxes on cognitive function is spelled out clearly in half-blood prince:

Harry sat in thought for a moment, then asked, “So if all of his Horcruxes are destroyed, Voldemort could be killed?”  “Yes, I think so,” said Dumbledore. “Without his Horcruxes, Voldemort will be a mortal man with a maimed and diminished soul. Never forget, though, that while his soul may be damaged beyond repair, his brain and his magical powers remain intact. It will take uncommon skill and power to kill a wizard like Voldemort even without his Horcruxes.”

in half-blood prince - as in every book prior to deathly hallows - dumbledore functions as the "word of god" character, which is to say that the information he provides us - as long as it relates neither to harry nor himself - isn't up for interpretation, it's understood within the narrative as correct. we can also be sure that he's done his research on horcruxes, knows exactly how they work, and is speaking as an expert when it comes to their impact on the mind - and we can also note that slughorn [who also seems to know what he's talking about when it comes to horcruxes and their function] doesn't mention them causing any cognitive damage when discussing them with the teenage tom riddle.

but nobody has ever made as many horcruxes as voldemort! maybe one doesn't affect the mind, but seven certainly could.

except this doesn't align at all with how the series understands the relationship between the soul and the will.

one of the central themes of the harry potter series is the value of choice. all of its main characters have narrative arcs which hinge - in some way or other - on them making a choice, very often the choice between what is right and what is easy. ron chooses to leave and then chooses to come back; hermione chooses to stay. sirius chooses to take a stand against the life his family expect of him. snape chooses to repent of his sins and work forever to atone for them. harry chooses to walk into the forest and die. lily chooses to ignore voldemort's request for her to stand aside.

all of these choices are made of the character in question's own free will - and the same applies to everything voldemort does in the series. he chooses to kill and to keep killing of his own free will, with the full capacity to understand his actions, and he refuses, right until the very end, to show the slightest bit of remorse for what he's done - and it is this, in the narrative's view, which makes his behaviour so heinous and which causes his behaviour to have such an impact on the state of his soul.

if we assume that voldemort's grasp on rationality declines with the number of horcruxes he makes, we are also assuming that his capacity to understand the full wickedness of his actions also declines - but his motivation for killing myrtle to make a horcrux and his motivation for killing frank bryce to make a horcrux are exactly the same: he wants to, and he doesn't give a solitary fuck about the life he's just taken.

and this stands in contrast to something else we see in canon - the idea that killing does not automatically have an impact on the soul:

“And my soul, Dumbledore? Mine?” “You alone know whether it will harm your soul to help an old man avoid pain and humiliation,” said Dumbledore.

this - the set-up to snape's mercy-killing of dumbledore - suggests that your soul is not harmed if you know without question that the death you cause is justified.

snape kills dumbledore of his own free will, but this suggestion also implies that it would be perfectly possible for the soul to remain unharmed if a killer was understood to be non compos mentis. that is, if someone lacked the capacity to understand their actions were not justified, then their soul would see them as "not guilty by reason of insanity" and not splinter.

voldemort's ability to make so many horcruxes in the first place, then, must depend on his capacity to understand exactly what he's doing - to know he could choose not to kill and then still do it anyway.

and we do actually see in canon that - while he's shown to be someone who kills with the slightest provocation in the films - the voldemort of the books is clinical and methodical in his violence:

“Nice costume, mister!” He saw the small boy’s smile falter as he ran near enough to see beneath the hood of the cloak, saw the fear cloud his painted face: Then the child turned and ran away... Beneath the robe he fingered the handle of his wand... One simple movement and the child would never reach his mother... but unnecessary, quite unnecessary...

the canonical voldemort's known kill count is actually surprisingly low, and each of his victims is clearly selected with a rational [in the "does he have a disorder of thought?" sense, not in the "is this morally justifiable?" sense] motivation driving his decision to attack them - even if his actions are also affected by an emotional trigger [he does not, for example, kill his father or massacre the goblins who tell him that the cup was stolen for reasons which are irrational or delusional - incandescent fury or fear that your secret is out are not insanity].

voldemort kills and makes his horcruxes out of choice, and the series is clear that his capacity to understand that choice does not degrade across the course of his life.

ok, but you have to admit that he's definitely not... all there, personality wise...

sure. but i don't think this has anything to do with the horcruxes...

the idea that voldemort runs around shrieking and cackling to himself is an invention of the films. the canonical voldemort is shown to be lucid and thoughtful even in deathly hallows, he remains a formidable strategist right up until the end - and i think it's also worth noting that the films really gloss over just how successful his takeover of the government is - and his prodigious intellect and magical talent are acknowledged by the order throughout the series.

his more volatile personality traits - his fondness for monologuing, his rapid switching between being superficially charming and feral, his tendency to get lost in his own obsessions, his emotional brittleness - are all ones the eleven-year-old riddle is shown to possess, and i think it's much more interesting to explore the idea that they remain aspects of the person he once was which the adult voldemort cannot hide behind the mask he has constructed.

but - yes - its certainly true that the resurrected voldemort of order of the phoenix onwards is more paranoid, harder to soothe, crueller to his death eaters, more inflexible in his thinking and so on than he is implied to have been in the 1970s, and so i understand why many readers interpret this as evidence that his last two horcruxes [harry and nagini] - plus the arcane horror of his resurrection ritual - might have sent him round the bend.

but i think that the implication of canon is that this behaviour has much more mundane causes.

in october 1981, all the evidence we have is that voldemort is about to win. he is an unassailable terrorist kingpin with an army of highly-trained, highly loyal minions and - we can assume - widespread popular support.

and then only four of these supporters try to find him.

it's clear - as we can tell from the fact that barty crouch jr. is so shocked to discover that he didn't massacre the reassembled death eaters where they stood - that voldemort is livid that none of his "loyal" servants came to rescue him from the tree in albania his soul piece was hiding in, choosing instead to pretend they were under the imperius curse and that they'd never have been seen dead supporting him had they been in their right minds. it's also clear that he has no choice but to welcome these death eaters back to the fold once he's resurrected because he'd have no core supporters otherwise.

but it's also clear that he doesn't trust any of them one single bit once their commitment is proven to be so fragile - and that it is this, this evidence that he's just a human being with human feelings, rather than a creature of pure magic whose mind has been warped by that magic, which provides a much, much more interesting explanation for his increasing volatility as the war draws to its conclusion.

voldemort is at his most interesting - in my opinion - when his humanity [and his failure to outrun it] is foregrounded. this isn't incompatible with his creation of the horcruxes at all. but it is, i think, incompatible with the idea that they warp his mind.

[letsquestjess]

The Bad Batch and Crushes (TBB x GN!Reader)

Summary: The Batch have a crush on you, and want to tell you how they feel.

Warnings: None.

-- -- -- -- --

Hunter

Hunter gets fussy when he develops a crush, even more so than when he is around his siblings. Throughout the day, he will check up on you, asking if you need anything, if you slept well, and find any excuse to be in your presence. You often chuckle at his worrying of you, and you assure him you’re fine, but the one time you gently lay your hand on his arm while reassuring him, his heart skips a beat and he freezes. You’re a little too busy to notice, but Hunter is having a profound moment of realisation. He has a crush on you and there is nothing he can do to change it. 

