#because the fictional setting is an older time period

[mxtxfanatic]

@sunbunnyyy I’m sorry, but none of this answers any of the questions I asked nor is it accurate to the novel or mxtx’s intentions:

The framework of the world he was written into valued filial piety and repaying debts, the two things that Jiang Cheng blatantly and explicitly disregards throughout the entire novel. He upheld no Jiang traditions, which is why Lotus Pier is nigh unrecognizable by the time Wei Wuxian returns in his second life. He repaid no debts, which is why he ends up having two separate breakdowns over the golden core transfer. If we are going only by these two standards of morality that the story, itself, sets up, then Jiang Cheng is right next to Jin Guangyao in his immorality.

The framework of the story was created by a modern woman with a modern sense of ethics and morality that she expresses clearly in both the novel and her interviews about the novel, therefore you don’t need to know the morality of “that time period” because it doesn’t exist. The book was written now. The time period is literally now! To say that “we just can’t judge” like this fantasy novel written about a fantasy time period was written in that fantasy time period is not a good way to frame analysis.

I think he is not a moral person, based on my standards, because of some of the things I’ve listed above and quite a few more things I have not listed. I have evidence from the book that justifies that reading. I want to know whether you think he is moral or has moments where he acted morally and where in the book corroborates that reading. While the book and author take a clear stance on his character, you’re right, not everyone reads it the same when actually going through the book. Hence me straight up asking why people formed a conclusion that I do not see supported from the text, because it might be there but my feelings have given me a divergent understanding than others.

I have two Jiang Cheng-centric questions about how and why people perceive him the way that they do. This is only for people who do not think that Jiang Cheng is a bad person (not whether or not you like his character, but whether or not this character, if real, would be considered a good person by the average person). The questions are:

1) if you believe that he is or attempted to be a moral person, where are places in the novel where he displays, in your eyes, either moral action or intent?

2) in what moments does Jiang Cheng take the initiative in a given situation (being a leader, following his own desires, ect.) where he is neither prompted by an authority figure or following the lead of his peers?

(If it’s not an idea you got from the novel, you could say that, too, but I’m really looking for the opinions of people who are convinced that mxtx wrote his character to be at least “decent.”)

[blossom-hwa]

a very fine line, indeed [1] | c.bg

pairing: Beomgyu x fem!reader genre:  fluff, angst, enemies to lovers, regency era!au, nobility!au warnings: attempted assault, mentions of abuse, cursing, period typical misogyny word count: 6.3k notes:  — updates every M/W/F at 8pm EST until the series finishes — assault/abuse scenes are not graphic, but please heed the warnings and let me know if any of it is romanticized or just written in poor taste--I assure you I did not mean it, and I will fix anything needed. — inspiration taken from an amalgamation of different bridgerton stories - let me know what easter eggs you find! — story takes place in the same universe as my duke!yeonjun and earl!taehyun fics - check out the link to the series below for some more easter eggs :) In a society where it only takes a year for a young woman in search of a husband to be considered out of season, it is no wonder that by your third year out, you are desperate to marry. Known as one of the beauties of the ton, such a task should not be difficult for you—but with an absent father, no dowry, and a reputation centered around your inability to keep your mouth shut around one certain Beomgyu Choi, your prospects are more limited than you’d like. While you cannot recover your family or your wealth, however, the one thing you can try to control is your reputation. So when the third season rolls around, you resolve to keep your distance from Beomgyu Choi, your childhood enemy, and the man you hate most in the world. Enter Beomgyu Choi, second son of the Kensington Viscountcy, one of the most eligible bachelors in the ton. His older brother, cousin, and good friend have all recently married, leaving the mamas to salivate at his doorstep for the chance of marrying one of their daughters to him. When Beomgyu walks in on a particularly traumatizing moment between you and one of the most unsavory men in the ton and learns of your desperation to marry, despite your history of enmity, he proposes you a devious deal—to pretend to court you. It seems like a winning situation for both of you—more gentlemen will take notice of you, enhancing your prospects, and he will have the ton’s mamas off his back—and so, despite your misgivings, you agree. With you hell bent on marriage and Beomgyu completely indifferent to the concept, even independent of your hatred for each other, it seems unlikely that any sort of true affection will bloom. But as you begrudgingly put aside your differences to spend more and more time in one another’s company, and as you grow to know each other beyond your ill-conceived preconceptions from childhood, you begin to realize that perhaps you two have more in common than you had once thought. And as your faked acquaintanceship becomes more truth than fiction, a friendship beginning to bloom most unexpectedly— Perhaps you no longer need to convince the ton of the veracity of your courtship, because anyone with eyes can see that it is true.  Part 1 >> Part 2

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By the end of the night, you think you might murder someone.

It’s not the party’s fault. Lady Arina Park always hosts the first ball of the season, and in the three years you’ve attended them, not once has it ever been a disappointment. Her taste in decoration always sets the tone for the months to follow, and she is the most wonderful hostess—crotchety, kind, and always brimming with wisdom to impart. 

She might be one of your favorite people in the ton. 

Unfortunately, you cannot only talk to one person the entire night, and given your own reputation, you’re not sure you even have the social right to speak to her this season. See, it was never the party that was the problem. 

It is the fact that you have attended now three times in three different years, each without a husband. 

This is a fact that seems to dog you everywhere you go. Beautiful, sharp-tongued Miss L/N is going yet another season without a man on her arm—or at least a serious man on her arm. Never mind that you have had two proposals, both of which you turned down quietly and did not announce out of sympathy for the man’s reputation. You might be on your third season and desperate, but you rather think you’d prefer to become a spinster than marry either of those who asked for your hand. 

Lord Kierston was nice enough, if absentminded. You genuinely might have said yes to him if not for two things—his rotten breath (you have no idea what he could be eating to have such horrid breath all the time), and the fact that he is over the age of forty. 

You are barely one and twenty. And while there have been married couples with greater age gaps than that, you wonder if it is truly too much to hope to find someone nearer your age.

As for Mr. Thompson…he wasn’t even nice. He was rude, and arrogant, and during his proposal blatantly said that you would have to accept him as with your lack of dowry and snide personality, you had no choices elsewhere. All facts for certain—your dowry is nonexistent, your character is not one that endears many to you, and at the time, no other men were seriously courting you so it was true you had no other options. But you could still be a spinster, you let him know. And you would far rather be old and unmarried than tied to a man such as he. 

He looked almost murderous when you said that, which was why you’d excused yourself quickly after. You may consider yourself cleverer than most, but you are no fool. You thank your few lucky stars that your family left for the country just a few days later at the end of the season and you haven’t seen him since. 

But now you are back in town, with a fresh new crop of debutantes to outshine your wilting, rotten personality, a father trying to drum up business abroad, an evil stepmother breathing down your neck, and possibly a Mr. Thompson to run into. Not to mention Lady Whistledown with her peacock feather pen and watchful monocled eye, carefully waiting to elaborate on your futile prospects with her sharp-tongued words. 

Not that you know if she uses a peacock feather pen or a monocle. As far as your knowledge stretches, no one in the entire ton save the writer herself knows who she is. But you’ve always imagined her with such things. Ridiculous to the max. It makes it much easier not to strangle someone after you read her words about you. 

God, you’d care so much less about her gossip column if she wasn’t so damn good at writing it. 

You wish you were still in the country. Lady Whistledown wouldn’t see you there, and her gossip column would never reach your home. In fact, the only reason you’re certain she isn’t part of your sparse circle is that your spat with the younger Lord Choi at the garden party last year took at least two weeks to be broadcast in London after you came back for the season. Someone had to feed her the information before she could issue it, including your now infamous quote about how you’d like to slit his throat with his own letter opener. 

Your stepmother yelled at you for hours over it. You were sentenced to a week of nonstop chores and none of the few servants still in your family’s employ were allowed to help. Yet at the end of the day, Lord Choi the Younger is a menace to you and to society, and so you privately still stand by your comment. 

Lord Choi the Younger. Mr. Choi, when his brother is in the room. Annoyance. Menace. The devil in disguise. All apt nicknames by which to call Beomgyu Choi, one of the most annoying people you’ve ever met. Which, unfortunately, brings it all back to here and now, because apparently he is in attendance at tonight’s party. 

And hence why by the end of the evening, you might be locked up in jail for murder. 

Last season after the horrible garden party, you took very, very great care not to end up in the same room as the younger Lord Choi. For the most part, you succeeded. You couldn’t always avoid him—the ton is only so large—but the few times you had to come face to face with him you managed at least one minute of civil conversation before it turned into thinly-veiled verbal sparring that you thankfully had the self-control to bow out of sooner rather than later. But apparently people found your little spats amusing. A source of entertainment. And Lady Whistledown has remarked more than once since then that it would certainly liven up the endless parade of balls and parties to see a showdown between you and Mr. Choi once more. 

You’ve been at this ball for hardly two hours and already almost everyone who’s spoken to you tonight—even Lady Arina Park!—has found some sly way to allude to a possible catfight between you and Mr. Choi to bring down the house. And unfortunately, experience tells you that in the heat of the moment, you care about getting the last word in with Mr. Choi far more than you care about your precarious reputation. 

You do so hate to disappoint the ton, about as much as you love it when your grievances are aired in public via the Whistledown gossip column. And it does so truly break your heart not to be the sole source of entertainment at Lady Park’s annual ball. But this is your third season out and you need to be married soon, so when you see the man himself wearing that annoyingly bright smile and surrounded by an annoying number of young girls and their mothers, you make the first excuse you can to duck out of the ballroom and make a beeline for the gardens, where you find yourself in sudden silence. 

Sudden, but not altogether unwelcome. The night air feels comforting on your face, wind breezing softly against your skin. You hadn’t realized how hot the ballroom was until you came out here. You settle on one of the benches in the garden and fan yourself with a hand, letting the cool air bring you back to the moment. No one else is out here as far as you can tell. You can relax, if only for a moment.

For a few minutes you just sit in the moonlight, your face tilted to the sky, letting the cool air kiss your cheeks. It would be lovely to just stay out here all night, you think. Away from the people, away from the stares, away from the crushing anxiety that no one will ever want to marry you and you’ll have to live at home with your horrible stepmother forever—

A branch snaps. Your eyes fly open. And all of the anxiety returns, with a healthy dose of fear, when you see Mr. Thompson looking at you from the other side of the garden. 

For a long moment you just stand there. Looking at each other. All of the night’s beauty has been forgotten, its comforting silence turned threatening in light of the knowledge that you are a young, unmarried woman alone with a man in a garden. 

Scandals have been made out of less. 

“Mr. Thompson,” you say in as flat a tone as possible. “I apologize. I was just leaving.”

“Now don’t leave on my account, Miss L/N.” His mouth twists in what looks more like a sneer than a smile and he takes a step toward you. You take a step back. “It is lovely to see you after a summer away. Your beauty hasn’t diminished a bit with your age.”

You almost snort. Exactly how much does a person change in one summer? “Apologies if I don’t quite take your compliment, Mr. Thompson. I was not under the impression we were on speaking terms after last season.”

“We never spoke again because you left for the country.” That sneer-smile grows wide and you start calculating how much of a head start you’d need to flee into the ballroom before he caught you. “If it were up to me, I would have proposed again, after you had had the time to consider it.”

This time, you do snort. “With all due respect, sir, after an entire summer to think about it, my answer remains the same.” You still your features into a cold mask and pray, even with the sinking feeling of dread in your chest, that he will go away. “I will never marry you, Mr. Thompson. As I aptly put during your first proposal, I would rather become a spinster than entertain the thought.”

His eyebrows draw in. You’d think the sight was comical if his eyes didn’t glint with menace under the moon. “Do you really think yourself better than me?” he snarls. “You should be thanking me now, for offering you this second chance.”

You laugh incredulously. “Thanking you? For what?”

“I’m your last hope.” He advances so quickly you almost trip on the hem of your dress as you stumble backward. You try to hide the panic rising in your throat as you glance at the house—still full of light, still full of gaiety while you’re trapped outside by the night and this man. “No one wants you, Miss L/N.” He lunges forward and you gasp, his hands uncomfortably tight around your wrists. “Not a single one.”

“Let go of me,” you snarl. “Let go of me—get off me—”

“Not—” He grunts as you stomp on his foot, but doesn’t let go. “Not until I have what I want—”

You manage to free an arm and before you can think, your fist careens through the air straight into his face. 

For a long moment you just stand there, barely able to breathe, the thump of Mr. Thompson’s body falling to the ground playing over and over in your mind. Your heart is pounding and your breath is coming out in short gasps and your fist throbs with pain. A sort of buzzing sound fills your ears. The world starts blurring before you and vaguely you wonder if it’s just the night, or if you’re about to fall. 

“Miss L/N. Miss L/N!”

The sound of your name from a familiar voice breaks through the buzz and you blink, coming back to earth. It takes a moment for you to reassess the situation. 

Mr. Thompson is still on the ground. 

It does not look like he will be getting up soon. 

You are still physically unhurt. 

And there is a new third person in the garden with you. 

Oh, God. You resist the urge to bury your face in your throbbing hands. Not only did Mr. Thompson try to assault you, you also knocked him out with your own fist, and someone caught the two of you in the garden just after it happened. Or maybe even before. Maybe they saw it, saw everything—how much did they see? How badly will your reputation be ruined beyond what is already in tatters?

A hysterical laugh builds in your chest. All that comes out is a strangled whimper. You’ll never be married once Whistledown gets her hands on this. No matter that Mr. Thompson didn’t succeed in whatever he planned to do with you. All that matters is that you were alone with him in a garden at the first damn ball of the season and someone saw you.

Things couldn’t get any worse than this. 

“Miss L/N.” The familiar voice says your name again, this time accompanied by a cautious hand on your shoulder. You flinch viscerally but it doesn’t leave. “Miss L/N,” it repeats, considerably lower than before. 

You shut your eyes hard. Open them. You try to take a breath and only just manage to stifle a strangled half-gasp before it leaves your throat. You’ll have to face your fate at some point when you beg for this person not to immediately spread this juicy piece of gossip to every person in the ballroom. With heaven’s mercy, they’ll take pity on your situation and leave some details out of the story. Or at least not embellish what they already saw. Praying silently to the hopefully-merciful heavens, you slowly turn around. 

And then you curse out loud. 

“What in God’s bloody name—”

You were wrong when you thought things couldn’t get any worse, because the man standing before you is Beomgyu Choi. 

The heavens must be having a good damn laugh at you right now. 

. . . . .

After what just happened, Beomgyu is honestly surprised that the first thing to come out of your mouth upon seeing him is a curse. Maybe he should be thankful, though. This probably means that you’ll come out of this all right. 

“Goodness,” he says as genially as he can, given your outburst. “I would have asked if you were all right, but based on your reaction to seeing me, I suppose you are just fine.”

“Mr. Choi.” You look and sound vaguely sick. Beomgyu gathers that you would rather be anywhere than here. “Apologies. I did not realize it was you.”

“I gathered about as much.” Now that he knows you’re fine, or at least standing upright, he steps forward to check on Mr. Thompson. Thankfully and regrettably, the man still has a pulse. Beomgyu wouldn’t purposely wish death on anyone, but if he had to choose one person in the entire ton he wouldn’t mind not seeing for the rest of his life, Mr. Thompson would certainly be one of the top contenders for the position. He looks back up at you. “Pray tell, Miss L/N, what is your first made of? Pure steel? You’ve knocked the poor man out.”

You look to be grinding your teeth even as you speak. “I had no intention—”

“I am not chastising you, my lady.” He smirks. “In fact, I must say I’m quite impressed.” Then he squints. “You’re not about to swoon, are you?”

A long silence hangs in the air before you mete out a very measured reply. “I am not going to swoon, Mr. Choi. And the next time you decide to say something just as inane, take very good care, or you might find yourself in the grass next to Mr. Thompson as well.”

He lifts his hands in surrender with a laugh. God, he might hate you and you might hate him, but it really is so much fun to spar with you like this. “A jest, my lady. I thought simply to lighten the air.”

You open your mouth to reply, then close it. Beomgyu watches in amusement as you close your eyes for a good few seconds—ten, if he’s counting correctly—before taking a deep breath. Good God, you really are making some strong effort to rein yourself in this season. “With all due respect, my lord, what are you doing out here?” you finally ask. 

Beomgyu raises an eyebrow. “I might ask you the same question.”

“You were the one who walked in on a private disagreement,” you snap. “If anyone should be asking questions, it should be me.”

