#because i originally created to be FOR ME

[eroticcannibal]

It's still a minority view (plenty of varied viewpoints do get conflated with those things though, by people who have also grown up with the criticism of men = man hate line and internalised it in the other direction). It's still heavily exagruated by bad actors. Have you not actually talked to these people? Have you not looked at what they feel is man hate? Have you seen the examples the radicalised will list? Evil radfems saying all men are scum on twitter is a *tiny* fraction of what they feel attacked by and is almost never what they feel *most* attacked by.

I saw an intelligent, reasonable, compassionate, previously explicitly feminist man become *violently* (and I do mean violently, I was the target) antifeminist overnight because I expressed on Facebook I was having a trauma response (wariness of men) after an assault. And you know what else? Not a single man in that room defended me from *actual violence* because to them, fear looked like hate. Anything that made them uncomfortable looked like hate. This was during a time where publically discussing online your experiences with sexual assault was first becoming a Big Thing, the original #MeToo (interesting that it had to happen twice), and there really wasn't anyone going all men evil, just all men can be scary because we don't know who will hurt us. There was SO MUCH EFFORT to add nuance to the discussion, to let men know hey! We aren't saying *youre* bad! And they would not listen. Why? Because they'd rather listen to other men saying we are man hating feminists who are calling them all rapists even when we explicitly say the opposite! And that got me assaulted by a friend. The same shit fucking led to elevatorgate ffs. How dare a woman say she is uncomfortable, that's man hate, ignore all evidence to the contrary.

And yknow I did see an uptick in *performative* man hate at the time, but it was purely reactionary and it was a *test* (and a lot of current supposed "man hate" is still a relic of this era). Since you can make clear you don't hate men all you want and they will still say you do, "yes all men" became a sort of password. If you could here that without being a little bitch about it, if you knew the context because you actually bothered to listen, then you were cool. You knew no one actually meant that because you bothered to listen to them instead of people lying for political gain.

This is a tactic that has been going on since *before feminism even existed* and it is effective! It relies more upon the constructed belief that feminism is anti man which has become very well established over the years than it does the actual behaviour of feminists. I would strongly encourage you to look at anti-feminist sentiment throughout and predating the history of feminism (starting with the votes for women movement, that's the earliest I am personally aware of, there may be earlier examples) and see how we got to this point. Convincing every feminist to never again say "men are evil" will not create any change. (Which is not to say people *should* do it, but just that it's not the true root of this kind of radicalisation). Actual examples of it are *convenient* but not necessary for this tactic.

I would never *entirely* discredit the viewpoints of someone who has escaped cults and cult tactic using groups (I've been through that, I get it), but I would encourage caution with how much you trust the narrative of the *whys* from someone who has escaped. Leaving is quicker than undoing the thinking, and I really do believe that user isn't quite there yet. Best case scenario, that user is right about *them*, but it is not correct of radicalised men in general.

Because you can be as gentle as you like to these people getting radicalised, you can have all the nuance in the world, you could make it so that no one, not even as a joke, says anything about hating men, and you know what will happen? Just like has always happened, they will listen to who they want to listen to. They will listen to the people promising them superiority, they will listen to the people giving them a reason for their economic suffering (we must remember how much economics plays into radicalisation), that reason being evil feminists. They will see the man hate regardless of if it is there or not. Because they have been told to. Because it is convenient for them. And even if you convince them that we don't hate *men*, now you've got to convince them we don't hate them for being *white*. The point is not the hate they perceive but the superiority they seek and the power they desperately want.

Radicalisation and cult tactics do not rely on facts.

I couldn't have said it better myself.

[bringthekaos]

I'm excited for your thoughts on the new season if/when you share them

It has legit taken me 3 days to come to terms with Act 1. Enough to be able to speak about it. Gunna apologize in advance for the wall of text, and I’m hiding it under a break for spoiler reasons. Also prefacing with these are all just my opinions. All are free to disagree with me and RB with discussions/theories etc. just don’t be a dick about it, I’m not engaging in any discourse.

Ok. So. I have mixed feelings, and I’m aware that this is because I don’t have the whole story yet. So this is all contingent on how the rest of the season plays out.

First and foremost, I’m… wildly swinging back and forth between love and disappointment for Viktor’s arc. So first the negative, and I’ll try to keep it brief because a lot of people have already expressed this and I don’t need to be beating that particular dead horse.

Viktor has had his agency, his bodily autonomy, his original ideas and nearly everything that made him Viktor stripped away. Nothing so far has been his choice. And while this could have worked just fine for an original character, he wasn’t. So there is a massive disconnect between what this character was/should have been. In League, it was all his choice (albeit with a healthy dose of mental illness thrown in, but still). AND it was very heavily suggested that many of the augmentations he performed weren’t as extensive as he lead everyone to believe (namely the controlling/dousing of his emotions). But it appears that whatever the Hexcore did to him, it’s real. He is clearly having a difficult time accessing his emotions, and if he can feel anything, it is limited to the point of him being completely stoic. And the thing with stoic characters is that you obliterate any emotional payoff for the audience. It’s very hard to make an audience feel an emotional connection to a character’s story arc when they themselves don’t feel anything (I have a theory about this though, but I’ll address it a little later in this post). And then there is the issue of Blitzcrank. Blitz was Viktor’s whole world, after his exile. How are they going to swing that? Like, I’m not even asking for Blitz to be in Arcane (that would be great, but I really don’t think they have time). But I stg if they take Blitz away from Viktor, make them someone else’s invention (my suspicion is Heimer or he finds the idea in Sky’s journal)… I’m sorry but no. This was Viktor’s idea, Viktor’s genius. I will genuinely be extremely upset if they take that from him too.

Then there is the whole situation with Sky. First, this girl was fridged. She was nothing but a plot device and continues to be just that. It feels hollow and forced, especially now that he’s hallucinating her as some sort of penance for what he did. (I have seen the prevalent theory that it’s the Hexcore using her image and his guilt to manipulate him, given that it “ate” her, and we have seen it “manipulate” him before when it punished him for trying to destroy it). But back to Sky—he barely acknowledged that poor girl. The reason for that can be argued, whether it’s because he’s gay or because he was just so wrapped up in his one-track minded research. But regardless, there just wasn’t enough setup between those two for this whole thing to have as much weight and meaning as I think it’s supposed to. Honestly to me (TO ME) it reeks of comphet. It feels like that random woman they threw at Poe Dameron to No Homo him. I’m not even asking for Jayvik canon. But the creators were well aware of this ship, after all it’s the second most popular ship in this show and it’s been around since 2012 when Jayce was literally created for Viktor. I’m asking for the bare minimum here—that it’s left open-ended as it was in League, open for interpretation.

Last negative I have is the whole Viktor Jesus thing. The first problem is I am pretty violently agnostic, and messiah narratives have never spoken to me. I don’t enjoy them, they feel weak. The whole “ordained by a higher power” thing is just… stale. Especially when this character originally had no higher power, he gave it to himself through his own hard work and ingenuity. Honestly, Viktor’s original arc is about as far from a Jesus allegory as you can possibly get. And I am absolutely terrified that they’re going to end said Jesus arc the way you’d expect—with him dying for it. Which leaves the moral of his story “disabled man should have just accepted that he was going to die despite the fact that it was the oppression and xenophobia of Piltover that left him out to dry, without proper health care, accessibility, equality, or equity that lead to his terminal diagnosis to begin with.” Which is a very oppressor-centric narrative and we do not need another one of those.

Sorry, I know I said I’d keep the negatives brief, and that was… not. My bad. But moving on!

I’m not saying I didn’t enjoy it, I did. I am working to embrace this new Viktor narrative and work it into my brain in a way that doesn’t ruin the ship for me. So without further ado, the positives.

Jayce.

Jayce.

Jayce.

I’d have to go back and time it, but it feels like he got more screen time in this first act than the entirety of the first season combined, and his character shined for it. It humanized him in ways season one never did. He’s caring, he’s devoted, and he loved Viktor! No matter what kind of love you think it is, it proves he loved Viktor without a doubt. He carried Viktor several city blocks to the lab to save him, and then YES, he broke his promise about the Hexcore because he couldn’t stand the thought of losing him!

And he’s funny! (The scene where he picks up the regular sized hammer in the fight against Renni and made that “this is ironic” face?? And then basically the entire interaction with Ekko? The hand me a tome thing, and then when he basically pulled this when Ekko suggested “so this is all your fault cuz you pissed off the Arcane”:

GOD that shit was great. Jayce’s personality just shined, and maybe it’s too much to hope, but maybe this will douse a little of the hate. Because instead of being a subtle hint at all of those things being true about him, it’s now overt. And when people lack media literacy, the hints have to be overt.

And th-the. The h. The HUG SCENE. I don’t think I will ever emotionally recover from that scene. Starting with Viktor who, despite being clearly emotionally—I dunno, vacant I guess—sounded so lost and scared when he said “what am I?” For me, it was whispers of that scene from The Last Unicorn: “what have you done to me?” And my poor sweet Jayce, who clearly hasn’t left this damn lab except to go to Cassandra’s memorial. Sleeping on the desk and bleeding through his bandages because he doesn’t want to spend a moment away from Viktor while he “recovers.” And his euphoric response when he finds Viktor alive, when he realizes he hasn’t lost him. And I OWE HIM AN APOLOGY, goddamn. I said in a post that “Jayce will not understand.” I thought that was how Arcane was gunna start the divorce. But Jayce genuinely did not care, as long as his lover friend was alive. And just… Jayce being so affectionate through this entire scene. The hug obviously, but also blurting things he thought he’d never get to say to Viktor—“I’m resigning from the council, my place was always here in the lab with you.”

And… the hug itself. I know we’re all analyzing it frame by goddamn frame, but I see exactly what everyone else sees—there is a moment where Viktor very subtly smiles. But it’s gone in an instant, and it turns bittersweet. LOOK AT HIM.

There is something there, it’s just buried. Deep beneath the surface. It seems to say “I want this, I have wanted this for so long.” But then he realizes something, something I don’t think we’re meant to understand yet. Maybe that he doesn’t feel anything about it anymore, and he recognizes that this should upset him and it doesn’t. Or perhaps it’s something more along the lines of “it’s too late.” Whatever it is, I think this is the exact moment he knows he has to walk away. Because he knows he’ll cave to the affection, he said it himself. (Which is another thing entirely. His voice changes when he says that. Something in him is reacting to that word. Maybe he’s fighting against it, or maybe he’s fighting to get it back. But something made him almost growl that word.)

