#but it also depends on.... what characters we get what sort of information about?

[mantisgodsdomain]

We ought to write more Pokemon fic some time. We want to recreate the Pokemon Manners/Human Manners cheat sheet that we made a few years ago we think that this site would like the Sliding Scale Of Politeness When Greeting A New Pokemon You've Never Met Before.

[asmolfolk]

Boothill Romantic Headcanons.🍓☽。･:*:･

Just a quick heads up: This character had their history and dialogues leaked, if you haven't seen the leaks and don't to be spoiled by the character backstory: Please, save this to read for later! Stay safe! Also, as always: I will always try to make this as neutral as possible. Informations that could potentially be Canon x OC are NOT there (Such as your region, what you work with and etc.) And also, I use He/them for Boothill as I headcanon him as nbmasc!

Fandom: Honkai Star rail. Character: Boothill Idea: "How would the characters be as romantical partners?" TW: SPOILERS! 🍓☽。･:*:･

Boothill

Falling in Love.

Who fell in love first?

He fell first.

If you saw the leaks you know… This man can’t cry, this man lost everything that he once owned. His planet was considered uncivilized from the IPC, he lost everyone he cared about in one day. He became “Boothill”, a cyborg that hated the IPC… And, so, there’s the question: How did you fall for him? He can’t catch this. He doesn’t understand WHY or, better, HOW someone could ever love him. He wasn’t even HUMAN anymore, how could someone love “something” like that? Yet, you came. As a breeze in the summer, as a sweet taste in an unknown mix… You weren’t supposed to have his heart in your hands… But you have. Maybe it was the way you kept on talking to him, kept on helping him out whenever and anywhere. You two started to form some sort of alliance and have someone so pretty, such a pretty pal… Was not okay with his mechanical heart. ━────━━────━━────━━────━━────━━────━

How do they notice they have fallen in love?

He couldn’t understand WHY or HOW he fell in love. But, he realized that when he was talking to you and he started to feel some heat when he saw your smile, heard your laugh or just held your hand, he felt like he could combust. This was enough for him to realize that he liked you, but… Not that he was falling in love. He wasn’t stupid, he knew the details - he knew when he was in love with someone, even if he never felt it so deeply like this. But, even then, it was too early. You had known each other only for a few weeks, he decided to wait… And when he noticed some action on your part or even something that he could be delusional over you liking him back… ONLY THEN, he would confess. ━────━━────━━────━━────━━────━━────━

Confession.

Who confessed first?

It depends.

Now, we came into a difficult subject. Even if I said that he would confess… If he never saw something that could clarify his head and to make sure you like him back, he wouldn’t confess. Now, the reasoning: He already lost so much. Somewhere in his head, being with another person can mean a lot of things… And one of them is feeling, he doesn’t know how he will handle not being able to cry, not being able to feel you with all his body. He doesn’t want to make you suffer… So, if he doesn’t see anything: He wouldn’t confess.

━────━━────━━────━━────━━────━

And there he was, overthinking every single little thing that happened in those couple of weeks… And he couldn’t get his head in the problem that he built. Do you love him or not?

He was asking himself this question over every communication that you guys had, he would do anything to try to prove to himself that you don’t. Every action you take, everything that you do… Oh, those little things that he loved. Every single movement was put into his hard drive, his memory wouldn’t let him know how much he loves you… And, just like that…

You don’t know how surprised he was when those words came out of your mouth. He would ask you to repeat your confession, again, again and again… IF only he could cry while listening to you, pouring your heart out to him…. Oh, darling, he loves you way too much. He would immediately hold you and spin you around, he wants you to feel what he can’t… To feel his loving hands holding you just like the awesome, pretty and important lil’ thing.

“Hah, Doll… Didn’t expect ya’ to be so forward… Are my actions not enough answer? I want ya’ too. I love ya’… And I don’t think I will ever feel something like this again.” - He said, his words were sugarsweet and held a sincerity that no one could ever see before.

━────━━────━━────━━────━━────━━────━

Now… What if he confesses first? What could potentially happen if Boothill decides: “Fudge this! Let’s do it”?

━────━━────━━────━━────━━────━━────━

 You knew something was happening when Boothill was not looking directly at you. They seemed to be a bit off today, holding a box that he seemed to grip a bit too strongly while they guided you to a private place.

 It was one of the calmest day in your life… For once, you could enjoy their company happily. You two were alone, sitting close to the hill while looking at the sky… It was already night, but, somehow, you didn’t feel tired.

“Darlin’...” - They called, seemed to be thinking a bit too much before they let the box right in your lap - “Juss’ wanna make sure you… Understand it.”

 When you opened the box, it had everything you talked to them about. Every item you liked, every item you told them you would love to receive from a boyfriend… For a second, you thought they misunderstood you until you reached for a letter, it had their black lipstick and just a simple phrase: “Wanna be my partner forever?” with a silly doodle of them.

 They, seeing your reaction, would say; “Just to make sure: It’s romantical alright? I wouldn’t do this kind of thing for some friend… Just for you.”

━────━━────━━────━━────━━────━━────━

Language of Love.

What's their language of love?

━────━━────━━────━━────━━────━━────━

Quality of Time, Gifts and Words of Affirmation.

Now, HEAR. ME. OUT. This dude, this bro, this cowboy bebop!!!!! They want NOTHING but you to be happy, IT DOESN’T MATTER WHAT YOU WANT: YOU GET! THEY DON’T SEE REASONS OR ANY ARGUMENT FOR NOT MAKE YOU THEIR QUEENIE/KINGIE/ROYAL! The truth is: Boothill feels like his words, his time and gifts are the only thing that he can do to make things “better”. He can’t… Feel you the way he wants, he can’t cry for you, he can’t provide you with those things - so he provides you with things he can. He can tell you how pretty you are, how amazing you are, how everything you do is incredible. He can gift you - He can give you anything you want, he can go into an adventure and come back with so many gifts that your house gets flooded with them. He normally comes home with a lot of gifts, so: When you pull for him, remember that! He also makes sure to spend lots and lots of time with you. Always making sure for you to feel loved and unmatchable!

“Ma doll, didn’t expect you to be here so soon! Well, look at the goods I got ya. Hm, hm… Yeah, I know that it’s too much, but all of them remind me of ya’ pretty face. Especially those lil’ cat cakes thingies.” - They would chuckle as he saw your reaction… It was those moments that made him sure: He may have lost his family but he found a new one.

━────━━────━━────━━────━━────━━────━

Reaction of your language of love.

Lemme tell you one thing: He doesn’t care, he is gonna take all of your love like the greedy robocop he is. He says he doesn’t have a preference and he is going to love everything you give to him, but the truth is: NOTHING shows him more love than you just being yourself. Not you trying to make him feel loved or anything, just you being you. You doing things you love, you talking to people about your favorite things… All those little situations are enough for him. He loves it. But, being honest here… I think he loves the way you touch his face - THIS MAN IS TOUCH STARVED - it’s actually the only place he can feel. He feels like - for just a moment - you two could be a normal couple. ━────━━────━━────━━────━━────━━────━

As boyfriend/partner.

How do they treat you?

Do I need to repeat myself? HE LOOOVES YOU SO SO MUCH! He is 100% one to take you out to many different places just because he wants to see you smiling for a bit. When you two start dating, he seems to be on cloud 9 for the first time in forever… He is still asking you to repeat those three words that make his mechanical heart plump as if it was human's. He still asks you to accompany you instead of asking you for a date. Give him a bit of time, he’s still understanding that you truly accepted his confession and that you didn’t leave him behind. Sometimes, when you two sleep close or together he stops everything he’s doing just to observe you, to have every moment with you in his memory card. In those moments, he normally notices: “You are real, THIS is real.” You would receive double the care on those moments, being treated just like the sweet lil’ thing you are. He would say some corny shit, I will admit. He is the type to make jokes just to crack a smile on you, he is also always trying to make you feel lighter - feel like you have no such thing as a sad day and to make you… Feel like you could fly, be free for once.

━────━━────━━────━━────━━────━━────━

Jealous.

 I’ll tell you: I THINK HE’S A JELLY GUY!  Boothill gets jealous more to think: “You are going to leave him for someone that CAN feel you.” and he just can’t let that happen, right? He wants to be with you and he is scared that, maybe, you will come to the realization that you aren’t interested in this mess anymore.  He is a scared man, scared of losing the only family he has left.

━────━━────━━────━━────━━────━━────━

Resume.

As a boyfriend, Boothill is a sweet and loving one. Yeah, you guys can have REALLY nasty discussions that can only result in both of you getting hurt, but, HE IS ALWAYS THE ONE to come up to you - telling you that you two need to talk without fighting. He is also someone who will cherish you. As I’m married to him I can assure you: He is going to be a perfect hubby… You just need patience!

[descendant-of-truth]

On principle I don't really like the idea of Sonic being sent after Shadow at the request of G.U.N for two reasons:

It robs us of the god-tier cold open of the original game where Sonic busts out of a helicopter to escape arrest

I always loved the setup where Sonic and Shadow meeting was pretty incidental - neither of them had any idea who the other was, but Sonic thought Shadow was impersonating him on purpose while Shadow just thought he seemed fun to mess with

But depending on what the surrounding context is, I can see how the movie could make this plot point interesting in a completely different way that still complements these versions of the characters, even if I don't prefer it to the original.

So, some ideas:

G.U.N has been the villain of the last two movies, so in order for Sonic to be working with them, they must have a pretty good deal for him. My guess is that they promised to leave him and his family alone - no more schemes, no more kidnapping, nothing of the sort - on the one condition that "Team Sonic" helps them deal with Shadow.

This would already function as a narrative parallel to Sonic enlisting Robotnik's help later for the same thing. The name of the game becomes "we don't like each other, we're enemies, but we need to work together to deal with this guy because he's too powerful," which becomes a triple threat if the whole cast including Shadow gets to team up at the very end to save the world

I think it would also be very fun if Sonic is trying so hard to talk things out with Shadow in large part because he heard that there was another hedgehog on the loose, and wants so badly to be friends with someone like him that it takes at least one full-blown beating before he gives up on that idea

(The other reason he keeps trying is "it worked on Knuckles" of course)

Now, this puts Sonic in a fascinating position, particularly when using the game as a frame of reference. SA2 was very straightforward with how it presented its conflict at first: you have a Hero Story and a Dark Story, and as such you're primed to think of everyone on both sides as either being good or bad.

And most people, I think, were inclined to play the Hero Story first; it's the one with Sonic in it, and the select screen hovers over it by default, too. It tells a very simple story of Sonic and friends stopping Eggman's (admittedly very threatening) evil plan, developing some new rivalries along the way.