“It didn’t look like a private disagreement as much as an entire physical altercation,” Beomgyu retorts. 

He expects a rapid-fire reply from you just as he always has, but instead you blanch. Your lips suddenly look too pale, entirely drained of color, and your eyes are fixed on Mr. Thompson’s prone body. He stands up. “Miss L/N?” he says quietly, slowly stepping toward you. “Are you all right?”

“I—” You turn to him but it doesn’t look like you see him. “Don’t tell anybody,” you whisper. Your breaths have grown shorter, more rapid, and he bites back a curse. You look like you’re going into shock again. “Please. I can’t—if Whistledown—if people know what he did—what he tried to do—”

What he tried to do?

Well, clearly now is not the right time to ask, and it isn’t that difficult to put the pieces together anyway from what little he saw—Mr. Thompson grabbing you, you punching him, your current shock. If Mr. Thompson was awake he might yet punch him again but he isn’t, so Beomgyu focuses on you.

“Miss L/N.” He gently puts his hands on your shoulders. Something in your eyes seems to focus and internally, he sighs with relief. “I will not tell anyone what I saw today in the garden. Not a soul.” He takes one hand off your shoulder to place it over his heart. “On my honor, I swear it.”

Something in his words must have rung clear. Your breaths begin to slow, and you manage to nod. “Thank you.”

“You’re welcome.” It’s somewhat strange, comforting his sworn enemy since childhood, but oddly enough he isn’t too conflicted. Even if you spend most of your time annoying Beomgyu out of his boots, you’re a person too, and clearly Mr. Thompson wasn’t doing anything good in this garden. If anything, Beomgyu is a man, and he knows what the other entitled men of the ton sometimes do. No woman—no person—deserves to be subject to their horrific plans. Not a single one. He keeps his voice as gentle as he can as he leads you to a nearby bench. “Will you tell me what happened?”

He stays quiet as you mumble out a vague summary of the altercation. That Mr. Thompson had proposed last season and acted an absolute arse about it, that you thought you’d seen the last of him but he showed up in the garden when you left the ballroom for some air (Beomgyu saw you leaving just as he entered so he gathers he had something to do with your quest for air, but he bites his tongue just this once). That he had proposed—if it could even be called that—a second time, and when you repeated your original sentiments, he grabbed you by the arms and told you to be grateful. 

And then you punched him. 

Beomgyu nods slowly at the conclusion of your story. “First of all, I must apologize. Being the recipient of a proposal from Mr. Thompson could be nothing short of traumatic.”

For the first time that evening, the ghost of a smile flutters across your lips. It’s a very nice smile. You have always been beautiful—even Beomgyu will admit that—but you’ve never directed a smile at him like this. Likely because you’re always scowling at him instead. Which, given your history, is fair enough, but that doesn’t mean this still isn’t nice. 

“There is a reason I turned him down,” you mutter. “I may need to be married, but I still have my pride.” 

He raises an eyebrow. “You need to be married?”

You fix him with a dead stare. “Mr. Choi, I am not exaggerating when I say that if I don’t marry this season, I will go insane.”

Beomgyu blinks. “…Not even a little bit?”

You look away with a loud sigh, muttering something under your breath. Beomgyu doesn’t hear all of it but he does catch something about three seasons and hopeless and men.

He chooses to focus on the first bit, because he gets the feeling that the last two wouldn’t end up being particularly complimentary to him or his kind. “Three seasons?”

You give him possibly the worst stink eye of anyone he’s ever met. “Yes, Mr. Choi. This is my third season out. If I am not married by the end of it I may as well be a spinster, and to be a spinster in my stepmother’s home is not a fate I wish upon anyone.” You look down, fiddling with the dance card around your wrist. “I need to get married,” you say again, though more to yourself than him this time. 

“You need it this badly, then,” he says, half amused, half surprised. “So much so that you would exit the ballroom the moment I entered for fear of confrontation.”

Annoyance flickers back into your eyes. It’s a much more familiar expression than the one you were just wearing, and thus infinitely more comfortable to deal with. “In case you hadn’t noticed, Mr. Choi, every time we come into contact in public, the resulting altercation makes its way into Whistledown and, as such, everyone else’s lives. Forgive me if I am only trying to pick up the remnants of my already shattered reputation.”

Beomgyu snorts. “You seem to think it my fault that your societal standing has plummeted so. Have you ever considered it a matter of your personality, instead?”

Low blow. He sees it in your face, in the way your eyes shutter as soon as the words leave his mouth. Immediately he wants to slap himself. He should apologize, but before he can open his mouth to do so, you’re replying through very obviously gritted teeth. “I have, actually.” You fix him with a hard stare that reminds him why half of the ton finds you terrifying. “I would be a poor judge of my own character if I did not realize that I am at least as responsible for our disagreements as you are.” A bitter laugh escapes your lips and curdles in the air. “And it is not as if the ton hasn’t been gossiping about my temperament for years.”

Beomgyu stays quiet. 

You let out a sigh. “I have answered quite enough of your questions, Mr. Choi, so I beg you now to answer mine. Why are you here?”

“Avoiding people.” He eyes the bright lights still coming from the ballroom. Distaste curl his lip. “Mamas, mostly. I suppose they are people.”

You don’t smile, but at least the tension in the air seems to lessen somewhat. 

“They seem to have gotten it into their minds that I intend to marry this season.” He shakes his head. “Just because all of my other friends are married doesn’t mean I intend to so soon as well.”

“I wasn’t aware that Mr. Huening was married.”

“Oh, so you do pay attention to me?” Beomgyu snickers at your outraged expression but continues before you can retort. “He has returned to his home country and won’t be back for the season. Ergo, I get attention I don’t necessarily covet.”

You snort. “I wasn’t aware there was any sort of attention you did not covet.”

Beomgyu sneers. “Couldn’t I say the same for you?”

“You—I can’t do this.” You stand up and Beomgyu can practically see the anger shimmering off you in waves. “I shouldn’t be here, you shouldn’t be here, and I don’t want to be here when Mr. Thompson wakes and decides to take a pass at me again. It’s bad enough that the two of us are alone—” Your eyes widen in horror. “The two of us are alone.”

Beomgyu stands too. “I guarantee you,” he says lowly, “not a word of this will pass my lips to anyone in the ton.”

“Thank you, but that hardly matters.” You take a large step away from him. “You walked in on Mr. Thompson. Someone else could just as easily walk in on the two of us.” Your voice turns sardonic. “And I’m sure you have no wish to be married to the likes of me for the sake of propriety. Good night.”

Well, that’s certainly true. Just the thought of it makes Beomgyu shudder. If your current relationship is anything to go by, the two of you would never stop talking, never stop arguing…

Hm. 

Beomgyu’s eyes narrow as he watches your back disappear from the gardens. He would never want to marry you, it’s true. But if you’re having trouble attracting suitors, and he has too many women on his tail…

“Miss L/N.”

You turn around with a huff. “What is it now?”

Beomgyu grins. He might just be a genius. “I have a proposition for you.”

. . . . .

“This is a very, very bad idea,” you mutter. Then you look around sharply, because it wouldn’t do for anyone to think that you see hallucinations on top of all of your other less-than-choice characteristics. Even though you made sure to stray far from prying ears in this garden, it seems Lady Whistledown’s eyes are everywhere. 

An issue came out just this morning. You were relieved beyond belief that not a word about your and Mr. Choi’s accidental tryst in the garden was mentioned, though she did mention a terrible black eye and a murderous expression on Mr. Thompson when he reentered the ballroom. 

Mr. Choi had assured you a man such as he would never admit that a woman had bested him in a fight. You weren’t sure you believed him until you got the paper and Whistledown could only speculate about what had caused such a spectacular black eye—apparently Mr. Thompson had remained tight-lipped and snarly to anyone who dared ask. And as he hasn’t come banging on the door of your home demanding retribution, you can only conclude that he doesn’t plan to.

All the better for you. 

Fortunately, beyond some other vague mutterings about the other debutantes and who danced with who and who hogged all the lemonade, that was all that was said about Lady Park’s ball. Not a word about you. Not a word about Mr. Choi. 

Not a word about the idiotic deal he proposed as you were trying to leave the garden, and not a word about how you were idiotic enough to agree. 

You never quite believed yourself stupid. If you had anything to your name besides your beauty, you would say it is your wit (quite separate from your sharp tongue, which is not even close to a blessing). But when you woke up the morning after the ball, you really re-thought all of your previous conceptions of yourself, because what on earth possessed you to agree to the insane proposal Mr. Choi presented you that night?

Unfortunately, you know the answer to that too. 

Desperation. 

He’d presented his idea so reasonably. “You are searching for a husband. I want the attention of the ton’s mamas off of me,” he’d said, his tone so calm as words of madness left his tongue. “If I pretended to court you, men would take more heed of you, and the mamas would be discouraged from chasing after me.” He spread his arms in a show of his apparent genius. “Thus, the two of us might find some success in each of our respective endeavors.”

You could only gape harder the wider he smiled.

To your credit, you refused at first. “That is madness,” you had scoffed, turning back around. “Who in this ton would believe that the two of us are courting? Our arguments have become their source of entertainment. No one is going to buy that we now like each other enough to be civil in one another’s presence, let alone court.”

He was still undeterred, for whatever damn reason. So convinced it would work out by his own sheer force of will, like most men. “So we will come up with a believable cover story,” he’d replied easily, still with that unflappable smile on his lips. “Listen, Miss L/N. You are desperate, and I need an out. What do either of us have to lose from at least trying?”

Try as you might, you couldn’t cobble together an answer. Because he was right. You were desperate. You still are. If you have to live another year in your stepmother’s home, cleaning and gardening and playing maid while still maintaining appearances for the ton, you will go mad. Not mad enough to accept Mr. Thompson’s suit, but mad all the same. 

So you had agreed, and in the process lost a healthy chunk of your own self-respect. But you refused to spend another moment in the garden alone with him that night for fear of others seeing, so you two decided to meet at the outdoor musicale at the park a few days later to discuss the…logistics of this plan. There would be plenty of time for refreshment before and after the performance—plenty of time for the two of you to sneak away and find each other. 

So here you are, standing in the sunshine without the cover of night to hide all of your bad decisions. The longer you stand here, the more you’re beginning to believe this is all a major mistake.

But like Beomgyu has said multiple times, you’re desperate. You’ve tried being yourself for one season. You’ve tried reining in your sharp tongue for another. Neither worked. What’s the worst that can happen? You not being married for a third season in a row? Sick as the thought leaves you, it’s not as if you haven’t pondered the possibility many times already. 

Anyway, if your stepmother drives you too far up the wall, you’ll just have to run away. Find work as a governess somewhere, or a maid. Nothing could possibly be worse than her shrill voice ordering you to do this or that while she sits on her arse all day without contribution, your father still gone on some business call hundreds of miles away. Easier said than done, but a bad plan is better than no plan. Or so you hope.

In fairy tales, this is when the handsome prince is supposed to swoop in with a charming smile to come and save you, the poor damsel, from her distress. Unfortunately, you are not in a fairy tale, and all you have to save you is Mr. Choi and this ridiculous deal. 

What a world you live in.

“Miss L/N.”

You jerk your head around to see Mr. Choi pushing through some bushes a few feet away. A quick glance behind him confirms that no one has followed him here. “Mr. Choi,” you greet, already feeling your stomach roll. This is a terrible idea. “I wonder if it isn’t too much to hope that you have re-thought your ridiculous plan and intend to call it off now?”

He snorts. “Of course not. You should be on the floor, praising my genius.” Before you can reply with something scathing about his big head and nonexistent intellect, he continues. “Besides, no matter how ridiculous you think my idea is, you’re still here.”

How you wish you were here to just call it all off. Unfortunately, you are just as desperate as you were several days ago. “Unfortunately, my desperation is greater than my self-respect at the moment.” You look up at where he’s still standing in the grass. “Do you plan to sit?”

He sits on the green next to you, that stupid unflappable smile still on his face. You want to slap it off. “We need a cover story,” he begins. “You were right on that front. Which means at some point, one of us must have apologized first for the cake and dirt incidents from when we were children.”

“You apologized,” you say immediately. “You knocked my cake over first, ruined my new shoes, and it was my birthday.”

Mr. Choi scowls. “You threw dirt at me—”

You raise your voice over his. “It was my birthday, and you didn’t even apologize then—”

“I had dirt in my hair!”

“And my new shoes were ruined! Forever!”

The two of you glare at each other for a long, long moment. Then you stand abruptly. “Forget it,” you mutter, ready to head back to the party. “If we can’t even agree on this—”

“Neither of us apologized,” Mr. Choi snaps. “We just agreed to put it behind us.”

You turn around slowly. “…Fine.”

He gestures impatiently to the grass. You sit down again, resolutely not looking at him. Silence passes over the two of you for a long time before you force yourself to speak. “So how exactly did that happen?” you ask, voice rough. 

Slowly, the two of you hash out the details, though not without your fair share of sniping back and forth. After the last season, the two of you met at a gathering in the country. Having seen how badly Whistledown had written of you two, you agreed to put your old resentments behind you. You began exchanging tentative letters through the off-season and those letters increased in volume as time went on and you became friendlier. It was very surprising when Mr. Choi asked if he might court you at this season’s first ball, but you did not say no, and that brings you up to now. 

None of it is verifiable. That’s the only thing that makes you think this plan has even a shot at working. You two were at some gatherings in the country together, and ironically, because you did your absolute best to avoid him by hiding in different places, there are definitely some moments where the two of you could feasibly have been alone together and talked things out. As for the letters, they don’t actually exist, but no well-bred person would dare ask to see private correspondence. Hopefully. 

You work out a schedule for the next few months. He must call on you at some point, and you both agree you’ll need to be seen in public at least several times. At least one promenade every couple of weeks, and you will dance together at least once at each of the balls you both plan to attend. One call a week and if he cannot make it, he must send flowers. “A large bouquet,” you say, internally smirking at his expression. “You must act serious about it so that the other men will know they must outdo you.”

By the time you’ve argued and compromised and sniped it all out, the sun is almost directly overhead, and you need to return in time for the musicale to start. Mr. Choi stands and you don’t refuse his hand to help you up, a new grudging respect in your chest for him. If anything, he’s a good negotiator, not to mention a gentleman. “Shall we return to the musicale together, then?” he asks, offering his arm. 

You stare at him. “Already?”

He peers at you, eyes twinkling obnoxiously. “There’s no time like the present, hmm?”

While you were talking and snapping and quipping, you were able to ignore the voice in the back of your mind screaming that this is a terrible idea. But now as you look at his proffered arm, it suddenly seems to be all you can hear. 

Everything is going to go wrong. You’re going to make a gaffe because for all you can act nice and pretty around pleasant people, you cannot hold your tongue in front of people you dislike, Mr. Choi obviously included. Which means someone is going to get suspicious because of your mistakes. Which means people are going to start talking and eventually the truth is going to come out and you will be humiliated publicly more than ever before—because what idiot pretends to court their enemy in an effort to gain suitors—and bloody fucking hell, this was a mistake and you might as well run away right now—

“We don’t have to if you don’t want to yet.” Mr. Choi’s voice cuts through your spiraling thoughts, his words gentler than before as he lowers the arm. You hate that he can do that—can be going back and forth with you for hours without pause, then put it all on hold to respect you as a woman and a human being. It makes it really hard to hate him as much as you want to, and ironically makes you hate him even more. “I only thought it would at least explain our combined absence, in case anyone noticed.”

You swallow hard. “No, you’re right,” you mumble. “We should—we should start now. Sorry.”

Mr. Choi raises an eyebrow. “I think that’s the first time you’ve ever apologized to me.”

And there it is. You scowl. “Don’t get used to it.”

He laughs aloud, a sound that would be quite pleasing if you didn’t want to punch him in the face so badly. “I am sure I won’t,” he replies, a bite beneath his genial tone that ironically soothes your anxiety. Yes, even if you two go through with this, nothing will actually change between the two of you. You’ll always be annoyances to one another. “Now, are you ready?”

You take his arm gingerly. “It doesn’t quite seem like I have another choice.”

Reblogs and comments are deeply appreciated! Hope you enjoyed this, and have a lovely day :)

[avatar-anna]

Hello! I was wondering if you got a request i sent recently? 🤔 it was about dad!harry with Y/N and the girls having their periods all synced up (if you did and didn’t like it that’s totally fine too!!)