Which leads me to my final thought (for this post anyway, cuz it’s turning into a novel); Viktor is still in there. He can still feel things, I just think they’re extremely muted by whatever the Hexcore did/continues to do to him, or he has to fight to express them. Because he also smiled at the hallucination of Sky after he “cured” Huck. And if he feels nothing, he wouldn’t have been “joyous” at the thought of her being proud of him, approving of the good things he’s trying to do in her memory. He wouldn’t crave that validation, that vindication from her. So I’m hopeful that we start to see this shell crack a little, especially if those visions of Sky are the Hexcore manipulating him through guilt. It will start to erode him, no matter how stoic he has become. And literally the only thing I’m clinging to is that Jayce will see this and try to pull him out. “He’s still in there and I have to save him.” And that maybe it’ll start to work.

[stagefoureddiediaz]

Thought I’d show you how I’ve been going about my digital drawings - I just discovered that you can video procreate - so maybe I’ll do one of those in the future, but for the Ryan and Oliver digital drawings I did, I can show you my layers and how I worked because I was taking screenshots of my progress!!!

First up Oliver

So original photo

my line sketch - with colour coding as it was easier to do it this way!

Background done

colour blocking - ngl I actually really like it when it looked like this it just tickles the right part of my brain!

Now all the colours are sudged together and I've added in some of the texture

Finished piece!

Now onto Ryan!

Original Photo

Line drawing - he looks like a sailor because I went a bit ott with lining in the beard!

Background and clothes done!

Working on the skin - the neck was actually a real challenge!

Arm and ear finished

Face in progress - he looks so creepy without eyes and I spent soooo long on his lips - I think I erased them like 4 times - but it was worth it because I am soo happy with how they turned out!

one eye in progress

Then I was annoyed with eyes so I did some of his hair before going back to his second eye!

Final piece

and there you have it - me with zero procreate or digital drawing experience having a mess around with the brushes and seeing what I could actually do and I'm obsessed with how they both turned out!

I've been doing some tutorials on procreate - so hopefully I'll get better now I"m learning how to alter the brushes and things!

Hope you enjoyed this little look at how I created my two pieces - I'm going to look at getting prints done (when I have the actual time to do the research!) so if anyone would be interested in prints please let me know in the comments and I'll let you know once I have everything sorted out!

[senseandaccountability]

the narrative that could have been

Having mulled over the game for a couple of days I have realised that the main problem for me is that Veilguard is good based on the premises they ultimately choose, but not based on the set up and promise of what was there before. I know this isn’t a unique take by any means and yes it’s all about the Evanuris and the Veil and Solas. 

Replaying really emphasises how incredibly little the game convinces me of its original main quest - to prevent Solas from doing his ritual. This is a problem as a long-term player because for three games we’ve had build up for a great crescendo tackling the overarching themes of the (restrictions and oppression of) magic, of tears in the Veil, of religious tyranny and oppression based on myths about the Black City and the temptations of flawed humans, we’ve seen and deconstructed the elves quite a bit, we got started on the dwarves and in DAI your Inquisitor can openly ask Solas if it wouldn’t be better if the Veil came down because then spirits wouldn’t be separated from the living and risk becoming demons. Cole, whose function is to reflect the plot, talks endlessly about the old songs wanting to be sung again, about how it hurts to be cut off from part of yourself, how the templars feel it, how the mages feel it, how the elves and the dwarves feel it. The Veil as a prerequisite for life has been deconstructed, the Fade demystified, the gods have mostly fallen. The Veil as an actual wound inflicted on this earth has been presented as a theory and not been convincingly rejected by the narrative. 

The game actually gives no explanation whatsoever as to why the Veil coming down would be worse than what Rook causes in the beginning and what the escaped gods then do to the entire Thedas. The entire south falls to the Blight because Elgar’nan and Ghilan'nain are let loose. The Wardens are more or less wiped out. There’s enormous political turmoil. The game gives us Solas saying “thousands” would die when he brought the Veil down, but that he had a host of spirits there to help. (Yes, I know, his sole function in this game is to Trick and Deceive so who is to say if he’s lying, HUH, but even so, THE ENTIRE SOUTH FALLS TO THE BLIGHT IN ROOK’S VERSION OF THINGS.)

The game puts emphasis on Solas's questionable methods and past horrors but it doesn't ever explain why his goals are despicable here and now. It doesn't convince us that tearing down the Veil with lots of safety measures in place and after considerations is a bad result, all things considered - save for Varric’s initial yelling about demons. (We even learned in DAI that the Veil itself creates demons because it restricts the passage of spirits, come on.) Because three games have suggested it's not, not ultimately. Trespasser especially nuances this, just as it nuances Solas’s view of this current world state. Right after his long nap he would have nuked it all, I’m sure, but the whole point of character arcs is that things happen in them and what happened to him is that he was shown layers and angles he had not considered and adjusted his mindset and ultimately his plan accordingly. That is where DAV should have picked it up. That's where the build up was headed. But, now he must serve the narrative solely as the God of Treachery and Lies which means that previous build up is washed away for the most part. (In no way do I think he is OOC in DAV, I just want to point that out so nobody thinks I’m a sappy fangirl or whatever. I think he is perfectly in tune with his inner Dread Wolf, but that is also all he gets to be, because of the narrative, and I’m always much more interested in when roles and personas clash.) Again. The main problem is that the narrative cannot explain why bringing down the Veil would be the worse option than the shit we see unfold on screen. Instead it gets a bit lost in the past.  And I have Issues with that, as well.  Like, the dumbing down of the war against the Evanuris. The war that started because the leaders of the rebellion - who previously had to carry out terrible orders so the Evanuris, the upper crust of the Elvhenan, could play gods - decided that the Evanuris was a threat to them all. And the game gives us what, a depiction of how the rebellion ended up crossing lines, too? No shit.

Like, I am fully on board with the individual theme of regret on Solas’s part and he ought to be wrecked with guilt but I wish the game could be less all over the place with what sort of things he ought to be wrecked with guilt over. Saying fuck you to the Evanuris is the best and brightest of his character, I suppose I just don't want it dragged down to the same level as him breaking the Titans. I suppose I would have wished for a narrative that also worked on a systemic level when depicting things like, you know, war and revolutions and subjugation. But we don't have that, because DAV is only about personal choices. The Lighthouse crew flippantly writing the hierarchical and violent power struggle off as being about love and betrayal is on my shitlist forever. 

No, Taash et al, it was not about pussy, it was about feeling compelled by superiors to commit heinous war crimes and being lied to about the actual purposes of your damn war in the first place. The elves shouting at Elgar’nan and Mythal in this painting aren’t driven by love and sex they have been lied to by their ruling class. It was never about freedom or ending the wars, it was always about Elgar’nan jerking off to ultimate godhood. The writing even suggests betrayal here is to be understood as Netflix drama betrayal, maybe some juicy porny plot but it’s ABOUT THE BETRAYAL OF THE ELVES BY THEIR OWN KIN.  ((ETA: I would have wanted my Dalish mage to be allowed to be furious, NOT WITH SOLAS, but with the fucking Evanuris for betraying her people and being so fucking vile that the only option that remained was to create a world where she's a second-class citizen. I would have wanted the game to recognize that not all causes are equal and that Elgar'nan's cause for godhood was objectively more vile than Solas's cause for freedom because as it stands now, there are some really iffy vibes of "both sides are equally bad" and other things authorities tend to say when comparing destructive regimes with uprisings.)) I’m sorry, this shit hits me on a personal and political rage level. 

I also can’t help but mourn a game where the Trickster God fulfilled his trope’s duty and shook the stagnation apart with his actions - for good or ill, the way trickster gods are wont to do - and where Rook was tricked into helping and then, a more complex game about its consequences could have unfolded. The Evanuris could still have been the bad guys, if they wanted big villains frothing at the mouth. There could still have been numerous unplanned consequences, like all of Solas's plans have. Maybe other ancients awake as well. Maybe ancient evils who aren’t elves, who knows. Point is - the Veil should have come down, at least in some form, at least in some outcome. THAT is what they've been building up to. In this game that never was, Rook could be an actual interesting character where we could mold her as either accepting of this trickster role (which fits perfectly for a blank slate with no ties) or set to overturn it and enforce status quo, with some vanilla option in the middle. Maybe the Veil doesn’t come down until the very end of the game, ancient magic takes time after all, maybe a lot has happened by then. But ultimately, Rook’s choice in the end should not have been about siding against Solas because he’s lying to you or because he did horrible things in the past or siding with him because you want him redeemed. The narrative should have provided those options either way. The narrative should have been brave enough to suggest that hey, maybe Solas isn't wrong at all - his methods maybe, but his goal, no. If they truly wanted mirrors between Rook and Solas, Rook should have tackled the issue of actively bringing down the Veil herself, not because it's a roses and sunshine-outcome but because it might very well be the lesser of two evils. Gods, that would have been interesting. It should have been a choice about what sort of world Rook and the Veilguard wants to see in the future. It should have been about the people, the world, not how angry Rook is that an ancient elf has tricked her. 

That would have been the game I wanted to play.  This story doesn't really give anything new to the world of Thedas, which a world without the Veil would have. It accomplishes closure for our favourite trickster god and bless them for that, but as for the plot and the world-building it ends on a meh because the narrative isn't about the people unless they're brought up as being endangered. This is why I can feel satisfaction regarding the thematic conclusion to certain character arcs, the trickster becomes the healer with the bloodiest hands, the wolf submits willingly to his trap and so on and so forth, and I can have fun with the characters and their arcs but also really mourn the game that was there, in subtext and build up over three previous games and in several tie-ins.

[rafayelsbelovedbride]

Lemurians and the Sea God

As the new branch revealed that Rafayel borrowed the Sea God's powers rather than being the Sea God himself, I want to discuss why the Lemurians needed this power in the first place.

So let's start by summarizing what we know so far, and what these things can imply.

First, Rafayel accepted the Sea God's powers with a price.

Rafayel accepted the Sea God's powers from the tome which had an aether core embedded in it. This implies unlike what was mentioned in the Forgotten Sea, Rafayel is not a god but a vessel for the Sea God's powers. And, he has to pay a price and obey the Sea God's will (the prophecies of tome of the Sea God) for using these powers.

I wonder why there was an aether core fragment in the tome. Did Rafayel receive the power through this aether core? And, was Rafayel drawn to that because he also possesses fragments in his heart, just like MC? Is that why he is the vessel? Can this also explain the strength of their bond that can bring Rafayel back when he was possessed by these powers? Can MC differentiate the frequency of Rafayel's heart and the Sea God's heart when she resonates? Does that mean there is a little difference between all the aether core fragments?