The situation had come to a point where he wished to get everything out in the open, but he wasn’t sure. You were fleeing the Empire, and it wasn’t exactly the most opportune moment for any kind of romantic involvement. However, the more he considered the circumstances, the more he understood there may never be a perfect moment. He resolved to tell you when you were next alone. It took several weeks before the opportunity arose, when the team made repairs outside the ship and the two of you were tasked with monitoring the cockpit readings and ensuring that none of the levels ventured into dangerous territory. Despite his doubts and nervousness urging him to reconsider, he overcame them and began the conversation as smoothly as he could. As he relaxed, talk flowed, and he shared some amusing remarks he knew would make you smile. When he confessed his crush, he anxiously observed your reaction, hoping you wouldn’t pull away or reject him. Much to his relief and surprise, you confessed you felt the same way and had secretly wondered how long it would take for him to realise your affection for him. 

Echo

Echo has had crushes on others in the past, particularly during his early days as an ARC trooper, but what he feels for you is more than just a crush. He always manages to bring a smile to your face and ensures you have a drink and regular meals. He takes to sharing things with you he knows will make you happy, such as books, holo-movies, and artwork that reminds him of you. 

While you were assisting him with the dishes after dinner one evening, he inquired if you had eaten enough and offered to make you a dessert if you wanted some. He rambled a little, asking if you’d had enough to drink and if there was something specific that you might like. Jokingly, you remarked that with how attentive he was, anybody would think he had a crush on you. He posed the question of how you would respond if he told you he did, speaking hypothetically, of course, but his serious tone suggested this was anything but speculative. You were caught off guard because you’ve been interested in Echo for quite some time. Assuming your silence meant rejection, he kindly reassured you that there was no pressure to respond. He couldn’t understand why he said what he did... and then you confessed your feelings for him as well. He made an attempt at three different sentences, each one faltering as his mind caught up with what you had said. When it finally sank in, he made sure you were certain. Without a single second of hesitation, you gave him a bashful nod and the two of you spent the rest of the evening discussing your feelings and making the decision to embark on a relationship.

Wrecker

Wrecker does not do subtlety. He tries, but it’s just not in his nature. He enjoys being near you and despite the teasing from his brothers, he will happily take any chance to assist you, all while making you laugh until your sides hurt. His only desire is to see you smile. He is interested in a relationship with you, and has often wondered what it would be like, but he is unsure about your wishes in that area and is afraid of making you uncomfortable.

There came a time when you began to notice what was going on. You suspected Wrecker’s crush on you, Crosshair and Hunter had both confirmed as much, but you wanted to hear it from the man himself. In truth, you also liked him, and you couldn’t keep evading the subject. You made sure that you were both alone before you asked him if he might have a crush on you. Despite feeling sheepish, he was completely honest and admitted that he did. Before you could respond, he hurriedly reassured you it was all right if you didn’t feel the same way and that he valued your friendship above any romantic feelings he might have. Seeing the sweet relief on his face upon learning that you felt the same way about him, you couldn’t help but pull him into a tight embrace. A true romantic at heart, Wrecker instantly squeezed you back and nuzzled against your hair. Get ready for the most enchanting relationship you’ve ever experienced, because all he wants to do now is fill every single one of your days with love.

Crosshair

This man despises having a crush. It’s not just about the uncertainty of the other person reciprocating his feelings, but also about his own internal struggle. He convinces himself that you will never feel the same, that he is not suitable for you, that you deserve someone better, and he starts to spiral. 

It was definitely a surprise when he suddenly revealed his feelings. Following an extended period on the ship, you both decided to take a walk, wandering in complete silence. He was often quiet, but not to this extent. You checked he was okay, and the words poured out of him with no restraint. Before allowing any more negative thoughts to persuade him he had no chance with you, he had to remove them from his mind and get a clear answer. Despite being taken aback by the confession, you reassured him you shared the same feelings, but hesitated to say anything before because you were unsure about his feelings. The slight chuckle he gave you was raspy and low, but it was so wonderfully him you couldn’t help but smile. After spending the evening by a crystal-clear river, the two of you decided to take your budding relationship one step at a time and venture into that unknown together.

Tech

Tech doesn’t really notice his feelings for you until one specific moment, when you are assisting him with a project and make him laugh with a clever comment. It’s like a light switch goes on in his head and every thought is occupied by you. He attempts to focus on the amusing tale you’re sharing, but he finds himself captivated by the way your lips move and the subtle gestures you make while speaking, and he desperately needs to hold you. Damn, he wants this feeling forever. 

He kept it locked away for a long while. It was not practical and could jeopardise your safety. He was a fugitive clone evading the Empire, his situation couldn’t have been more dangerous. However, he had a genuine affection for you. You provided him with a sense of security, and he felt desired and cherished, all those extraordinary things those cheesy holo-novels spoke of. One night, while engrossed in his latest project, he confessed everything, using his tinkering as a distraction to prevent himself from retracting the words he wanted to express. After he finished speaking, a quietness descended upon both of you, and he questioned aloud whether pursuing a relationship would truly be the wisest choice given your circumstances, even if you felt the same way. As you moved closer, asking him what he would say if you said yes, he caved. He wanted to be with you, and he was unwilling to deny you both a chance at happiness for the sake of practicality. 

[fullscoreshenanigans]

@naehja late but according to the timeline in the mystic code book, Legravalima doesn't kill her father until 200 years after the promise:

I also think it's possible there were other children as intelligent as Norman, either in the same or different ways, but in the past they might not have had the means necessary to measure and qualify it, potentially serving as further commentary on how arbitrary and limiting the system is for only assessing a part of a child's capabilities and not their full worth as a human being, like how Emma treasures all the kids as her family.

Emma receiving a music box and Ray receiving a pocket watch was mentioned in the first chapter of the book:

(Questionnaire Translation Source)

I like to believe Norman and Ray put the music box back together for her so she could enjoy it for a bit longer while she was at Grace Field.

For the queen who killed her father, it's in one of her flash back

but you were right, it wasn't the king who was with Julius, but it's not clear of "when" it happened.

I thougth that it was just after the promise because she doesn't seems to be the kind of demon who make compromises (even her brother Leuvis is more easy to talk with and it's already a lot)

I'm actually surprised that she waited 1000 years to try to take a genious kid from The One. I don't think that Norman was the only one genious in 1000 years \_(:/)_/ I know that genious are kinda rares but in 1000 years, there had s had a lot of children, some must have been very smart. maybe because now they were more equiped to detect kids like Norman?

Also for Ray's watch, i think i read it in a interview where people asked if Isabella had given gifts to the other children, like she did for Conny, and the answer were yes and that Ray had had a pocket watch and Emma a music box. But sorry i can't find again the link of the interview =(

Ah, you're completely right. Looking back, that's from ch152 and something I clearly had no memory of until now.. oops. It's that flashback of Julius from ch142 that threw me off since he mentions making the deal with the queen, so I thought the demon he faced in those panels was just a younger version of Legravalima, not her father.

Pfftt, Legravalima is definitely the most selfish out of that entire family. Emma was brave enough to try and reason with Leuvis back at Goldy Pond, can you imagine if she had the chance to talk-no-jutsu the queen? It would be the shortest conversation ever. Leuvis entertained Emma's ideas because she brought back some excitement into his life and wanted a thrilling hunt; the queen would straight up just eat her with no questions asked.

It is kinda hard to believe that during all those 1,000 years that no other child managed to reach the level of intelligence that Norman had. I would think that maybe the royals weren't aware of such premium quality meat since they're always offered up to the demon god instead, but there are so many children born each year in order to keep up with the hungry demands of the demon society and Norman is the highest grade ever? Crazy. (Isabella raised him well.)

Ohh, I vaguely remember hearing about Emma getting a music box too.. kinda bummed we never saw it in the manga/anime. It's alright that you can't find the interview! Isabella giving gifts to her children is believable enough.