Merry and Bright

Young Dad! Harry x Young Mom! Reader Universe

Merry Christmas from your favorite fictional family! They're all grown up in this one! Enjoy!xx

*.*

When Harry woke up with a small foot in his face, he knew he shouldn't have been surprised, but he was.

He blinked slowly, trying to remember if he and his wife went to bed alone or not. Looking to his side, he saw Y/n sound asleep with her back facing him, a small body in pajamas that matched every member of this family's—cream colored with decorated sugar cookies on them—stretched horizontally across the bed, hence the foot in his face.

Looking at the clock by his bed, Harry's brows raised. It was just after eight, rather late for Christmas morning, though most of the kids were a little older now, and Charlie notoriously slept like the dead despite being five. Still, he expected, maybe even missed, being woken up before the sun came up on Christmas morning because Santa had come and presents had to be opened right away.

Waking up with a little foot in the face or with multiple bodies bouncing on the bed, he wasn't sure which he preferred.

"The morning I don't wake up with a limb in my face could not come soon enough," he grumbled to himself anyway, carefully trying to move his sleeping daughter into a more comfortable position, only to end up with Charlie sprawled across his chest entirely, one hand holding onto a strand of his hair by his ear.

"You should've thought about that before you went and got me pregnant again."

Harry blew out an amused breath. Clearly, Y/n was not as asleep as he thought she was. He tugged a strand of her hair that was splayed across her pillow. "You were all for it at the time."

"I'm not the one complaining about the—Oh," Y/n hissed, her shoulders tensing a little.

Concerned, Harry shifted their still-sleeping daughter in the space between him and Y/n so he could shuffle closer to his wife. He rested a hand on her back and kissed the top of her head. "Everything alright?"

"Yeah, just cramps. I'll be fine in a minute," she said as she began to shuffle out of bed.

Harry moved his hand to her shoulder to push her back onto the bed. He handed the five-year-old over to Y/n, who immediately curled into her mother's arms. "I'm sorry, love. Why don't you hold onto this little nugget while I get your heating pad."

"It's okay, H. Everyone will be up soon, and—"

"Let me take care of Christmas waffles. You can come down when Charlie wakes up, okay?"

His love smiled sleepily at him before taking his hand in hers and kissing it. "You're too sweet."

"Remember that the next time you're annoyed with me," Harry said with a chuckle. With a kiss to her forehead, he said, "Merry Christmas, my love," then slipped into a robe and left the room.

After getting Y/n's heating pad and making sure Y/n and Charlie were comfortable in bed, he went about getting his day started. He knew he was in for a long day, so he set out to make their traditional big Christmas breakfast for the whole family—waffles, bacon, cut-up fruit, and hot cocoa. He lit up the Christmas tree and turned on the train track he and Julian had been setting up since Jules was seven years old, ensuring everything was ready for when everyone filed down to open presents. Year after year, Christmas morning began later and later. Honestly, Harry thought he would come to appreciate sleeping in an extra couple of hours, but he often found himself missing the days when all of his babies were living at home and opened Christmas presents at six in the morning.

There were perhaps fifteen minutes of peace before Harry could hear sounds of life upstairs. It was like a small wave, a shuffling of feet and the rush of water as his children began brushing their teeth, then there was the thunderous sound of feet rushing down the stairs as the realization that it wasn't an ordinary morning struck. GiGi and Natalia were the first ones to skid to a halt downstairs, excited smiles on their faces as they beheld the small mountain of gifts under the Christmas tree and the smell of waffles coming from the kitchen.

"Merry Christmas!"

Natalia bounded over to Harry, jumping into his arms. He had a split second to set his batter-covered spoon down to catch her. "Merry Christmas, Peanut. Did you wake everyone up yet?"

"Almost," Geneva said as she picked at the bowl of fruit on the kitchen counter. "Simone said we can't wake her up until nine."

"Ah. I see," Harry said, knowing full well that his oldest daughter had been out late with her friends last night. "Well, why don't you go and tell her that I'm going to give away her presents and her waffle if she doesn't come down soon."

Natalia and Geneva grinned devilishly, very much on board with bugging their older sister. They scurried back upstairs, giggling to each other as they did so.

Julian was the next to come down, his light brown hair was wet and curly from his shower, a small frown on his face from the early wake-up call. "Collette threw a shoe at me for taking all the hot water."

Harry knew there was probably more to it than that, so he just ruffled his only son's hair affectionately as Jules passed him by the stove. "Be patient, Jules, they're—"

"Going through a lot, I know," he said, shaking his head a little. "Doesn't mean I had to get a shoe thrown at me for it. On Christmas, no less."

Harry gave Jules a pointed look, not completely buying his son's innocence. At his stare, Julian suddenly found the growing stack of waffles Harry was plating very interesting, a small blush on his cheeks.

As the only two boys in the house, Harry and Jules were often on an island of their own, especially one week each month. Over the years, Harry would take Julian and the little ones out of the house for a couple hours when it felt like the two of them were against the rest of the house. Julian didn't mind the occasional quarreling and mood swings that his sisters displayed as much as other brothers might, but Harry knew that his son's patience had its limits. Especially on Christmas morning.

"Go be the favorite child and take this up to your mum, will you?" Harry said, handing over a plate piled high with food.

Scoffing jokingly, Julian said, "Please. I've always been Mom's favorite."

*.*

Harry didn't normally complain about the state of his home, but right now he felt like he was living in a madhouse. Or a landmine.

The key was understanding what made the girls tick—what their symptoms were, what they typically craved, who had a tendency to cry at the drop of a hat. When it was just Y/n, Harry cuddled her in bed, brought her painkillers, and kissed her whenever she needed him to. And then it was Y/n and Simone, and Harry was caring and understanding toward both of them. And then suddenly he was in a house with five women who all got their period at the same time.

The day had gone rather smoothly so far. Everyone eventually trickled down the stairs to eat breakfast and open presents, and the house was soon flooded with wrapping paper, bows, and discarded gift boxes. Harry smiled from ear to ear the whole time as his kids opened their gifts. Even though he could afford to spoil each and every one of his kids every day of the week, Y/n wouldn't let him. She compromised with birthdays and Christmas, but Christmas was when Harry put out all the stops. All year he would plan and plan, ask for Christmas lists months in advance, and spend hours shopping. Y/n used to sigh exasperatedly at her husband's antics, but in the end, she finally let it go. Christmas shopping was one stressor that wasn't on her plate, and she wasn't going to complain about that anymore.

"GiGi, darling, you have to start getting ready for the recital," he said through the door to his daughter's room. Geneva still got embarrassed about getting her period, and now was definitely one of those times.

"I'm not going!"

Harry sighed but decided to move on for now. Y/n would be able to get GiGi dressed and ready to go better than he could, which stung, but he got over it somewhat after his first two daughters. And there were a number of things he could be taking care of to make sure they got out of the house on time, anyway.

When he got back downstairs, Julian, Y/n, and Charlie were in the kitchen, all dressed in their Christmas best. Y/n was straightening the collar of Julian's dress shirt while Charlie clung to his back. Harry made a beeline for his wife, kissing the back of her head as he snaked a hand around her waist.

"You look beautiful," Harry said softly, his thumb rubbing the silky material of her satin skirt.

"What about me, Daddy?"

Harry looked at his youngest daughter. Her hair was done up in a tight bun, most likely done by Y/n, and she was already dressed in her leotard and tights. The only thing missing was the matching sparkly tutu and snowflake hairpiece, but that would come later.

"You look wonderful," Harry said. "You excited for tonight?"

Charlie nodded excitedly, her broad grin nearly identical to her mother's save the dimples in her cheeks. "JuJu's been helping me with my dance.

"It's nothing," Julian said, who was now holding Charlie on his hip since Y/n was done fixing his dress shirt and doing up his tie. Charlie giggled, which made him offer her a small high-five. They were an unusual pair considering their age difference, but Julian loved doting on his littlest sister. And molding her into his little sidekick. "First ones ready though, weren't we, Charlie?"

Y/n shot Julian a look, knowing he was teasing his sisters. Normally, she didn't mind so much, but there were a lot of ever-changing emotions running through the house currently, and it was easier to keep the peace than put out a fire. To Harry, she said, "The girls are getting dressed. Collette wanted to film, but I made sure she gave herself enough time to be ready otherwise she'd have to drive separately. And Maeve was lacing up her shoes when I checked in.”

Nodding, Harry asked, "Can you go talk to Gi? She's...not eager to leave the house."

"Already on it," Y/n said, ruffling Julian's hair as she walked by, which he immediately swatted.

"Do you want to practice at all before we leave?" Harry asked, turning to the youngest member of his family. He wasn't totally surprised that they were spending their Christmas evening at a holiday dance recital, seeing as this was one in a long line of pageants and concerts, but Charlie seemed the most committed to dance out of all his children, even at just five years old. To Harry, it felt like they'd gone to every match, game, meet, and recital possible. Between the seven kids, there was no sport or extracurricular left unturned, but he was often fond of watching his kids perform on a stage of any kind.

Charlie nodded excitedly, shimmying down from Julian's hip. "I've been practicing really hard!"

"She has. Her pirouette is flawless," Jules said with a serious nod of his head.

"Alrighty, let's see it, peanut," Harry said, kissing her forehead.

It wasn't a long routine. Charlie was five, after all. There was a lot of choreographed walking, a couple turns and leaps, and arms spread out wide and above her head. Harry was sure there would be a handful of mess-ups during the performance, and one child would probably end up crying backstage, but Harry, along with the rest of the Styles clan, would cheer for the youngest member of their family as if they were watching a professional ballet performance.

By the time Charlie finished showing Harry, and Julian her routine, more of the family had found their way downstairs. Simone shuffled around in her slippers, a pair of heeled boots in her hands, Natalia and Geneva trailing behind her with matching French braids in their hair, Y/n bringing up the rear. Geneva seemed to be in much better spirits than when Harry spoke to her, which he could only be thankful for. He and his wife were a team after all, and they didn't keep score on parental abilities and duties. Not anymore, anyway, but it had all been in good fun.

"Collette's just finishing up Maeve's hair," Simone said, going over to stand by her brother.

"Perfect," Harry said, checking his watch, a brand new gift from Y/n. There was an inscription on the back with the date, which nearly made Harry cry when he saw it. To my greatest love, it read, with seven little Xs to represent each of their children. "We're right on schedule."

"Since when have we ever followed a schedule?" Simone asked.

"You haven't heard? Dad's gone full-on dance mom," Julian said. "All the other moms in Charlie's class are in love with him because he stays and watches her rehearsals every week."

Simone's brows raised, no doubt a tease for her father poised on her lips, but Harry was quick to interject. "That's not true!"

"It's a little true, baby," Y/n said, coming over to kiss him on the cheek. Even in his late thirties, her husband was undeniably handsome. She'd given up on having feelings about people openly oggling her husband years ago. She knew Harry would never be interested in anyone else. They could look, but never touch, and that was enough for Y/n. "But you're still the best dance-dad ever."

"We're ready!"

Collette and Maeve bounded down the stairs curled to perfection as it bounced with each step. Harry noticed that Collette was wearing an old sweater from his closet, probably one she'd nabbed while he was on a trip, but he decided not to comment on it. He saw the look on his wife's face, though. Y/n's expression was soft as if she was recalling a memory from years ago.

Squeezing her hand once, Harry began ushering everyone out of the house and into the car. Two cars, actually. Driving separately was a common occurrence when the family was all together. Y/n and Harry learned rather quickly that arguments were less likely to break out if the kids weren't packed together in the back seats like sardines. So Harry and Y/n took the twins and Charlie in one car, and Simone drove Collette, Geneva, and Natalia in the other.

Harry sometimes couldn't quite believe that his little girl was in college, let alone driving on her own places. In a lot of ways, Harry and Simone had grown up together as he learned how to become a father at such a young age while simultaneously trying to raise a baby with Y/n. He'd grown up wanting to give his daughter the world, and as he watched her slide into the front seat of her car, one that she bought with her own money after saving up for the last couple years, smiling and laughing at something one of her younger sisters said, he could only hope he'd fulfilled that wish.

Later on, Harry was backstage with Charlie. Her snowflake headpiece was an immovable force on her head, her cheeks sparkled with a little glitter that all the other little snowflakes were wearing as part of their costume, and her white tutu sparkled under the lights of the school auditorium they were in. Charlie had a small pout on her face as she shifted nervously from foot to foot, her big eyes wide as the nerves settled in.

"You're gonna do great, peanut," Harry assured, his gaze level with hers as he knelt down on the floor. "Don't tell anyone I said this, but you're the best ballerina here."

"Really?" A small smile threatened to break through Charlie's nervous frown, and Harry knew she would be ready to go out and perform any minute now.

"Really," he promised, kissing her cheek. Charlie's cheeks had been adorably round when she was a baby, but most of the baby fat had disappeared now that she was a little older, but Harry still thought she would be the cutest, most talented dancer out on that stage tonight. "And even if you do mess up, or if you forget a step, I'm still gonna be so proud of you. We all will be. Okay? If you get nervous out there, look for me."

"Okay, Daddy."

Harry figured Charlie was as ready as she'd ever be. "Alright then. Give your dad one last squeeze."

Charlie lept into Harry's arms, squeezing him for all she was worth. He held her close, careful not to smush the glittery tutu between them. Only letting go when she began to wriggle around in his arms, Harry stood up and walked Charlie to where the rest of the little snowflakes were standing as they waited to go onstage. She wouldn't let him leave until the very last minute, only letting go of his hand when her dance teacher it was nearly time for them to start. Harry gave her one last kiss on top of her head before heading to his seat where the rest of his family was waiting.

It was a good turnout. His and Y/n's parents were in the row behind Y/n and the kids, along with one of Harry's old bandmates who happened to be in town for the holidays. Harry didn't get to see them as much as he would've liked these days, but he knew that any of them would drop any and everything for his kids. Just a few years ago, they all showed up for Simone's high school graduation.

"Everything okay back there?" Y/n asked as Harry settled down in his seat.

He took her hand in his and set it in his lap, his thumb grazing over hers absentmindedly. "Should be. Gave her a pretty good pep talk if I do say so myself."

Y/n scoffed playfully, knowing full well that Charlie was one hundred percent a "daddy's girl." Before she could say anything, though, Harry's mother leaned forward in her seat to ask about their post-recital dinner plans, and shortly after that, the lights dimmed and the performances began.

When it was done, the small section dedicated to Charlie's biggest fans cheered loudly, not caring that phones were turned in their direction or that they were maybe being too loud for a kindergarten dance recital. None of that mattered to Harry as Charlie beamed at them from the stage as she took a final bow, waving at her family excitedly.

At the end of the night, as Harry and Y/n got into bed, he couldn't help but grin at another perfect Christmas completed. It was off to an unusually slow start, and there was definitely potential for tears and arguments, but he couldn't have been more pleased by how everything turned out.

There was a time when even though Harry loved Christmas with Simone, then Simone and Collette, and so on, he somewhat mourned the idea of a Christmas with just Y/n. Because they had their daughter so young, he and Y/n never had the opportunity to enjoy the holidays just by themselves. It would've been nice, but Harry wouldn't change his experiences for the world, and he eventually didn't even want to think about what Christmas without his family looked like. Those memories were too precious to regret or want to change, and he knew Y/n felt the same.

"Another perfect Christmas for the books," he said as he climbed into bed next to Y/n, just half of their family Christmas pajamas on. He tended to do away with a shirt if he thought he and Y/n could get away with sleeping by themselves without any midnight intruders.

"Mm. I'd say so," Y/n agreed as she snuggled up to Harry's side. "Charlie was so good tonight, wasn't she?"

Harry's heart swelled with pride at the thought of his daughter's performance tonight. "Definitely a career there if she wants one."

"Easy there," his wife chuckled. "She's only five."

Harry merely nodded, but he was already thinking about the future Charlie's talent could give her. He didn't care if that did make him somewhat of a "dance mom," he just wanted his kids to be happy, and if a dance career was what Charlie wanted, then Harry would do everything he could to help her get there.

"I do have one more gift."

"Really?" Harry couldn't think of anything else he could possibly need, but he watched curiously as Y/n shuffled away from him to root around her nightstand for something. When she found it, she sat up to face him better.

With wide eyes, Harry stared as she opened up a small velvet box, a sleek metal band inside it. He couldn't even form words as he looked at it, eyes suddenly welling up with tears he didn't want to shed until Y/n explained.