Rafayel and the Sea God are different entities as Rafayel can lose his control to the Sea God.

I think there is a reason why Rafeyel described the tome of the Sea God as the island's cornerstone that bore the weight of Lemuria's past and future. I think the original Sea God (maybe the first Sea God) was the core of the planet. The same core that was described to be empty and had long been exhausted in the Shooting Stars myth, which probably belongs to a timeline after Rafayel's and the last Sea God's death.

I think the Lemurians used the Sea God's power as a supply for the earth's core the same way the king of Philos wanted to use the aether core of MC.

Maybe many years ago, this whole thing started with Lemurians asking for a god's help when they faced with the fact that the earth's core was dying. And, the god accepted their prayers and made a vessel so that it could come down to earth and use its powers to keep the planet alive a little while longer.

This power is described as a great "flame" that has burned in Whalefall City's temple for thousands of years. And without it, the Lemurians are said to transform into hideous beasts. (wanderers?)

Also, I wonder if the vessels were created by the god from an aether core fragment. And to be able to inherit the Sea God's powers, their aether core needed to have a certain level of strength that could carry the Sea God, otherwise, the vessel would shatter when it was filled with its powers. And that's what the prophecy refers to. The vessels must increase their strength before they can fully inherit the Sea God's powers.

Rafayel was born in flames and he needs his most devoted follower's heart to gain strength. Also, when MC first met him, Rafayel said "You awakened me."

In Rafayel's case, he has to do it by getting MC's heart. I think the prophecy is a little misleading here. I think MC does not have to give her heart because she is the most devoted follower. Instead, I think she has to do that because the vessel needs the aether core's energy, that MC already possesses, to carry the Sea God's power. Prophecy refers to MC like that because that's just something that describes who MC is. There could have been no other devoted follower of the Sea God.

In addition to that, he then gave his own heart to MC, increasing the power of MC's aether core when he's supposed to do the opposite. And that's why, when they look at the tome in Sea of Golden Sand, the prophecy changes to "to take back what he's lost the God of the Sea must kill his beloved".

Also, I find it interesting that Rafayel said you awakened me when they first met. As Rafayel was said to be trapped in a place with very strong currents just like the blue hole where the tome of the Sea God resides, I think we can assume that this is the place where MC first found him. So, I wonder if Rafayel was awakened because he felt the power from MC's heart, the same heart that he needs to enhance his strength to become the Sea God in the future. I also wonder if MC found Rafayel that day because she was also drawn to his aether core by her heart.

Rafayel rewrote the tome of the Sea God and choose to burn away.

But Rafayel has never taken MC's heart. So he never fully inherited the Sea God's power to keep the flame alight and the earth's core stable. Instead, he rewrote the tome and gave away his life to keep the core intact for a while longer. And that is why he is the last Sea God. And when the energy he gave to the earth's core was exhausted at some point, the heart of Philos remained empty after him.

The heart of Philos is empty and hungry for energy. This energy can be supplied by ordinary human life or by the MC's aether core.

And that's how I connect Lemuria and Philos. I think in the beginning, Lemurians were the ones being fed into the planet's core and turn into wanderers until they found a way to inherit the Sea God's powers and use the aether core for the same purpose. But then Rafayel broke this deal with the Sea God and left the earth's core empty again until the core started to feed on people of Philos. To prevent this, the king of Philos decided to use MC and her aether core again.

So, in the end, even though Rafayel sacrificed his life to take MC's place, his sacrifice was not enough to keep her safe. And this is a very sad story.

[starlostlix]

ARCANE S2 ACT 1 SPOILERS BELOW as I analyse the scene between Vi, Jinx, Caitlyn and Isha, what it means for them, and the link to Caitlyn's 3-point plan for the strike team.

I don't usually post about Arcane here but I need a place to talk about it without word limits so here we are. Also my comparison between MTP's telling of A scandal in Bohemia and the og will be done at some point I have just been very distracted.

So the scene I'm focusing on starts here when Isha runs up to where Jinx and Vi are fighting, lying between them a pointing a gun at Vi to protect Jinx.

Now Isha is a kid that has accidentally wandered into Jinx's life and gotten attached to her enough to wish to try and save her from danger - a new found family for Jinx alongside Sevika (who gives aunt vibes to me). But not just any kid is going to run into the line of fire like this. If we know anything about Isha now it's that she's brave - really brave - but also shouldn't have to be in this position.

Taking at look at her face, Isha's expressions seem to flick between anger and fear quite quickly. There's the facial muscles around her nose often flaring for that anger, but also a deep fear you can see too.

I think it's how she maintains focus on Jinx whilst the gun is turned away to Vi that's interesting. It's clear that she's afraid of what Vi is doing and is focused mostly on protecting Jinx - so that gun isn't something she necessarily wants to fire. She occasionally kept trying to press the trigger, but her hesitation isn't necessarily that she can't, but that she doesn't want to. She had ample time to take a very clear shot but she doesn't (this is interesting when we think about Caitlyn nearby who is desperate to take a shot even if it's not completely clear - Isha's motive is protection whereas Caitlyn's is revengeful action). And once she is unarmed all she can do is cling to Jinx. Perhaps both for her protection of Jinx or for Jinx to protect her. Like how a child would cling to a mother or father or even a bigger sister. Isha is supposed to play the role of a younger sibling to, in my eyes, mimic that of Vi and Powder that Jinx is desperate to protect.

I wanted to move on to Vi because I think her reactions/expressions are the most interesting. You get to see her face a lot, and once Isha has the gun to her face the main expression is one of fear. Not fear for her own safety, but a fear for Isha's safety, AND a fear of what she's been doing as an enforcer.

When Isha has the gun, all Vi can focus on is this mystery child - who she's never seen before might I add- suddenly appearing to protect Jinx. Even if Isha is scared she's still trying to protect her, trying to help even. Perhaps Vi sees herself here, a kid just trying to protect her loved ones from the enforcers that oppressed them. Perhaps she sees Powder, a kid throwing themselves in harms way just to try to help. Either way, she sees an innocent kid putting themselves in the line of fire to protect their loved ones. Except this time Vi is the dangerous one, rather than the protector role she used to fill.

When the gun is knocked away we see Vi again, frozen in place as she stares at Isha clinging to Jinx. This one feels so much more like a face of realisation - that Jinx still has loved ones left and that Vi has become the problem she swore to destroy. She's become the enforcer who enters Zaun to 'clear stuff up' with no regard for how it affects the people of Zaun. Instead of a protecter, she has become an aggressor.

If you will, remember Caitlyn's 3 goals - 'Locate Jinx, Dismantle Shimmer, and neutralise any agents still loyal to Silco'. I feel that this is where Vi realises that those goals only truly help the people of Piltover rather than anyone in Zaun.

1 - 'Locate Jinx' - this is basically corporate speak for Caitlyn wanting to k!ll Jinx. Originally, Vi was fine with this, seeing Jinx as a 'monster she created' and who 'taints the memory of her sister' Powder. But in doing so, she now realises that she will leave people behind who care for Jinx - Isha in particular. She's seen in her life so many kids left behind after enforcers killed their parents/families who then turn to rebellion (INCLUDING HERSELF AND POWDER!!) that she knows if she k!lls Jinx here with Isha as witness that the cycle will only continue - more kids who turn to violence as a result of trauma. If she were to go through with it she'd have become a direct parallel to those enforcers who killed her own parents, and she's already become a parallel to the ones who terrorised her and her family in her childhood with her activities in the Zaun strike team (especially with their usage of the Grey).

2 - 'Dismantle Shimmer' - whilst the removal of this drug is a good thing for pretty much anyone, the way the team go about it creates huge problems. The team are specifically shown to simply burn large quantities of the stuff (in the opening montage to 'Hellfire') - not only does this add more dangerous gasses to the underground areas (which they've already been releasing the Grey into), but it also creates issues for addicts. With access to it simply cut off, a decent portion of the population who are addicted to it will experience pretty dangerous withdrawal symptoms which could even lead to d3ath. With no system in place, addicts are left entirely on their own, so the destruction of Shimmer like this only helps those in Piltover remove a threat to them without actually helping the people. Meanwhile higher-ups in Piltover like Salo can use it recreationally (for his tattoos, even if frowned upon as implied by Mel's conversation with Lest).

3 - 'Neutralise any agents still loyal to Silco' - I'm pretty sure the Chembarons are considered Silco loyalists due to the Zaun strike team's attack on one of Margot's brothels in episode 2. The Chembarons, now down to 3 of them, were heralded as the only leadership of Zaun besides Silco. Their infighting has caused major issues in Zaun, but their elimination will not necessarily help Zaun in the long run. The removal of the Chembarons will leave a power vacuum, much like the one already left by Silco, that others will only step into over time. The removal of leadership in Zaun will only cause more issues as up-and-comers will try to fill the power vacuum and build their own forces, eventually becoming a new threat but not without a long period of chaos as people try to build resources to fill the vacuum. Piltover needs the removal of those with current power and forces to remove any possible threats of attack like the attack on the councillor memorial. It is, again, only for the benefit of Piltover.

Vi had seen becoming an Enforcer as the only way to bring down Jinx (reinforced by Caitlyn's insistence of doing things together and also partly by Maddie talking about what Caitlyn did to get her the job) AND as a way of protecting Caitlyn, but now I feel that she has been able to see the negative affect she's been having on the people of Zaun - her own people. I think this is why Vi switches into doing anything she can to protect Isha and Jinx, her protective side for Powder kicking back in specifically.

Looking back at Jinx, she was so ready to d!e at Vi's hands until Isha appears. Her expression here is the clearest look at her emotions we really see in the sequence - concern and fear. We know she's not afraid of dying or k!lling (especially when she said earlier before the fight that she's not remorseful of orphaning kids as she's 'done it to herself enough'), but she's so visibly afraid of Isha being hurt, and afraid that Vi would be the one to kill Isha. She's grown attached to Isha more than she'd like to admit, perhaps even seeing similarities to her and Powder (especially in their desire to help their family).

Once Isha's gun is shot away she clings to Jinx. Jinx at first is trying to claw her off - get her away from the danger, telling her to 'scram', referring to her simply by 'kid' so she leaves and doesn't get hurt. But when Vi is just sitting there looking rather than attacking she brings Isha in closer as a form of protection and looks at Vi. The way she looks at Vi. That's fear. She's afraid of her own sister again. She's afraid her sister will hurt an innocent kid, who's just trying to help, with a punch again. All her face says is 'Don't hurt this kid'.