It's already a little bit of a twist for Sonic and Knuckles to have formed a respectful relationship with Shadow and Rouge by the end, since you see them as villains initially, but they still remain antagonists by the end. Rouge returns the Master Emerald pieces, but she's still working with Robotnik. Shadow thinks Sonic is pretty impressive, but he still tries to kill him to stop him from saving the world.

But then you get to the Dark Story, and then the Final Story, and you think, oh. It's really not that simple.

For starters, you get to see more of Rouge's bond with Shadow. There's some conflict inherent to their relationship because Rouge is a spy and is only here to get information on Shadow, but after he saves her life, there's a definite shift to their dynamic. There's something genuine there, even if it doesn't get a lot of screentime dedicated to it.

But most important to the story is what we learn about who Shadow is, in part through his interactions with Rouge.

Shadow is cunning and ruthless - heck, his goal is to literally blow up the world. But whether out of compassion or survivor's guilt or both, he can't let Rouge die, so he saves her and then lies about his motivations for it to seem colder than he is.

And even though the things he's doing are definitely bad, his motivations are famously sympathetic; he wants revenge for his best friend, a young girl who was killed by the G.U.N military during a raid.

(It was implied that there was some sort of brainwashing done on him by Gerald after Maria died as well but that part of the story is incredibly vague)

By the end of the game, Shadow comes into his own as a hero and helps save the world instead of destroying it. And suddenly it makes sense why the stories weren't called Hero and Villain, because neither Shadow nor Rouge are especially villainous characters; Rouge is selfish, and Shadow is driven by grief and hatred, but they're ultimately kind at the end of the day. Both of them find people to care about - each other, as well as Knuckles and Sonic respectively.

But y'know, there wasn't a lot of ambiguity about who the heroes were in the Hero Story itself. Sonic, Tails, and Knuckles are pretty clearly The Good Guys, and nothing they do is really questioned because they're always fighting The Bad Guys.

So what I'm seeing here is an opportunity for Team Sonic to not be totally in the right for once. Yes, it's good to stop Shadow from going on a rampage and destroying the world, but look at who they're keeping for company here. G.U.N? Robotnik and Agent Stone? As if either of those groups are trustworthy enough to not stab them in the backs as soon as it's convenient. As if they're not going to find some way to exploit Sonic for their benefit.

And frankly, Shadow is totally in the right to hate G.U.N, and Team Sonic for working with them. Given that his backstory seems to be largely unchanged, it's kind of impossible not to be on board with him fighting the protagonists at least a little bit.

Besides, I don't think it's a coincidence that Shadow is doing the wrong thing for the right reason, while Sonic is doing the right thing with the wrong people (and maybe also for the wrong reason). That has the potential to be very clever if executed well.

I can only imagine the dawning horror on Sonic's face as he realizes just how much he's not on the right side of this conflict; when he learns about what happened to Maria and everyone else on the Ark. Especially if Tom's family was involved in it, like the current popular theory going around.

Also, last-second realization: what if there's something more to that line from Tom, "it wasn't always easy, but you didn't change who you are in here"? Most likely it's going to be used as a way to show how Shadow is different from Sonic, because he did change who he was in response to trauma and it'll be really poetic when he "finds himself" again

But also, consider: maybe Sonic does end up changing throughout the movie. Maybe he does something that goes against his core principles in order to get an advantage in some way, and they kind of play around with the idea that Sonic is similar to Shadow in ways that aren't always flattering to either of them. I want those hedgehogs to make each other worse before they get better

In any case, there's a lot of potential here, and I'm very curious to see what they ended up going with

[utilitycaster]

A DM advice question, inspired by your recent posts: What do you recommend in situations where players are being indecisive? Either in a short term situation (i.e. do we fight this npc or not) or in a more chronic case of indecision, like we're seeing from Bells Hells?

For an NPC or similar short term case of indecision: hesitation has consequences. It depends obviously on what's going on and who the NPC is but like, have the NPC run away, or attack them first, or start to rescind the offer they made, or have someone else who's around notice a party that's trying to be stealthy. It is tricky because you want to let the party decide, so you have to know your NPC pretty well (ie, are they the sort of character to attack? What do they want?) but basically, let your NPC be impatient or take advantage of this hesitation. Talking is only a free action if it's like 5 minutes of table talk, not 20.

For Bells Hells...I mean, I am going to tap the "character creation is the time to have addressed this" sign for Bells Hells again, but assuming you find yourself mid-game and you are not running one of the largest actual play shows around? Time to talk to your players. I think people are aware that murderhobo behavior can be a sign of having characters who are insufficiently connected to the plot or part of the world but I think indecision can be too, if their character just wouldn't care or be informed enough, and it might be the plot you have planned isn't one they're connecting with and you all need to have a talk about what you want from the game. If however you're committed to this plot, introduce consequences for indecision here as well. Someone in my tags yesterday compared Bells Hells to people arguing about the best way to address climate change while flood waters were actively rising, and so in this metaphor the Arch Heart's option feels like someone throwing in an entirely new possibility into the discussion while the water is already at their knees. So anyway introduce a timer. Opportunities won't be open forever and indecision also has consequences that you should impose. Debate too long how to save the princess and the princess gets killed in the meantime. (That is the takeaway here, and in life. Failing to choose is itself something for which you hold responsibility; your hands are no cleaner from having been wrung endlessly rather than put to good use.)

[artist-ellen]

Part 1 of Staging EPIC.

Now I know Jorge Rivera-Herrans has talked about the different ways that EPIC could be adapted and a theatre production is effectively off the list. There’s just a lot of scenes that would be very hard to pull off without a Cirque du Soleil level stage or props. However… I didn’t hear about that until much much later, so the brain-worms have already moved in, and I might as well party! Depending on how deep I get into all the variations I might get into the animated versions at some point, but I very much thought this was going to be stage production so we are starting there before moving onwards!

I was really intrigued by this idea of this two-tiered archway backdrop. I went to an antiquity exhibit not too long ago and the recreations of ancient theatres really itched a spot in my brain. My thought was to have the”Greek Chorus” and the humans framed by the lower arches, and to have the upper level semi-reserved for the gods and goddesses characters. (The arches could also be more greek-column like but this is a very rough speculative illustration series that isn't going anywhere so as long as the gist gets across we are cooking with gas)

The boat is fairly important to the story, and is one of the major roadblocks for a stage production. Now Jorge Rivera-Herrans did mention in a TikTok that something like the Cirque du Soleil show “Ka” would be really cool. So of course I went to find as much behind the scenes information as I could. They are understandably tight-lipped about what the full show looks like, but there were clips/images of a boat in that show. Their boat isn’t very large, it holds maybe 5 acrobats and rocks dramatically to simulate a storm of some sort. The sides were scooped super low for visibility, and that got me thinking about how all I need is something that resembles a boat and can be pulled around the stage a little bit while still displaying the actors. Which is how we got this no-side rolling platform. I doubt it’s very feasible in a real scenario but I couldn’t cut their transportation entirely, it’s a little bit important.

These first two images are more about setting the general or "resting"? stage. A lot of the higher impact moments would be exaggerated with lights or specific set accessories while this is more what the stage looks like in calmer moments or when the show isn't on.

I am the artist! Do not post without permission & credit! Thank you! Come visit me over on: instagram, tiktok or check out my coloring book available now \ („• ֊ •„) /

https://linktr.ee/ellen.artistic

[aihoshiino]

chapter 154 thoughts

Chapters Since The 143 Kiss Happened And Went Entirely Unacknowledged And Unaddressed Count: 11

Aqua Hoshigan Status: (Still) white

man

This is one of those chapters where, technically speaking, I should probably be tearing it to bits (AND I DEFINITELY WILL) - it represents a pretty substantial break in or retcon to the series continuity as it's been presented to us thus far and the actions of certain characters in the lead up to this event don't quite make sense if they've had access to some of the information that's seemingly been in their hands for a while but… would you guys forgive me if I said I didn't really care LOL. As I've said before, I'm the sort of reader who can excuse a lot of raw Plot Bullshit so long as I feel like the hearts of the characters are intact and for all its fumbles, this is a chapter I think is unerringly dedicated to the hearts of its characters. I've made no secret of the fact that Ai is and always has been my main avenue of investment in Oshi no Ko as a series and in this chapter, we uncover the final secret in her heart in particular after having the entire series thus far dedicated to laying it bare to us.

We pick up exactly where we left off last chapter with the reveal that the HKAI breakup was indeed founded on Ai's pregnancy, as a lot of us had predicted.

This, uh, does not quite line up with previous events!

From what we'd previously been told, in terms of placement in the timeline, the death of Airi and her husband happened after the twins were born and sometime in the leadup to the Dome concert, which would put it in the ballpark of Ai's 18th to 20th birthday depending on how long it was in the works for. But based on how this flashback section is structured, it seems to place their deaths before Ai even knew she was pregnant, let alone giving birth. If it was just clashing with 15YL's retelling then I could dismiss that as an element of the movie's fictionalization that we've seen and Kamiki alludes to but this also clashes with where this event was placed temporally by Ichigo, when remembering a real life event. So… What gives!!!!

Like, at the end of the day, the exact placement of Uehara's death only matters inasmuch as it needs to be before Ai gets her new apartment, since the point Ichigo is really making is that Aqua is pinning his hopes on a dead man who was dead before he could have ever contributed to Ai's murder. But placing it that far back in the timeline - before the twins were even born! - just makes Aqua's willful ignorance in relation to it come off as a lot sillier and more difficult to swallow than if it happened closer to Ai's actual date of death.

I'm also a little disappointed that we really quickly breeze past Ai revealing she's pregnant - it's not the point of the scene overall and it would be weird to go really deep into her POV in the middle of a Kamiki flashback but one of my big issues with the Movie Arc was that it ripped past anything and everything to do with Ai's pregnancy, including how she herself felt about being pregnant. Like I said in my 145 review, skipping over the parts of it we've seen makes sense but I think there's still a bunch of really fascinating potential in exploring how Ai felt when she realized she was pregnant - how did she hide it for long enough that she was almost halfway through her pregnancy and getting fucking enormous before her first checkup? How did Ichigo and Miyako react when they first got the news? There's so much juicy character and relationship work you could mine out of that but the story fails to do so. We sort of get a crumb of this in the DVD but her feelings there are all centered on the pregnancy in relation to Hikaru and even then she breezes past it so fast it's clearly not meant to be the focus of any of what she's saying and idk. For a character whose entire hook is her struggles with motherhood, familial love and all the rest of it, that's a little disappointing.