"Maybe I should've done this at dinner tonight with our parents and the kids, but I wanted this moment to just be ours," she said, cheeks turning a little pink. "I—I know we're already married, but that was seventeen years ago, H. Can you believe that?"

"I don't know where the time's gone," he breathed. They were the first words that came to mind.

"Time flies when you get me pregnant six times," she teased, reaching out a hand to cup his cheek. Her thumb moved across his skin, wiping away a tear he didn't even realize had fallen. "But I just thought now that our family is officially complete. And I really do mean that. We could renew our vows or something. Usually that sort of thing is reserved for special anniversaries, but the timing feels right, and I found out I was pregnant when I was seventeen, so—"

"It's perfect," Harry said.

Y/n looked up at him nervously, as if he would've disagreed for some reason. "Really?"

"Yes, Mama. This is—This is the best gift you've ever given me. Outside those precious little humans in our house right now," Harry said, adding the last part as an afterthought. "I can't think of a better way to end my Christmas."

Harry let Y/n slide the ring onto his finger. Y/n had had a small band for a long time now, an anniversary gift to commemorate their small wedding all those years ago. Harry couldn't wear one at the time because their relationship, along with the rest of his family, was a heavily guarded secret, and a band on his left ring finger would draw way too many questions.

But their relationship wasn't a secret anymore, and while they did their best to stay out of the limelight, Harry had no problem with wearing the ring. He would get something for Y/n too. He'd always wanted to get her a big ring, one that signified just how much he loved and appreciated and admired her, both as his partner and the mother of his children. Now was the perfect opportunity.

"You really outdid yourself this year, Mama," Harry murmured, sliding a hand into her hair to cup one side of her face.

"Would you believe me if I told you that I was partially drawn to the idea after thinking we could have a honeymoon afterward?" she said, a small smirk on her face.

"You've really thought this through, huh?"

Y/n kissed Harry on the lips. A peck, really, and he suddenly needed much more. "Mmhm. Want to hear the details now or later?"

Later, definitely later, Harry thought, but he opted to just kiss his wife instead.

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Everyone's ages:

Harry: 39

Y/n: 39

Simone: 20

Collette: 17

Twins: 16

Geneva: 12

Natalia: 11

Charlie: 5

[nexility-sims]

SIM DONATION DRIVE: "1992" EDITION

i need to fill in leonor's 1990s dating history for story reasons, so i am soliciting sims from you wonderful, talented, generous people. if you'd like to donate someone, check out THIS FORM ♥️

for guidelines, see below, & let me know if you have questions !

i want to fill in leonor's dating history for the period from roughly 1993 to 1998. i'd like to have these exes attend her big, giant, extravagant wedding in 2001; i will be doing some Yet To Be Planned media coverage of said dating history (something like this stuff). as a treat, because i love to take pictures of other people's sims, i'll probably do some random photoshoots like these as well :^) [you can have leonor's files for your own purposes, if you so desire.]

i have no idea how many sims y'all're gonna donate or if they'll all be the same level of compatible, so: i'll try to incorporate as many as i can but, realistically, would have to choose if there are more than 5-6 options. this isn't a bachelorette challenge, so it would theoretically be based on which characters make sense for leonor and the timeline.

not all of the form's questions are required, but more detail is welcome ! entirely up to you how much fleshing out you'd like to do beyond the basics. i provided vague prompts, some which are optional, so ... go wild or don't ! if you want to discuss any of it before you submit the form (or after), then please don't hesitate to reach out.

your sims can be from uspana or somewhere else, btw. if they're not from uspana, they might be from the fictional country your story is set in, generic Simerica™, literally anywhere else ... if you don't state it, i'll just make something up that feels convenient sdjhfs they can be existing characters or new ones you create for this purpose; it's all up to you !

i am assuming you're familiar with the spinoff story OR leonor as a character, in some way or shape or form. you may know the story better than i do or have scrolled her tag on my blog earlier today for the very first time or somewhere in between. either way ... a little familiarity would help, i imagine !

leonor's existing love interests include: arturo, a very sweet and thoughtful son-of-a-politician (circa 1986-1990); renzo, a very famous actor who loves music and cutoff shorts and doing drugs (1991-1992); andre, a very happily married and painfully shy father of three who also happens to currently be his country's king (1992, 2016–); dan, a very chill tech founder who enjoys, like, space travel and wearing fanny packs and letting his wife do affairs and stuff, whom she marries in 2001 (circa 1998–).

leonor doesn't have a type, and there are no gender restrictions. she likes people who are interesting—peculiar, even. she's a wealthy princess and a government employee by 1993-1994, so that may affect either your sim's occupation and / or the necessity of a "how'd they meet" backstory. her birth year is 1970, and she’s more likely to go for agemates or older rather than younger people (at least while in her twenties, anyway). she could theoretically reconnect with anyone post-2001 but pre-2016 on account of the open marriage, although that feels unlikely / case-by-case.

okay, that's all i got for now ... thanks for reading this far !

[ianthe-is-a-bitch-and-i-love-her]

@meowyautistickitten you didn't explicitly say, but I'm gonna limit myself to books with a butch or masculine woman as a primary protagonist. Since you didn't specify genre, I'll try to give a variety, and I'll focus on characters who think about themselves in butch or masculine terms, rather than just those with a butch or masculine style.

Backwards to Oregon is a historical romance novel about a woman named Luke who lives primarily as a man and is traveling the Oregon trail in the hopes of starting a horse ranch. She has a run in with a prostitute named Nora and her young daughter and, on an impulse, offers to marry Nora so that her daughter can grow up with legitimacy and better prospects. What follows is a very sweet romance obstructed by the fact that Luke is desperate to keep her true gender hidden from Nora, while Nora is desperate to figure out what the fuck Luke's deal is and how she can make sure she and her daughter don't get abandoned. You could probably construct an argument for Luke being transmasc of some variety, but my read was very much that Luke's main objection to being perceived as a woman is all the limits that would put on her behavior - they wouldn't let a woman wear pants and be one of the boys, after all. Be aware that this is set during the US westward expansion and is not particularly interested in interrogating the ethics and politics of that movement. It's not egregiously racist towards native Americans, but their voices definitely aren't being centered. Also, on account of being an older book, some of the ways the author writes about gender read weird to a modern audience.

She Who Became the Sun is historical fantasy fiction following Zhu, a peasant girl in Yuan dynasty China who steals the identity of her dead brother to try to avoid her prophecied fate of oblivion, and winds up involved in a rebel movement. This one has romance, but is much more focused on political and military maneuvering, with a large emphasis on interpersonal conflict. Fair warning that the time period is both brutal and quite prejudiced, and Zhu is absolutely ruthless. Zhu is also much more gender ambiguous, not necessarily butch - her modes of behavior with people who know that she is not a cis man, and the ways she thinks about herself, read to me as some shade of nonbinary.

The Traitor Baru Cormorant follows the titular Baru as she works to infiltrate the government of the imperial power that colonized her homeland and bring it down from within. The series deals extensively with gendered expression and expectations and how those vary across cultural lines - I don't know that I'd call Baru strictly butch, but she definitely enjoys playing a masculine role from time to time, with one of her plots later in the series hinging on the fact that a particular culture would consider her a man because of how she acts and presents herself. This is probably my favorite series of all time; if you somehow hadn't heard about it from me already, be warned that these books deal extensively with colonialism, homophobia, sexism, and racism, and they don't pull any punches. The first book will probably break your heart - if you don't do well with tragedies, then approach with caution.

Hopefully one of those sparks your interest! Thanks for the ask :)

[miirshroom]

Elden Ring and Bloodborne - What do we Learn from the Dead

I have been thinking through a dilemma regarding Elden Ring interpretation. And it occurred to me that Bloodborne addresses and engages with similar concerns.

There is a scene in Bloodborne where the player approaches Lady Maria sitting still and unresponsive in front of a clock face. The player reaches out to touch her and instead she blocks them saying "a corpse should be left well alone". In Elden Ring the player stands in a palace of blood in front of a corpse next to a woman who if she were not wearing a helmet would have a certain amount of resemblance to Lady Maria. This time Leda says "touch the withered arm", inviting you to meddle with a corpse. And I find that an interesting symmetry.

I. Dissection

Two things to note about Bloodborne: 1) Lady Maria's advice to leave corpses alone is implied to come from her experience of finding a corpse and being cursed by the knowledge that came from that incident, 2) It's very late in the game to be receiving this advice considering how many corpses the player has already tampered with. The Chalice Dungeons are for grave-robbing and the different subregions are grouped by tombstones - memorializing corpses. In fact there is a very compelling set of videos by Charred Thermos about the medical metaphor of Bloodborne, including the role of dissection.

I would go a step further and say that Bloodborne weaves together the concepts of both physical and psychological dissection.

In Bloodborne the consumable item to gain material for levelling is called "coldblood", presumably because is much older than the fresh "warm blood" obtained from killing enemies. The highest tier of this is "Great One Coldblood". But "coldblood" can also have the association of murders done pre-meditated and dispassionately "in cold blood".

There is a book called "In Cold Blood" by Truman Capote. I have read "In Cold Blood" for a book report a long time ago and I looked up some reviews to refresh my memory. It's a "whydunnit" story - the killers have already been caught and confessed. The point of the book is to interview them and to try and make sense of the why and how. It is also an example of how difficult it is to give an objective and unbiased account of motive. As this one review puts it (by Eden Gray on Google):

"I would not recommend this book to anyone. Capote claims that this book is non-fiction, however, he has changed so many facts throughout and knew one of the prisoners personally. He also had influence on the end of the book as he did have enough money and influence to prevent or prolong the hanging of the two killers, but he chooses not to as he needed them to hang in order for him to finish and publish his book. His bias comes through clearly with his anti-death beliefs and his favouritism towards Perry is blatant because Capote related to Perry. Capote manipulated his audience to feel sympathetic towards Perry even though he brutally killed the Clutters. His manipulation and deception, verisimilitude to the core, left me thinking what is true and what is false throughout the whole book, further making me disinterested as why read a book that claims to be non-fiction when it is clearly filled with false information."

I think this is the Catch-22 of non-fiction. Digging into the lives of real people is more true to life than simply inventing characters and their psychologies from old stock tropes in fiction. But if you want to tell the non-fiction story of these people then you need to be objective and factual all the way through or else this will strictly limit the ability to work in creative themes or a thesis. But that just becomes boring lists of facts. Especially if you are trying to do a story set in a historical time period with fragmentary primary sources - realism is not possible and there will be a subjective filter on everything.

As Charred Thermos describes it in this video, there is evidence that many characters in Bloodborne are inspired by prominent medical practitioners of the Victorian Era...but Bloodborne doesn't market itself as a true crime story, or even a historical fiction. They are framing themselves as "murdering" the Great Ones - the great people of the past - in cold blood and dissecting their life's work for narrative and thematic components, but they obfuscate this under layers of eldritch aesthetic.

If I had to give an example it's like this: it is known that Alan Moore's "In Hell" is a fictionalized version of the 'Jack the Ripper' murders, because he uses the names and faces of real people (which I know about from this Arcane Workshop video that explores the comic's themes alongside the game Amnesia: A Machine for Pigs). This version propagates the conspiracy theory that a specific Crown physician committed the murders - hearsay speculation that arose 80 years after the man's death when there was no-one left alive to dispute it. Nobody talks about the specific ways that parts of Bloodborne take inspiration from the wild theories surrounding the Jack the Ripper murders. Because the game only takes hints and fragments of names and the theme of committing violence against women by men who may-or-may not have some level of anatomical knowledge. Doesn't rely on the name recognition to tell the story that they want to be telling about the darker sides of humanity in the Victorian Era.

II. Discovery

How should a person feel if they are confronted with the knowledge that the character who they idealized was created from story of a single, specific human being with the identifying name scrubbed off?

The character of Lady Maria toys with this idea - the doll was made in her image, but by what is shown of their personalities they are nothing alike. How did people in the Bloodborne fandom react to this? Seriously, how should this be treated? Is it believed that the doll was made by Gherman to have Lady Maria's looks but none of her personality? Is it believed that Lady Maria has a gentle and pious side when she is not in combat? Does it change your impression of Gherman that he gives you permission to "use the doll" after knowing that this is a simulacrum of a single specific person?

I know real person fiction fans exist, but for the rest of us I feel like it would seem weird and exploitative to learn such knowledge retroactively about a beloved character. On the one hand, if a person wanted to flesh out their fanon they could go read the biography of the original. On the other hand, if new characters are being made as fictional reincarnations of the people of the past then their stories carry all of the baggage from that past. Digging through a minefield of old prejudices and heroic fantasies that aren't compatible with navigating the complex global interdependencies and ethical dilemmas of the present day.

Elden Ring pulls back from the aesthetic of physical dissection and expands massively in the realm of psychological dissection. As I've said before, it's a "whydunnit" story - the stuff about becoming an Elden Lord is a red herring (perhaps even a "red HAIRing" looking at Radagon and Radahn for example). The purpose of the Tarnished is to understand why Marika shattered the Elden Ring. To understand and accept her decision as part of the process of mourning. This dissection is not done for the benefit of the dead but is for the living to learn from the mistakes of the past and do better in the future.

Marika-as-Leda invites you to the dissection of the corpse in the cocoon. This is a secret past that they were trying to leave well alone. It is generally dark and unpleasant and surreal because these are the inner fears and obsessions of a mind that struggles to tell the difference between fact and fiction. Stuck in the nightmares of a superstitious past. Recreating cycles of painful and nonsensical rituals supporting a mythology of individual exceptionalism born out of a fear of trusting that people can work together. Messmer "the Impaler" having connotations of being a vampire because an egotistical person in a leadership role is incapable of self-reflection (vampires traditionally cannot see their reflections in mirror of polished silver), and may conclude that their solution is always best despite evidence to the contrary until suddenly everything is on fire.

In Elden Ring and the Shadowlands you can find references to the real and mythological people who served as inspiration for Marika. She's Marie Antoinette. Anne Bonny. Bloody Mary. Anna, sister of Arthur Pendragon (mother of Mordred). Mary Shelley. Marina "La Malinche". Virgin Mary, Mother of Christ. She's all of them and none of them and probably a few more that I've missed. Some of these may even have been the inspiration for Bloodborne's Lady Maria herself due to the way FromSoftware tells stories across a multiverse. But above all she is Lady Maria OF the Astral Clocktower. If you can understand the Clocktower and the FromSoftware meta-narrative, then you can understand Lady Maria far beyond what is available by the item descriptions alone. At least, now with the context of Elden Ring it's possible to understand it. Don't know if it could have been done back in 2015.

A lot of people were not ready for the revelations of Elden Ring: Shadow of the Erdtree. Not sure they'd be pleased to learn that there is a way to demystify the method below the madness of Bloodborne.

III. A Confession

So, it wasn't random chance that I connected the concept of "coldblood" to Capote's "In Cold Blood". Sometimes I do a "this day in history search" for each the dates that FromSoftware releases games and sometimes this yields interesting results. September 30 was the release date of Dark Souls 2 DLC: The Crown of the Ivory King. September 30 was also the birthday of Truman Capote. This isn't the first time an author birthday has popped up in a way that I find meaningful. Regarding themes of Elden Ring and Armored Core 6, respectively, there was John Wyndham - author of the Midwich Cuckoo, The Day of the Triffids, and the Chrysalids - on July 10, release day of Armored Core (1997). And Walter Michael Miller Jr. - author of "A Canticle for Leibowitz" - on January 23, 1923 which matches the release day of a game called "Thousand Land" (2003).

And September 30 wasn't a date that I selected randomly to scrutinize next. More than ever before the Shadowland area of Elden Ring gives me the impression of a rotting old theatre where literally "the curtains have fallen" on previous eras. There's a progressive rock band for that: Dream Theatre. Combing through Dream Theatre's discography not only are there several motifs that I can see echoed in Elden Ring, but several album release dates line up with FromSoftware's previous games including "Chaos in Motion", the live video album that was released September 30, 2007 - same calendar date as the Crown of the Ivory King DLC in 2014. This is an interesting alignment because in classic writing by Virgil the Gate of Ivory is the one through which false dreams pass through.

What I'm taking away from is this: FromSoftware will not "show their work" and explain in interviews or supplementary footnotes the full scope of media and real life influences on their games. Because boasting about all of the research they did would be morally wrong - a false dream. They are in the business of making fictional characters, not exploiting the dead and putting words in their mouths for sensational name recognition. They may take inspiration from scientific concepts such as medical and psychology but they won't pretend to be an authority on these things. If the player wants to fully comprehend the story then, yes, grasping at the hints of references to real world phenomena and doing your own research into those topics is a way to get there with greater accuracy.