[northlt03]

Rick is known to mirror myths a lot (Silena-Clarisse and Patroclus-Achilles, Polyphemus' cave, Hercules' labors, etc) He could and SHOULD have mirrored the Trojan war in HOO.

Let me set the scene. Gaea doesn't pop up until the last couple books. It's easy to be scared of something that is mentioned but not seen, which in my opinion, is why Gaea in the HOO books just wasn't scary enough.

So the antagonists in the first few books are the Giants working under Gaea's orders. Percy is kidnapped by them and given to the Romans in the hope that the Greeks and the Romans will go batshit crazy in a fight and forget all about the prophecy of the seven and destroying Gaea or whatever.

Camp Halfblood is fully ready for war. As soon as they find out (through an oracle or smth idk) that the Romans exist and they have Percy, not even Chiron can stop them. Percy is the hero of the Battle of Manhattan, of course, and the hero mentioned in the last great prophecy. He's like their modern Aristos Achaion.

Meanwhile, the Romans have no clue what's going on. There's this guy he's funny, he has no memories, he just shows up at their wolf goddess and trains and gets sent to them. Cool.

Juno can't stand to see New Rome be attacked. Whether or not they would win is a whole different story. So she plucks Jason from CJ and brings them to the Greeks just for some sort of a balance.

This mirrors the Trojan war in the sense that Troy was a fortified city, so is New Rome with tons of forts and walls. Aeneas' lineage went on to be Remus and Romulus, the founders of Rome. And Helen of Troy was stolen from the Greeks.

Anyway so there's that conflict, but at the same time Camp Halfblood is getting ready to attack, Jason, Piper and Leo get sent on a quest to rescue Hera who has been captured by Porphyrion and Enceladus.

On the way, Jason starts to regain his memory a little bit, though he doesn't know everything yet. He's still super conflicted with everything. A pretty girl thinks they were dating, Leo says they were best friends, Annabeth says the Romans are enemies. But whom should he really believe?

Piper's whole arc through the first book could be about how she's the daughter of the goddess of beauty, she wrongly assumes her fake crush on Jason was her mom's fault. And she's learned so much bad stuff about her mom from myths, she outright rejects feminity and anything remotely girly at first but then slowly she gets to know Aphrodite isn't as bad as some myths make her out to be. Bonding and shit bc why should Poseidon be the only present godly parent?

Leo, meanwhile, has no idea he can essentially fire bend in the first book. His arc could be about discovering his mother's death was his fault, slightly and coming to terms with it with the help of his friends.

Reyna on the Roman's side is freaking out bc Octavian wants to go to war with the Greeks who are close to attacking them, there's a strange dude who keeps trying to pick fights with gods, a horse girl and not to mention monsters won't fucking DIE.

SON trio go on their quest to Alaska to kill Alcyoneus/ release Thanatos and things are getting clearer to them as well. Just when the Greeks are about to attack on CJ, Polybotes and the monsters attack as well. Somehow, both sides end up fighting the monsters together.

They're not friends, but they're not enemies either, bc Percy is reunited with his gf and Jason is returned to his home.

The Roman senate and the Greeks somehow come to the same conclusions- that a quest needs to go to their ancient lands. Over the next few months the work of the Argo II commences.

Things seem smooth for a while. But Gaea grows restless. She poisons Octavian and manipulates him through dreams and stuff like Kronos did to Luke. As is the nature of most Roman emperors, Octavian overthrows Reyna and declares himself the leader of New Rome like his namesake Octavius Caesar. (HAHA! HISTORY PARALLEL BITCHES)

This puts the actual quest on hold bc the seven now need to find the Athena Parthenos to bring together the Greeks and the Romans and to stop Octavian's plan of trying to fuck as much shit up as possible.

Reyna, Nico and say idk, Grover, are the ones to deviate from the quest and bring the statue to USA again. But the Seven are still very much in Europe after rescuing Nico.

Percy and Annabeth fall into Tartarus which helps close the Doors of Death, except this time since Nico isn't there, Hazel has to take on control over ghosts and the dead in the House of Hades and leading up to it. The powers of mist, in my opinion, should have gone to Piper since charmspeaking is a lot like bending the mist verbally.

Piper's arc through the third and fourth book is starting to discover herself and with the help of her mother, figuring out she doesn't like Jason romantically like she thought she did.

Hazel's arc is gaining control over what she once was (dead). She's jealous her dad was there more for Nico than her, but she pushes past it and never lets her anger and grudges get the better of her which is like breaking boundaries for children of Hades/Pluto.

Frank's arc in HOH was really cool, I like that. So no change to that.

Jason, poor guy is still very much confused about everything really. He's used to being the leader, he feels lost in the large group. He has his moments to shine ofc (please take away his excess amounts of head injuries), but he starts to feel inferior, which is where Leo helps him bc the guy knows what that's like.

Anyway, in the absence of Percy and Annabeth, Jason has to take charge. He discovers he doesn't really like it. That's not what he was meant for even though he had greatness thrust upon him at a very young age.

His BOO arc is earlier this time and takes place throughout HOH and BOO. He's content with himself, even if he isn't with anyone. HE'S THE ONE THAT GETS SENT TO OGYGIA!!!

And Calypso eventually does fall for him bc he's smart, nice, and just an overall swell guy. But he helps her to realize that she can be content in herself as well. And he promises her that he'll help her.

Show me Leo, Jason and Percy trying to think of ways of helping the goddess.

In any case. BOO could have been like Iliad pt 2 also known as the Odyssey. It takes them the whole book just to get to Athens. Meanwhile, they've understood that Gaea is the main main villain. She's even raised some of the other primordials against them.

Percy and Annabeth already saw Tartarus, and then there's Oceanus who makes their travel much harder than necessary. Something something about how they get tossed all over the place and somehow manage to gather all the correct ingredients for the potion (i forgot the name lol) on their small adventures in the different places. In the end they finally make it to Athens. Except this time, there's only a few giants there bc they killed the rest before.

Annabeth and Percy are taken hostage, like it happens in the books, but PERCY WILLINGLY GIVES UP HIS BLOOD TO RAISE GAEA RATHER THAN LETTING ANNABETH GET HURT BC OF HIS FATAL FLAW LIKE ATHENA TOLD HIM WOULD HAPPEN EVENTUALLY!!

The Gods DON'T SHOW UP PLEASE!! That was so lameee. Why even do the whole quest if their mommies and daddies were going to show up to help them????

So while Percy and Annabeth are battling the remaining few Giants, Leo, Piper, Hazel and Frank go up against Gaia herself. In the old myths four titans held Ouranos down while Kronos chopped his essence up. In the same way, they battle Gaia away from her turf in the air, keeping her distracted enough. All these demigods are needed because she's a primordial dammit!

Jason, my guy, comes in a clutch, chops her to pieces and sends her essence to Tartarus!!

The world is saved, the end!

[raayllum]

Anyway borrowing from the Rayllum relevant sections of my "arc 2 is about the pursuit of knowledge / knowledge as a burden" meta for s4 and s5 (minimized/condensed text is from previous meta) let's talk about S6

Season four in a lot of ways was the journey of

Mutual Love as Self Actualization: Part 1 — Uncertainty to Certainty (S4)

As previously noted, Callum starts out S4 at both a loss with the mirror, and still coping with the uncertainty and stagnation of his loss of Rayla. When Ezran reaffirms that Callum still loves her, all Callum can helplessly rely that he doesn’t “even know if she’s alive.” Things don’t really improve once Rayla shows up, either, even if we see the persistent thread of not knowing vs knowing being knit throughout their arc with one another.