And it's devastating. Devastating for both Jinx and Vi. Jinx sees her sister as a threat, whereas Vi begins to see a bit of Powder in Jinx again. She sees herself about to repeat a mistake that previously cost her everything - leaving a child alone with no support. This is also part of what turns Vi to protect Jinx and Isha from Caitlyn.

Last but not least, Caitlyn.

Caitlyn's effect on this scene can sometimes be forgotten (I almost didn't include her in this analysis at all) but it's actually bigger than one may think. I mentioned before how her desperation to k!ll Jinx causes her to shoot even when her shot is not clear (and how it contrasts Isha's reluctance to shoot even with a clear shot), but there's also so much more. For one, she shoots at the gun Isha is holding almost without a second thought. She tries to shoot Jinx whilst Isha is clinging on to her almost without a second thought. She shoots Vi's gauntlets when she tries to stop her. She frankly is unhinged at this point, tunnel vision on killing Jinx with no regard for anyone else in this situation, not just Isha but Vi also.

Grief is a strange thing. It can create many reactions from people depending on their situation. In Caitlyn's case, her grief has morphed into a desire for revenge and a thirst for violence, strengthening her pre-established prejudices towards Zaunites that she was so adamant in reversing in season 1. In her grief there is one constant - blame for Jinx - that morphs into further prejudices towards Zaunites as a whole to justify her actions in her own mind. She similarly justified her tunnel vision in this fight with the idea that 'she wasn't going to miss' despite missing her shot multiple times already (specifically when she shoots to k!ll Jinx and only hits her middle finger).

Her actions here are what happens when grief takes control and her usual logic and reasoning is not able to intervene as much as usual. Her insistence on not harming innocents (seen early in episode one), her understanding of how Zaunites were treated unfairly (s1 episode 7) - it's all overshadowed by her grief. However, her grief doesn't excuse her actions - she's still making decisions based on her own internalised prejudices that with her grief are projected outwards and drive her actions.

This has all culminated here, where her tunnel vision has led to her hurting Vi and almost caused her to hurt an innocent child. She's this looming threat to the scene, her hextech rifle being probably the most powerful weapon here - and it's in the hands of someone who is vengeful and seemingly trigger-happy and in a position of power she was not ready for. If Vi was a big danger in Jinx and Isha's eyes at first, there's a bigger danger in Caitlyn, one that even Vi notices. And she's only going to get worse next arc.

[There could be more to say but I think this is a great place to end it! I may make more arcane posts as s2 releases but i'll have to see, I just really wanted to talk about this scene in particular it's just so interesting.]

[archiveikemen]

"Dark If" Story Event: Chapter 1

Ellis Twilight

This is a fan-made translation solely for entertainment purposes with no guaranteed perfection; expect mistakes, grammatical errors, and some creative liberties. All original content and media used belongs to Cybird. Please support the game by buying their stories and playing their games. Reblogs appreciated.

Read this before interacting

Victor: Miss Kate. The ability to create the ultimate happy ending lies in your hands. — Now, off into the twisted fairytale world you go. 

…

When I woke up, I found myself in a room inside a lavish castle. 

(Uhh… right, I’m the “princess” of this country.)

(... Huh? Why do I have memories of that?) 

Memories of being raised as the princess of this kingdom slowly came back to me. 

(It feels as though I have two sets of memories. One from living in this world, and one from another world.) 

Yet, strangely, both felt like they were indeed “mine”. 

King: … Are you awake, Kate?

Kate: Good morning, Father. 

After a knock, my father entered the room looking concerned. 

King: With only a few months left until that wicked fairy’s prophecy is set to come true… I can’t be at peace without personally ascertaining your safety every morning. 

I was born as the princess of this country and spent my life living a sheltered life within the castle’s walls.

The reason for that was— a curse. 

The fairy who placed the curse on me said, “in 10 years time, the curse will take effect when she pricks her finger on the spindle of a spinning wheel”. 

— Without any explanation, he returned to his castle hidden deep in the mountains. 

In response, my parents gathered every last spinning wheel in the country and destroyed them. They relocated those working in the textile industry to state-run factories, and I wasn't allowed anywhere near them. 

Kate: If the curse takes effect, I’ll fall into a deep slumber for 100 years… right?

I muttered based on my memories, and my father nodded with tears welling up in his eyes once more. 

(A cursed spinning wheel… the world I strayed into must be the story of “The Thorn Princess¹”.)

¹ “The Thorn Princess” is also commonly known as “Sleeping Beauty”. 

(If I go along with the original plot, it’d probably be better to fall into a deep sleep because of the curse, but…)

The man who introduced himself as Victor said that there was “something missing” in this twisted fairytale world.

If I fall asleep before I find it— I won’t be able to look for it for the next 100 years.

(First things first, I need to break this curse to give myself more time to find it!)

Kate: I’m going to ask that fairy to break the curse. 

King: W-what!? Absolutely not!! 

Kate: You can assign a few guards to escort me. 

King: Even the royal guards fear him! I’ve sent people to assassinate him several times, and all of them returned in a dreadful state…! 

Kate: Then I’ll go alone. Don’t worry, I can sniff out dangerous places from my experience as a mail carrier. 

King: Mail carrier? H-hey, hold on—! 

…

(While I did say I’d go alone… it’s still better to be as well-prepared as possible.)

After dodging my panicking father and the royal guards, I made my way to a mercenary recruitment place in the castle town. 

Kate: I’d like to hire a bodyguard for my journey… 

Since there was a real chance of encountering wild beasts or bandits on my way to the fairy’s castle, I decided to use part of my allowance I had been secretly saving and hire someone to protect me. 

However—

Long-Faced Mercenary: Go to the fairy’s castle!? You’d need more than one life to make it there alive! 

One-Eyed Mercenary: No way, not doing it! I’ll never go anywhere near that terrifying guy ever again! 

— The last person I spoke to fainted the moment the word “fairy” left my mouth, his eyes rolling back in fear. 

(It’s just as Father said, the fairy is greatly feared…)

(Looks like it can’t be helped… I’ll just go alone.)

???: Is it true that you want to go to the fairy’s castle? 

???: If that’s what you wish for… I’ll be your bodyguard. 

I looked up when I heard the voice making the timely offer and saw a young man standing there. 

Receptionist: You’re in luck, miss. That guy’s a skilled assassin. 

Receptionist: Once he’s targeted someone, he latches onto them like thorny vines, that's why he’s called “Ellis the Briar”. 

The receptionist, a young man with mint-coloured eyes, politely introduced him. 

The fee he quoted in a low voice was an amount I could afford with my savings. 

Ellis the Briar: I only take on jobs from here every now and then, so I didn't know I had a nickname. 

Kate: Umm, mister… Ellis the Briar?

Ellis the Briar: Just “Ellis” will do. 

After being rejected by many people, Ellis’ offer to be my bodyguard made him look like a knight in shining armour. 

Kate: Thank you so much for accepting my request. 

Kate: But… are you not afraid of the fairy, Ellis?

Unlike the other mercenaries who fled at the mention of the fairy, this relaxed young man seemed unfazed. 

I was a little worried that he might not understand the weight of the situation he volunteered to be involved in. 

Ellis: I’ve been burned, frozen, stabbed, and slashed countless times by that fairy.

Ellis: If there’s anyone here who knows exactly how dangerous he is, that’d be me. 

Kate: What!? You were burnt— are you alright?

Ellis: Yeah. I can't die, and I’m not afraid, so I’m okay. 

(In a strange world where even fairies exist, not dying might be possible too… I guess?) 

Ellis: If the journey will lead to your happiness, I’ll go with you.

Kate: A-alright. I’ll be counting on you, Ellis! 

Ellis: Fufu… you don’t need to be formal with me.

Ellis: You can relax and speak casually. We’re friends, after all.

(Friends!? Since when…?)

I was a little confused, but the young man’s smile carried not a single hint of malice. 

(He’s probably just the kind of person to want to close up the distance between himself and others quickly…) 

Kate: Okay… got it. 

…

— And so, I embarked on my journey with Ellis, who had a mysterious presence. 

There were two paths leading to the fairy’s ancient castle.

One was a horrible half-day route, while the other was a three-day walk on flat ground. 

Ellis suggested the easier route, taking into consideration my limited stamina as someone who lived a sheltered life. 

— On the second night. 

Our journey was progressing smoothly, but I found myself having trouble sleeping. 

Ellis: Can’t sleep?

Kate: Yeah… I know I should rest, especially since we’ll arrive at the castle tomorrow. But…

Ellis: Kate, can you come over here? 

Kate: …?

I had come to trust Ellis after all the countless times he had helped me during this short journey, and so I unhesitatingly moved closer. 

Suddenly, he pulled me by my arm and I fell on top of him. 

Ellis: It’s hard to fall asleep on the hard ground, isn't it? You can rest on me instead. 

Kate: B-but, then you wouldn't be able to sleep with me weighing down on you… 

Ellis: You’re light as a feather, so it’s okay. Go on, you can sleep. 

I tried moving away, but Ellis held me close and wouldn't let go. 

Kate: You’re being so kind to me because I hired you… 

Ellis: Am I? Maybe I’m being this kind only because it's you, Kate. 

Kate: …

Thump. Thump. My heart was pounding loudly, but…

As I leaned my head against Ellis’ chest, I realised that I didn’t hear his heart pounding. 

(... Am I the only one who feels this way?) 

A strange unease crept up to me, but I started feeling drowsy as Ellis gently rubbed my back in a soothing manner.

Ellis: … Why do you want to meet the fairy? 

Kate: I want him… to break my curse…

Ellis: I see… 

Hearing Ellis’ tender voice, my eyelids slowly grew heavy. 

(Ellis took care of everything for me throughout this journey…) 

(I must give him a big reward and properly thank him once this is over…)

(Oh. But… I feel lonely thinking we’ll be parting ways.)  

While such thoughts crossed my mind, making me doze off… I drifted off to sleep on Ellis.

And because I was asleep, I didn’t hear the words Ellis spoke as he watched me. 

Ellis: So you want the fairy to break the curse…

Ellis: That means your feelings haven't changed since “back then”. … I’m so glad. 

Even as Ellis slowly wrapped his hand around my neck, I didn't wake. 

Ellis: … I want to kill you as soon as possible. 

…

I was able to get a good night’s rest thanks to Ellis, and we finally arrived in front of the fairy’s castle. 

However, the path leading up to its doors was overgrown with briar, as though rejecting all visitors coming from the outside. 

Ellis: We can’t pass here, let’s go around. 

Kate: Yeah… oh, can you wait for a quick moment? 

Ellis: What’s the matter? 