IV. Witnesses

And how can a person know if they are correct about identifying any given influence? You can't "know", but you can build a case for it. Like how the broad strokes of complexity theory are described in this video about the 5 layers of depth in 2016 game The Witness. When understanding the logic of the game universe you want to be collecting "Witnesses" of what the narrative does and does not support. I like this idea of calling witnesses as an extension of the dissection/murder mystery metaphor - after all murder trials make use of both eye-witnesses and expert witnesses.

If I can collect 25 items containing a helix or spiral pattern and sort them according to number of twists and this vaguely follows the agreed upon timeline of history from other sources, then that tells me that the game history supports being sorted into discrete units of time and this is reflected in the art direction. If 5 of those 25 give unexpected results, then either I didn't understand the rules of the helices as well as I thought, or there is a misinformation in the commonly believed timeline. If I can collect 20 instances of suspiciously meaningfully anagrams, then that's 20 Witnesses that the game supports anagram wordplay in certain situations. If I can look to the band "Rush" and collect 7 album release date matches in FromSoft's back catalogue + 13 sets of visuals or wording similarities to specific songs then that also would seem to be 20 Witnesses that these are intentional references rather than the random noise of the universe. Maybe there is grounds to think that FromSoftware saw something inspirational in the creative or intellectual philosophy of that specific group of musicians - drawing from contemporary sources rather than solely on an outdated catalogue of classical poetry.

Based on collecting Witnesses, there is evidence that Elden Ring contains an elaborate reference to JoJo's Bizarre Adventure, which is itself well known for making global musical pop culture references. In Bloodborne the Great Ones convey their messages through sound.

V. Verdict

Altogether I'm feeling more confident about the relevance of the 3 additional backlogged posts that I've been working on that delve into the musical scavenger hunt of Elden Ring. But the dilemma was about whether it is right to clinically dissect and present evidence that a video game has made characters out of sensitive topics as they relate to the personal histories of specific people who are living or have living family. I guess it depends on presentation - is due respect given to the topic? Are there cases where it would be better to recommend an auto-biography or other primary source than to paraphrase? Is there something of value to be learned, or is it all just entertainment?

[hypocrisyofandrewdobson]

Going through some of his older stuff, I gotta say...the poor dude was absolutely, completely, creatively bankrupt. I mean, I have no idea why he seemed to think he wanted to go on to be "an ideas guy", because...geez, he has zero concept of how to string a story along. I mean, maybe there's a gap in his A to B logic I'm missing, but... Like, for instance, in his journal where he talks about the iterations of Alex ze Pirate, he says that originally AZP was set in space. Then he says he lost interest in the space setting and instead wanted to do a comic about how the crew came together, and he says "so to do that, I'd have to set it in the past...like a REAL pirate story". He then goes on to say that he had to change up a bunch of stuff in order for it to fit the old-timey theme, like changing Atea to be less overtly rat-like because people in those days would have freaked out to see something like that. I don't get why he hamstrings himself like that--why did it HAVE to be set in the past if it was going to be about the crew coming together? He makes it seem like his hands are tied when it comes to the setting. I get not wanting to do a space theme anymore, but he deliberately hamstrings himself when he goes "well, if it's not space, then my only other option is to write it as a traditional pirate story set in the 1700s". He could have done so many other things with it. He could have set it on a fictional pirate planet that just looks and behaves like Earth in the 1700s. Maybe this planet had a lot of water locked up in polar ice caps and the caps suddenly started melting which flooded the planet, so resources are running thin and the only way out is to flee into space, but because of the lack of resources everyone turned to piracy. I mean, hell, I just pulled that out of my ass right now, and it would even cater to his political fetish because he could pander to the climate change crowd at the same time--but Dobbles just throws up his hands and says "if it's not space, then there's no other options". Even with Atea, "oh, well, people back then would have freaked out to see a rat girl, so I gotta change her to be less rat-like to fit the story". Dobson, YOU CREATED THIS WORLD. You created a world where "rat people" exist, it's no longer Earth circa 1700, so whether or not people would freak out to see Atea is entirely moot. Same with Talus, you invented a world where "the dog men of ancient legend" exist--it stands to reason that both of these creatures exist, and so people's reaction to them would be different than if you just plopped one or both of them down in front of an ACTUAL person from the 1700s. Ignoring all that--this was also a time period in which people thought the kraken was real and if you sailed too far you'd fall off the edge of the world into the realm of monsters. Why the hell would a girl with pointy ears and whiskers freak anyone out?

It’s even worse when you remember that Alex ze Pirate wasn’t even his comic to begin with, the idea belonged to a girl he went to school with/had a crush on(he immediately stopped hanging out with her when she got engaged) AND the main character is completely based off her(and Atea is also based off someone he knew.

Honestly, the deep lore on this comic is kinda ridiculous.

But yeah, Dobson was way too lazy to rewrite characters and everything when he changed the setting and story, which is part of the reason why the logic in the setting makes absolutely no sense.

[richincolor]

Book Review of A Crane Among Wolves by June Hur (허주은)

Summary: Hope is dangerous. Love is deadly.

1506, Joseon. The people suffer under the cruel reign of the tyrant King Yeonsan, powerless to stop him from commandeering their land for his recreational use, banning and burning books, and kidnapping and horrifically abusing women and girls as his personal playthings.

Seventeen-year-old Iseul has lived a sheltered, privileged life despite the kingdom’s turmoil. When her older sister, Suyeon, becomes the king’s latest prey, Iseul leaves the relative safety of her village, traveling through forbidden territory to reach the capital in hopes of stealing her sister back. But she soon discovers the king’s power is absolute, and to challenge his rule is to court certain death.

Prince Daehyun has lived his whole life in the terrifying shadow of his despicable half-brother, the king. Forced to watch King Yeonsan flaunt his predation through executions and rampant abuse of the common folk, Daehyun aches to find a way to dethrone his half-brother once and for all. When staging a coup, failure is fatal, and he’ll need help to pull it off—but there’s no way to know who he can trust.

When Iseul's and Daehyun's fates collide, their contempt for each other is transcended only by their mutual hate for the king. Armed with Iseul’s family connections and Daehyun’s royal access, they reluctantly join forces to launch the riskiest gamble the kingdom has ever seen:

Save her sister. Free the people. Destroy a tyrant.

Review: [Cruel tyrant is not an exaggeration so there is a content warning in the author's note that indicates the following: rape (mentioned), sexual abuse, misogyny, kidnapping women and girls, sex trafficking, incest (mentioned), violence, murder, animal cruelty, suicide (mentioned), infanticide (mentioned), psychological trauma, and panic attacks.]

Though this story is fiction, the setting and King Yeonsan are part of actual history. June Hur has not tidied up his tyrannical behavior so there are a lot of atrocities to witness in Iseul and Daehyun's path. This does make for a difficult read, but there is also love and strength that shine through. The dedication says, "To those who have dared to be a beacon of light in the bleakest of moments." There are numerous characters who are that light for others and even in the midst of so much awfulness, there is hope. That's what kept me reading.

Iseul's life has turned upside down and she has realized that she had taken her sister for granted. She is out on her own for the first time and is making brave and rash decisions because she seemingly is unaware of how truly risky and deadly her choices might be. Watching some of her actions is hard, but as she stumbles and begins to find her feet, she is also making connections with some folks who are those beacons of light.

It is equally troubling to watch Daehyun make decisions when there really are no  actions to choose that feel truly right. My heart was with both of them knowing that they really were doing the best with their circumstances even when there were no good options. And even when they pick a way that seems best, there is endless frustration as they continue to face horrifying loss and disappointment. Many characters in this story, in addition to so many Korean people in that time period,  dealt with a feeling encompassed in the word han. In the book it's described as the "feeling of outrage, the vicious urge for vengeance to right the wrong, pierced by the acute pain and grief of knowing our overwhelming odds at ever claiming justice."

Yes, the odds seem overwhelming, but Iseul, Daehyun and their allies continue to fight, sacrifice, and are willing to give their all to try anyway. They are all inspired by the Korean people, their families, loved ones, and the hope of creating a more peaceful place for all. Some of these allies are so wonderful and even though they are side characters, they managed to worm their way into my heart too. In the midst of all of the effort of so many people, there are also intrigues and mysteries to puzzle out so it's definitely a page turner.

Recommendation: Get it now. For those who watch historical K-dramas already, this will definitely be a must read. For others, this will appeal to anyone who enjoys history with some romance and political intrigue. Though it shows a lot of trauma and hardship, June Hur also provided characters that will touch hearts and stay with readers for a long time to come.

Extras:

Publisher: Feiwel & Friends Pages: 368 Review copy: Digital ARC via publisher Availability: On shelves now

[kiestrokes]

Hey!!! Can you do Stray Kids MTL to prefer dating/hooking up with older women instead of younger?

Stray Kids Most to Least: Likely to Date an Older Woman | NSFW

Pairing: Stray Kids x Reader/You/Yn Rating: NSFW! Mature (18+) Minors DNI. Genre: MTL, headcanon, ranking, imagines. Warnings: implied age gaps, dating, intimate relationships.

Sexually Explicit Content: older woman x younger stray kids kink and all that comes within that, vague dom/sub/switch dynamics mentioned.

🗝️ Note: anonie…nearly all of them scream loving the idea of an older partner, but I got you 😘 sorry it's so late, I have been swamped at work and in my wips.

Disclaimers: This is a work of fiction; I do not own any of the idols depicted below.

Han Jisung

Ummm Hanji just likes being babied. Period. In all forms, Hanji is THEE pillow princess. Han also needs an older partner, one who understands his anxiety and doesn't get embarrassed or annoyed by it. Someone with patience, and as someone who thought they were always patient...I am a thousand times more patient as I grow older.

Lee Felix

Lix is higher because he values maturity and deep conversations, but also loves to be doted on and babied. I can see him thriving, being your best subby boy and losing his mind when he gets to dom you. Lix is a switch, I will not be taking any arguments on this opinion.

Bang Chan

Chan is so high on the ranking because I don't think he cares about your age as long as you're older than 21. I cannot see Chan going for someone much younger than him, he craves maturity. In a different way than you might typically view maturity, because yes Chan is silly and playful. But he absolutely does not fuck around with boundaries and being a decent human. Which takes age and time imo. I can see Chan really loving being with an older partner for this reason and if that libra wants you, he's getting you.

In Jeongin

Jeongin isn't fond of all the cutesy aspects of dating a younger partner. He wants it to be cut and dry, affection in the bedroom and chill hangouts in public. Jeongin is also a switch, leaning dom. He will be your slightly bratty sub but also wreck your shit like you just did not expect from a sweet, dimpled face like his.

Seo Changbin

Similar to Lix, he loves being coddled but the thrill of wrecking you in the bedroom absolutely sets him off. How an older partner like you just melts under his massive biceps and thick thighs. Changbin also loves that you keep real food in the kitchen. Not the barren soju and preworkout diet most of his hookups keep stocked.

Kim Seungmin

Seungmin doesn't have the capacity to keep the facade up for bs drama that tends to come with younger partners. He wants something straightforward and easy. Which comes with an older partner, someone who has been through all the games, knows their boundaries and can respect his.

Hwang Hyunjin

Similar to Seungmin, Hyunjin is not here for the drama. He is also into heavier sexual themes and needs an expeiernced partner for these. So that no one ends up getting physically (or emotionally) hurt in the process. Hyunjin isn't a dom or a sub or a switch, he's a goddamn sexual menace to society.

Lee Minho

Alright for once, Lino is a little hard for me. He doesn't give me the vibe of necessarily seeking out an older partner, as we have seen how much he loves to dom the maknaes. I can see Lino with someone around Hanji's age. That is quiet and playful enough to toy with his stoic demeanor and old enough to explore things sexually.

© COPYRIGHT 2023 by kiestrokes All rights reserved. No portion of this work may be reproduced without written permission from the author. This includes translations.

[theanimeview]

[Theory] Villains Are Destined to Die: I Think It’s a Coma (Spoilers)

Source: https://www.amazon.com/Villains-Are-Destined-Die-Vol/dp/B0B5JTTG2N?

By: Peggy Sue Wood | @pswediting

I tend to dislike “it’s a coma” theories when I read them because the idea of everything being a dream or part of a coma is overused and clichéd. However, I can’t say that these types of theories don’t have merit. I mean, a cliché becomes one for a reason, right? And, for the first time (I think) in my reading of a work, I have a coma theory.

For some context, a coma theory is a common fan theory in which the main character of a story is theorized to be in a coma. The events of the story are imagined or dreamed up by the character while they are unconscious, suggesting that the character’s subconscious is creating an alternate reality to cope with the trauma of their injury or illness. The coma theory has been applied to a wide range of fictional works and is sometimes made canonical in the work itself. For example, Bones had an episode in which the main character Booth was in a medically induced coma for a short period, and he dreamed of an alternate life. There are movies too the most prevalent example being Disney’s The Wizard of Oz (1939) adaptation wherein Dorothy wakes up from a dream at the end and exclaims that everyone around her was also in her dream of an alternate world. However, despite being a trope in fan theory communities, these kinds of theories are often dismissed, usually because of canonical reasoning.

While a coma theory is often easily dismissed, I don’t think that will be the case for Villains Are Destined to Die. Rather, I believe that the creators of the series, SUOL and Gwon Gyeoeul, intend for this story to be about a coma victim rather than a girl who has simply transmigrated into an otome-game. Moreover, I don’t think that they plan to have her wake up at the end. Let’s get into it:

For those not yet familiar with this story or those needing a refresher, Villains Are Destined to Die follows the story of a college student who is excited to start school and pursue her interest in, assumably, archeology. This college girl has a tragic backstory. Following the death of her mother, she was taken in by her biological father who was also parenting her two older half-brothers. Her relatives were not friendly or welcoming, and she seemed to suffer from neglect and bullying at home–regularly finding herself starved for attention and food. She has found some success in school and living in an apartment away from home.

While she does not have much in terms of a disposable income, she does have a single vice for the mobile otome-game “Daughter of the Duke, Love Project” that is popular at her school. She has played the game multiple times at varying levels of difficulty as the heroine, but in the final and hardest mode, she’s set to play as the hated villainess Penelope Eckhart. In this version, she’ll be given a head start prior to the heroine, and since the game is set to the most difficult setting, one wrong move could lead to death. Upon pressing start, she is able to play in hard mode a few times before going to bed. However, after falling asleep, she wakes up not in her bedroom but in the body of Penelope Eckhart. To make matters worse, there’s no reset button in sight, with options that are limited and painfully difficult to comply with, “Penelope”–the main character–has an end goal of gaining the full affection of at least one of the male leads to clear the game in a single play through if she hopes to be released from her death flag filled fate, and all five romantic interests are going to be extremely hard to charm for various reasons given her role as the villainess. Moreover, she really only has a chance up until the game’s normal/easy-mode heroine makes an entrance since the heroine has a much easier time romancing the male leads.

Source: Villains Are Destined to Die, Chapter 44

Changing The Story & Overlapping Visions

While in this other world, Penelope regularly gets a window and otome-interface, and while the choices on the interface make a difference, the otome’s story progression is not optional for Penelope, so the story will progress through the game regardless of Penelope’s agreement or disagreement. What I have noticed though is that her words have a significant amount of influence over current events and the story than the choices she makes that are provided through the otome-interface. This is the first plot inclusion that makes me think Penelope is in a coma, and not just a character that has been transmigrated into the otome game.

For example, in Chapter 44, Penelope gives game-Penelope a tragic backstory that overlaps with her own past from the real-world. This includes the events of being taken in by her biological father, the tragedy of starving and the bullying at home, as well as the dashed hopes of living a happier life with her father and half-siblings in said home. We know that Penelope is drawing on the experiences of her past because she tells us so. We also know that this Penelope is unaware of whether these events are true to game-Penelope’s past.

After Penelope overlaps her personal story with game-Penelope’s situation, this becomes the new reality of the chacater’s past as shown in a later chapter when Duke Eckhart confirms in a later chapter the tragic beginnings that current-Penelope created in Chapter 44, which included not just her real-life experiences but also a bit of potential fiction–like being in the presence of her mother’s deceased body for a period of time and eating of rotten food from the trash to survive prior to being taken in by her father.