THAT SAID!!! All that makes me sound like I didn't like what went on with Ai this chapter but I actually loved it. It's so painfully in line with everything we've been told and shown about her thus far in the manga and in this chapter, we see all her strengths, weaknesses and human contradictions laid bare in a way I find incredibly rewarding and compelling.

The HKAI breakup especially is just soooooo deliciously cringe inducing. It's an echo of the argument with Nino that 15YL portrays, where Ai's good intentions, avoidant tendencies and absolute absence of tact all snowball and end up ruining one of her most important relationships. Like… I can't believe I'm about to say this about a conversation in which Ai is one of the people talking, but she really is the reasonable one here! She's right to identify that their relationship is not working, that adding babies and marriage to the mix will only make things worse - her intentions, as they always are, are good and she's making her decisions with Kamiki in mind… her delivery is just absolutely dogshit!!! GIRL, PLEASE, YOUR WORDS!!!! USE YOUR WORDS!!!!!

For all my issues with Akasaka's writing lately, I think he portrays these kinds of two sided failures of communication so well, where you can see exactly where both characters are coming from and why they are failing to get their feelings across to each other. From an outsider's POV it's clear as day that Ai views herself and her children as the burden, one she doesn't want to put on Kamiki for the sake of a girl who doesn't even know if she can love him… but is it any wonder why Kamiki took it the way he did and why his guts were so utterly wrenched out as a result?

Kamiki's attempted proposal and Ai's immediate rejection of it are really interesting with the context of 45510 in particular. Extrapolating from her talk of marriage there, she brushed him off so quickly because she simply didn't believe he was serious… and yeah, he's pretty clearly not fully cognizant of the weight of what he's trying to propose, never mind that he's meeting "let's break up" with "LET'S GET MARRIED" lol.

Also interesting to extrapolate from both 45510 and other material surrounding Ai is that, at that point in her life, she simply didn't understand what the point of marriage was. On top of her being Literally Sixteen And A Child right now, Ai is said to have come from a deeply dysfunctional home where her mother engaged in a number of equally dysfunctional relationships, at least one of whom was with a man who was creeping on Ai even as he was working up to marry her mom. It's no wonder she doesn't really take the idea of marriage seriously, but it still hurts so see her reject Kamiki so bluntly - even more bluntly in the Japanese text somehow, simply chirping 無理! (Muri!) in response, i.e, not just "no way" but telling Kamiki to his face it's impossible.

Honestly this whole breakup scene is so darkly hilarious just in terms of how bad Ai is completely beefing it. Congrats babygirl that's the worst anyone's ever done it!!!

And we finally get the "I can't love you" drop after just shy of 25 chapters of buildup…….. And honestly, it feels a little hollow.

I talked about this a little before so forgive me for repeating myself but that line - or rather, Aqua and Ruby's implied misunderstanding of it - from Ai to Hikaru was given a huge amount of weight in the story when it was first introduced. It was implied to be the lynchpin in which everything else about the HKAI romance rested only for the story to go UH WELL ACTUALLY IT'S ABOUT WHETHER OR NOT AI FORGIVES HER KILLER which is like… fine, it just feels very jarring on a reread or when trying to sew together a plot thread like this. It especially feels strange because the emphasis is placed on them not getting it right or at least that Gotanda disagrees with their interpretation, only for the manga to whip back around and not only return this line to its previous heightened importantance but also to largely not line up with what was established about this line and its place in the narrative when it was first introduced. It's just more evidence that Akasaka's plans for the Movie Arc and its resolution changed in some way during serialisation because these inconsistencies are pretty glaring.

Not just that, but like… it's hard to feel impacted by this line when we didn't even see it in the Movie Arc. In general, it's so fucking weird that so much about the main emotional resolutions going on right now revolve around Ruby's performance in the movie when most of the big emotional moments people are reacting to are happening entirely offscreen. This would already be bad even if it wasn't taking place in a manga like OnK with its increasingly frustrating habit of offscreening more and more bits of the story that are extremely important for the characters. Before this chapter I would've said that maybe we'd see some of it after the movie released but given that Kamiki's arc and the revenge play as a whole is pretty clearly wrapping here, what would even be the point of it?

Idk. It's just increasingly obvious (and just as frustrating) to me just how much of the Movie Arc was wasted time and how much of the setup that needed to happen to make what follows really land just… didn't. This chapter's resolution for Ai and Hikaru, both separately and as a couple, is still excellent, but it could have been a lot better if its foundations weren't so meager.

We also finally get concrete proof from the horse's mouth that Kamiki was the one who deliberately leaked Ai's address and……. honestly this is kind of a wet fart too lol. OnK has previously very strongly implied that "Kamiki is Ai's killer" was a red herring or that we should at least be slightly skeptical of Aqua's assertions and conclusions but… nope, he was right all along, I guess?? Alright………………………… I certainly don't believe his insistence that gosh he totes didn't think Ryosuke would go THAT far and I'm still wondering wtf the two of them were doing at the hospital the night the twins were born but like. Honestly at this point, I don't really think it matters and I care much more about emotional resolutions than I do granular plot details - and boy do we get one hell of an emotional resolution.

I haven't shouted her out yet because I was saving it for this section but fuck, man, Mengo's expression work told chapter is killer as usual but this final stretch of pages is just gutwrenching. Ai's gentle, rueful smile on the DVD contrasted with the look of shocked, dawning understanding on Kamiki's….. Jesus Christ.

And at last, we uncover the final secret hidden at the bottom of Ai's heart. The entire manga thus far has been a process of stripping away the viewer's willful ignorance with regards to Ai's humanity but the DVDs had been an oddly ominous mystery box floating around, containing some implied dark secret that would change the entire trajectory of Ai's character as we knew it… but of course, the person who tells us that is Ai herself, a girl who hates herself, thinks of herself as dirty and impure, irresponsible and incapable of love.

So is it really any surprise that her darkest secret, the thing she can only confess with her eyes shining with black stars is simply that she's a fallible human? That she was a lonely young girl, confused and hurt in her own ways and that she hurt someone she dearly cared for and wanted to take it back?

Is it a little convenient that she put all this in the DVD? Yes, absolutely, and I'll be the first to say that the DVDs existing at all are a pretty clear retcon in service of getting info onto Aqua's hands. But it's also perfectly in line with Ai's timid, avoidant methods of reaching out. It parallels both Viewpoint B and 45510 (moreso the latter) where she pours her heart out in words, waiting for others to read and understand her. In 45510 in particular, her leaving the blog post is an extremely clear and strong parallel to the DVD - love letters put into bottles and thrown to the ocean in desperate hope the person they're addressed to might find and understand them.

As Akane says, Ai is torn between secrecy and a desire to have her true self exposed, so she attempts to craft scenarios in which this must happen, even if her avoidance can only allow her to do so with indirect methods. With the blog and moreso the DVDs & their method of delivery, Ai attempts to create situations where the initiation confrontation and disclosure is out of her hands and she has no choice but to tell the truth.

Ai's entire speech here is just heartbreaking. If the start of the chapter didn't make it explicit enough, we see her here put her good intentions into words to better understand how they were misinterpreted.

This adds SUCH a fascinating additional layer to her death that has me gnashing my fucking teeth. One of the things I've talked about a lot in my Ai meta is that Ryosuke is essentially an agent or even an embodiment of the entertainment industry and the way it has exploited her - the misogyny, entitlement, purity culture and abuse that ruled her life went on to end it. With this additional detail, though, Ryosuke becomes an agent not just of the things that plagued Ai of B-Komachi, but Ai as a human, too. All her life, Ai is willfully misunderstood and mischaracterized by the people around her, assigned narratives and roles without her consent and punished for both living up to and failing to live up to them. Ai's death is the end result of a lifelong cascade of failure on the part of every system and individual that has had the opportunity and responsibility to care for her - and, as Aqua throws in his father's face, that includes Hikaru.

Hikaru's supposed understanding of Ai is not one based in empathy or love but projection and possessiveness - understanding in this context is ownership, exclusivity and frankly, arrogance. A claim to a piece of Ai that no one else knows. But as Aqua forces him to realize… Hikaru never understood Ai, even as she did her best to make herself understood. For all his arrogance of understanding Ai and the nature of their relationship, Kamiki is ultimately just the same as every other person who idolized and objectified her then discarded her when the image they'd created in their mind didn't match reality. Ai wasn't his pure and perfect soulbonded saviour - she was a lonely, broken kid like him, still struggling to understand love after a lifetime spent starved of it.

Once, Kamiki begged Ai to save him. And here, the bitter truth is laid out for all of us: the salvation Kamiki had wished for was waiting for him, reaching out with open arms and he not only desecrated it but irrevocably destroyed any path back towards it. In killing Ai, Hikaru Kamiki killed himself.

The imagery of this moment is so fucking gorgeous. The visual of Kamiki and Ai reaching out to each other, in mutual understanding at last but separated by time and death… the "what if" happy Hoshino family… Ai's words being framed as a 'love letter' that transcended time to reach Kamiki and Aqua's eyes blazing with white as tears pour down his face… Jesus fucking Christ Mengo I'm already dead!!!!!

Like I said up top, I make zero secret of the fact that I am primarily invested in Ai above everything else in the manga and the way her importance has been seemingly downplayed since the late 130s mark chapter wise has really bugged me. As such, this chapter was INSANELY cathartic for me. Not only do we get a really beautiful cap to Ai's post death arc (hopefully finally killing those dumbfuck Secretly Evil Ai theories for good) but it's done in a way that once again recenters her love and her wishes as the heart of everything. Even Aqua's revenge play is completely redefined in this context - no longer the childish, selfish and self destructive lashing out we've seen before but as a quest to both honor Ai and to punish the person arrogantly assuming ownership of her heart even as he so catastrophically misunderstands her.

This is a really fantastic end to Aqua's arc too… on paper, that is. I know for a fact that a certain genre of OnK readers are going to bitch and moan that Aqua didn't run his dad over with a 2003 Honda Civic but I really can't imagine Aqua's revenge quest going any other way unless OnK was intended to be a pure tragedy. Over and over, we have seen that Aqua's revenge is at odds with not just his happiness but with Ai's wish for him to live a full life with a bright future. It is self destructive, hurtful to the people around him and antithetical to any of them moving on and reclaiming what their futures. With the emphasis the story places on moving towards a happy future, in selfishly reclaiming your happiness even in the face of systems that seek to crush you and on honouring Ai's wishes and legacy, it would be flatly thematically incoherent for Aqua to choose killing.