When Ezran is trying to get Callum and Rayla to work together, he doesn’t tell them to set everything aside, or even harkens back to their good old days. He asserts their identities and says, “Don’t you remember who you are?” because to him — and evidently to Callum and Rayla, because it works — working together and helping each other has become a fundamental, core part of who they are as individuals. They are that interwoven with each other, and Rayla reflects that in 4x07 with, “Callum, you’re the 'destiny is a book you write yourself’ guy. No one can control you or make your choices for you” as well as what Callum offers up to her in 4x09 where we see the turning point in their prior uncertainty. Although they’ve both changed, they are fundamentally still the same people they were when they fell in love, and there is both comfort, sadness, and acceptance in that realization, where Callum says:

Mutual Love as Self Actualization: Part 2 — Certainty and Discovery (S5)

Upon reconciling once Callum has said what we knew all along — “I’m so glad you come back” — Callum and Rayla return to the castle, and their searches for knowledge become arguably more explicitly stated by the text. Their first scene together in 5x01 establishes that Callum wants to know the Ocean arcanum (“I thought it would be about controlling the tides or fighting the currents” thereby exerting control, which he desperately wants over himself post-S4) as well as Aaravos, whereas Rayla is seeking answers about her family: “If I can figure out how he put you into the cursed coins, maybe I can find a way to get you out.”

This is, of course, something we know she doesn’t trust Callum with yet, not wanting to burden him with her problems especially before she’s reached her own conclusion of what to do about it (to delay it for the good of the world) and we see that the certainty and forgiveness Callum found in 4x09 has more than carried over.

Opeli: Don’t you want to know what she was up to? Why she did all this?

And although very uncertain about opening up, Rayla still expresses certainty that she knows Callum could and can be there for her, if he wants to be — if he’s ready to be.

This is, after all, with both Amaya’s encouragement and Callum’s reassurance that 1) “You can tell me when you’re ready” and that 2) he does want to know from 5x01. Then, we see both their arcs in this way largely — or at least they would, in a perfect world — be resolved in many ways by their interaction later in 5x04:

Previously, we’ve mostly talked about knowledge, especially within the text of the show, as a positive thing. It is the foundational rock of a strong relationship, it can lead to positive self actualization, and it helps the heroes keep Aaravos from being unleashed. When you do not have enough knowledge or perceived understanding of someone (Claudia assumes Soren could never understand her, and Viren and Harrow’s relationship breakdown), your relationship accordingly deteriorates. When you share knowledge, and share experiences (Rayla to Callum about the coins, Soren to Elmer about abusive cycles), you can become stronger together.

But knowledge is not exclusively a good thing. It can also be harmful, or unwanted, or unwanted precisely because it’s harmful. It can bind you to deals or bonds you don’t really want, and once you know something, you cannot un-know it, whether about yourself or about others. And we see this most plainly in the story Archmage Akiyu shares about the prison ("I knew too much").

So if S4 is about beginning to navigate both in spite of and within uncertainty, S5 is about having the safety of that uncertainty stripped away, both in creating more of it, and in removing some of it. Namely, the Ocean arcanum.

He chased the Ocean arcanum because he thought, if Sky granted him potential and freedom, then Ocean would grant him control, but the truth was more complicated than that. While it did grant him control (the ability to break free from Finnegrin’s spell), it also granted him a rather hard truth he’d rather not know.

The first time he cites his poem about true tides and untold depths, he is talking about his faith and trust in Rayla — the way he views her: “If she didn’t tell me, she has a good reason. […] I trust her. Unconditionally.”

The second time he recites the poem, it is about himself. The untold depths are within himself, are parts he is still trying to understand in full because they are uncomfortable truths. In many ways, Callum unlocking the Ocean arcanum is his version of Ezran’s 4x03 speech (see how we looped all the way back? 'Totally’ intentional I swear), that multiple things can be, and sort of have to be, true in order to gain new ground, even if there’s a part of you that wishes it could be simple.

Season six develops this theme, too, but it takes it and calls it Truth, and we see this reflected most notably in 6x06.

Mutual Love as Self Actualization: Part 3 — Certainty and Salvation (S6)

In season six, we see Callum build upon this certainty with Rayla by the way he remains emotionally open with her about his hopes and fears. After his 6x01 nightmare freaks him out, he runs right to her to receive support; when the guilt and fear gnaws at him in 6x03, he tells her the truth of what he did on Finnegrin's ship.

While the obvious facet of knowledge (truth) and salvation here is in 6x06, I also like to think it starts an episode earlier in 6x05. Callum wants to go along with the mission because he knows the quasar diamonds will be what they get in exchange whereas Rayla goes along with it because he's pushing for it (and well, helping people is always nice).

However, where Callum believes that the icy beast they seemingly have to slay is a monster, Rayla believes differently and hedges her bets on what she knows.

This is a great mini turning point in season six for a few reasons. For one, it merges the idea of truth and knowledge into one ("I know it's true") as well as emphasizing the concept of knowing something in your heart, which 6x06 will build on of "dark magic tears a hole in your spirit/heart that light can fill". It also clearly ties back to something that Callum knows he knows, which is that he trusts Rayla unconditionally (5x01). So he goes with it.

When Rayla does reach out to the behemoth, it's with more facets of knowledge: "I know you're in pain. I don't want to hurt you...", knowing the creature's name and the stories ("I know who you are"), and even in her lullaby:

(We'll come back to the lullaby for 6x06's relevancy as well). Once Rayla's kindness and compassion gets through, of her knowledge and seeing the truth of Esmeray's pain much like Ezran saw Zubeia's ("and the truth of you seeing that made it feel like less, like healing"), we return to how well Callum knows her and his knowledge about the trial ("You knew this was the reward"):

If I'd told you, you would've refused to go, because you never do anything for yourself.

To love someone is to know them, and to know them is (in these cases) to develop love for them. The same way that Rayla brings Runaan out of his grief and guilt induced darkness in 6x09 ("I'm your daughter and I love you") and recognizes the grief and guilt plaguing Esmeray, likewise, she represents and is Love to Callum.

He's gone from being uncertain about her survival, about expressing his love, all the way to looking to her for support and direction about the trials set before him:

Kosmo: Dark magic left a hole in you, but the Star-truth ritual can fill the darkness with light. [...] You must search your mind and heart for your one deep truth, the star within you. Then you must let that truth shine and fill the darkness. Callum: One deep truth, huh? Kosmo: Your deepest truth. [...] You must find the star within you, the one deep truth so bright it can fill the darkness.

As know, Callum's trial is still a struggle for him at first. But luckily Rayla's lullaby also foreshadowed the principle of looking inward rather than outward, too, and precisely what kind of answer and truth Callum is going to find.

Callum: I found my one truth.

His truth, his knowledge, his constant, his light... is love, his love, for Rayla and from Rayla. At the end of 6x06 in many ways, Callum is at his most self-actualized, freed from the taint of dark magic and paranoia about Aaravos' control... saved and allowed to become the best version of himself, a bright shining light. A star in his own right. Which is likewise why he expresses his truth before the episode is done. He did dark magic for her, but she's so much more than just darkness or desperation or sadness for him; she's light and hope and Love, too. She's his Constant, Deepest Truth. She's everything.

It's taken two and a half seasons, but he's ready to do more than just know it. He's ready to say it.

So he does.

[thoughtlessthinkythoughts]

I think the key to understanding show!Aziraphale is in some lines that are in the book but not the show. Because these lines represent a place that our show Aziraphale hasn't hit yet.

Before I get into this, let me explain why I think things that aren't in the show can be so important to understanding where the show will go.