Kate: There’s a little bird trapped in the briar and can’t get out… 

I crouched down next to the briar and while being careful not to get pricked, created an opening for the little bird. 

It then quickly escaped and flew away. 

Kate: Had it stayed trapped in there, it might've died. I’m glad I could save it…

Ellis: … Indeed. 

Ellis: Giving even a little bird the choice of where and when it wants to die must make it feel happier, doesn't it? 

Ellis: You’re very kind for allowing it to choose how to die, Kate. 

(That wasn’t why I saved the bird, but…)

(... Ellis certainly has a strange way of thinking about things.) 

I felt a little uncomfortable, but decided not to dwell on it and continue our detour towards the fairy’s castle. 

…

Kate: E-excuse me… I’m here to seek help with breaking a curse.

Kate: Is the fairy home…? 

???: I am, but I ain't breakin' the curse.

The man who appeared was much younger than I had expected. 

Ellis: Jude, I’m back. 

Ellis: Let me introduce you, Kate. This is Jude, the fairy.

Kate: …? Hang on a second…

Kate: Why did you say that you're “back”? What's the relationship between you two…? 

Ellis: I’ve been working as Jude’s assistant for many years now. 

Ellis: When Jude isn’t busy, I sometimes find work at the mercenary recruitment place to keep my skills sharp. 

Kate: What… did you say…

Kate: Ellis. You offered to protect me on this journey, helped me so much throughout, and I trusted you… 

Kate: Now you’re telling me that you’re an underling of the fairy who cursed me…!? 

Ellis: Rather than an “underling”, I’d say we have more of a contractual relationship. 

Ellis confirmed it like it was no big deal.

(Ellis had ties with the fairy way before I did…) 

(We travelled together and I thought of him as a reliable companion… were those all one-sided on my part?) 

Ellis: What’s wrong, Kate? You don’t look so good…

Ellis extended a hand towards me in concern, which I reflexively brushed away. 

Kate: … I-I’m sorry. 

Kate: I… need to go outside to cool my head. 

Overwhelmed by all that just happened within moments, my heart felt like it was on the verge of shattering. 

I excused myself and wanted to leave the castle, but the fairy didn’t allow me to. 

Jude the Fairy: Ya had a reason for comin' here, didn't ya? Guests oughta stay in the guest room.

Kate: What.

— Jude grabbed my arm and roughly shoved me into the guest without further discussion.

Now that Kate was locked away, the hall went silent once more.

By now, Kate was most likely being served warm tea and snacks in the magical guest room. 

Jude: … Ellis. Ya don’t understand human feelings at all, do ya? 

Jude: If she finds out that her bodyguard, whom she saw as a friend, actually has a contract with the exact fairy who cursed her, she’ll feel betrayed. 

Ellis: Is that so…

Ellis: It’s been five years since I became human, and yet there’s still so much I don’t know. 

Jude: It’s “only” been five years.

Ellis: For us, it’s “already” been five years.

Ellis: All I want is to make Kate happy… human emotions are so hard to understand. 

Jude: … 

Jude clicked his tongue in annoyance, not bothering to hide his irritation with Ellis’ non-human mindset. 

He then picked up a sword and slashed at Ellis without hesitation.

— However, Ellis didn't even flinch. Despite being cut, he didn't bleed and was perfectly calm. 

Ellis: … It’s pointless no matter how many times you try, Jude. 

The wound Jude inflicted on Ellis healed on its own, returning his body to how it was before. 

Ellis: As long as Kate doesn't find happiness, I won’t die.

Ellis: Regardless of whether I’m burned, frozen, stabbed, or slashed…

[alpaca-clouds]

This is what I hate so much in fantasy world building.

Look folks, I get why Tolkien did write Lord of the Rings the way he did. he wanted to create a mythology for Great Britain, given how much of the original mythology was lost. And hence there was a lot of British-ness in his world. Makes sense, even though from a historical or anthropological viewpoint, Middleearth is actually really, really badly constructed.

Outside of the meta-level: Why does Middleearth, a world with magic, several distinct "races" of different cultures, with dragons, and without either anything like Christianity, or a past that includes a Roman Empire look and feel like Medieval Europe? That does not make sense.

Medieval Europe was the way it was, because of the history that happened before it.

And because pretty much most Fantasy afterwards copied bits and pieces from Tolkien, they copied this too. There are worlds that are climatically and from the preset completely different from Medieval Europe, and yet somehow they have the exact same technology, building styles, social orders, and clothing styles as medieval Europe. Are you fucking kidding me? How does that make sense?!

This is why I so rarely am able to enjoy High Fantasy, because the worldbuilding from an anthropological or historical viewpoint makes no fucking sense.

Worst of all: If you bring stuff up, they will argue "but it is historically accurate". Like fuck! No it isn't. If your world has magic and no Christianity, it is not historically accurate. So if you write in queerphobia or misogyny, it is not because it "historically accurate", because what you are writing is NOT Medieval Europe. No, you are writing that shit because you want to write queerphobic, misogynist worlds.

In the past fifty years, fantasy’s greatest sin might be its creation of a bland, invariant, faux-Medieval European backdrop. The problem isn’t that every fantasy novel is set in the same place: pick a given book, and it probably deviates somehow. The problem is that the texture of this place gets everywhere.

What’s texture, specifically? Exactly what Elliot says: material culture. Social space. The textiles people use, the jobs they perform, the crops they harvest, the seasons they expect, even the way they construct their names. Fantasy writing doesn’t usually care much about these details, because it doesn’t usually care much about the little people – laborers, full-time mothers, sharecroppers, so on. (The last two books of Earthsea represent LeGuin’s remarkable attack on this tendency in her own writing.) So the fantasy writer defaults – fills in the tough details with the easiest available solution, and moves back to the world-saving, vengeance-seeking, intrigue-knotting narrative. Availability heuristics kick in, and we get another world of feudal serfs hunting deer and eating grains, of Western name constructions and Western social assumptions. (Husband and wife is not the universal historical norm for family structure, for instance.)

Defaulting is the root of a great many evils. Defaulting happens when we don’t think too much about something we write – a character description, a gender dynamic, a textile on display, the weave of the rug. Absent much thought, automaticity, the brain’s subsconscious autopilot, invokes the easiest available prototype – in the case of a gender dynamic, dad will read the paper, and mom will cut the protagonist’s hair. Or, in the case of worldbuilding, we default to the bland fantasy backdrop we know, and thereby reinforce it. It’s not done out of malice, but it’s still done.

The only way to fight this is by thinking about the little stuff. So: I was quite wrong. You do need to worldbuild pretty hard. Worldbuild against the grain, and worldbuild to challenge. Think about the little stuff. You don’t need to position every rain shadow and align every tectonic plate before you start your short story. But you do need to build a base of historical information that disrupts and overturns your implicit assumptions about how societies ‘ordinarily’ work, what they ‘ordinarily’ eat, who they ‘ordinarily’ sleep with. Remember that your slice of life experience is deeply atypical and selective, filtered through a particular culture with particular norms. If you stick to your easy automatic tendencies, you’ll produce sexist, racist writing – because our culture still has sexist, racist tendencies, tendencies we internalize, tendencies we can now even measure and quantify in a laboratory. And you’ll produce narrow writing, writing that generalizes a particular historical moment, its flavors and tongues, to a fantasy world that should be much broader and more varied. Don’t assume that the world you see around you, its structures and systems, is inevitable.

We... need worldbuilding by Seth Dickinson

[lover-of-mine]

what are your thoughts on nde for either eddie or buck in 8x08? me personally, im thinking buck is gonna get the nde, and i think he’s gonna be shot. tim recreating s4/5 when he originally wanted to do buddie, but what im thinking, is buck realizes his feelings for eddie but doesn’t want to/doesn’t know if he should tell him, then he gets shot and it’s all dramatic and eddie is there and freaking out, trying to save him and keep him alive (aka why they’re pushing medic eddie so much this season) and buck realizes this might be his last chance so he just goes for it anyway and while he’s bleeding out he tells eddie he loves him😭 i know this is probably not what’s gonna happen but lol i just enjoy theories and i always love to hear what you think!

adding onto this, i ALSO saw around twitter the theory that buck would get a nde, but he gets hit by a car or just in a car accident in general, and eddie is there and it parallels shannon’s death (obviously buck doesn’t die but you get the memo😆)

Hi, darling! Okay, I don't mean to shit on anyone's specs, but I think either of them getting shot again would be so uninspired. The show is slowly reintroducing new ways to pull the triggers they put down for buddie because they need to address the stuff that happened to them somehow, but a direct mirrored parallel to the shooting wouldn't work as well as everyone seems to think it would. Partially because I think that forcing Buck to confess because he (or Eddie) is dying is yet another way to take away Buck's agency and further attach Buck to the idea he's only worthy of love when someone bleeds. But also because putting one of them in the position to be doing the saving again won't really further their storyline. Eddie watched Buck in a nde twice, the bombing and the lightning, and Buck watched Eddie in a nde twice, the well and the shooting, and I think they need a combined trigger, aka a combined nde.

I am attached to my drown Buck theory, have them off duty, crash the car, end up trapped and the car filling with water, but I also think that the trapped dads theory also works a lot here, especially if you put them both in the situation while off duty, aka without gear or backup, and you can play with a lot of elements of every nde before that and create a catalyst for them to talk and figure themselves out. I also think everyone is getting ahead of themselves, I don't think they are in the place to get that catalyst yet, and 2 episodes are not enough to get them there when we are talking about an ensemble show. I feel like people are expecting a direct callback because we got a well callback and are getting a lightning callback, but while buddie was front and center during the well callback, they actually used it to further Chim at first. It works to get the audience thinking about different aspects of their past, which in turn makes it so that when they talk about it, it will be in our minds, but it doesn't explicitly address the implications with buddie. I think the lightning callback will be a lot about reminding Buck of whatever it was that he was supposed to learn with it the first time around that they never truly explored due to the network switch and Natalia not coming back. I also think that confronting the situation where Buck almost died and possibly watching a freshly heartbroken Buck be impulsive can push Eddie to look at some stuff that would push him into action to figure himself out.

Especially if @stagefoureddiediaz ends up right and the lightning callback ends up being a truck bombing callback too since the well callback is also a subtle callback to the kids on the cliff call in 304 and could be played into different directions when it comes to what comes out from it moving forward. Buddie has a lot to talk about, but they need a reason to think about the stuff they need to talk about on their own before getting to a point where they can actually have those conversations. I think they rely too much on how well they understand each other that they fail to consider the way they can't actually read each other's minds, and figuring that part out is important before pushing them to the catalyst. And please don't get me wrong, I'm like, 90% sure that the catalyst will be another nde, I just don't think it's gonna happen until 8b.