The issue is not with this as Aqua's end point but with the path we've taken to get here. As was the issue with Ruby during the Movie Arc, we don't actually see any of the internal work that happened in service of this arc, just the big emotional end points of offscreen development. But it stings especially bad with Aqua when such a huge chunk of the last few arcs locked us out of his head, sharply contrasting the start of the story that lived and breathed his interiority - AND when this is more or less the capstone to his series long struggle to choose love or revenge. It's not that I dislike this as an emotional payoff for Aqua's revenge - this is more or less beat for beat what I'd expected - but that it lacks proper support from the rest of the story. In general, this chapter falls flatter than it should because all this heightened, dramatic emotion rests on arcs and setup that simply have not been shown to the reader, save for Ai.

Speaking of Ai, the info in the DVD here potentially represents a pretty major break in the continuity of Aqua's behaviour based on when we're told he had access to it but I'm willing to bite my tongue and see if that gets filled in, if only because this chapter review is already so fucking long. Let's just say that I Noticed and I sure hope Aka or his editors did too.

And finally… Oh, hey there, Ruby! Aren't you an interesting little snarl to this chapter. Or maybe "snarl" isn't quite right, but her presence here is potentially interesting either way. I'm not quite sure how to read both her expression and her presence - the expression on her face looks VERY displeased and it looks to me like she's outside the room, so is she maybe eavesdropping and not happy with what she hears? Or is she in on Aqua's talk with Kamiki here and just struggling with her emotions with regards to it all? I'm quiety hoping it's the latter, because it would confirm that Ruby DID recognize her dad in 147 and Akasaka wasn't expecting me to believe he was hitting her with the stupid stick quite that hard lol.

In either case, I'm actually excited to see what Ruby takes away from this. In the ways that AQRB has echoed the HKAI dynamic, Ruby has always been in Kamiki's shoes - the one desperate to be saved, clinging to her oshi and relying on him as her sole bastion of light in the world. So what will she think now after being faced with the logical endpoint of this wished-for codependence? When she sees how destructive and self destructive it can potentially be? Just as she saw Ai reflected in herself, will Ruby see her father in her own reflection - and if so, what will she do about it?

Break next week! So we'll be sitting pretty for two weeks to find out. Not that I actually mind this time because with a chapter like this on top of season 2 of the anime coming back today, a week without a break might have actually killed me… please, akamengo, i'm just a little guy!!!!

[chaos0pikachu]

Film Making? In My BL? - The Sign ep01 Edition

So, if we're doing this we're doing this, so buckle in baby.

I'm gonna focus how the opening scene below, uses two narrative devices and one film technique to build out the scene as a whole: in media res, misdirection, and the long take.

Okay so to begin, we have to start at the beginning, or well, the middle lmao

In Media Res

I saw a post in the tag that said something to the effect of how The Sign starting with no context and providing no information at the beginning was strange, with the implication it was bad writing. I disagree, fundamentally, because The Sign is using a very common literary device called 'In Media Res'. And in my opinion, uses this device very well.

If you're familiar with basic storytelling terms I ain't telling you anything new, but for folks who may not know, in media res is a latin term that means "in the midst of things" and lots of stories - both prose, comics, and film - use this device.

The most famous is The Iliad by Homer, which if you've ever read - and you should it's glorious also it'll give some context to Song of Achilles - you know it drops you full-on no context into the middle of things. The beginning will differ in verbiage depending on the translation you pick up, this free version starts with:

THE CONTENTION OF ACHILLES AND AGAMEMNON. In the war of Troy, the Greeks having sacked some of the neighboring towns, and taken from thence two beautiful captives, Chryseis and Briseis, allotted the first to Agamemnon, and the last to Achilles.

Right off the bat the story drops four character names and the setting with no real context. Who are all these people? Why is there a war? Well, keep reading to find out! It also starts the story with an action aka an argument - nay A CONTENTION!! Achilles and Agamemnon are such bratty bitches lol

Other (more mainstream) examples include:

The Dark Knight

Lost

28 Days Later

Mission Impossible (pick one)

Fight Club

Full Metal Alchemist (both)

MDZS

Inception

And, The Sign.

"In contrast to linear storytelling, which starts at the beginning and moves sequentially, in medias res is a nonlinear approach that can make stories more dynamic and immersive.

It's a technique that challenges the audience to make sense of the narrative puzzle, often revealing essential information about the characters and their motivations gradually." (source)

What's described above is exactly how The Sign, starts it's story, in the middle of things, specifically to create a puzzle for the audience to figure out gradually. If you watch the above scene, what's happening?

We get a (well done) overshot of an island (establishing setting), we see a group of soldiers (establishing the characters we'll be following) we see them doing military things (okay these are their skills, and they're on some sort of mission), their drone spots a group of people inside and a character says the dialogue "Listen up, you only have 15 minutes" (this establishes stakes, okay there's a time limit to this mission) "Team A will rescue the hostage" (okay now we know what the mission is and informs these characters are on a rescue mission).

Who is speaking here? We don't know yet, but a safe assertion would be this character, since they are the first character who speaks on screen, will be important.

And we'd be right because it's Phaya speaking, one of our main protagonists as well soon find out.

All this happens within the first minute; the show provides an interesting set-up. It deals out information in tidbits - setting, characters we'll be following, situation set-up, stakes - but not enough information for the audience not to ask questions.

I want to iterate that at this point, the goal isn't to "care" about the characters yet, so much as create an intriguing set-up based in action that will showcase various information about the tone, setting, and skills of the piece that will engage the audience. To make the audience ask questions, to engage with them.

When you open up on MDZS the protagonist, Wei Wuxian is dead and we have no context for this. Everyone is just in the middle of celebrating his death and we, the readers, do not care that he's dead or why he died. The story could have started in a more linear way, with him arriving at Cloud Recesses arguably the beginning of his journey, but would that have been as interesting? As engaging?

I like how this article breaks down the why of starting your story in media res is a powerful and often used device:

This is what The Sign is doing in this opening part. Starting the action of the series off with action and creating that immediate engagement. The scene also ends with a plot twist which connects to that final point about information control.

This isn't a technique I've seen often used in BL because BL is a sub-genre of romance and most romances are told in chronological order, rather than non-linearly - there are, of course non-linear romances, but most mainstream romances, and by extension most BL aren't told in this way - BL shows don't often have actual physical action. A majority, especially in Thailand, are grounded, closer to slice-of-life, coming-of-age, and comedy dramas - though we are starting to see a change in that trend.

So starting in the middle of things, like chepa the middle of what? Two dudes walking~ to Engineering class?

The goal of this opening scene is to pull in the audience, make them wonder and ask questions: "who are these characters? will they rescue the hostages? who are the bad guys? who is this character who's having visions?" and so on and so forth. It's a way to engage in the audience without having to slow down the narrative with a ton of exposition, or build up stakes slowly, rather it grabs the audience immediately and sets them in the middle of the tension asking them to engage with what's happening.

The Long Take

You've probably heard about "the long take" but to break it down, a long take is one continuous take without any edits/cuts. The film 1917 was famously filmed to "look" like one long take. One of the most cited and well known long takes is from Children of Men by Alfonso Cuarón:

Now if you watch this movie you can tell why there isn't a lot of BL long takes because, god damn, they built a new type of car just to get that one scene. [read here for more on long takes]

So, The Sign. It's long take starts at about 2:08, following Phaya - again, we the audience don't know this is Phaya BUT since the camera is spending specific time with him we assume he is An Important Character and he is! Set up and payoff! Funny how that works - and ends at around 4:27.

[Sidenote I love that the take ends, not with a cut but a transition. Which I'll cover in another post but in the land of Thai BLs which favor cuts so damn much transitions were so refreshing to see]

During this long take, we establish that these characters are competent at what they do. We understand that they're military trained, in both hand-to-hand combat and firearms. We also get these two mid-close ups, which signifies these will be Important Characters:

And they are, the first shot is of Phaya, Khem and Thongthai and the second is Tharn and Yai.

This also sets-up the character dynamics; Yai and Tharn are already close and know each other so they are drawn to each other while on the mission, while Khem and Thongthai have a pre-established relationship but are still supporting behind Phaya.

This type of shot also allows for the audience to better see and follow the fighting that's happening on screen. Filming fight scenes are their own beast, and while there's no one school of thought on how a film scene "should" be filmed, there are techniques that that place some fight scenes above others.

The first video showcases some techniques on how to film a fight scene, while the second one at the 8min mark talks about the long take in John Woo's classic action film Hard Boiled.

This long take in Hard Boiled really showcases why long takes are so powerful in filming a fight scene specifically. They pull the audience further into the action and create a palpable energy that just works better than a scene with lots of quick cuts.

There's a reason one of the biggest criticisms of Mortal Kombat (2021) was that all the fights were edited to pieces while John Wick (2014) was a refreshing jolt to the industry.

The Sign takes a page out of John Woo's book, and places the characters, and the physicality of the scene front and center, pulling the audience along with the camera in one long shot.

Long takes are hard, I can't really emphasize this enough, if you watched that video on Children of Men you can see all the intricate work that went into scenes that amounted to maybe 5mins of actual film time. Likewise this long take in The Sign is only about 2mins of actual time in the show BUT it's effective, it's engaging, its ambitious.

Which is why, I gotta give The Sign it's roses because of that ambition. Long takes are a lot of hard work, time, effort, blocking, rehearsals, on top of incorporating the fight chorography that's a lot and it looks good.

Now is this the best~~~ long take I've ever seen? lol no god but it's well done and ambitious especially for the sub-genre of BL.

Misdirection

Misdirection has more in common with in media res than the long take as it's a literary device and not a filming technique.

From Gotham Writers:

"In fiction misdirection can be either external or internal. That is, the author can be using the story as a frame to misdirect the reader, or a character in the story may be misdirecting one or more of the other characters. Or, of course, both." (source)

Misdirection is often used in thrillers or mystery narratives, Hitchcock used misdirection a lot in his films.

In Psycho the audience is lured to believe that Marion, the character the film opens with, builds up, and essentially sets up as our protagonist, is in fact our protagonist. She's not, she's murdered and her sister, Lila, is the actual protagonist of the movie. Sorry if this is a spoiler for an almost 70 year old film lmao

Misdirection is often used to set-up plot twists down the line. A good misdirection will leave clues for the audience when they watch back and go, "oh! I can't believe I missed that!"

In film The Sixth Sense is a good example of this, where the plot twist at the end doesn't weaken the film once you know it but rather, it enhances the film itself on a rewatch. Another good example of misdirection in film are both Knives Out and Glass Onion, where Rian Johnson will set up a non-linear story and then slowly unravel the information for the audience.