For another example, let's look at the ending of the book/s1. In the book, Adam is not impressed with Aziraphale and Crowley. There is no pep talk. He actually has a pretty stern message to them about "not messing people around."

A lot of s2 might not have worked the same way if they had gotten that message. It would have cut off room for growth. The whole plotline with Nina and Maggie for one would have been much less likely. So by holding off the stop messing with people message to the end of s2 (and then only giving it to Crowley), it provides more room for the characters to change at a pace befitting a multi-season show.

So what else do I think will end up working this way?

Well, there's a scene I love in the book that hasn't made it into the show yet. It happens after Aziraphale is discorporated. In the show, he goes to heaven, then to Madame Tracy. In the book, he bounces around possible hosts first, including a televangelist. The televangelist is going on about the rapture and such, and Aziraphale cuts in with this:

"Well, nice try...only it won't be like that at all. Not really.

"I mean, you're right about the fire and war, all that. but that Rapture stuff well, if you could see them all in Heaven - serried ranks of them as far as the mind can follow and beyond, league after league of us, flaming swords, all that, well, what I'm trying to say is who has time to go round picking people out and popping them up in the air to sneer at the people dying of radiation sickness on the parched and burning earth below them? If that's your idea of a morally acceptable time, I might add.

"And as for that stuff about Heaven inevitably winning...Well, to be honest, if it were that cut and dried, there wouldn't be a Celestial War in the first place, would there? It's propaganda. Pure and simple. We've got no more than a fifty percent chance of coming out on top. You might as well send money to a Satanist hotline to cover your bets, although to be frank when the fire falls and the seas of blood rise you lot are all going to be civilian casualties either way. Between our war and your war, they're going to kill everyone and let God sort it out-right?

"Anyway, sorry to stand here wittering, I've just a quick question-where am I?"

Because even this more cynical version of Aziraphale is adorable, the scene ends with "Gosh," he said, "am I on television?"

We didn't get this in the show, but I can't help feeling that it might be in season 3, assuming we get a season 3. It might even fit in better there, assuming we are going with a "second coming" plot. In the show, Aziraphale hasn't reached this level of cynicism (yet). I can't picture s1 or s2 Aziraphale giving this speech. Sure, he's seen what a mess the archangels are, he was willing to go against heaven to stop them from starting the end of the world, but I'm pretty sure show Aziraphale still believes in the goodness of God if not the goodness of the way heaven is run. It makes sense that show Aziraphale sees heaven as a fixable mess, an organization that isn't living up to what it should be. Because the show is taking Aziraphale's struggle with morally complex situations and questioning God and making it a longer arc.

My guess it that, as his tenure as archangel is likely to go terribly and not give him any more answers (or at least not answers he likes), he will get to the point where he could give this speech in season 3. My guess is that he's likely to also end up in a horrendous mental state once he reaches these conclusions (a perfect opportunity for some hurt/comfort). He's likely to build himself back up after that, but with a clearer look at the world.

End conclusion: if you are telling a longer story, sometimes you need to hold some things back to give your characters room to grow. So, it isn't a sign something is wrong with a story when partway through a character hasn't hit upon an obvious point.

"

[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.

[tls12lessthan3]

So. orvs metatextual nature and gay jokes. orv is an action fantasy book, a genre designed primarily for men and starring men. now most of these books are not gay, but there is often a tendency by audiences (particularly female audiences) to see some level of romantic tension between male characters. orv is no exception to this. some authors respond with outright hostility when they see fans shipping their male characters, and some simply ignore it completely - but some go the route sing shong does, and play it for laughs. before i go any further, i would like to clarify a term i will be using - shippers. while this literally refers to readers who think there is romantic potential between two characters, i will be using to specifically refer to instances where those two characters are of the same gender. im doing this because i cant think of a more elegant word to be completely honest, and this is tumblr meta so who cares.

orv is a metatexual narrative which is aware of its genre and aware of its readers. those readers are represented in the narrative, and sing shong knowing that fans would see a possible relationship between kim dokja and yoo joonghyuk made sure to represent that too. so we get uriel, the fujoshi angel who is constantly reading into kim dokjas and yoo joonghyuks relationship in a way that is often played for laughs. now ive certainly seen worse depictions of ‘shippers’. uriel is treated with affection by the main characters, who genuinely like her (and the fans she represents by association). her love for joongdok is implied to come from her having a crush on her friend and projecting, which i see as a kinder depiction than the usual ‘slavering fujo’ trope. 

and perhaps most importantly her engagement with the story seen as just as deep as any other reader if not more so! uriel is one of the characters we see most changed by kim dokjas story - in every other universe shes a fierce and furious warrior, and while she never hesitates to kick ass in this round either, kim dokjas story has given her a solace that has made her significantly softer. she helps him out sooner than any other constellation, saving his ass in many ways during the demon world arc, demonstrating a deep investment we are clearly meant to be grateful for. wherever it comes from, uriels engagement with kim dokja’s story is shown to be a genuine and deep one appreciated by the characters. through this sing shong is almost directly speaking to the shippers in the fanbase who are often mocked or disregarded, saying that their love for the story is important too, wherever it comes from. i see this as sweet, and i like that unlike so many other authors sing shong recognise the role shippers often have in a story’s success.

however, i hesitate to give sing shong too much credit. because along with the genuine appreciation of uriel as a character and all she represents, there are jokes mocking her and those like her, and there are a lot of them! like i said above, sing shong wrote orv as a metatextual narrative that engages not just with the genre but with the genre’s fans. sing shong knew that people would ship their characters, as that is what happens with books like orv. and so they wrote in many jokes about it, jokes based around the ‘silliness’ of those who would assume kim dokja and yoo joonghyuk have romantic feelings for each other. and given orv’s metatexual nature, this also mocks the nature of shipping itself. when someone assumes kim dokja and yoo joonghyuk are together and they react with disgust, as frequently occurs in the earlier parts of the novel, we are meant to laugh not just at the misunderstanding - really, these guys gay, how silly. but we are also meant to laugh at the idea that these Protagonists are homosexuals, and at the people who make those assumptions. its a simultaneous acknowledgement and mocking of the queer undertones of both this story and it’s genre.

so you get this overall impression of a narrative that ultimately loves all of it’s readers, including shippers, but also isn’t afraid to say it thinks all that gay stuff is kinda silly. and while ebook edits have largely removed many of these gay jokes, an undercurrent of this still remains. from what i know this largely reflects sing shongs actual opinions at time of writing, whether or not they have changed later on. 

dont get me wrong, i love orv, i love joongdok, i love their relationship and i do read it as romantic. i too read the scene where lee gilyoung insists kim dokja is into men and kim dokja responds aghast and gone ‘haha, gay’. as a queer person in the webnovel scene i am no stranger to taking homophobic moments like that and reclaiming them, making the characters queer and pretending the author is laughing with me and not at me. im not trying to preach to anyone here. but i also think its important to acknowledge the conversation orv is having here - its valuing of shippers and its mocking of queerness, and where they overlap.

[anilyan]

Venti is Phanes + on Istaroth and the Primordial One

Not so crack theory: Venti is Phanes and is the androgynous being born from the Chymical Marriage between the Primordial One and Istaroth, before she was betrayed by the Sinners

(I posted this before but now it's properly explained)

I am using this lore in my old mondstadt fic, Nameless (actually soon to turn into trilogy, since vol 2 is about venti rewinding time and vol 3 is present time story and I took so long to plan all the lore with all the canon crumbs and theories we had...)

Yes, a lot of the info about gods is pulled from wikipedia, I’m not being paid to research more, okay? I just want to feed the brainrot. My main sources besides those are the videos listed at the end.