[tracybirds]

Started this a wee while ago because @astranite and I were excitedly discussing astronomy textbooks and in particular BOB which is a real astronomy textbook for the undergraduate level, written by Carroll and Ostie as mentioned in the fic. We started joking about Lucille being an academic and writing the second BOB and then well... this happened :P

Many thanks both to @astranite and @gumnut-logic who have both read bits of this at some point - I hope you enjoy the finished fic!

---

"Imagine a world with no stars."

John reached down, brushing his fingers across the familiar preface, the uncomfortable weight of his mother's textbook feeling like home.

"Hi Mom," he whispered, his heart aching as he turned the pages.

Her orange highlighter was everywhere, notes in her clear, rounded hand scattered across every paragraph as month by month, year by year, she read yet another paper that strengthened the collective understanding of the universe. He knew that some of these notes made it into the second, third, and even fourth editions of BOBv2, but others lay dormant, waiting for a fifth edition that would never come.

Until now.

John took a steadying breath. He hadn’t dared to touch his mom’s personal copy of the astrophysics textbook that had redefined a generation in years. The Tracy text, with its dry wit and clear conceptual language, voiced with an undeniable love for the heavens above, similarly ignited a passion in everyone who read it. John was too young to know exactly when BOBv2 – the Big Orange Book – had become the standard text, but in doing so, Lucille Tracy had cemented her name as one of the great educationalists of modern astronomy. A companion to the original Carroll & Ostie, a text that delved with enthusiasm into every branch of space science, his mom had inspired a generation of astronomers.

His mom had inspired him.

And, as it turned out, there were people who wanted to see that legacy continued.

John scanned the email that had arrived without fanfare in his inbox that morning, though he already knew every word.

“Dear Mr. Tracy…” it began, and John knew they hadn’t meant him. Scott had forwarded the email himself, not reading beyond the subject line that mentioned only the title of the astronomy textbook he held in his hands.

This was how John learnt that his mom’s old publishing company were seeking permission to engage a new author to perform the necessary revisions for a new edition. John had never thought of Scott as being the executor of their parents’ estate, had never given much thought to any of the legalities of what their parents had created.

He glanced up as TB5 rounded the dark side of the Earth, the familiar patch of ocean his family called home slowly moving towards sunset.

His brother had gotten home less than an hour ago and it was for this reason, John told himself, that he hadn’t drawn attention to Scott’s error.

In truth, he wasn’t sure what he wanted to say.

Well.

That wasn’t quite true.

John’s grip tightened around the book as he steadied himself once more.

This text had belonged to everyone, that’s how his mom had wanted it, and that’s what John would want too.

He connected to Scott’s line.

With each ring, his heart sank further and further.

“Hey John, wha–”

“Don’t do it,” blurted John.

Scott’s blue face scrunched up as he peered at him through the holo. “Don’t do what?” he asked.

“Mom’s book, let me instead,” said John, his words beginning to stumble across themselves in his hurry to make Scott understand. “I can do it, just don’t let someone else take it away from her.”

“Woah, woah,” said Scott, looking more alarmed with every second. “Nobody’s going to take Mom away from you, what are you talking about.”

“They want to revise BOB,” said John desperately.

Scott’s silence rang between them, a pause that filled the distance between them before John huffed and thrust the book into the holocam.

“BOB,” he said impatiently, “Mom’s textbook, the Big Orange Book the Second.”

“Can you.. can you start from the beginning, John,” said Scott weakly.

John’s fingers twitched, struggling to steady his shaky inhalations.

“Mom’s publishing company sent you an email. You sent it to me so I read it, but it was for you.”

With every word, John willed Scott to hear him, to understand what he was asking. It wasn’t the revision that was troubling him, John had worked alongside academics too long to question the need for an updated edition as new evidence emerged and new lines of reasoning developed into discoveries.

“It’s the only link to her that’s just mine,” he said quietly. “I have to share everything else, and maybe that’s selfish of me to ask, Scott, but I want this one. I don’t want someone to overwrite her words, her passion, her memory with a fake. Someone who’s just pretending they could ever know what she would have said.”

“I can say no,” suggested Scott, but every fibre of John’s being rebelled at the thought.

What was worse, he wondered, to remain true to her memory and thus condemn his mother’s greatest achievement to history? Or to give up his claim to her and allow her work to shine anew, albeit polished with a varnish he’d never known.

Obscurity or lies?

John knew which he’d choose.

It felt like burying her all over.

“John,” said Scott hesitantly. “Would you want to do it?”

John’s eyes widened. At once a thousand reasons to say no erupted, his mind running through emergency scenarios and the intensive workload that revising a beast like BOBv2 would take, not to mention remembering the half a dozen other projects he’d made promises to look at when he got a chance.

There was no chance he would ever be able to agree to what Scott was suggesting.

There was no chance he’d ever say no.

“How?” he asked breathlessly.

“We’d make it work for you, John, you know we would,” said Scott. “We’d do it for Mom, but we’d also do it for you.”

John’s smile was wobbly, and he rapidly blinked back the tears that welled in his eyes as warmth flooded and swelled in his chest.

“Then let’s do it,” he said hoarsely.

***

“John!” shouted Alan, racing up the stairs two at a time. “You’ve got a package, Grandma picked it up on the mainland, it’s here – it’s here!”

John leapt up from the sofa, his quiet conversation with Brains and Virgil forgotten in a heartbeat as he reached out with eager hands.

“Scott, Gordon!” bellowed Alan, running outside and leaning over the balcony’s edge. “Hurry up, John’s book is here.”

There was a mad scramble, water splashing all over, but John hardly heard it, his hands turning the brown paper over and over. He could feel the bio-bubble packing material, its gentle give beneath his fingers making him doubt the reality of what he was about to find.

Alan slammed into his side, legs bouncing with excitement. John could see the amused glances traded between Virgil and Gordon out of the corner of his eye, but he ignored them, suddenly terrified that he’d ruined his Mom’s book forever.

“We all know you gave it everything,” said Scott, dripping water all across the floor as he gripped John’s shoulder with firm encouragement. “She’d be proud too. Let’s see it.”

The spine was orange, the dusky colour of sunsets as the night gave way to twilight and the field of astronomy arose. Tracy & Tracy stood out, stark white and magical. Each leaf was glossy and vibrant, full of excitement and wonder.

He glanced down at Alan, whose eyes were wide in awe, and smiled, opening the book to the dedication page.

To Jeff, who travelled my stars and inspired my heart. – L.T. 1st edition To Scott, John, and Virgil, who helped me to dream. – L.T. 2nd edition To Gordon, who gave me new adventures. – L.T. 3rd edition To Alan, for all the skies we’ve seen together  – J.T. 5th edition

John wrapped an arm around Alan, who had gone still as he read.

“It was time you were added to the Tracy text,” he said quietly.

Alan only hugged him back.

“It looks incredible, John,” said Virgil. “It’s all paid off.”

One by one, everyone gave their congratulations and wandered off, the novelty soon wearing thin. Even Alan slipped away, his video games beginning to call, but not before making John promise to get him his own copy.

Eventually, only Scott remained and he fell down on the sofa next to John, watching him quietly as he flipped through the pages one by one.

Soon enough John paused, running his fingers over the familiar foreword, every letter of Lucille’s passion immortalised once again. His foreword came second in deference to the original and, sandwiched between his mother’s words and the contents page, John had allowed himself more sentiment than he usually considered wise in a public sphere, comfortable in the knowledge that only the few who were truly inspired by what he and his mom had made would ever read them.

“She would be proud,” he said with certainty. “Of this, of what we’ve done without her.”

“She would,” Scott agreed. “They both would.”

John nodded, and closed the text, laying it carefully on the coffee table.

His green eyes shimmered earnestly, a mirror of their mother.

“Thank you, Scott,” he said. “For giving me this.”

“It’s yours, John,” said Scott. “Always.”

[taliesin-the-bored]

It was a musical, but...I am not beating the allegations.

I shall take this as an opportunity to ramble about Rómeó és Júlia, the subject of said allegations by @unstark, who may have created a monster (/j; thank you for doing so).

The first thing to know is that I haven't read Romeo and Juliet since middle school and liked it well enough then but wasn't really enthused because I liked the poetic elements but found the romance somewhat grating. However, I am a theater kid/opera nerd at heart, and looking at different versions of things and analyzing the connections, sometimes to an obsessive degree, is one of the things I live for (that's part of the lure of Arthuriana).

The second is that Rómeó és Júlia (ResJ) is fantastic, in large part because the cast is incredibly talented. I've seen all or a good portion of several different language versions of the musical, which originated in France as Roméo et Juliette (RetJ), and they all have good or decent but reasonably similar Juliets and mostly fine to mediocre Romeos. In addition to having a good Juliet, this Romeo, played by Dolhai Attila, was quite charming as an actor as well as a great singer so the rest have been mostly downhill. I am afraid, though, that like most of the people on ResJ/RetJ Tumblr, the characters I found most interesting were Mercutio and Tybalt, who both vary wildly from production to production. In ResJ, Mercutio (who fans call Zolicutio because he's played by Zoltán Bereczki) is a force of nature, and I did not properly appreciate that the first time I watched it. He sings, dances almost constantly, acts well, and raps in Magyar, and he never seems to stop or slack in energy until he dies. Tybalt, on the other hand, is a deeply tortured soul who's occasionally comedic in his melodrama (he does the Mr. Bean walk once) but has genuine pathos. I originally watched the first half without subtitles and did not realize the...ahem...concerning nature of his thoughts about Juliet, but that's in almost every version of the musical, and it is not as big a trigger warning as the obvious one, which is that Romeo and Juliet includes onstage suicide and murder, as well as references to sexual content. This is probably the first thing anyone learns about Romeo and Juliet, but I thought I should put that out there to be safe. Anyway, Szilveszter Szabó was vastly different than how I pictured Tybalt while reading the play, but he was excellent and brought a new perspective to the character. You love to see it. Also, ResJ Benvolio is a punk with the heart of a golden retriever, another far-from-the-play take which works in its context.