Source: Villains Are Destined to Die, Chapter 17

Beyond the overlap of visual imagery, I believe that there is a potential argument for the overlap of the sensory experiences too. This is certainly more speculative, but not without some merit. Many coma patients, particularly those who have undergone a medically induced coma for treatment have described sensory overlap between what was happening to their bodies and what was going on in their dreams.

For example, ice packs being laid upon the body to help lower a fever being perceived in a dream as having visited a cold place or overheard conversations being perceived as a personal interaction. Claire Lucia Wineland’s, an American activist who spoke on health issues and illnesses among other things, video on this subject provides a great example:

Title: Claire Wineland Talks About Being In a Coma | Source: https://youtu.be/DRQoayUBcBE

In the literary depiction of a dreamworld or coma story, rather than multiple dreams the patient tends to have one long and continued narrative. As such, Penelope’s story of transmigrating to a game-world and staying in the dream consistently as the story progresses makes sense.

Penelope seems to get injured around her neck and other places pretty consistently and I believe that these could be examples of further sensory overlap. For example, in Chapter 2, she wakes up from a pin prick by her maid, which could be her body experiencing the real-life introduction of an IV. There is also the cut to her neck in Season 1, and an additional neck injury near the end of Season 2 that I suspect could also be related to patient care as long-term coma patients often require additional supportive care like breathing assistance and the administration of medicines through multiple veins. Perhaps, going a step further, what she experiences as arguments or unexpected visits from her game-family are actually her experiencing her real family visiting her in the hospital. This would match well with the overlapping images we see in the arguments with her second brother, and also account for some of the responses she’s getting.

Perhaps as the affection levels of the leads go up, what she’s really seeing is a softer or more affectionate side to her neglectful family. Assumably, then, the other male leads and characters could have another real-world equivalent too. Perhaps doctors or nurses, which would explain why she has a much easier time raising the affection levels of those outside the family and those in the duchy.

In The Wizard of Oz movie adaptation, there was also a high level of overlap between the real-world family and friends of Dorothy and the characters from her dream, as revealed at the end of the movie. Dorothy also had a level of impact in the world and story progression, as she made the choice to help others and often decided what the group would do (and why they would do it). This also seems to be a trope of many other examples of coma-storylines when seeing the story from the dreaming character’s perspective.

Source: Villains Are Destined to Die, Chapter 2, 8

A Chance To Change & Waking Up

The idea behind coma plotlines is typically that, in this dream, there is a chance for self-reflection and a change of perspective. If Penelope is in a coma state, then the trope would be that she needs or is reflecting on her biological family’s treatment of her and letting go of that pain. If my theory is correct regarding the affection levels, then she may unconsciously be repairing her relationships (literally) as the family comes to visit. However, Penelope is pretty clear that it doesn’t matter whether the relationships repair or not. Frankly, I don’t blame her since these characters are not really making a redeeming effort as time goes on outside of, maybe, Penelope’s personal maid.

All that matters is Penelope surviving and gaining the freedom she’s always longed for since coming into her father’s house. A freedom where she can explore her passion for archeology, enjoy a life away from her cruel family, and perhaps find the same kind of love the heroine from her favorite game experiences. This is why I think the creators don’t plan to have Penelope wake up at the end.

If Dorothy’s freedom was longing for home and the motto “There’s no place like home,” Penelope’s would be the complete opposite. With the choice to stay in a dream that ends happily as romances do, or the choice to return home–I think Penelope would choose the former because of how awful her family has been and how difficult the real-world is compared to the wonderful dream that’s getting better all the time.

That’s my theory. What do you all think?

As a side note: To be honest, I’m thinking about picking up the novel to find out. I know that adaptations to a different form often take on different story aspects or even different plots entirely, but I want to know if the same thing that has happened in the comic has occurred in the original novel text too. Out of all the transmigrated to a game-world as the villainess stories I’ve read, this one really does feel like it is trying to do the “it’s a coma” trope rather than an actual tale of transmigration and I kind of want to read about it to see if the feeling sticks. If, and this a big if, she is in a coma story, do you think she’ll wake up? That is the most typical answer, but I’m leaning heavily towards a “no,” and I’d be interested to hear if others agree or disagree with me. Well, thanks for reading!

[theaquinn-misc]

A-spec Lesbian

I decided to make my own list of things that have helped me realized I'm gay. Disclaimer: I'm not the arbiter of what makes someone an aspec lesbian, however if you experience some or most of these it's something to consider. Disclaimer 2: I've also not had a lot of experience dating so I can't include much of that here. This post will be divided in 3 sections: Men, Women and NBs and media

Men:

only crushing on "unavailable" men: married, in a relationship, much older, gay, fictional, celebrities

"crushing" on men and enjoying fantasizing about them, but not trying to flirt or even get close to them in any way

"crushing on a man" for a set period of time and then and thinking he's the hottest thing since sliced bread, but later (especially after a physical separation) finding him meh or cringey

fantasies about men having more to do with being happy and fulfilled in life and being seen as someone to be jealous of, not so much about the specific person

having a crush/attraction to a man only for him to return it and you realize that you feel uncomfortable

meeting a guy who is conventionally attractive and meets all your standards and telling yourself you are attracted to him but still feeling a weird pressure in your stomach/chest because "something is missing"

liking a guy, until he changes something minor about his appearance (shaves, does his hair differently) and then finding him basic/meh and losing all attraction to him

never understanding what women see in the men they date or like in media, at least looks-wise

finding even extremely conventionally attractive men to be kinda meh and thinking women attracted to men must be exaggerating how hot they find them

being uncomfortable when you find out a man has a crush on you and wanting him to stay away, but with women/nbs it's just a bit awkward and overall no big deal

having to force sexual and romantic fantasies for men and getting bored of them after a while

finding the most aesthetically attractive man in a group and deciding you are attracted to him (bonus points: being relieved when you find out he's taken/ and/or you could never date him for some reason)

being anxious or sad or bored when you imagine your life with a man

only wanting to date men if it's polyamorous (note: this is not to invalidate poly people, but if you can only imagine dating one gender ONLY if it's poly and having no issues to be monogamous with another gender... that might be something to look into)

getting sad/anxious/bored at the idea that your first boyfriend could be your forever partner. thinking "of course i want to experience life before I settle down"

wanting to dress sexy and reveal your body, but wanting to hide it when a man pays attention to you

Men expressing their attraction to men is more relatable than women expressing their attraction for men Women/ NBs:

finding only a few men aesthetically attractive but nearly every woman/queer/nb person (esp more femme ones) being gorgeous to you

wanting to impress and/or be liked by "special" women

going on dating apps and switching to "women only" even though you are (supposedly) bi/pan (note: some people may do this for safety reasons but if you can't even IMAGINE finding a guy off an app, even if you take all possible precautions, well...)

finding the fantasy of sharing your life with a woman/nb person far more rewarding and satisfying than the fantasy of doing those same things with a man

having some inkling of attraction to trans women pre-coming out, but suddenly thinking they are the most gorgeous people ever post knowing they are women(especially if they go on HRT),

really "admiring" masc/butch women and women who break gender roles (women in suits, women with defined muscles etc.)

thinking that everyone thinks women are more aesthetically attractive than men (hint: ask a gay man about this)

having deep feelings about a female actor, singer, teacher growing up etc. that feel special and unique

feeling guilty in locker rooms, not wanting to look at women too long

getting really excited at the idea of having a gf, or being a girl/nb person's gf/ partner but not feeling the same way about dating boys/men

wishing to be a lesbian because you think lesbians are cool and/or to avoid dating men

feeling uncomfortable feelings about the label lesbian, especially when applied to you (but not gay/queer/sapphic/wlw/nblw etc.)

not getting crushes on women IRL often because you're still aspec

getting crushes on fictional women, influencers, celebrities etc. Media:

never relating to m/f pairings even if they have bi/pan characters or the m/f relationships you see in media or around you.

shipping m/f, but thinking "that's cool for them, but I don't want that" (note: this might also have to with gender, if you're nb)

imagining yourself as the "man" in m/f ships never the woman

not relating to f/f ships with two thin conventionally feminine and usually white women (esp if you are fat, gnc, WoC, and/or are attracted to butch/masc women)

seeing posts about the attractiveness of men but relating them to m/m ships, not yourself

wanting every bi/pan character to be in a "gay" or at least, in a visibly queer relationship

only relating to m/f ships if they are more obviously queer. Like say, masc woman with a twink boyfriend (side note, I've never seen that, so if you have recs please send them my way)

only being able to get off on gay/lesbian porn, finding straight porn to be unsatisfying or boring or uncomfortable (note: porn is not a great way to determine sexualaity as most actresses are fetishized and fake prgasms, and most lesbian porn is not made for sapphics. but still) Things you are allowed to do as a lesbian/don't make you less gay:

Have m/f ships you feel strongly about

read/write m/f smut

relate to/write bi/pan characters

joke about liking celebrity men & fictional men

not be attracted to the women the lesbian community has decided are the hottest thing since sliced bread (Kristen Stewart is not everyone's type)

not be comfortable with certain sex acts or sex as a whole

[azuresins]

I was wondering, can you explain in more detail about what exactly the Fenian Cycle is ... and what version you think our!ciel is reading?

"The Fenian Cycle" is the third of a series of cycles... The order is, the Mythological Cycle, the Ulster Cycle, the Fenian Cycle, and then the Cycle of Kings. These "Cycles" refer to a collective... bodies of literature/stories pertaining to specific time periods in Celtic Mythology. In the case of the Fenian Cycle, the stories are about Fionn mac Cumhaill and/or about members of the Fianna, his band of hunters / warriors. This includes his family and sons, as well. (The Fenian Cycle, is also called the "Ossianic Cycle" after Fionn's son, Oisín.) There are thousands, of different stories, and/or versions of these stories. If you come across any story that has Fionn in it, or members of his family, or the Fianna... it's a part of the Fenian Cycle. Some of these stories, are older than others... and some of them, have been adjusted, expanded upon, amended, and also Christianized. They've been copied down, and spread... many times, in many different books. There's never going to be any "official" set of stories because many people have very strong feelings about which stories, and which version OF the stories, are "authentic."

As for Kuroshitsuji...? A publication titled "The Fenian Cycle" didn't exist in the 1800s as far as I know of, so it's likely a fictionalized published book-- one that only seems to exist in the context of the manga (I am sure others have pointed this out). My best guess, is that Our!Ciel is reading a book, that is a modest collection of the most popular and well-known stories, pertaining to Fionn Mac Cumhaill that have been organized, translated from Gaelic into English. I'd also assume this book is a part of a set (featuring similar collections for the other Cycles). * * * That's why I sometimes wonder, which specific stories are in there. We already know this book is deeply sentimental to him. Sometimes I get curious about how the stories were translated in the context of the kuro-universe, what his understanding of the stories are, what his understanding of the celtic underworld is.

[maxwell-grant]

So, having pulpified the World's Finest, will you be moving on to the third member of the DC Trinity? And are you averse to continuing in this vein with the rest of the Big 7?

Anon asked: What reinventing Wonder Woman as a pulp hero? Would she be the ultimate challenge or significantly easy?

Don't think I'd have as much to say about the others and then I'd just be making up new characters which is, what I'm already doing with these anyway. Maybe I will at some point if prompted,but anyhow, I knew I was gonna have to get around to Wonder Woman, so let's do it, and let's make it 3 like the other two:

Wonder Woman is considerably more difficult than the other two because with Batman and Superman you have reasonably charted road maps connecting them to pulp characters they're already created from, where as Wonder Woman's roots are older, far more rooted in myth and fairytale and fantasy, which risks muddling up the concept as to how "pulp" this pulp hero Wonder Woman can be (and I already do that a lot). Picking facets of Wonder Woman's basic traits to compare and reinterpret is gonna be a little harder than it was for the other two. There's not really much to go off by looking for Amazonian characters, since the Amazons tended to be written as very basic villains in fiction before Wonder Woman, and subverting that was part of the point of Wonder Woman in the first place. And if we try to find female protagonists in the pipeline of American pulp fiction as a reference point, we're gonna come up painfully short. As I've argued before when asked about female pulp characters, you really gotta know where to look, so we're gonna have to expand our options considerably to make this

One place we can start is by going for the biggest thing upfront Wonder Woman has in common with several of the more popular pulp heroes: A general involvement with a World War, and let's go with World War 1 since that's the one that actually figured the most in the creation of pulp heroes at the time, not contemporary pastiches. Unsurprisingly, there were many, many folk tales, legends and myths being passed around in the fields and elsewhere during WW1, some of them older legends resurfaced, and others were entirely made up. The Chimera Brigade uses this as a central plot points and in particular this has also helped that series add an odd authenticity to it's pulp characters, and maybe this is something that could work at first for an pulp hero take on Wonder Woman.

Wonder Woman as The Proto-Superhero Folk Angel of Wartime, the living myth of dreamland that coalesces into human form to save us from the sins of our fathers and rulers. Easy to dismiss as a faceless hallucination up until the moment she saves a village by wrestling a tank into scrap metal.

(Wonder Woman art by Paul Sizer)

A Wonder Woman who first became active circa the 1910s, during the same time period as dime novel detectives like Nick Carter, emerging master villains, and odd proto-superheroes like The Nyctalope and Sar Dubnotal, which she has more in common with. She's entering a turbulent world for the first time and the problems she needs to address seem beyond the scope of any man or woman, and maybe part of the story could be about her having to figure out exactly that. Maybe she's not ready for the world, or the world isn't ready for her, but here she is, and with the world bombing itself into nothingness she's running out of time.

Sometimes a lot of what differentiates pulp heroes from superheroes comes down merely to perspective, of who gets to tell the story about the extraordinary figure and what setting or context surrounds them, so we're going here with what is sort of a more straightforward take on Wonder Woman, but warped and told from the varied perspectives around her. Soldiers on the battlefield being saved by her, nurses in battalions reporting a mysterious young miracle worker by the name of Diana Prince and patients breathlessly talking about the glittering angel that saved them, detectives trying to crack the case of the latest ghost story or potential master villain, master villains sensing that this apparition can rock the foundation of the world as they know it or even be something they can exploit. This is a Diana who you could place having a complicated rivalry with Irma Vep of Les Vampires, or even at the crosshairs of Fantomas, the evil of man's world personified.

The next alternative is to turn sights on the more sci-fi end of these and align a story centered around Themyscira and Wonder Woman's mission with a pulp sci-fi utopian vein, and the main inspirations that come to mind here would be the more political and social-minded strands of utopian pulp sci-fi, like "The Sultana's Dream" which reads very much like an earlier take on Themyscira, or Bogdanov's The Red Star, which is about the protagonist's journey to a communist utopia on Mars where blood is shared among it's inhabitants, to learn from their example as well as impart his own, modeled after Bogdanov's own beliefs as well as his career as a physician who would go on to establish Russian's first blood-transfusion institute, and I bring this up as a parallel to Marston's own background with the invention of the polygraph and the influence it had on the character.

Wonder Woman as The Sci-Fi Utopian Manifesto Agent, the ambassador of a revolutionary way of living, who's here to show us how to follow it forward through science, diplomacy, and political and social liberation, whether it's Star Trek day-to-day adventures or an in-depth political exploration of Paradise Island as a concept with real, significant political power to it. And yes, I will have to point out how a lot of these sci-fi utopian tales also can read a lot like pro-colonial tracts about how great it is to have primitives drafted into a superior culture the author agrees with, and yes, that is also a thing Wonder Woman courts having in common with, it is inescapable given the character was designed with the fundamental goal of transforming the world according to the creator's viewpoint and perspective.

I bring this up not to pass judgement, but because Wonder Woman was a character built on radical and controversial and yes, even uncomfortable ideas, and so were these stories I'm using as a reference here. These are, by design, political fantasies and manifestos using the pulp medium to get away with unconventional ideas and stories, starting a discussion or even controversy is their point. Wonder Woman was a character designed to trojan horse radicalism into the funny books, so the idea here is to simply ditch the trojan horse and see where it goes. Not to reiterate Marston's viewpoints or politics, if anything this is where you're supposed to fill in with different ones to try something new, but fundamentally this is a Wonder Woman who has to be About Something and who puts Paradise Island front and center, and with it, the suggestion of a world that can be arranged differently, and perhaps in better, ways than ours.

It portrays Ladyland—a utopian (or, perhaps, dystopian for some) state with mirrored gender hierarchies: the country is ruled exclusively by women who fend off men preoccupied with predatory attitudes, repel enemy strikes, and eradicate crime. Ladyland has enacted general education for women, alternative environmental management, and the use of eco transport.