I would love if this theory made its way to some big lore content creator for them to analyse and criticize, because I have been rotating this in my head but I don’t have their capacity or knowledge to tear this apart.

NOTES:

This post contain minimal mentions of 2 leaks, about the rest of the collection of The Pale Princess and the Six Pygmies, and a sus minimal old leak about Venti

This post contains some references to the Penacony arc from Honkai star rail, but no knowledge about the game is required and in fact, I don't even play it myself and those are just sus parallels

0. Summary / main points

Istaroth and the Primordial One parallel Chronos (personification of time) and Ananke (most powerful dictator of Fate and mother of The Fates/Moirai), respectively.

Chronos and Ananke laid down the cosmic / orphic world that created/reshaped the world. In a way, that was an Alchemical Marriage, that also gave birth to the androgynous winged being Phanes/Venti, and to the Abyss,

Venti has many ties to fate, including extensive apple symbology visible even in wisp form. The apples, besides being a symbol of fate, also represent a dream bubble in accordance to the structure of Teyvat. Quoting his most sus birthday art, “It is written that there is a whole tiny world hidden inside an apple core”

Venti has at least some control over 1 half of Teyvat while the other half is ruled by The Night Mother/Nyx. He also offers us half of the apple in the mentioned birthday art.

Ananke was a serpent-like being, and we see a Black Serpent 1) coiled around Phanes 2) coiled around the pearl/cosmic egg in the Gnostic Chorus 3) in the Black Serpent Knights, who also had Ishtar/Istaroth’s star as a symbol 4) In Nibelung, if we consider serpents and dragons the same

Istaroth supported Khaenri’ah (thus why the Nation had her symbol) and both opposed the Heavenly Principles/Celestia, until she was betrayed by the Sinners/6 Pygmies and forgotten

The Primordial One was opposed by Celestia. We also know that Nibelung fought Celestia. They were either allies or even the same being (a black serpent), and their perceived opposition is not too different from how Remus went down misinterpreted by history

1. About the Primordial One

In case it’s not yet clear, this assumes that Phanes =/= Primordial One. After all, the book Before the Sun and Moon simply says that “The Primordial One may have been Phanes*”,* and the fandom just started equating the two.

I am of the opinion that the Primordial One and Celestia are in opposition, while Istaroth is on the side of the Primordial One, or at least opposed to Celestia too. Maybe the Alchemical Marriage was part of a plan of theirs. Read more about it in section 3.

And if the truth about Remuria taught us anything, is that some rivalries depicted in history are false. In the same way Remus went down as a Tyrant when in reality he never wanted to employ force and was even allied with Sybilla (a vishap), I would say that the Primordial One and Nibelung/dragons/vishaps probably found ways to coexist. We do know that Nibelung went to war against the Heavenly Principles/Celestia, but if Celestia and Primordial One opposed each other, that just makes an alliance between PO and the Dragon King more likely.

We don’t know if Primordial One = 1st Descender and Celestia = 2nd Descender, so I will avoid using those terms throughout the post. But if the 2nd who came = 2nd Descender = Celestia, then that would lend further credibility to the idea that Celestia and the PO are on opposing sides, since the 2nd who came basically stole PO’s ruling of Teyvat.

2. About Istaroth AND Khaenri’ah

Like I said above, I believe that Istaroth sides with the Primordial One and that both are in opposition to Celestia

Istaroth has the ability to create alt Looms of Fate through those seeds she gives away - those basically grow into trees that are databases of history outside the control of Celestia. I had already affirmed this for my fic before we got the 2nd Caribert quest, but at this point is practically confirmed.

Istaroth is based on Astaroth and Ishtar, and Ishtar’s morning star is an 8-pointed star just like the symbol of Khaenri’ah. And so the Black Serpent Nights probably served Istaroth in some way.

Khaenri’ah supposedly didn’t have a god, but let’s keep in mind Istaroth was forgotten by time. It’s also possible that, even if Khaenri’ah had a god, they still considered themselves the pride of humankind since Istaroth likely wasn’t associated with Celestia, as I mentioned

Speaking of Black Serpents, other prevalent Black serpents are the one in the Gnostic Chorus, and Nibelung, in a way (not sure if they are or not the same entity). So I would say that Nibelung is/was also allied with Khaenri’ah/Istaroth/Primordial One. Please refer to the section above for an explanation.

The 6 Pygmies and the Pale Princess is a book that is an allegory for the 5 Sinners of Khaenri’ah + Dainsleif and Istaroth. I include, at the end, a video that explains that properly and is very much worth the watch. From there (or at least, from the leaked volumes), we know that the Sinners basically betrayed Istaroth, which might explain why she ended up being forgotten and why Dainsleif is the only Pygmie that didn’t go fully down the Sinner’s path.

3. The relationship between the Primordial One and Istaroth

Like I say above, many things point to them being allied. At the very least, we can quite safely infer they both opposed Celestia/The Heavenly Principles and in turn allied with Khaenri’ah.

The cosmic/ orphic/world egg was created by Chronos (personification of time) and Ananke (most powerful dictator of Fate and mother of The Fates/Moirai). “Ananke and Chronos are mates, mingling together in serpent form as a tie around the universe. Together, they have crushed the primal egg of creation of which constituent parts became earth, heaven and sea to form the ordered universe.”

Ananke and Chronos have to be the PO and Istaroth - which one is which is a bit debatable, with their genders being a counterargument on its own. But I would say Chronos is Istaroth (due to her associations with time, although she is more a god of moments than of time) while Ananke is the Primordial One (who had the 3 moon sisters/moirai as shades + is probably the Dreamer/HSR’s SUNday parallel who plays the symphony that creates the fates reflected by the moons (read more in next section)).

The cosmic egg that birthed the world, together with the Abyss AND Venti, probably resulted from their Alchemical Marriage. I wouldn’t be too surprised if it was also the Gnostic Pearl depicted in the Gnostic Chorus cutscene, or even if the Black Serpent there was Ananke/Primordial One. In fact, that would only solidify the connections with the Black Serpent Knights and them wearing Istaroth’s symbol. And it would be extra funny if somehow the Primordial One and Nibelung were the same entity (since I already explained why I think they were are least on the same side)… and therefore were a black serpent/dragon.

Okay, but what is an Alchemical/Chymical Marriage? It’s a marriage between a Red King and a White Queen, the Sun and the Moon, gold and silver, sulphur and mercury. It’s sometimes pointed as the source of the Philosophers' Stone, and from that union of opposites is birthed an androgynous being. Btw, that marriage is facilitated by a dove, but this is off-topic and you can see why that is interesting in the last video linked. It’s also a process that sometimes involves ‘fermentation”, which is also off-topic but ties well with the wine-making process and other things mentioned in the last video too.

According to Jakob: "The Seal of Chymical Marriage was an ancient Fontainian ritual meant to seal off the source of life. Now it has been reversed, and all has been set free once more!" So, it can be used to separate the Primordial Sea from the world, which sounds similar to creating a world/pearl/philosopher’s stone/egg/dream bubble that floats in the sea of quanta or wtv is the logic used across Hoyoverse’s worlds. We confirm again this was necessary to create Teyvat's egg, and that the Primordial One couldn’t do it alone because two people are required for a marriage.

And do you know what Marriages also require? A ring. Who was escaping with a golden ring, that is an important figure of Khaenri’ah and the only Pygmy who didn’t act like the others/didn’t become a Sinner? Dainsleif, whose constellation is even a Serpent ring. May I point to the Das Rheinegold music drama, that is part of the series The Ring of Nibelung, and maybe use that as extra merit to associate the Primordial One with Nibelung?