Take the scene where Marta, in Knives Out, finds Fran's body and hears Fran say "it was you" at least to audience ears. Then stands up looming above Fran's body. The scene cuts, and the audience is led to believe Marta has let Fran die to protect herself (since we the audience also have been led to believe Fran is dead) only to find out later that Marta didn't let Fran die, she is alive, and she knew Ransom was the killer.

The Sign uses misdirection in a much more simple way. It sets up an expectation: Phaya is going to die, upping the stakes from "must save hostages" to "must save a comrade" aka the character we, the audience, have been following for the last 11 minutes. It sets two characters, Chart and Phaya, as opposing against each other, for reasons we don't know - is Chart one of the villains? Why is he trying to kill Phaya? etc - and the audience is led to believe this is a life or death situation.

Then, plot twist. The reveal happens that this was all a training exercise, and there was never any "real" danger whilst also keeping the audience on their toes. And like in The Iliad, now we have context for the mission, and then the story is able to step back and explain.

It's not like, the best~~~ use of misdirection but there was a purpose to it. It sets up an expectation, and subverts that expectation of the audience - but in a good way not a Game of Thrones way. While also pulling the audience into the show by starting in the middle of the action rather than slowing down the story with exposition or giving their hand away to much that this was a training exercise.

If you knew it was a training exercise, suddenly the stakes feel less intense because none of the characters are in any real danger, but not knowing that, withholding that information until it's relevant, ups the stakes of the scene.

The opening scene of The Sign imparts a lot of information without using a lot of dialogue and I find that impressive. We learn which characters will be relevant to the story - Phaya, Tharn, Yai, Khem, Thongthai and now we know, Chart is also important - that they are skilled combat fighters, knowledgeable in firearms, there's a fantasy element to the story via Tharn's visions, they're on an island which the setting for right now, and the tone and aesthetic of the show itself.

It's actually a fun scene to rewatch again with more context because I appreciated it even more. Which is just good film making.

I didn't talk much about the camera work - needless to say it's notable and fun - but maybe I'll save that for the next post. What other shows or scenes would be fun to breakdown? Drop me a line but heads up I don't actually watch a ton of shows so idk if I've seen xyz show lmao

Later chepies ✌️✌️

Other posts in the series:

Aspect Ratio in Love for Love's Sake | Cinematography in My BL - Our Skyy2 vs kinnporsche, 2gether vs semantic error, 1000 Stars vs The Sign | How The Sign Uses CGI

[like these posts? drop me a couple pennies on ko-fi]

[exactly-another-one-piece-blog]

I’ve seen a lot of people talking lately about how Percy Jackson is one of the only fandoms where the main character is actually the most popular. And it occurs to me that sort of applies to One Piece as well. (What qualifies as a fan favorite character in one piece is tricky because there just SO MANY) And I think this is fascinating because in a way Luffy and Percy appeal to their fans in very similar yet completely opposite ways.

Like with Percy the big thing that makes him so appealing is his internal dialogue. Percy comes off completely differently when he’s telling his own adventures vs when anyone else is. He’s an incredibly powerful badass but that’s obviously not how he sees himself, and his narration openly tells the audience how scared he was while doing his impressive feats or how stupid his ideas sound before they work out. He’s also fully aware that he is telling a story and that the audience is judging him, so sometimes he’s the first to admit something wasn’t a great idea and other times he gets really defensive about his decisions. You feel at once that you ARE Percy, tying your best with the information and skills available, and that he is someone complete and separate from you.

Luffy famously has almost no internal dialogue at all and yet he appeals to his audience in much the same way. With Luffy we have to depend almost entirely on how he acts and reacts to various situations to learn about his character. But by not providing an explanation, Oda invites the reader to speculate less about how they would handle the situation, but about why Luffy responds the way he does. And yes of course both characters have the same bad ass one minute, doofus the next cognitive dissonance appeal.

But with Percy we know exactly what’s going through his head and it encourages us to think about how we would respond with actions and with Luffy we only know he responds and it encourages us to think about his thoughts.

[nabanna]

lord help us all I've been given a reason to think about Dracula novel/Drizzt series crossover

I love following canyourfavesurvivecastledracula (I especially love seeing characters I'm not familiar with on there) and they recently got an ask about my little guy Drizzt Do'Urden but didn't know all that much about him BUT YOU SEE (unfortunately for everyone who knows me in any way) this is a crossover of the two major fandoms that have become my entire personality in the past year or so! so as someone who's eagerly awaiting the return of Dracula Daily Season AND reading multiple of the Drizzt series books as we speak (simultaneously! help..) and considers him a blorbo to tenderly and lovingly put in the microwave to watch him dodge the radiation like an ant, I'm taking a crack at it because this looks like fun :D

Making my own post because this is purely to be enrichment in my enclosure and also it's.. gotten So So Very Long.. also pouring one out for my other account where I normally would post this sort of thing that I simply cannot log into anymore for mysterious and unknown reasons. (Literally it's still like There and I can See It but trying to log in takes me to 'make a new blog' pages and... wait I'm silly I think I know why. the email died. no idea how to get back in without the email.)

ANYWAY

To the thought experiment:

Could Drizzt Do'Urden Survive Castle Dracula?

Short answer: Yes, it's not a fun time for him, he saves the baby though!

Long answer:

Using the blog's stated general criteria...

Overall approach to the supernatural:

Is an elf, knows what a vampire is, however D&D vampires work differently from Dracula vampires so he would not have all the information on that front if it came to a confrontation. (Knowing the Drizzt books, it would definitely come to at least one fight or at least a tense chase sequence.)

Also depends on how quickly he clocked that this is, in fact, a vampire, and whether Dracula could catch on to him catching on and spin things in a way that kept Drizzt relatively chill OR decide it's time to strike (which he could probably escape) (though now I'm thinking about Vampire!Drizzt....... no no I shouldn't.... unless.....)

The presence of Guenhwyvar (constellation panther BFF my beloved) would afford him some protection other than Dracula's whims, and companionship which is Very Important as he has been known to go feral without sufficient friendship.

Probably takes all the local superstitions very seriously because where he comes from if someone's like "there are ghosts that come out on certain days" and "there are monsters in these woods" they mean it very Very literally.

Dracula's general inhuman behaviors he could take in stride and adapt to pretty well I think, he's known a lot of really eccentric people and is from Fantasy Zone, so the idea that Dracula isn't human wouldn't be scary or even all that weird. Vampire, yeah that's sus, but just non-human? you walk past a hundred non-humans on a single street in most cities where he's from. Many of the eccentricities might be explainable just by going "Ah, he seems to be some kind of wizard. Yeah that checks out." Doesn't seem to be sleeping on a normal schedule or at all? Drizzt does that too! Sees too well in the dark/doesn't seem to use lights much? Darkvision and light sensitivity, same! Moves inhumanly fast? A little concerning but why not. Tells stories from centuries ago as if he was there? Elves do that all the time and it's because they were, in fact, there. (Also some human wizards do all of that too, just because.)

Now because things work differently between these two settings I'm not sure how much his general familiarity with things in the Forgotten Realms would help him here, like he's taking it all in stride but does he know how to protect himself against a Dracula-type vampire? Does he know magic is so incredibly rare and (apparently) usually evil or does he think this is just an unusually magic-less region?

Whether they would accept the crucifix from the old lady:

He is a polite young man so yes of course he would, and because the lady doesn't know what a drow (or an elf?) is, she probably wouldn't think "evil!!!" like most of the common folk in the Realms do, so much as "weird-looking (yet androgynously beautiful) young man" or depending on the local superstitions may assume he's some sort of fey being? or just like, really exceptionally foreign foreigner.

Assuming she still offers it, he would accept it despite not knowing what sort of deity it's for, because he recognizes it's a token of goodwill and he loves expressions of goodwill. Would definitely go and write about it in his little diary to both wonder what she's so afraid of/what sort of protection it affords, and also gush about the kindness and possibly whether this expands or aligns with his current understanding of morality.

This plus the other Superstitious Behaviors would clue him in that something's up so he'd be going in with that knowledge, prepared to figure out what's going on and what the villagers are so afraid of.

Whether they would go exploring after being told not to:

100% and he might even be stealthy enough to mostly get away with it!

Demonstrably does not like being restricted, only went along with this stuff when he was younger because the indoctrination ensured that he literally had no idea there was any other option (also his dad sparred with him daily to get his energy out so his zoomies were managed)

If Dracula really truly wanted to discourage him from any particular places he might just need to come up with an explanation, but he might also be entertained enough by Drizzt's sneaking and snooping to let him roam and see where it goes. Drizzt is better at stealth than Jonathan but they have different flavors of wet cat charm which Dracula may want to handle differently.

Depending on how you read the scene with the vampire ladies trying to "kiss" Jonathan, like how much of it was vampire charm making him feel kinda into it or potentially more of a paralysis situation, it could go differently just because Drizzt may or may not be able to break out and run away very fast, or just kinda endure it while feeling Really Bad And Gross about the sexual overtones. (Based on instances such as him resisting drugs and exiting the room as fast as possible when a priestess was coming onto him, and going feral to push through a paralyzing poison to prevent an assault on another person.) (I read him as incredibly demisexual and he demonstrates being sex-repulsed to everyone outside of the very short list of people he's actively very close friends with and attracted to.) (His feral side has been known to come out in these types of situations but not all of them and it wouldn't necessarily always work either.)

The girlies would not put him off of exploring for very long but he would likely be trying to avoid all possible run-ins with them from that point forward. Unfortunately for him he is a tasty little guy and I think the girlies would actively mess with him against Dracula's orders, perhaps in part because he's an elf and they find that interesting and engaging. Enrichment for their enclosure! Horrible time for Drizzt. Exactly the way the vampire squad likes it!

Verdict: He has a bad time but he's gotta run around he has the zoomies. Dracula could possibly prevent this, if he wanted to prevent it, by letting him into a training yard of some kind so he can get out his energy.

Ability to manage the whims of a Rich Jerk / hold Dracula's interest:

This one is harder and probably depends on the circumstances of him going to the castle, like what his goal there is, and around what point in the timeline he's at. I haven't gotten through all 30-something books just yet but my answer is Probably?

Just the fact of him being an elf and having some innate magic abilities could possibly be enough for Dracula to find him interesting enough to keep around. He's not a wizard and his innate spells are mostly harmless, more battlefield management than anything, so he's not magically a particularly powerful threat to Dracula, just decently interesting. He could also go on about how magic works where he's from, though going on too much about his inherent drow magic would make him uncomfortable (which Dracula would probably like) and especially like, if he got into the ins and outs of Menzoberranzan specifically.