Now, the 2010 French version. I followed ResJ with the RetJ revival because John Eyzen's Mercutio is the second most popular Mercutio on Tumblr, after the inimitable Zolicutio, and I wanted to see what the hype was about. He is vastly, vastly different, both from how I imagined Mercutio and how Mercutio is in any other production. Eycutio alternates between stillness and over-the-top energy. He may or may not be bad mental illness rep. He may or may not be beholden to the madness-inducing entities of Chaos. Eyzen fully embraced the vibes of "La Follie" and the Queen Mab speech Mercutio has in Shakespeare to create a very unstable dude who revels in unpredictability and danger to a greater degree than Zolicutio and has probably won Best-Haired Veronese Man three years in a row. He has a love/hate relationship with Tybalt and flirts with him while fighting. (Zolicutio also flirts with Tybalt, but less in a I've-secretly-liked-you-since-we-were-twelve-but-also-hate-you-and-we-kissed-at-a-party-once-but-you-pretend-you-don't-remember-and-I'm-going-to-make-that-hard-for-you way than an I-bet-you're-into-me-and-also-that-you'll-hate-this-and-I-could-be-into-you-but-it's-not-clear-and-I-canonically-kissed-Romeo-but-didn't-seem-serious-about-it-and-I-rap-about-not-liking-romance-and-it-might-be-to-hide/drown/prevent-the-pain-or-I-might-be-aroallo-and-thriving way). Tim Ross's 2nd Tybalt looks and acts like the unlikely and maltreated test-tube child of George Michael and Cruella de Vil, and I'm going to leave it about that, because I have rambled too long without mentioning that Romeo's costume is exceptionally terrible in this one, that I really did not like Escalus, and that the Nurse was fantastic. All in all, what this one has to recommend it is the excellent Nurse, plus Tybalt and Mercutio's unevenly acted but ultimately interesting dynamic, which is the stuff of Fanlore pages.

I have not watched all of the 2001 French original, even though many people say Cécilia Cara is the best Juliet, because the other Juliets are also good and apparently a bald Mercutio is one thing I cannot take. (I could under certain conditions. If he were a young cancer patient, then that would add an urgency to his fervor for living life to the fullest, and a suspicion that he's going to die painfully soon whatever he does could influence his recklessness, but him being considerably older and more sophisticated than Romeo is weird). I might watch more of it, but it's low priority.

Apart from those, I've watched large parts of the Italian and Israeli ones, which I prefer to the French ones in acting but not in singing. The Italian one is a lot more dramatic than the Israeli one, which is maybe the least dramatic RetJ variant ever but pulls it off really well. The characters seem like normal people you would meet who try their best but get caught up in a tragedy bigger than they can understand. Of special note, as usual, is that ever-shifting scene, the duel between Mercutio and Tybalt, and this is the most original take on it I've seen. What sets it apart is that THEY DON'T EVEN DISLIKE EACH OTHER. You get the sense that they've had a lighthearted rivalry since they were kids but they're sort of friends and it's all a game to them. It's also the only version I've seen where those two actually have fencing swords, so the fight looks more realistic, emphasizing that they're playing with fire. When he realizes Mercutio is dying, Tybalt is visibly devastated and seems to lose the will to live. I don't usually cry at movies or shows, but that is the version which brought me the closest to crying.

I would like to watch the 2019 Toho version, since it comes highly recommended, but am not sure where to and might have to wait a while on that one. After I'm done with the Italian one, I intend to watch the Russian one, the German one, and the alternate cast recording of the Hungarian one. As for the English one...well, I've listened to a bit of it, and it was awful.

If you want to watch multiple versions at once or see which ones you might like, there is a great playlist on YouTube where someone edited together parts of the videos of different versions. If you want an incoherent-without-watching-the-full-thing but possibly still entertaining look into it, watch this compilation someone made, which is extremely funny if you've actually seen the full musical.

If you've read this entire semi-coherent ramble, you're a trooper. I hope it was vaguely interesting. Have a wonderful day!

it’s really easy to become obsessed with a shakespeare play you just have to watch one version of it and then read the play and then go mad trying to watch every possible version of it you can find and then study several centuries worth of performance history and controversy

[supper-ansuta-broth]

I was thinking about the doll Adonis card again, since it's supposedly the current banner on Engstars, and wanted to see exactly *how* off his skin tone actually is, and how this could have been prevented. What I found was rather interesting.

Here, I have compared this card with several other Adonis cards in relatively cool lighting. Although none are a perfect match, there are a few things about each of these cards that made me select it.

On first glance, it seemed to me like a similar colour scheme to Moon and Memory (in the middle). But then, why does that card look infinitely better than the subject of my investigation?

I even compared hair colours, and slowly I began to realize the problem: the lighting in this card makes absolutely no sense. Reducing the saturation of these colours to 0, effectively making it greyscale, highlights this even more. Notice how one shade is far, far lighter than any other.

This is revealed even more through looking at hex codes. Here, I compare Moon and Memory (left) to Doll and Memories (right). Notice how, not only does Doll and Memories go all the way up to maximum value, but its hex code reveals #FF in the allotted space for red.

But, wait. If Enstars artists have colour palettes for their characters (which I assume they do), then lighting can't be the only issue. What's actually going on here?

Now, I'm a digital artist. I know there are several settings in art programs that can have effects like this. But it's remarkable the level of off-ness this particular card has.

Here, I've used Adonis's 2 star card transparent to illustrate how layers, in this case using the "add" blending mode, can change the colours of an illustration.

My theory is that these blending modes were misused and created something that looks odd. Maybe they did originally use the correct colours from the character palette, but they were warped beyond recognition, thus forming the infamous card.

They could have fixed this in any number of ways, but the most obvious solution is to make the lighting in the card more consistent, and keep the hues and values consistent with what realistically a cool light would look like on the environment.

I remember someone made an edit of the card fixing this issue, but for the life of me I cannot find it. If anyone has the edit (WITH PROPER CREDIT, BECAUSE THIS IS A FAN CREATION), I would love to promote it.

[you-are-crazy-beautiful]

Thinking about how Agatha telling Rio to “let him live” before Nicky was even born and she met him, basically confirms that they already had conversations about Nicky and that Rio knew the fate of her child. Jac saying the line “I told you not to come” was originally in the scene, makes me even more sure in this theory and that Agatha had tried to persuade Rio previously to not take him when he’s born.

I also think it might be Rio that Agatha was trying to outrun at the start of ep 9. My heart hurts even more for Rio with this because Agatha probably left her during the pregnancy in an attempt to save Nicky. Both sides of Rio’s nature that she can’t control made her lose her family 1) Creating Nicky in the first place and losing Agatha physically during those 9 months, 2) Having to take him away knowing Agatha would never forgive her and that she would lose her love on some level forever.

Also don’t think about how Rio’s hurt response of “and that’s normally your move” when Agatha talks about taking, is her referring to her family and missing out on time with Nicky, not getting to experience Nicky grow inside Agatha.

[theserenadeofshadows]

57. Seduction of the Siren - Sims 4 mermaid poses - Free Request

Download (no ads, always free): Simsfileshare Patreon

Minzza12's skull edit SFS

About the posepack: One hand holding the skull and the other slowly petting the head of the other... what is the story behind these tragic looking lovers? What bond ties them to someone beyond life? The seductively striked poses might suggest that what's now held in her hand, once was able to capture the mermaid muses.

I got to know during a live that I have spicy level 1 at the moment when it comes to stuff that will be shared with others and that people know I created it, oops.

I liked the word Siren better because of the connotation even though these are mermaids.

About the request:

Thank you Milky for requesting these poses! I added a sequence to them.

The wish was to recreate three references, with creators choice to make a certain one male too.

Needs: Minzza12's stigmata skull edit (of this original skull). Minzza12 deactivated, I added my edit of their Jungle Adventure mesh to this post.

Terms of use: • Don't change my poses, adjusting to fit the frame/bodytype is allowed. • Don't use my content/meshes as a base unless explicitely stated otherwise. • Don't reupload my content. • Don't place my content behind a paywall • Don't claim my content as your own • Yes to: recolors. • Yes to: Asking me for consent to change things for personal story use. (I have the right to say no). Socials/contact: Please let me know if there are any issues (other than the known ones) so I can work on it. I would love to see your Sims with these poses, feel free to tag me on Instagram/Tumblr: @TheSerenadeOfShadows or Twitter/X: @Mellishadow

[nostalgebraist]

Interesting stuff. Some reactions:

I don't disagree with any of the points above. Yes, the mere fact that a source text is old does not, in itself, justify the use of archaism in the target language.

And yes, cross-cultural categories like "epic" are lossy abstractions over more specific, non-identical literary forms belonging to specific cultural and linguistic traditions.

There are established conventions for "epics in English." (Whether translated or original, with influence running in both directions between "what the most celebrated English-original epics are like" and "what the most celebrated English translations of Homer et al are like.") But we shouldn't demand that every translation of a so-called "epic" follow these conventions.

----

Still, I stand by my claim in OP (even if it was imprecisely expressed), that there's an appropriately epic quality to the Warner&Warner translation that is lacking in Davis.

This isn't about the (now-)archaic features of Warner&Warner. You could modernize their diction – and untangle their sometimes convoluted, old-timey syntax – without destroying the quality I'm talking about.

The quality is something more like... I want to call it an "elevated tone."

Not "elevated" as in "high-flown and erudite," but as in "setting the material apart from mundane present-day life." As in "creating an atmosphere of uncommon greatness (in every sense of the word)."

Evincing an appropriate reverence for your material, when it's the kind of thing that is written about because it's revered.

Handling that weighty material with appropriate care. Appreciating its heft, and its significance. Not speaking too lightly of it, or too casually, as through the first king who ever ruled were just some guy like you and me, and nothing more.

----

What I find remarkable about Davis is that he not only lacks this quality, but seems to be striving for its opposite.

His prose is "less elevated" than I'd expect for epic poetry, but that understates the situation. Even by the standards of ordinary prose narration in English, it's oddly pedestrian, flat, tuneless.

@argumate said in another reblog that it feels like a plot summary, and indeed that is a thought I had many times while reading Davis' Shahnameh. It's a shapeless collection of facts, related in a bored-sounding tone and piled up into long mind-numbing paragraphs. Nothing feels singled out as significant; there is no build-up and release of tension; there is just the one fact and then the next.

Consider for instance:

It was he who first taught men about the preparation of food and clothing, which were new in the world at that time.

The meaning here is basically the same as in Warner&Warner, who have this as:

And under him the arts of life began, For food and dress were in their infancy.

But the tone is worlds apart.

This is the beginning of the world, when even the things you and I take for granted did not fully exist yet. Warner&Warner's language drives home the weird extremity of this gap. Even such basic things are "food and dress" were new, then; the "arts of life" really had not existed, before, and were only now being established from scratch. Whoa!

Davis' version evokes none of this eerie distance. He conveys the same information, but he doesn't do anything with it. It just sits there.