4. About the world of Teyvat

Dragons = Vishaps = Sea slugs = Bees = Seelies. Yes. We already know that the the dragons and seelies in Genshin are based on irl sea slugs, I won’t elaborate on that. As for Bees, that is because we have seelie-like bees in Remuria, connected to the prophet Golden-Bee Sybilla (don’t mistake Sybilla with Sylla, who is a Dragon King, although I guess this is all the same family)

Teyvat is theoretically 2 worlds/halves, the version we know and the mirror world, that is probably the Abyss. Or maybe all of it is a mirror world, idk. We can even see similar world structures in Honkai Star Rail, especially in Penacony, where the world there is literally mirrored and a dream too. Some people say Teyvat is divided in 3 parts: the Light Realm, Void Realm, and the Human Realm. But I think the Pimordial One just transformed the Light Realm into the Human Realm, so there are still 2 parts only, and we know they can overlap anyway.

Cycle: People die » are absorbed by the roots » are supposed to travel to the top of the world tree (inverted, so top is in abyss) to become Irminsul fruit / stars » said stars form constellations that determine people's fate, or more accurately, since they are all in a dream, are data that allows the tree to predict their fates » it’s because people exist as stars that their fates and presence can be summoned in the form of shooting stars

Dainsleif confirmed that the leylines can be woven to determine Fate / have their records changed. The Loom used to weave them is a Symphony, or in other words, Remus’ Symphony of Fate is very similar or the same thing as a Loom of Fate, although maybe not at the same scale. It’s possible that other God-Kings also attempted to create their own Looms of Fate.

Add to that some Penacony’s parallels, and you can infer that the Symphony is controlled in a floating palace, that is actually a Grande Theater, by the Sun(day) (potentially Phanes or the Primordial One, basically the one who Dreams), and it’s reflected by the moons (Aria, Sonnet and Canon, so the musical associations are fitting). Considering that the 3 moon sisters are also probably the mythological Moirai who weave Fate, yeah, that tracks.

5. Finally, about Venti

Addressing the Venti is/isn’t the weakest Archon debate: Idk and I don’t quite care, because regardless of how much power he holds now, this theory is about his origins and role more than anything.

Venti is the one narrating the Gnostic Chorus cutscene, so clearly he knows about the origins of Teyvat and other important stuff. Yes, it can just be because of his ties to Istaroth who had the winds of time and bla bla, but I would say he has a bigger involvement.

In the Gnostic Chorus, there is a Black serpent, and I already mentioned how it ties with Khaenri’ah and Istaroth in the second section. Well, Phanes is a figure that has a serpent coiled around him too, Ananke, to be more precise.

Phanes was believed to have hatched from the egg of Chronos and Ananke (Istaroth and PO, section 3), OR Nyx in the form of a black bird and wind, OR from the cosmic /orphic egg placed in and hatched from Aether, who was the personification of the bright upper sky and another son of Chronos. Regardless, it seems like the egg birthed both Phanes AND the world?

Phanes is described sometimes as male, sometimes as androgynous. I don’t need to explain how that fits Venti. The androgynous part also fits with how a being born from an Alchemical Marriage should be androgynous due to being an union of opposites.

Phanes is also described has having wings and a crown. We are yet to see a crown, but at least the angel wings are there.

Some myths say that Phanes was Dionysus (god of wine… amongst other things), or Eros (god of love, yes I’m simplifying), and oh boy isn’t Venti the god of all of that too? Although this is complicated since it has to do with gods being iterations of past gods and such, you can read more about it here

In a certain play, after Phanes mates with Chaos, he creates flying creatures. It would also fit Venti well, especially given that tale from Amber’s Quest where he taught birds how to fly.

Okay, this gets less obvious now. Phanes is a first-born deity who emerged from the abyss and gave birth to the universe, and is a god of creation, light and goodness. The Abyss part is extra intriguing because the world has an abyss half, and some in-game books even compare wine with the Abyss, and also with the idea that drinking the abyss/wine is a way to acquire Forbidden Knowledge. Please, check the last video I link.

Phanes counterpart is Nyx (Night). In some tales she is Phane’s wife, sometimes his daughter, and in others she creates an egg from which Phanes is born, so wtv. I don’t know who Nyx is (besides being clearly The Night Mother from the book of the Six Pygmies), but it’s pretty clear that the Abyss half is under her responsibility in some way.

Oh, right, this was a sus leak that broke my mind months ago and seemed completely nonsensical, but since I started cooking this theory, I can’t help but look back at it. It claimed that Venti was the guide of the Primordial One. Humm… yeah, if Venti was part of a plan between Istaroth and PO, I can see that, although I don’t know what the goal could be. Maybe he is assuming Istaroth’s role now that she is gone in supporting the PO?

This is a very wild guess, but I really thing Venti has something to do with the Gnostic Pearl. Idk if that pearl is the same one that hatched the world, or something that holds the world together (think Mikha from HSR), but I can imagine him having some responsibility over taking care of it.

And if you think Venti holding Fate in his hands is a stretch… let’s talk about Apples. Especially in anime, Apples are often depicted as the fruit of Fate (look no further than Mawaru Penguindrum), and in Inazuma, the girl giving Fortune Slips is called Gendou Ringo, with Ringo meaning ‘apple’ in Japanese. Well… Mondstadt is a land full of apple trees, Venti loves apple cider and is often asking for apples to pay for his performances, is being given an apple in archon form in one of his birthday arts, created the Golden-Apple Archipelago, and even the top of his head in wisp form resembles an apple stem. Seriously, I go crazy with how many people never noticed that. This is too much in our face to not be relevant.

This sounds like a stretch, but apples are round and so the shape is not too different from a dream bubble. And do you know what the birthday art I mentioned had in the caption? “It is written that there is a whole tiny world hidden inside an apple core. Here, this half is for you. Let's take a stroll in the tiny little world. But remember to keep it a secret because... you're the only one I want to bring there.” If he isn’t holding Fate or a world in some way, then I don’t know what this is supposed to mean.

You know how I said that Teyvat is divided into 2 halves? That also connects well with his quote (when he gives us half of the apple/world), and with the idea that Phanes is the day while Nyx is the night. So maybe Venti is responsible for the half of Teyvat that we know/he gave us while Nyx is responsible for the Abyss side.

So… is there any proof that Venti is Phanes? No. Are there many many sus elements about him and connections with the things I listed? Yes. I could see the Traveler being Phanes and being entrusted the Light/Human half of Teyvat by Venti as a scenario just as likely, especially if The Abyss sibling ends up being/becoming Nyx, but I like this version more xD

But even if the main theory ends up being wrong, I hope people you got some things to think about.

Some videos for extra lore, more a less in order of relevance

https://www.youtube.com/watch?v=VZIR-tfzfd4 » Reinterpretation of all volumes of the Six Pygmies and the Pale Princess in light of finding out about the 5 Sinners of Khaenri’ah + Dain + connections of Istaroth with Khaenri’ah

https://www.youtube.com/watch?v=zK3xYKtUniQ » More about the connections between Istaroth and Khaenri’ah

https://www.youtube.com/watch?v=ePjY4c0Rj0k » Elaborates on how a Loom of Fate is basically another database, as opposed to the Irminsul, and mentios how Istaroth can could create several Looms of Fate

https://www.youtube.com/watch?v=mAm9uElsKd4 » Parallels with the Penacony arc from Honkai Start Rail and list of evidences that Teyvat is a Dream bubble

https://www.youtube.com/watch?v=vhST-fz6Yps » Video is from before we learned about the 5 Sinners, and I’m not fully sold on the chronology, but I still think it does a good job at elaborating n the serpent thing from the gnostic chorus and other things we can infer about genshin thanks to parallels to Penacony

https://www.youtube.com/watch?v=YHCv8KFdL6M&t=1045s » Ties sacramental bread and blood with wine and the way wisdom/abilities can be passed down thrown ingesting parts of gods, and the concept of fairy rings and The Ring of Nibelung, with the concept of a Chemical Marriage.