He would definitely bring out the active listening skills for Dracula's history and war stories. Might want to get examples of any particularly interesting fighting maneuvers. I wonder if Dracula would indulge him in a spar or let him practice? The castle must have a training yard somewhere, but would he let Drizzt keep his weapons/borrow some?

Usually good enough at reading the room to determine when is or is not a good time for the scimitars and the panther (combat mode) to come out.

Not the most charismatic, but insightful and clever. (autism-ass elf. elftism.......)

Raised in a very controlling environment with a strict social hierarchy where he was simultaneously part of a high-ranking noble family but also as far down the social ladder as he could be otherwise (male, youngest child, was supposed to be assigned spell component at birth, doesn't like conforming) so, again, he wouldn't like it but he could probably manage it.

Partly depends on how much effort Dracula is willing to put in to make the Friendship believable and keep Drizzt in the dark, or if he's interesting enough to more carefully balance a web of manipulation around.

I'm gonna say this point gets a Yes

Assuming he realized the vampires are Bad but too dangerous to 2v4, he would be so uncomfortable for most of it but is also funky enough that Dracula would probably find his discomfort and weird-but-trying-to-be-so-polite mannerisms entertaining. Dracula would decide this is his blorbo now. I may be biased but this is tumblr so actually Dracula himself said all of this to me personally in DMs.

Facility for climbing without gear (free soloing):

Lizard fashion? Spider fashion...

He Is On The Walls

Multiple points in the books involve him sneaking around places by climbing on walls and I believe elves are canonically, in general, weirdly good at parkour. So yeah!

Whether they would choose to risk being eaten by vampires over the certain death of being eaten by wolves:

IF he has weapons, the wolves aren't really certain death because he is a whirling tornado of death, I am so sorry wolves. If not then he might be able to parkour out of their way? He probably wouldn't want to fight the wolves though, because he is a disney princess nature lover and would rather free them from Dracula's control if possible.

Depending on how much he could figure out about how vampires work here, he may have some ideas for how to turn a fight against them to his advantage or otherwise.

Wait, this happens after the baby incident, right? If so then he's not getting to this point plot-wise, though he might have come back to try fighting the vampires after saving the baby, and depending on how he's doing that, he might still have to contend with the wolves at some point.

Decision: Doesn't want to go against the wolves at any point, but if necessary, he can out-parkour them.

General analysis from Me:

Main counts on the original post are accurate! He accepts the cross, survives the social situations as long as necessary, and escapes with the baby to give it back to the villagers upset but otherwise intact.

As soon as he realized the vampires were menacing the locals to any extent, he would decide to figure out a way to free the area of their evil. Unfortunately the best way for him to figure out anything about the vampires is to stay in close quarters with them for a little while. He has been known to pretend to side with an enemy to gain information or an advantage in a fight, but I'm not sure how long he could keep it up.

Dracula might string him along with Friendship (Drizzt loves friendship so much if he doesn't have friendship he will explode) but he would have to get his baby-eating roommates to play along and behave or else they could easily freak the guy out too much for it to remain believable.

Either way, Drizzt is not staying in that castle beyond the point of another person (the baby) being put in danger. There's at least one point in the books where he's protecting a baby while fighting some enemies and he always puts the baby's safety first. Also Guen can respawn, so if it's absolutely necessary to, she can get taken to 0 HP distracting the vampires while Drizzt improvises some way to get out of there with the baby intact.

That's as far as "survive Castle Dracula" usually goes because well he got out of the castle alive but now I am also thinking about possible plot beyond that point...

First of all the villagers?? Assuming they saw him as Really Weird Foreigner or perhaps some sort of fair folk rather than Literal Demon Spawn the worst they'd do is probably be very tense and silent after taking the baby back and let him leave uncontested without welcoming him in. Best case scenario is some or all of them, or at least the baby's mother, being grateful enough to help him out a little. But like what's he gonna Do after that? (Also if the villagers think he's some sort of fey guy then would they think there's something up with the baby now...)

I mean he knows there's baby-eating vampires in that castle now and he's very against the idea of leaving baby-eating vampires around. Even if he can't 2v4 all of them plus their minions he'd wanna do something about that. (2v4 rather than 1v4 because Guen counts as one) Would he try to gather allies to assault the castle? If he learned that there's times when he can expect them all to be asleep in their coffins would he try to just go back in and stab them in their coffin-sleep? Would he leave the area if he knows the local people are still in danger or would he reason that he needs to find help and come back?

(Also raising to myself the question of whether this is "specifically only Drizzt has been isekai'd into the novel Dracula" or if there's perhaps a little more crossover type setting blending, or if others from the Realms are in there, is Elminster around I know he's canonically been to Real Life Earth, would Van Helsing have some kind of tangent about how this has allegedly happened before, there's an implication that vampires aren't even Van Helsing's favorite cryptid what if d&d type elves are actually higher on that list and he knows all about them, is it even possible to put something resembling the plot and characters of Dracula into a D&D setting, what if I could make a Domain of Dread out of this–)

No matter what happened, Drizzt would be writing SO many diary entries which is perhaps the true main reason why he would survive, he's got that journaling and diary-keeping swag just like my good friend Jonathan Harker

(This is all assuming he has Guen because if he didn't have Guen he would wilt away of the Miseries. Might un-wilt specifically to save the baby and then re-wilt as soon as he remembered there's no kitty.)

[hugemilkshake]

Hi, can I request a Yan! White Pearl Cookie x Siren!Reader

Like, they meet accidentally when Reader was trying to lure sailors with their singing.

Bonus points if sirens are like a danger to mermaids (BY SIREN I MEAN THE FISH ONES, BECAUSE THERE'S ALSO BIRD SIRENS)

Remember to drink water and rest when needed :D

Enjoy your milkshake! This will be a white pearl + black pearl bc we love character development in the wrong direction ❤️❤️

The mermaids siren

-romantic leaning scenario-

!TW! Under the cut are themes like stalking, obsession and slight possessiveness

Gem mermaids, the radiant creatures of the deep sea. But gem mermaids aren’t the only ones that reside in the deep sea. Sirens. Mermaid like creatures with voices so alluring that will bring the strongest willed cookie, down into the deep, dark sea…

White Pearl Cookie probably only saw you once.

She was swimming around with Frilled Jellyfish Cookie and heard probably the most beautiful singing she’s ever heard

She was going to follow the music but was lulled away by Frilled Jellyfish

Crimson Coral was informed about this encounter and told White Pearl that sirens aren’t friendly towards the gem mermaids.

Sirens were envious creatures. They were jealous of gem mermaids and would do anything to be as beloved as them.

White Pearl kept this in mind for a long time, but with Heart Break comes dismissal..

After the eclipse, sea creatures of all types tried to avoid the once radiant mermaid. She lost her radiance and family. What else could she get taken away from her..?

Years passed, an area of ocean was now called The DuskGloom Sea. Sea creatures and sailors avoided the sea like their life depended on it.

And it did.

The DuskGloom Sea held one of the most vengeful cookies of the sea in it

Black Pearl Cookie

Black Pearl held nothing but hate in her heart

Until she heard a familiar singing…

Peaking up from the water Black Pearl saw a mermaid like creature singing just at the edge of The DuskGloom Sea

The only difference was that this “mermaid” lacked any sort of gem on their person

Black Pearl had a vague and foggy memory coat her mind, the memory of sirens filled her mind

Siren. You were a Siren. One of the seas less benevolent creatures… just like her…

The next week Black Pearl would watch you sing your graceful songs

Oh how she desired for her to be the one to only hear your songs

She wanted you to be with her

You filled her with such joy that only a few has given her

Only if she could take you under her grasp…

But the heartache she feels won’t allow her to get closer to you

So she’ll just watch you from afar for now…

[orange-orchard-system]

System Ramble: reading, inner/internal voices, and our brain's continuous attempts to understand the world around us

[PT: System Ramble: reading, internal voices, and our brain's continuous attempts to understand the world around us / end PT]

I'll probably have to expand on this at some other point because it ties into how we feel our plurality is a fundamental part of how we process the world (and that deserves its own essay), but there's something interesting that happens when we read that has to do with our system.

Have you ever seen those posts that talk about "the little voice in your head" that you get whenever you read something? A lot of people are able to hear the words they read being "spoken" in their head as they read them. A lot describe the voice reading "out loud" in their brain as either being their own voice or some detached voice without anything more to it, but for us...

... it's closer to one of us reading out loud to the rest of us.

As we write this post, for example, we can identify the headmate in front who's taken on the role of the "voice" reading each word. There's no simpler way to describe it – he's the one reading out each word to the rest of us, and we can hear his own inflections and other verbal quirks as he reads. We've recently begun trying to consciously pass the role of this "inner voice" around, and we can definitely hear a change depending on who's reading, even if it's the exact same text. Eddie has a deeper voice, and reads much slower, giving the impression of a grandpa reading a book by the fire. Danny, by comparison, has a higher voice, reads quicker, and is often audibly annoyed when he has to reread something. It's a very interesting thing to experiment with.

Based on these experiments, acting as this "inner voice" is sort of like a very flexible system role for us, one we naturally fall into or out of most of the time, but can occasionally choose (which is, funnily enough, very similar to how our switches function). This phenomenon happens automatically with most texts we read, and may be part of the reason we have so many introjects; our brain may be simply creating the most fitting "voice" for what we read as it sees the need, which is frequently either the author, or a character in the text. But regardless of the reason, it's a very helpful tool for figuring out who's in front or discovering new headmates, as we have a strong sense for whoever it is that's reading at any given time, and find it especially easy to visualize a headmate whenever they're taking on this role.

On rare occasions where this doesn't happen, we often have trouble absorbing the information we read. It just doesn't stick in the same way one (or more) of us reading to the others does. Which is definitely a con; if it weren't so automatic for us and thus rarely a problem (especially now that we've identified what's going on), we'd definitely be counting it as one of the ways our DID disables us. It's not too different from how it becomes difficult to impossible to absorb information when we're too dissociated, after all. (But then, that raises a question: is the reason we can't absorb text when too dissociated because the dissociation is keeping us from fulfilling this role? Food for thought.)

This isn't the only way in which we utilize our plurality in order to process and absorb information; we also have various system members we call "captioners" whose job it is to make it easier to understand what we hear or see by creating visuals based on this sensory input. We haven't tried having these two roles active at the same time – mainly because I think it would just overload our brain with too much to keep track of and any attempts would fizzle out – but it's an interesting idea for something to experiment with in the future. The parallels are interesting, anyway, especially with how they seem to indicate that our plurality is fundamental to how we process the world and what kinds of choices our brain made when creating us. Perhaps it's all part of our brain's attempt to cope with its own dissociative disorder by creating work-arounds for the problems dissociation can cause, but... I feel like there's more to it than that. The question is where to look for answers (and if the answers are something we should be unpacking just yet).