The visionary story published over a hundred years ago in the English-language women’s journal The Indian Ladies’ Magazine, the first of its kind in British India, has long become a classic of feminist literature in South Asia, anticipating not only the women’s liberation movement but also the environmental agenda which is generally considered compulsory today.

(Images counter-clockwise: cutout art representing Rokeya Sakhawat Hossain's "The Sultana's Dream" drawn by Chitra Ganesh, "Wonder Woman: Historia" by Kelly Sue DeConnick and Phil Jimenez, and a cover for Alexander Bogdanov's "Red Star")

One notable early example of Indian science fiction is Rokeya Sakhawat Hossain’s “Sultana’s Dream” (1905). Set in a future, women–dominated utopia called “Ladyland,” Sultana’s Dream is about the conflict between the women of Ladyland, who are the scientists of the country, and the men, who rebel against the women and form an army but are defeated by the science of the women and forced to retreat into purdah. A similar utopian sentiment appears in Tekumalla Raja Gopala Rao’s Vihanga Yanam (1910), in which the Indian woman Padmavati designs and creates a technologically–advanced submarine, not unlike Captain Nemo’s Nautilus, and travels to the bottom of the sea. She gathers an enormous amount of wealth from shipwrecks and uses this money to transform Indian into a techno–utopia - Women in Pre–1947 Chinese and Indian Horror Fiction and Film, by Jess Nevins

Red Star follows the journey of Leonid, a Bolshevik revolutionary who is offered the chance to go to Mars and, once there, encounters a utopian socialist society explicitly posited as the immediate, achievable future of humankind on Earth. (Bogdanov's) description of Martian society is at once located in humanity’s present and future—it is in the present day, but the Martians represent humanity’s immediate developmental end goal. Blood transfusion as a technique was one that Bogdanov not only described, but intended to implement among his own society, specifically with the intention of bringing about the socialist utopia described in his novel - Economic Circulations: Blood-Based Systems of Value in Alexander Bogdanov’s Red Star, by Virginia L.Conn

And the final one we're going with is taking a step back from the character's intent and history to laser focus on Diana as a character. Specifically, a public domain Wonder Woman, shut off from the rest of the DCU and the Justice League, and perhaps even shut off from Themyscira. Maybe for this one we can run with an angle more akin to takes where she's exiled, or something akin to the original backstory for America Chavez, who was explicitly designed to be Marvel's modern riff on Wonder Woman, where the utopian homeland was there and it matters but it's something she can't go back to, and can only carry with her as part of her dual heritage. The intent here is to push Diana closer to the knight-errant archetypes you see in pulp fiction, the cowboys and youxia / wuxia folk heroes and sword-and-sorcery wanderers striding their path across the world wherever it will take them (by no means am I suggesting sword-and-sorcery as an influence past this specific aspect, get rid of that stupid fucking sword by all means). Stripped of the superhero signifiers and context, even if still fundamentally one.

(Top images left-to-right: Do Ha-Na and Chu Mae-ok from The Uncanny Counter, America Chavez by Jung-Geun Yoon, Wonder Woman (1987) #75)

(Bottom images left-to-right: Heo Im from Live Up To Your Name, Chu Liuxiang, Wonder Woman by Mike Becker)

Wonder Woman as the Fantasy Knight-Errant Liberator. Like the pacifist take on the swordsman bandit seen in Chu Liuxiang, who only ever fights with a steel fan to block and parry attacks, robs from the rich to help the poor and solves mysteries with a cool head and a large network of friends and allies. Something like Heo Im from Live Up To Your Name, the superhumanly-skilled Joseon acupuncturist who is thrown across space and time into modern times to experience not just personal growth, but the thorough understanding of medicine necessary for him to literally write the book on it, who makes for a deeply compelling and versatile blend of cool, funny, kind and tragic as a protagonist. Or something like the Counters from The Uncanny Counter, who operate as superpowered agents of heaven in stopping and exorcising evil spirits who latch onto wicked and vulnerable humans and patching the wounds left by both, dealing with financial and social crimes and protecting victims of economic exploitation and injustice as much as they have grueling fistfights with possessed telekinetic serial killers, even to save them from themselves. Maybe some design cues from the Counters' striped hoodies or America Chavez, the dimension-hopping, star-spangled gay jock powerhouse who can go anywhere and do anything (and who suffers from the exact same problems as WW does in that they can't stop fiddling with her backstory and piling baggage that's actively detrimental to the character).

You take Diana, the teacher, redeemer and diplomat whose core strength is the concept of truth and her ability to see and expose it, who's out to dismantle all systems of violence and actively pursues social justice and forward-minded activism, who goes out looking for new experiences to better learn and understand the world around her and treats a minimum-wage gig serving tacos with unwavering and unselfconscious dedication and commitment that she uses to tackle a mythological and epic playing field.

Someone who faces forces of allegorical monstrosity and mythological metaphor and embodiments of bigotry. Someone who interfaces with politicians one hour and tends to soup kitchens in the next, who opens shelters and goes palling around with the Holiday Girls, someone who rides around on invisible jets and swims with sharks and turns enemies into friends. Someone who knows for a fact that a better way of living is possible because it's where she comes from. Take these ingredients and play around with them, modernize them, because Wonder Woman must be facing towards the future, and the intent to fashion a kinder, more loving, better one.

And hey, not only does she already have the perfect tool for the job in the lasso, but she's even got a distinct ride and animal companion to go around righting wrongs with and striding into the sunset with.

(Left-to-right: Justice Riders Wonder Woman by JH Williams, Jumpa art by Yasmín Flores Montañes)

[addomfarm-ogf-updates]

Siblings and Questions Tag!

Thanks to @spideronthesun for the tag. (x) I loved getting to read about the absolute Boys for a bit.

I’m going to put the spotlight on Frame (she/her) and Leigh (he/him), since they’re the only siblings I’ve got marked down!

1. Who looks the most like Dad?

Leigh inherited more of their father’s traits than Frame did. Frame’s got his jaw, though.

2. Who looks the most like Mom?

Frame. But they both have their mother’s eyes.

3. Who eats the most?

Leigh. The men are expected to be big and strong. He simply must bulk up.

4. Who has been in the weirdest situations?

Frame has a costume of an in-world fiction character. She puts it on to engage in chicanery. She likes to steal animals and generally be loud while holding onto them.

5. Who sleeps the most?

Frame sleeps for ages and ages. Leigh gets up early to start most days. He’s expected to be sufficiently rested with the minimum number of hours.

6. Most stable romantic life?

Leigh’s had a non-zero amount of crushes in the past, but most recently, he has been set up with a lovely young woman named Trust (she/her), from the nation Estray. She’s served as a great confidant to Leigh, and he offers an aura of stability for her. Frame is another story: While she expresses great enthusiasm for her crushes—who are many—she finds it difficult to hunker down on just one. She wants them all! She does eventually “settle down” on Slate.

7. Worst habit of each one?

Leigh tends to be hard-headed and dismissive of others. He doesn’t like to be told what to do. Trust has softened him up a bit, though. Frame is often single-minded, only considering what she wants and what will make her happy. This makes serious discussion a struggle, pushed further by her distractibility.

8. Who’s the most dramatic?

Leigh can really huff and puff when he’s miffed, but Frame is far more expressive more of the time.

9. Who had a weird phase?

Leigh once had a phase where he tried to eat just about anything that wasn’t food, to prove that he would be fine afterwards because of how powerful his body is. Frame is consistently considered to be weird. Her “weird phase” was a period of several months where she didn’t behave in any remarkable way whatsoever.

10. Best cook of the family?

Leigh is the only one of the two who knows how to cook anything, and it’s mostly meals made of wild animals and plants.

11. Best memory together?

During her “normal phase”, Frame helped Leigh learn how to do a particular dance—The Feather Bridge—for an upcoming Festival of Shucked Husks.

12. Worst memory together?

Frame needed comfort one day. Leigh was unable to provide. He yelled at her. She doesn’t ask him anymore.

13. Dream trip together?

Leigh and Trust ride out with Frame and her partner to a lake. They all drink peachwine and dance and laugh together. Leigh puts on a sword-balancing act for everyone. Trust shares facts about the animals they see.

14. Would you rather not be able to shower for a month or have the same clothes for a month?

Frame would go mad if she only had to wear one outfit for a month. She needs some variety. Leigh’s actually done it before, but that was a particularly bad month for him. He chooses the same as Frame.

15. Who’s the older one?

Leigh.

16. Role model?

Frame looks up to their mother. She wants to be just like her… or rather, have all the things and the love she has. Frame doesn’t know how to actually be like her. Leigh looks up to their grandfather. They didn’t get to see each other when the old man died, but he has fond memories of his grandfather’s stories of conquest. Leigh’s parents always disapproved of grandfather.

17. Who usually has the worst ideas?

Frame has a few cockamamie schemes that end in disaster. She doesn’t consider how it might affect the people around her. Leigh has a worse time planning to accommodate others’ needs. If he’s in charge, he tends to neglect the people he’s working or traveling with.

18. A GIANT insect is on the wall, who’s taking care of it?

Frame would call out for Leigh. He’d say “what” from another room. She’d call out louder this time, and with a touch more urgency. He’d reiterate his point: “What”. He only comes in on the third, loudest “Leigh!” She’d point to the intruder. He’d inquire if her limbs are too broken to take care of it herself. She doesn’t want to touch it. He grabs a cup and sweeps it in. (If Trust is there, she scoops it up as soon as she sees it, and speaks softly to it on their way out.)

Tagging: @apolline-lucy @cowperviolet @sentfromwolves and anyone else who wants to!

[funnuraba]

I read looked through the Japanese translation of Summer Lightning! This was done by Morimura Tamaki, who also does the Jeeves translations.

Personal Pronouns:

Usually fictional characters use just one single personal pronoun to show what their personality is like. Here, most of the characters actually do it more like you're supposed to in real life, and switch it up depending on their relationship with the one they're talking to.

I'm just gonna link to TVTropes if you're not familiar with Japanese personal pronouns... I know, I know, but it's helpful to have examples of which fictional characters use which pronouns. If you already know the Blandings cast well, this won't teach you anything new about them, because the choices all make perfect sense.

-Hugo: Boku 僕, polite masculine. Uses the more assertive masculine ore 俺 when speaking to Ronnie, since they're two men and old friends. Also briefly slips into using ore with Sue, partway through his first brandy and soda

-Beach: Watakushi わたくし, extremely formal, part of his butler manners

-Millicent: Watashi わたし (ends sentences with -wa) (standard personal pronoun)

-Lord Emsworth: Washi わし (stereotypical old man pronoun. He ends sentences with -ja and generally uses old man speech, not as formal as one would expect from an earl)

-Lady Constance: Atakushi (!!) あたくし, uses -wa and -kashira (Atakushi is very rare in fiction! Basically a super formal and feminine "I".)

-Gally: Ore 俺. He very cutely switches to the friendly, non-threatening Boku immediately upon meeting Sue

-Sue: Atashi あたし. Standard, more casual and decidedly feminine than watashi. She uses watashi when undercover as Myra Schoonmaker (in fact, she uses it right away upon her encounter with Lady Constance at Ronnie's place in London: it's about upping her politeness level, not putting on an calculated fake personality)

-Ronnie: another Boku. Unlike Hugo, he doesn't switch to Ore when they're talking man-to-man.

-Baxter: Watashi in kanji, 私. I don't know exactly what this means compared to Millicent's hiragana watashi, but clearly whatever difference there is must be the difference between Baxter and Millicent. I'm sure part of it is giving him a businesslike tone, because see below:

-Pilbeam: Also uses watashi in kanji at first; he's on the job so it's the appropriate level of formality. When confronting Sue he switches to ore. He keeps using ore while Ronnie is trying to pull his head off, since this is not occurring in a professional capacity

-Sir Gregory: Ore in Galahad's memories, wagahai 吾輩 (!!!) in the present. He uses the same -ja style of speech as Lord Emsworth, but with much fancier pronouns for "I" and "you". Wagahai sounds very self-important, even considering the time period. (His "you" is onushi! Most of the other characters use pronouns you could hear in real life, but Sir Gregory's are not words people use anymore.)

Titles/styles of speech

-Lady: Lady in English

-Sir as in Gregory: Sir in English

-Miss Millicent: Millicent-jou

-The Honorable Galahad: Galahad-kakka

-Lord Emsworth calls his secretary Hugo "Carmody-kun" to show the employee relationship, whereas in English he's just Carmody

-Connie uses "ano ko" referring to Ronnie when she says he'll pick her up in London; cute

-Error: Connie and Galahad are referred to as otouto and ane. In Japanese you can't avoid referring to sibling birth order like you can in English, so the translation has taken the stance that she's older than Galahad. This is probably based on the family tree that I said some months ago was set up a little dodgily, because it seems to put the Threepwood siblings in birth order; in actuality, Constance is in her mid-40s and Galahad is nearly 60, but her age is only given in the previous book, Leave it to Psmith. (To be fair, Wodehouse himself often lost track of how old Connie is supposed to be, and this book mentions her having a "mutual nursery" with Lord Emsworth)

(Family tree as it appears in the Japanese Summer Lightning:

My Two Cents on the Threepwood family tree:

Is there some fun reason hyperlinks don't work on tumblr mobile anymore? I tried to put these into the text, but I just keep getting "OOPSY POOPSY! WE MADE A WIDDLE FUCKO BOINGO" type error messages)

-Galahad's "my dear" to Millicent: "Kawaiko-chan"

-Gally calls his older brother Clarence as in English; this is not altered to fit the way Japanese siblings address each other (a younger sibling would only call their older sibling "big brother/sister" or "name-big brother/sister". When addressing Clarence, he sometimes uses "Nii-san" to replace the English "you", and sometimes "aniki". Both mean an older brother, with aniki being less formal.

-...Lady Constance uses the respectful and formal Oniisama for Clarence, but she seems to avoid it wherever possible. When she does, it's usually while insulting him, and she really piles it on to the point to the point of sarcasm. Like Galahad, she addresses him as Clarence. (The occasions when she calls him "Lord Emsworth" when speaking to those outside the family are preserved; Gally does not do this, just calls him Clarence)

-Lady Constance switches from Carmody-san to Carmody-shi when she tells Millicent about Hugo and Sue: a more distant way of saying "Mr." that's used in newspapers and suchlike

-Hugo calling Lord Emsworth "the old boy": Oyaji-san.

-Lady Constance calls people anata

-Millicent and Ronnie call their significant others kimi; Sue calls Ronnie and Hugo both anata; Hugo calls Sue kimi, Ronnie and Hugo call each other omae

-Ronnie calls Lancelot Threepwood 叔父さん, meaning Lancelot was younger than his own mother Julia; this isn't incorrect, but we have no idea of Lancelot's age from the English text (but note that Ronnie uses -san for his uncles instead of -sama like Millicent).

-Clarence and Gally to him are 伯父さん, meaning they're older than Julia, which we know for sure.

-Millicent to Ronnie is 従姉妹, female cousin with no statement about who's older

-Sue calls her mother and father Mama and Papa in Japanese, rather cutely. However, in English she uses Mother and Father.

-Ronnie calls Sue's father the casual Otou-san, then switches to the super formal, upper crusty Ochichi-ue--not immediately when he finds out Cotterleigh was in the Irish Guards, but sort of as he goes on talking. Actually, chichi-ue is how one would talk about one's own father--Ochichi-ue is kind of a level beyond, like "your esteemed father".

-Connie to Ronnie is 伯母さん, meaning she's older than Julia; a single, rather vague line in The Crime Wave at Blandings seems to confirm this.

-When Sue says "So that was Aunt Constance!" she uses Oba-sama, but later on uses -san instead

-Ronnie's "old thing" to Sue is "kawaiiko-chan"

-Baxter calls Lady Constance "あの方" when asking Ronnie to mention him to her: super formal "he/she/that person". However, with Ronnie he doesn't use the full formal speech that he does when speaking to her and Lord Emsworth, reflecting how he only calls Ronnie "Fish"--when employed by the family, he presumably used Mr Ronald when necessary. One thing to note in ~Baxtance News~, she calls him anata as she does for everyone else, and he is so incredibly formal that he doesn't use "you" for her at all. He addresses her by name or omits the subject of the sentence entirely. At the very end of the book he gets so upset that he starts using "anata-tachi" (plural you) as a catchall for the family, but his choice in personal pronouns for Connie specifically is "none". Just "Lady Constance".