[nobodymitskigabriel]

Ohh. Chuck never wrote Gabriel into the books.

It makes sense to assume that the Trickster is written into the in-universe supernatural books since Tall Tales and Mystery Spot exist. But Gabriel? We know that he's already taken the liberty of omitting Sam's demon blood arc so why wouldn't he doctor other details to fit his narrative?

Gabriel as the Trickster (pre-s5 reveal) notably doesn't take the spotlight for himself. He pulls the strings and lets his victims put on a show. In 2x15 he literally sits in the auditorium watching the stage. The same way that the Trickster feels comfortable fading into the background, the character "Gabriel" only really exists within the periphery of the narrative up until his reveal in 5x8. The moment he does take center stage by confronting Lucifer, he gets excised from the narrative (which I do 100% believe he knew was inevitable whether he faked his death or not). This is the show telling us loud and clear that Gabriel as Gabriel cannot exist as a character who takes the spotlight because this story is not about him.

And that's why Chuck didn't write him into the books. Gabriel was never meant to be there so Chuck just went ahead and pretended he never was. If Gabriel had been written into the books, he would have been included in the girls' show in 10x5 which couldn't have happened because it doesn't make narrative sense for the character Gabriel to appear on a stage for an audience.

And why would those girls care about a random trickster anyway?

[laurentspeach]

hi this is random but I'm obsessed with capri and want to talk about it forever!!! I was wondering what your favourite things are about the writing? like the craft, maybe the set up of the twists/reveals, etc? ilu

omg hi sorry if this has been in my inbox for forever, i didn’t expect to get an ask on this blog!!!

my favourite things about the writing are as follows:

1) Pacat trusts the reader to read between the lines. My favourite example of this (and probably the funniest of the trilogy) is the rooftop scene, where instead of just saying that Damen is getting an erection from Laurent shifting around, Pacat chooses to communicate that through vague dialogue and context clues. Other examples of this include:

Pacat writing “I would be, if the light weren’t behind you” instead of just saying that Damen could see Laurent’s figure because of the lighting.

Pretty much the whole blue dress scene.

2) Pacat makes Damen’s bias affect the whole narrative. Damen’s narration is intended to be accepted as truth at first, however as the trilogy unfolds you start to realize how (unintentionally) unreliable Damen is. Examples of this include:

Damen reiterates through the whole story how honourable and honest Akielons are, yet the readers know he was brutally betrayed by his brother + several of his men, akielons raided + massacred a village (with women and children) without remorse, etc.

Damen also reiterates through the story (mostly in book one) how Akielon slaves are given perfect treatment, but this whole narrative shatters in Training of Erasmus, although Damen is unaware (likely because he not only seems to assume the best in people, but also because he seems to base all Akielons off of himself, and he gave his slaves “perfect treatment”, so why wouldn’t everyone else?)

3) The pacing of Laurent’s arc. I feel like most modern authors who write enemies to lovers are too quick to give away that the “bad guy” is secretly good, but Pacat was NOT afraid to make us absolutely hate Laurent in the first book lmfao. I really appreciated that, because it made us fall in love with Laurent at the same time as Damen, instead of before or after. She made Laurent a good person at heart, who did some genuinely terrible things, which I feel like most authors think is impossible for some reason lmfao.

4) The sex scenes!!! Incredibly tasteful, contribute to the plot (not that I think 100% of sex scenes in media have to, but it certainly helps), well written, not so crude that it takes you out of the story, and also very hot. 10/10 no notes (other than there should have been a rimming scene but I’ll mind my business).

5) There’s a tasteful amount of fan service haha. This includes: size difference, Damen’s otherworldly strength, the pitcher scene, all of the short stories, etc. Thank you Pacat I would die for you

There’s also many more things I love about this series but that’s all for now!!

[mikaela-the-slut-expert]

Hi! It's me again ;)

Now I have two, maybe obvious, thoughts...

1. How will Hua Cheng and Xie Lian react if the reader (assuming that the reader is a demon... Or demon and a god at the same time, for example) presents them with a paired jewelry with his ashes inside, as Hua Cheng did for Xie Lian, and reader not gonna say that the ashes are in there... Reader is just like "yes it's yours now" (personally, i see it as earrings... One is more modest for Xie Lian, and the other is brighter for Hua Cheng)

and 2. About the statues... Did Hua Cheng make statues for the reader as he did for Xie Lian? Or would he have expressed his love for him in some other way? 🤔

if you like ideas if you like the ideas, choose any of them and it doesn't matter it would be as headcannons or you write it as a story.

With love 💙💙💙

Ashes and Statues

Hua Cheng x gn!reader x Xie Lian

Ajsjsjsjns I have rabies. Are you in my head? I've been thinking about this a bunch! So I hope you like my thoughts on it. I'm sorry if the earrings one isn't exactly what you were thinking because I'm slow 😔🙏

I'm using small details of my OC simply for the fact that Xie Lian and reader are very close and always have been close

____________________________________

When Xie Lian receives your ashes it's kind of like how he received Hua Cheng's. One day he woke up and there was an earring dangling from his ear

It was only one earring

The earring wasn't gaudy or flashy. Just a clear gem hanging from his ear. It was still beautiful though

When Xie Lian asks you about it, you only say "it's yours now"

Xie Lian has known you for a long time so of course even though you're a god he knows you're a ghost too even if you don't mention it often

So he's not dumb he knows it's your ashes

Just like Hua Cheng's ring, he keeps the earring fastened in his ear and keeps it safe all the time.

Most of the time the earring is hidden behind his long hair, but he keeps the earring in anyways.

The next time he sees San Lang he isn't expecting for him to have a new earring in his ear either.

That explains why Xie Lian only has one, Hua Cheng has the other one.

While Xie Lian's earring is simple, Hua Cheng's earring is bright and has red gems.

They look similar in shape so it's obvious they're a matching set.

Apparently you said the same thing to Hua Cheng, "It's yours now, do whatever with it"

And of course like Xie Lian, Hua Cheng keeps it fastened in his ear.

They didn't know ashes could be split up, they've never seen it before until now

Now Hua Cheng is trying to figure out how to split up his ashes too, he doesn't want to leave you out after all.

All in all they love the meaning of the earrings you've given them and they're glad you trust them enough to handle them.

♡

I definitely think Hua Cheng has made statues and art of the reader too!

There are a lot of things Hua Cheng does that has to do with art so I would imagine he would include reader in that too.

I think different readers also call for different circumstances but I definitely think Hua Cheng would make statues of the reader regardless out of admiration and love

Statues have been made of you before of course, so you're no stranger to seeing them. This many though all in one place?

When you guys find the hundreds if not thousands of statues of Xie Lian. Mu Qing isn't happy when they start finding statues of you too.

The deeper you all go the more you all find.

Some statues are you by themselves, some are paired with Xie Lian.

There are many statues that depict you throughout your life.

So while Mu Qing and Feng Xin are freaking out calling out stalker stalker

You and Xie Lian are really liking these statues. They're done so well...

You guys can't help but admire them.

____________________________________

I know it's short but I hope you like it😭🖤

I haven't read the book in a long time so I don't quite remember the statue arc details.