That brings me back to the beginning. It's interesting to see how our plurality functions almost like a neurotype in some ways – I don't know if I'd call it that, but I can see some parallels in how others talk about them with how plurality functions in our brain. One day, I hope to write a collection of all the different ways our plurality affects us like this, as a sort of guide to our own processing and understanding of the world through a plural lens. For now, though, it's just interesting to think about how I'm now reading this post "out loud" to my headmates as I write it, and how my internal voice differs from those who have read it before me.

... Also, I'm just now realizing this system (no pun intended) works better when the fronter writing a text is also the headmate reading the text. Huh. That fits, somehow.

So, to recap: we get the most out of reading when we use our plurality to host what is essentially system storytime, our internal voices differ a lot more than we first thought they did, and it's interesting that our brain keeps making selves and roles just for helping us understand the world around us. Thanks for reading our ramble.

[cripplecharacters]

hi! i saw the ask you recently posted regarding the amount and date of asks currently in your queue, and im not sure if i understand the response fully. as you said your queue currently contains asks from early 2020, does this mean that at the moment the average time for an ask to be answered is about 4 years? this is not a complaint or anything of the sort, i understand and appreciate the massive amount of work you put into these answers - im just asking to know whether i should send in a question myself, as i usually dont work on building a character for several years, so i would just be burdening you with yet another ask that would no longer be applicable by the time of an answer. again i apologize if this comes off as rude and i really dont intend to be demanding, i just want to inform myself on how this blog works so i dont add to your workload needlessly. thanks for all the great work you do here!

Hello!

To clarify: The average time for an ask to be answered is NOT four years.

There isn't really an average wait time per ask since it differs so greatly but I'd say it's usually no more than a couple months? Somebody can correct me if I'm wrong though😅

Depending on the ask, it may be answered almost instantly and chucked into the queue or it may sit in our inbox for a while before somebody can get to it. This all depends on a few factors, including:

What's the ask about? If it's something that multiple mods can answer (Such as questions about autism, mobility aids, etc.), then it will likely be answered sooner. On the other hand, an ask about something more specific that fewer mods can answer (Such as progressive vision loss or albinism) will likely take a bit longer.

How detailed is the ask? If it's a question that's more simple and can be answered without as much effort/energy, it will usually make it's way into the queue quicker than a question that's more detailed/specific to the asker's story/characters, which will take a bit longer.

What topics does the ask deal with? Sometimes there are asks with heavier topics that can be more difficult to deal with. In my experience, I find that I have trouble spending too much time on these asks at once and I'll usually draft an answer and then go back to them after a few days.

This is by no means an official 'why your ask hasn't been answered yet' post, just some clarification and a few of my own observations but hopefully it's helpful!

Cheers,

~ Mod Icarus

Editing to add:

A huge part of why there’s such a big backlog is also that, for around a year or more, there was really only one active mod on the blog.

As you can imagine, this blog is kind of a lot for just one person to run. So the backlog built as it was much harder for just one person to do it.

For reference, we now have 10-11 mods, which helps us be able to do more questions.

Hope that helps for some context!

Mod Sparrow

[hollowed-theory-hall]

Have you ever seen the SuperCarlinBrothers series on what if Harry had been in Slytherin?

Got any thoughts on if differing house would have changed anything in an interesting way?

I did listen to it a while ago (I put their videos as podcasts sometimes while I'm drawing or doing something else), and I agree with some of them and disagree with other parts.

The first year is probably the one I agree with them most on and the further in the story we go the more our visions diverge. Obviously, this is a what-if scenario and therefore almost entirely made up of speculation and headcanon, and even in my own mind I don't have a single true version of how it'll go since there are tons of potential variations and many fics about this.

If there's interest I could write, like, an outline of what if Harry got sorted into Slytherin fic I'd probably never write, but there are a lot of variations in this what-if and it's going to need to be split into multiple posts that detail what I think is likely, what could happen and what I'd like to happen if Harry was sorted into Slytherin.

Because, like, there are so many ways this could go and still be possible. Like, this what-if is essentially 30,000 different what-ifs in a trench coat. Because like, how would Snape react? It's possible he'd be nicer to a Slytherin Harry, and then that changes book 1 quite drastically. But it's equally possible the similarity to James Potter would override that. Both are equally plausible for this what-if. And what would Dumbledore do? Would he do something at all or more likely, just watch with growing concern and hope this isn't another Tom Riddle but keep the test of book 1 going, to see what kind of person Harry is (I think the second is more likely because Dumbledore tends to hope, so he'll hope Harry is a Gryffindor deep down and Harry telling him he sees his parents in the mirror of Erised would confirm it to Dumbledore). And I wonder how kind Hagrid would be to this sorting, I mean, the fandom doesn't talk about it much, but Hagrid definitely has a favorite house considering he's the one who told Harry: "There was not a single witch or wizard who went bad who wasn't in Slytherin", so, I don't think Hagrid would be as friendly to Harry if Harry was in Slytherin, which means no Hagrid spilling info about Fluffy and the trials in book 1 (Harry would still learn all that information, but it'd be from a different source). But it's possible Hagrid would look past it since Harry is the son of James and Lily and he can't be bad.

And I think Harry will make friends within Slytherin, like, I disagree with SCB about that, I don't think all of them would be assholes. I also think Harry is more of a social chameleon than SCB gave him credit for. He acts the way we see him act because he mirrors Ron's behavior a lot of the time (especially in first year), in Slytherin, he'd try to mimic the Slytherin's behavior, so he wouldn't necessarily be that much of an outsider (he'd still have his sass, Harry should have his sass in every AU). I don't see him ever becoming a blood purist, but I can see a Slytherin Harry being a bit more aloof and carrying himself a little differently. I mentioned here, here, and here, how Harry can be colder and ruthless when push comes to shove, there's a reason the hat offered Slytherin. I do agree with SCB, that it's likely Harry would still be friends with Ron and possibly also Hermione, but even here there are different possibilities depending on what we change so Harry would get sorted into Slytherin in the first place. The story of the books could change a lot, but also barely change at all, depending on how you choose to interrupt certain characters and decisions.

The point is, there are a ton of moving parts and I don't really have a singular answer to how I think the books would go if Harry was in a different house. I have, like, this tree of possibilities.

[silverskye13]

What is the Tournament story so far? We hear about it in the newest chapter but it gets glossed over and I really like that sort of aspect

Do they different paths it'll go on depending on who wins???

Tell me about it I love this!

The tournament story!

No idea if it'll get talked about in depth in the plot so, yeah sure, possible (very probable) spoilers under the cut [and a very, very long rant about Colosseum lore because I have brain worms.]

First of all, format: The tournaments are basically scripted plays which hinge on set-up fights as payoff for story beats. All tournaments follow the same basic format.

Introduction: Here is the lineup of characters fighting in the arena for this tournament! There are too many gladiators to ever showcase them all at once, and there are smaller more informal productions sprinkled in between the big spectacle performances. Helsknight competes in every big spectacle performance, and will make an honorary appearance in the smaller more contained shows. (The smaller shows tend to feature smaller names and less skilled combatants, so he doesn't compete in them very often for obvious "we all know who's going to win here" reasons. The only reason he competes in those is as a favor, in which case he might show up as a final act Deus Ex Machina to save a scripted winner. This doesn't happen very often -- crowds don't like predetermined winners unless there's a really good story to go with it.)

Major plot: Something happens at the end of the intro causing the "main" characters to pick fights with each other that dictate the rest of the matches. This is when anyone allied to a certain side will also pick that side. This will always result in a deadly match, often times several, where everyone on the individual sides faces each other. Sometimes (rarely) this results in a melee, where a full scale battle is enacted on the field as the climax of the plot. There are a lot of scripted/acted monologues, and the Colosseum is often arranged into a staged arena to fit the theme of whatever the main plot is.

Minor plot: A smaller, lower stakes background plot to add levity to the main plot and break up the story beats. This is where beast masters will compete to show how well trained their beasts are, jousts will happen, feats and contests of martial strength or skill will happen. It's the palette cleanser. It will break up the tournament fighting that makes up the major plot beats. (This is also when sneakier characters might enact plans, try to get combatants to switch sides if that's relevant, or meta characters might explain denser plot beats for the audience.)

Intermission: Go get your snacks!

Minor plot climax: the winners of the smaller feats are announced, and if there was a point tie in any of the competitive categories, they will figure out who wins here, often by doing a last demonstration of skill and letting the crowd decide who has the most pinache.

Major plot climax: The big final fight(s) where the plot line is decided. Whatever the decision is for this fight is often the foundation for the next one. Particularly gnarly finishers will result in grudges that can be exploited later for plot. Sometimes the showrunners will break this by releasing a large monster into the arena halfway through the fight, forcing a "oh now we who hate each other must work together" story beat. This is normally foreshadowed and scripted ahead of time (wouldn't do for the combatants to kill each other before the wither spawns in), but every once and awhile, to keep things spicy, it will be a surprise for the fighters too, just to get more genuine shock from their "actors". Helsknight hates this, and showrunners have been known to face his fury if the fight was particularly harrowing (they're in the habit of keeping gift baskets and competition prizes on hand to smooth things over now, though Helsknight still insists it's the principle of the thing.)

Helsknight has been the reigning Champion for ages, so most of his plotlines have to do with challenges to his title. He's been a heel (bad guy) character for awhile, mostly because EB was the Colosseum's darling, representing the idea of rigorous fairness with a lot of plot points that emphasized integrity and goodness. When Helsknight was up and coming, it was natural for him to take an antagonistic role to that, ousting a paragon from his throne. Now he comfortably fills the spot of Tyrant Lord, clutching his crown with godlike strength, and total disdain for those beneath him -- though he hands out rewards and favors to those who do him good, which leads to plot points where he comes in as a Deus Ex Machina for someone else's losing fight. This doubles nicely with his habit to take very real offense when his honor is threatened, and occasionally breaking script because he's pissed off about something. (The showrunners have learned if they want a long, interesting final fight, they can't write lines about Helsknight being a coward.)

Helsknight vs The Red King

As his title implies, The Red King is a leader whose main character traits involve amassing followers through might and loyalty. His Loyal Hand is the crafty underling who goes about during tournament matches "converting" likely followers to the King's cause. There have been a handful of matches where Red, either because he thinks he can rule the Colosseum better, or because it's his divine right as a king, tries to lead a revolt against Helsknight, often leading to a 1v1 between the two of them that has always ended in Red's loss.