-Ronnie switches to formal honorific language when asking Lord Emsworth for money to start a pig farm.

-Beach's "sir" to Ronnie: "Waka-sama", used for the young men of a wealthy household. In English, all of his lines contain the word "sir", consistent with servant etiquette, but Japanese doesn't have an exact equivalent, so some of the sirs are dropped instead of putting waka-sama in every line. "Mr Ronald" is of course Ronald-sama. Beach uses Kenjougo, the humblest form of honorific language, to show his status as a servant. (I presume Jeeves does this as well)

-Galahad calls Constance his aneki, a rather rare word that matches with aniki, a word for big brother or an older friend that's quite common in fiction. Aneki isn't.... rude, exactly, but it's not what you'd expect someone from such a family to call their older sister. It matches Galahad's personality, but not his position. (But remember, they're not actually supposed to be older sister and younger brother!)

-Lord Emsworth calls people omae; in one case he uses kimi for Baxter while Beach is accusing Baxter of hallucinations and they're trying to be conciliatory lest he murder them

-Sir Gregory calls people omae as a young man in Gally's memories, but uses onushi (!) for the other high-borns in the present day. For Pilbeam he uses kikun, which I genuinely had never heard of before!

- He calls Pilbeam "Pilbeam-kun" instead of "Pilbeam-san" due to his own high status and the professional relationship. Note that Lord Emsworth's "Carmody" and Sir Gregory's "Mr Pilbeam" both become "(Name)-kun" even though the English makes a distinction between how they're addressed

-Gally calls Sue anata at first, then switches to kimi upon learning her true identity

-"that young poop": noutarin, simpleton

-Baxter drops the honorific speech when talking to Beach, a mere servant, but maintains his use of watashi; in other words, no matter whom he's talking to, he doesn't have an "off mode" the way Hugo does where he uses a more casual first person pronoun (for the record, he uses kimi to address Beach)

-Pilbeam calls Ronnie anta, a bit less polite than the other options, which is understandable given that their conversations happen through a cabinet door. Ronnie began the confrontation with omae, but switches to using anta as well once Pilbeam does it

-For the entire Pilbeam-getting-drunk scene, he uses ore and calls Beach kimi

-In Gally's final conversation with Connie, the one he reports to Sue at the end of the book, he calls her (Connie) anta

Other notes

-Throughout, words like bally and blasted become kuso imaimashii ("annoying damn"), and kawaiko-chan ("sweetie, cute little one") does overtime as all sorts of little endearments that don't really exist in Japanese: pet, angel, dear.

-It's marketed as "English humor", and it definitely sounds very much like something that's been translated. The original sentence structure is preserved as closely as possible, and just about every use of "he" or "she" left in, where Japanese ordinarily would drop these words as soon as the subject has been established. "Also, when," I explained, "Wodehouse splits up a line of dialogue in this particular format, the line is split at the same point in Japanese."

-I would say one thing that's slightly lost is how smart Baxter sounds in English. He has a very elevated vocabulary and uses all kinds of complex sentence structure with flawless, formal grammar that makes it clear he's on a higher intellectual level than the other young men around him who presumably went to "better" schools. In Japanese, the equivalent of how he talks is using the standard honorific style that anyone can learn at least in theory, so he doesn't stand out quite so much.

-'Tea?'

'Yes, your lordship.'

'Oh?' said Lord Emsworth. 'Ah? Tea, eh? Tea? Yes. Tea.

Quite so. To be sure, tea. Capital.'

お茶かの？

はい、お殿様

ああ？あぁ、お茶？お茶か？へ？ほ、お茶じゃ。まったくそのとおり。確かにお茶じゃの。素晴らしい。

"Ocha kano?"

"Hai, otono-sama."

"Aa? Aah, ocha? Ocha ka? He? Ho, ocha ja. Mattaku sonotoori. Tashikani ocha ja no. Subarashii."

-Lord Emsworth's "Capital": Subarashii

-"Good God!": Nantaru koto!

-"My dear": "Nou kawaiiko ya" for Millicent, "Nou, Constance ya" for Constance--used when he's addressing them using only "my dear", basically saying "Hey, (name), if you don't mind....?"

-Clarence's "my dear fellow" to Galahad: also nou.

-"(God) bless my soul!": Also Nantaru koto ja!

-"The Empress is in excellent shape" "I didn't know she had a shape": translated quite literally, to my surprise!

-"The old pest": あの疫病神

-"A Pink 'Un. A Pelican.": extraordinary research here, this was correctly translated into "A member of the Pink 'Uns. A member of the Pelican Club." Most English readers today probably don't know what those lines are even referring to. I sure didn't.

-Some references unfamiliar to the Japanese audience are cited in the text, eg "He had heard the chimes at midnight" gets a parenthetical "from Henry IV pt 2, Act 3 Scene 2."

-The line about foxes gnawing at Connie's vitals is not given a citation; I wonder how many Japanese readers know the reference to that unusually determined Spartan boy?

-Wodehouse was perpetually misquoting Walter Pater, who said that the Mona Lisa was the head on which all the ends of the worlds are come. Wodehouse turned this into "on which all the sorrows of the world had fallen". His misquotation is correctly cited to Pater's The Renaissance.

-Lady Constance's gesture that is not quite "wringing the hands" : 両手を揉み合わせる.

-"Most wonderfully capable man I ever met": バクスターさんはあたくしが今までお会いした中で、一番最高に有能な方でいらっしゃるわ. (Basically the same, but the gender-neutral 方 instead of "man" makes him the most capable of anyone, man or woman! Capable and efficient become the same word, yuunou; The Efficient Baxter = Yuunou na Baxter.

I think Lord Emsworth's witty rejoinder, "Yes, capable of anything," is somewhat lost as そのとおり。有能じゃとも。: "Yes, he certainly was capable!"

-LORD EMSWORTH CALLS BAXTER "キチガイ"?!?!!? Since the 70s, this has been like, a slur level, censored-on-radio-broadcasts word for "crazy". It would have been accepted in the 1920s, but it gave me a shock seeing it here. (And Japanese doesn't have many words that actually get censored--most of their swear words can be used even in children's entertainment. That's why you see so many amateur translations putting "FUCK SHIT ASSHOLE!!" into comics that are printed for 10 year old children.

-"He pottered off pigwards": 彼はぶらりとブタ方向に歩き出した。The "burari to buta" creates the same alliteration.

-"A dull young man, I should have thought."

"Deadly."

"Vapid."

"Vap to a degree.":

「退屈な若者だと思ってるってことでいいのかしら」

「死ぬほどによ」

「つまらない男だわね」

「かなりつまらないわ」

"A dull man." (With sentence ending meaning "right? Wouldn't you say?")

"Quite dull." (With assertive sentence ending)

Not really the same level of slanginess in Millicent's responses, but "vap to a degree" is difficult to translate!

-"I dislike him extremely." : "Atakushi wa ano hito ga, daikirai da wa." (Autocorrect tried to make that "ano Hugo ga daikirai" lmao)

-"I talk pig to him": Boku wa kare to buta-talk wo yatteiru.

-"I don't get your drift." "I shall continue snowing," said Millicent coldly: 「君がそんなに冷たいわけがわからないなあ」

「わたし、雪みたいに冷たいんだわ」ミリセントはひややかに言った。: "I don't understand why you're being so chilly." "I mean to be as chilly as the snow," said Millicent coldly.

Full original joke is probably untranslatable, but the "coldly" joke remains

-Hugo's speech where he describes himself as a brother to Sue four separate times uses a different version of the word each time in Japanese--cute trick. 兄妹みたいな、兄貴みたい、兄妹愛、兄さんみたい。He specifically says an older brother in Japanese, btw.

-"He means to do right by our Nell": reference untranslatable; "He's going to do right by me."

-"If I look round" "You couldn't look any rounder if you tried" also works literally!

-"Precious angel lambkin": すてきなエンジェル, wonderful angel, with angel in English

-"Oh, my sainted aunt!" is given literally without explanation, but it doesn't really need one since the following line already explains to readers that it's a "familiar phrase"

-Comparison of Lady Constance to Apollyon straddling quite over the whole breadth of the way is not cited to Pilgrim's Progress; Apollyon is given as アポロン, which I believe is the Greek god Apollon? Possible error there

-Hugo spells out Mario's for Sue rather morbidly: M as in mange, A as in asthma, R as in rheumatism... In Japanese, Mario separates into MA RI O instead of M A R I O, so he uses Ma as in Malaria, Ri as in Rheumatism, and O as in otafukukaze: the mumps.

-"Sweet darling precious pet": kawaiirashikutte daiji na kawaiko-chan

-"By Gad, he meant to say! By George! Good Gosh!": Nante kotta! Kare wa omotta. Nante akireta! Konchikushou da!

-The Viking term Berserk and the Malay term Amok are both cited for readers

-Hugo calling Ronnie "old loofah" is translated literally: "Kono hechima tawashi yarou!", "you loofah jerk/bastard". A bit more like he's calling him out than the English, where his tone comes across like "aw, c'mon now!"

-"Poor little Sue": kawaisou na kawaii Sue, "poor cute/dear Sue" (for reference, kawaisou and kawaii are not the same word)

-"Little worm" for Pilbeam is translated literally: chibi no imomushi

-"My dear chap!": "Oi, omae!", "Hey, you!"

-"You poor fish" (Hugo to Sue): wakaranko da naa, you silly girl

-Slimy, slinking, marcelle-waved-by-product Pilbeam: ano zuruzuru kosokososhita, marcelle-wave atama fukusei seibutsu yarou no Pilbeam. Basically literal.

-"Young Parsloe": Parsloe no yarou, that jerk Parsloe. Same tone, but doesn't quite convey that Sir Gregory used to be one of the younger men on the London scene compared to Gally who's a bit older

-Funny moment: Gally says "Parsloe Parsloe kurikaesu no wa yamete". This is *not* his full surname Parsloe-Parsloe (which would be written asパースロー＝パースロー), but simply the one Parsloe repeated.

-Galahad calling George Cyril Wellbeloved "Brotherhood" is left as is. I don't know if Japanese readers would understand this.

-"As hot as mustard and as wide as Leicester Square": all the key words here are written using their loan word version. Hotto, masutaado, Resutaa Sukuea, waido.

-"Tough nut": 食えた男

-"Parsloe, you sheep-faced, shambling exile from Hell, disgorge that pig immediately!": このヒツジ顔の地獄のヨタヨタ追放者めが」...「あのブタを早く差し出せ」. Basically literal

-Sir Gregory also uses k*chigai for "mad as a coot" and all synonyms

- Re Gally speculating that Sir Gregory's house will be struck by a thunderbolt: I wonder if Japanese readers would understand his reasoning, or if it seems like a non sequitur?

- When Sir Gregory says "Konchikushou" (dammit/damn him/etc) he uses the kanji! Rare to see it written like that, gives it a pretentious and old-fashioned tone (Lord Emsworth also says it like this)

- "That old fossil", "that old weasel": translated literally

- I think another Millicent-Hugo joke is lost: Hugo says she once told him there wasn't another man like him in the world, and she responds, "Well, I should hate to think that there was." Japanese: "I hate to think that there was such a time."

- Little typo: Gally, when fakelu saying that there's lots of good in young Parsloe, addresses Constance instead of Clarence as in the English text

- Constance in this convo telling her brothers about the invitation from Parsloe has been speaking a bit casually with her family members, and then in her last two sentences switches into honorific language to address Baxter ☺️☺️☺️

- Baxter's line about giving Beach the letter is more explicit in Japanese; he starts to say the word for "letter" before cutting himself off, instead of the English "I gave him a--"

- When the Empress is wondering if Millicent is the one bringing her an evening snack, we actually read her inner thoughts, which have a very distinguished and formal tone: さながら貴女のおやつの運搬人なのですか? Might you be the individual bringing my afternoon tea?

- Japanese uses the same word for mice and rats, nezumi. So when Wodehouse says, "Another rat--unless it was an exceptionally large mouse..." Morimura has to say, "A huge nezumi--unless it was an extra-large small nezumi..."

- It still kinda sounds like Hugo and Millicent are banging on the floor of the gamekeeper's cottage 😭

- "This is pure apple-sauce": also translated literally!

- "Old Pop Parsloe": Papa Parsloe (パパパースロー). The "old Parsloe" immediately following: Parsloe-jiisan

- "This chopping and changing, this eleventh hour alteration of plans, these sudden decisions to remain upstairs when they ought to be downstairs, were what made women as a sex so unsatisfactory.": .... definitely still sounds a lil gay in Japanese

- Connie "having a fit" over Hugo and Millicent's engagement is translated literally as her having a seizure 😭 Maybe they should call it off after all....

- Millicent and Hugo's "At-a-boy!" "At-a-baby!": "Nante suteki na hito!" "Nante suteki na baby!"

- Baxter speaking to his own immortal soul is given as a direct quote, in which he doesn't use his habitual keigo. A casual relationship, one presumes.

- Lady Constance's heeby-jeebies are given directly in katakana: hiibii-jiibiizu. Billy DeBeck's 1920 coinage is cited parenthetically.

- "Potty" is given as k*chigai, so something tells me that the Duke of Dunstable is going to be off the charts with the slurs

- The March Hare and Mad Hatter are not explained; I assume 'Alice' has plenty of cultural saturation in Japan

- Connie goes from formal to casual when asking what Lord Emsworth saw vs when he announces Baxter is climbing the building and she calls him an idiot (not just baka, but oo-bakamono: a colossal fool)

- Lord Emsworth's "my dear fellow" to Baxter while holding a rifle upon him: "Nou omae-san"

- "Don't point that damned thing at me!" No honorific speech from Baxter here either

- Baxter being called Lady Constance's idol: the kind of actual physical idol that is worshipped as a deity 😊😊😊😊😊

- I can't really catalogue every switch in personal pronouns or speech style in this scene; it's all over the place depending who's talking to whom in what tone

- Connie starts piling on the "oniisama" again, still clearly being sarcastic and condescending

- "Her name is Brown!": that one line is in formal speech; after that Baxter drops all the formalities 😭 He goes back to formal speech in his next paragraph, but his last two lines to Ronnie are fantastically rude in a tone that's usually translated as cussing: どこ見て歩いてやがる？　デキの悪い大バカモンめ！

- Anyway, he'll be back next month

- Ronnie, being clueless, tries formal speech with his Aunt Constance, little knowing the jig is already up

[jimmycarterghostland]

School Spirits Season 2: Meet the New Class, Including the Girl Who Stole Maddie’s Body — 2025 FIRST LOOK (Exclusive)

They posted pictures of the new characters that we'll be seeing in season 2 of School Spirits. They're giving us everything but the trailer for this season. That's what I've been wanting to see the most.

We finally get an official picture of Janet before she possessed Maddie's body, at least. And she's in a car with Mr. Martin. I don't think there's anything sexual going on between them. Every supposed evil person in this show is always just misunderstood and never actually evil. It makes things pretty predictable, but whatever. Remember, Maddie had a non-sexual friendship with her male teacher in the first season. The writers might do the same with Mr. Martin and Janet. A male teacher being friends with a teenage girl would not slide in this day and age, by the way.

Also, when I first had a glimpse of Mr. Martin and Janet in the car, and I couldn't see the image too well, I thought she was supposed to be his wife. I hope we get some flashbacks of some scenes set in the 1950s. I've been seeing that time period a lot in movies or TV shows that I watch, and I'm starting to like it. I like to see it in fiction. I don't like thinking about the 50s in real life, for various reasons.

Nicole's older brother, Diego, will be introduced in this season. Not much to say about him.

There's going to be a girl character named Quinn in season 2, one of the marching band ghosts who got killed in the bus crash. I found the picture of her to be interesting. She's sitting indoors with Maddie and Rhonda, despite the fact the bus crash kids in season 1 were always outside. I guess Quinn spends time away from those kids and prefers to be indoors. Or maybe she and the other bus crash kids were convinced to break out of that loop they're in and finally go into the school.

Then there's Yuri. They mentioned him in season 1. He only speaks Russian and prefers to hang out in the art class. It's possible he pretends to only speak Russian so no one bothers him. That's just speculation, though. It's possible he genuinely only speaks Russian.

Interesting pictures. I can't wait to finally watch season 2. I'm pretty sure I'll spoil it for myself before that happens, though. Because I only have Netflix, and I don't have the patience to wait for SS to come out on there.