Among other things, this leads Davis into an awkward redundancy here: if you've already told me that "it was he who first taught men about the preparation of food and clothing," you really don't need to explain that these "were new in the world at that time." Like, thanks, man, but I could have figured that out myself – it's a direct logical implication of what you've already said!

Davis might have rendered this bit non-superfluous by giving it something to do in the passage, in a literary sense if not an expository one. But, since exposition is the only thing Davis' prose ever does, any element without a unique expository purpose of its own is just left sitting there, seeming pointless.

In this case – as often with Davis – it dangles awkwardly at the end of a sentence, bringing that sentence to a limp and underwhelming conclusion. And, as he often does, Davis expresses it in a specific, inappropriately casual register that has a weird sort of "edutainment" vibe. Like this is a "fun fact," a "did-you-know?", a random piece of trivia.

While I'm slagging off Davis' style, I also want to take a moment to gripe about his choice of the phrase "world sovereignty" in the very first sentence. It feels like a microcosm of Davis's problems.

This is not merely modern-sounding language – it's language that specifically evokes (to me, anyway) a modern understanding of rulers and politics. It sounds like something you'd expect to find in an academic poli-sci paper, like some specialized and precise term invented to draw fine distinctions between all the different sorts of power and kingship that are conceivable. This fine-grained way of thinking is exactly wrong for the primeval period being narrated, when even food and drink were in their infancy, and there was no need to draw careful distinctions between different sorts of rule because rule itself was only just now coming into being.

Again, the literal meaning is not too far from W&W, who in this case write "power among mankind." But "power among mankind" lacks the spurious precision of "world sovereignty." It's broad, primal, simple, direct; it is a phrase one can imagine people really using in the very first days of civilization. Kingship, "sovereignty": these were new, and still unfamiliar. But power is a more basic idea, with much older roots.

----

What is Ferdowsi's style like, in the original?

Obviously I can't say firsthand. But here are some typical characterizations (my emphasis):

Ferdowsī’s poetic genius in creating a lofty, dynamic epic language that is brief but to the point and free from complexity greatly contributes to the strength of his style. (Encyclopaedia Iranica)

[Describing some early translations and their constrast w/ the original] The verse in iambic pentameter [in Champion's trans.] is heavy and laden with archaic diction. Reasonably accurate, it lacks the quick pace, vivacity or pathos, as well as the simplicity, of the original Persian. [...] Atkinson’s translation, like the earlier one by Champion, lacks the epic thrust of the original. (Encyclopaedia Iranica)

Direct, unadorned, rapid, full of life and emotion, simultaneously "lofty" and "free from complexity."

This doesn't much like either Davis or W&W, frankly.

But W&W, for all their fustiness, at least capture some of the "loftiness" and the human intensity suggested by these descriptions. Davis doesn't manage that, and in fact does not manage to do right by any single one of the qualities indicated above. He's got all the "quick pace" and "vivacity" of a templated regulatory compliance report.

----

A last complicating factor re: archaism.

According to Brittanica:

The Persians regard Ferdowsī as the greatest of their poets. Down through the centuries they have continued to read and to listen to recitations from his masterwork, the Shāh-nāmeh. Though written some 1,000 years ago, this work is as intelligible to the average modern Iranian as the King James Version of the Bible is to a modern English speaker.

So, even if the language wasn't archaic at the time of composition, there is a whole tradition of later and later readers encountering it in the original, and experiencing it as archaic – and perhaps interestingly and beautifully archaic, like the KJV is for many English speakers today.

The KJV – or indeed Shakespeare, with whom Ferdowsi has some things in common.

Like Shakespeare, Ferdowsi is renowned not just as a great writer, but as a great shaper of the very language in which he wrote.

Wikipedia claims (though annoyingly without attribution) that

Some experts [who?] believe the main reason the Modern Persian language today is more or less the same language as that of Ferdowsi's time over 1000 years ago is due to the very existence of works like the Shahnameh, which have had lasting and profound cultural and linguistic influence. In other words, the Shahnameh itself has become one of the main pillars of the modern Persian language. Studying Ferdowsi's masterpiece also became a requirement for achieving mastery of the Persian language by subsequent Persian poets, as evidenced by numerous references to the Shahnameh in their works.

which strongly resembles the way people often talk about Shakespeare's influence on the evolution of English: a single genius creates a celebrated exemplar of literature in his language, exerting a dramatic influence on all later literary culture in that language; meanwhile the undimmed cultural prominence of his work across multiple centuries exerts a kind of frictional drag on the evolution of the language itself.

Which is to say: not every English translation of this guy needs to feel archaic in a KJV/Shakespeare kind of way. But if there were no such translations, we would be missing something real about the work in its cultural context.

I feel like I've had the same experience several times now: someone does a new translation of a non-English literary classic, and all the critics praise it to the moon, so I go and try to read it, and it's turns out it's just . . . bad? Like, really bad? And weirdly bad?

A while back, I wrote about the case of Pevear and Volokhonsky. Here's another example, which I encountered while doing background research for my novel Almost Nowhere.

----

One of my novel's major characters is a literary translator, famous for his rendition of the Persian epic poem Shahnameh ("Book of Kings").

To help me write this character, I tried to read the Shahnameh myself. I started out – where else? – with the translation that seemed to be the gold standard, and which was certainly the most critically lauded.

Namely, the 2006 translation by Dick Davis, in prose with occasional shifts into verse.

Here's how the Shahnameh begins, in Davis' translation:

What does the Persian poet say about the first man to seek the crown of world sovereignty? No one has any knowledge of those first days, unless he has heard tales passed down from father to son. This is what those tales tell: The first man to be king, and to establish the ceremonies associated with the crown and throne, was Kayumars. When he became lord of the world, he lived first in the mountains, where he established his throne, and he and his people dressed in leopard skins. It was he who first taught men about the preparation of food and clothing, which were new in the world at that time. Seated on his throne, as splendid as the sun, he reigned for thirty years. He was like a tall cypress tree topped by the full moon, and the royal farr shone from him. All the animals of the world, wild and tame alike, reverently paid homage to him, bowing down before his throne, and their obedience increased his glory and good fortune.

And here is the same opening, in the 1905 translation by Arthur and Edmond Warner (which I only discovered much later in the process of writing Almost Nowhere):

What saith the rustic bard? Who first designed To gain the crown of power among mankind? Who placed the diadem upon his brow? The record of those days hath perished now Unless one, having borne in memory Tales told by sire to son, declare to thee Who was the first to use the royal style And stood the head of all the mighty file. He who compiled the ancient legendary, And tales of paladins, saith Gaiúmart Invented crown and throne, and was a Sháh. This order, Grace, and lustre came to earth When Sol was dominant in Aries And shone so brightly that the world grew young. Its lord was Gaiúmart, who dwelt at first Upon a mountain; thence his throne and fortune Rose. He and all his troop wore leopard-skins, And under him the arts of life began, For food and dress were in their infancy. He reigned o'er all the earth for thirty years, In goodness like a sun upon the throne, And as a full moon o'er a lofty cypress So shone he from the seat of king of kings. The cattle and the divers beasts of prey Grew tame before him; men stood not erect Before his throne but bent, as though in prayer, Awed by the splendour of his high estate, And thence received their Faith.

Now, I can't speak at all about the source text. I have no idea how faithful or unfaithful these two translations are, and in what ways, in which places.

Still, though. I mean like, come on.

This is an epic poem about ancient kings and larger-than-life heroes.

This is a national epic, half myth and half history, narrating the proud folkloric lineage claimed by a real-world empire.

There is a way that such things are supposed to sound, in English. And it sure as hell isn't this:

What does the Persian poet say about the first man to seek the crown of world sovereignty?

Excuse me? That's your opening line? I thought I was reading a poem, here, not taking a fucking AP World Literature exam!

----

Postscript

Some of the critical praise for the Davis translation, quoted on the back cover of my copy (emphasis mine):

"A poet himself, Davis brings to his translation a nuanced awareness of Ferdowsi's subtle rhythms and cadences. His "Shahnameh" is rendered in an exquisite blend of poetry and prose, with none of the antiquated flourishes that so often mar translations of epic poetry." (Reza Aslan, The New York Times Book Review) "Thanks to Davis's magnificent translation, Ferdowsi and the Shahnameh live again in English.” (Michael Dirda, Washington Post) "A magnificent accomplishment . . . [Davis’s translation] is not only the fullest representation of Ferdowsi’s masterpiece in English but the best." (The New York Sun)

[zombeebunnie]

Trembling Essence:💙Cabin development progress💙

Helloo guys and welcome new followers it's been a long while, now that spooky month is over here's how the game is coming along!

A very big thank you to the recent influx of interest around 2 weeks or so ago, I wasn't expecting much since I was busy/drawing for Noahween. :,,]

**I'm going to still be busy but in good news not as much as before. Game development posts might be every 1-2 weeks now depending on how things go! :,]

After I posted the previous game development I wasn't able to work on the game until recently and I wanted to give myself another week to re-adjust before saying anything.

Now that I'm getting settled in here's what I've been doing to the game:

Dialog adjustments:

I've been going through and gradually adjusting certain scenarios. I want to keep the foreboding flow with hints of comfort in between so I'm still adding a little more depth on how the player(Y/N) feels/reacts from being back in the cabin again and Noah's attempt at hospitality during this segment. I also cut down the dialog again by combining smaller sentences into one text box unless the situation calls for it to be separated. :]

More CG work in progress:

One quality of life change I really wanted to do back then was add a few CG's of Noah when you're back in the cabin again. Originally there was going to be one or two in the [Extended Demo] but they were scrapped because my art skills weren't where they are now and I still need to practice perspective, etc but enjoy these really really rough sketches, the second one is old but I'm trying to figure out how I want it to look and how I want the pose to be. :,,]

Choices that effects Noah's closeness with the player(Y/N):

Some of Noah's reactions to the player(Y/N)'s decisions give a neutral response versus a negative one that effects closeness are still being worked on. I'm going through everything but the process will need a lot of careful planning. Just have to make sure all the variables line up. :]

If you like what I create, please consider supporting what I do on kofi! All donations and tips help tremendously while I continue to work on the game. Thank you to those that optionally bought the [Extended Demo] and the March 2023 demo on itch.io. :,]

Q&A / Ask box is open:

To know and understand Noah through Asks and random posts about lore, they'll be under #Get to know: Noah ! :]

**Some asks won't be answered if it contains spoilers but I do appreciate what I receive. :,,]

If you have any questions about Trembling Essence/Noah feel free to ask here or on itch.io please. This makes it easier for me to see and answer accordingly! I enjoy hearing from you guys!

Thank you to everyone for the continued support during this long game development absence! >:]