The most recent tournament plotline, Red was given dreams of great misfortune befalling hels, the coming of a monster that would destroy the city and everything everyone holds dear! Oh no! He spends the tournament getting the greatest heroes of the Colosseum to join his cause (with help from his clever Right Hand) in stopping this calamity from falling. He approaches Helsknight once, asking for his help, but the dignified Tyrant, holding a grudge against all the attempts of the usurper, tells him to sink or swim on his own. So Red goes to face his calamity, and a wither is let onto the battlefield, with a small army of wither skeleton minions. They fight, and when the fight hits a suitable high point, Helsknight comes striding in, begrudgingly helping because the world won't end on his watch. A tyrant can't rule rubble. When the fight is over, Red and Helsknight end as shaky allies, with Red swearing fealty to the knight so long as he continues protecting hels, the home they both share.

Helsknight vs Bratwurst

That was until MythicalSausage's hels (the guy Helsknight kicked around like a hackey sack in chapter 9) came onto the scene. He's been dominating the small show fight scene, a pretty decent midrange fighter with cool demon powers that act as a convenient third-act power up during his fights and a pretty charismatic disposition as a heel character. He got good enough to start doing trial runs in the spectacle fights as a minor character. In his second appearance, when he was supposed to challenge Helsknight and establish himself more firmly in the story canon as an ambitious antagonist, he broke script and insulted Helsknight's honor. Helsknight, predictably, broke script in retaliation and kicked his ass, instead of doing what he was supposed to do -- let the new kid get some good hits in to make the crowd happy before humbling him to set up a new story beat for the next match. The showrunners, understandably upset by the debacle, kicked Bratwurst back onto the small circuit, and set about tweaking their upcoming brackets in a way that would redeem some of Helsknight's public image.

The Current Tournament Story:

So, Helsknight, who has firmly re-established himself in the public eye as the tyrant heel, is perfectly set up to be the villain in the next arc. With some string-pulling from the Demon, the story they've crafted for the current tournament arc is that Red, upon hearing of the cruel defeat of one of the new gladiators at the hands of their "I'm trying not to be a tyrant anymore" Champion, challenges Helsknight on the grounds that their bargain was for the protection of hels, and Helsknight has gone out of his way to show that he only cares about his pride. He only fights in battles he knows he'll win (Mythical Sausage's hels) and or for his glory (swooping in to save the day at the last minute in the wither fight). To prove his claims true Red is initiating a trial by combat -- if Red wins, not only is Helsknight no longer Champion, but he is proved guilty of the sin of pride, only ever showing his face in the Colosseum to inflate his own ego. Helsknight accepts the challenge, so sure not only of his own skill, but that he's held his end of their pact, that he will not only face Red, but also his beloved Hand in battle. All who wish to fight in the name of the Champion's glory may do so, and all who wish to dispute his honor may join Red. Thus the sides are cast, and the tournament begins. Any gladiator fighting on Helsknight's behalf will be given a red cloak and plume (if wearing a helmet). Any gladiator fighting on Red's behalf will wear the Dogwarts red-and-white, with a white plume if helmeted. In between the matches, depending on who wins or loses, Helsknight and Red get to do banter, while Martyn connives on the sidelines, giving his teams a hand with weapons and armor. No matter who wins or loses, the final fight is between Helsknight, the Red King, and his Loyal Right Hand.

[minweber]

The thing about Watchers of the Throne books is that I found them at best moderately interesting while reading through them, but have since thought about their contents much more often than such review would suggest.

It comes down, rather unsurprisingly, to the main characters. Valerian and Aleya are great! Each is interesting to read about solo and they have a great dynamic when put together... It’s a real shame then, how little of them as a duo we actually get. Makes me wish that the whole Tieron/Jek/High Lords/Terran perspective on the historic events thing - which actually is also great! - was its own separate book, while these two starred in a different, smaller scope story.

But the part that really makes me come back is how appealing I find both Valerian and Aleya as windows into mentality of their respective orders. The way they think, act and react gels really well with the way I want to see Custodes and Sisters portrayed - so much so, in fact, that it's almost a shame that both of them are presented as something of deviants within their factions.

Valerian's calm and pleasant, but somewhat detached manner is a great way to portray these nigh-immortal superhumans, I think! Competent and well-meaning, but so far removed from the humans they interact with, that they aren't capable of fully understanding some of their emotions and motivations.

One of my favorite bits of the first book is when Aleya takes her frustrations with custodians' inaction out on Valerian and accuses him of not caring about humans and their lives by mentioning her homeworld and going "Oh, I bet you've never even heard about it". Not wanting to antagonize her, Valerian doesn't object, but in his head begins to reflexively recount a whole ass wikipedia article on the place, to a level of detail that suggests that he probably knows more information about it and its history than Aleya herself. What a delicious moment! Both refuting and supporting her sentiment - clearly this sort of detached, "academic" knowledge does not infer the kind of caring she meant... but it does infer some kind of caring. Even with a magic brain of a custodian, taking time to study something, learn about it in detail, put in effort - it all implies care for the subject - possibly a huge amount of it, depending on the perspective.

And I really like that! For a setting so obsessed with trans- and post- humanism, warhammer - in my whiny opinion - doesn't seem to delve enough into the way its supposedly hyperevolved superhumans would think. More often that not the depiction of what is supposed to be this whole other mode of human existence is limited to a character being super smart while offscreen and having very hightened, operatic emotions while onscreen.

And on one hand - it is very understandable why it ends up this way. All stories we tell - be their subjects talking objects or space supersoldiers - are, at least in some way, about human condition. So distancing your characters from it may seem counterproductive to telling a good story. But on the other hand - surely there exists enough variance in this incredibly vague term to justify broader exploration and departures? I found Valerian's way of thinking and caring to be a refreshing and interesting character trait. But could it mean something more, be more relatable perhaps, to someone neurodivergent? Or just someone otherwise different from me?

What I am trying to say is that I believe that leaning into exploration of what various "modified" ways of human thinking and perception might look like, is not only worthwhile as a tool for creating better fantasy stories - but also a generally useful literally tool that can help one deepen their understanding of others.

Aleya's side of the story actually feeds into it as well, though, I believe, a bit differently. Where the entertaining thing about Valerian is often how unconscious he is of his differences from those he interacts with, Aleya overcompensates in the other direction. She seems to be very acutely aware of how her condition makes her different from regular humans, and constantly runs her perception of the world through that filter, noting that several times throughout the books how her opinions or reactions are different to those a regular human would have in the same situation.

There are the fairly objective consequences of her powers, like most humans being uncomfortable around her, or her perceiving daemons and all their activity drastically differently. But she also notes herself as being less emotional than humans (which further reading... puts in question) as well as often unable to understand their motivations (which is very much a thing that very regular humans do as well). And while entirely possible as consequences of whatever pariahs' condition in warhammer is supposed to be, it is also tempting to say that it may have much more to do with her self-perception and upbringing. And that, in turn, poses a question about the source of otherness in general - we've all felt alienated at one or another point in our lives, but how much such feeling are to be trusted? When do they come from within and when without? When do we fight them, and when do we embrace them?

Anyway, the books are fine. I am normal about them. They kill a few Minotaurs in there.

[williamrikers]

The Undeniable Queerness of Enchanté the Series

(thank you @ranchthoughts for letting me ramble about this in your inbox before turning my thoughts into a post)

there are bls and then there are bls. right? there are dead fish kisses and there are characters who kiss each other like their lives depend on it.

and enchanté firmly belongs in the second category. 1,500-word essay under the cut.

there is such a consistent and tangible queer undercurrent to everything that's happening on this show and i'm not just talking about the fact that several scenes look like they could be the opening scene of a gay porno. or the surprise bondage. or force in drag. or proposing marriage in front of the eiffel tower. no, there's this aching, desperate desire underlying everything. theo has--in addition to his main love interest--four very hot gay suitors who all very obviously desire him carnally... this is some sort of gay manic pixie dream boy wish fulfilment fantasy and i am absolutely eating it up.

there is a vibe to the show that @ranchthoughts called "fanfic-like", and i would argue that that's because enchanté is actually fanfiction of the little prince. (i'm planning on making a separate post soon about how the book was referenced on and used as inspiration for the show.)

enchanté is fully aware of its own fictionality. it is on-the-nose fictional. but that's what makes it so much fun--it's not trying to be something it isn't.

take the reading memories segments in episode 4 [3/4] for example: these scenes were incredibly cringe, like, full-on bad-green-screen terrible-costumes-and-wigs hilarious-acting cringe, but fully aware of their own cringe-ness. (also, gawin was both in drag and naked in the same scene as two different characters, like. get on enchanté's level.) (incidentally, can anyone tell me what character aou/phupha was supposed to be? i got detective conan, monkey d. luffy and momotarō for the others, but i'm stumped on phupha's character.)

and that self-awareness makes it camp! there is such a level of camp to the whole show which feels extremely intentional (especially in the first two thirds), almost like a meta-commentary: "this is the genre. we know it's stupid but we love it here", and i adore that. they know the tropes, they know the bl landscape, and they're just having fun with all of it.

and the whole set-up in itself is a queer allegory, isn't it? theo and akk are "from different worlds", so to speak, hindered in their love not just by their complete inability to communicate but also by their forced separation as children. when they meet again, theo doesn't really belong anywhere, he's an outsider both in france and in thailand, he is unable to act the way thai society expects him to act (e.g. failing to show the proper respect to the seniors), unable to get his parents to understand him while being actively lied to by them (the whole ocean of miscommunication in that family deserves its own post), harboring feelings for his childhood friend his whole life but unable to voice them in a normal sort of way, instead falling back on concocting the most convoluted, immediately backfiring plan to try to make akk jealous and get him to confess his feelings first.

theo is fundamentally isolated because he grew up between two cultures, and neither one quite fits him: when he's in france, he is comforted by thai food and the only people he's close with (his grandmother and sun) are from thailand like himself; but when he's in thailand, he can't quite get used to the social conventions and makes social blunders, he is very slow at writing in thai.

it's such a poignant queer allegory in my opinion. they didn't end up making as much a point of it on the show as they could have, but it very much informed my whole reading of the show and the characters. there is a sort of inability to articulate his experience surrounding theo that makes him even more isolated and screams "baby gay in need of a community" to me. having akk share his experience at the end is something that i'm not a big fan of for other, unrelated reasons (might make a separate post about enchanté's ending and why it fell flat for me), but when looking at it through this lens, it is the only way for akk to really get theo, to really understand his struggle on a fundamental level.

which brings me back to that desire i mentioned earlier: theo desires akk, very much so, there are a whole handful of scenes where akk gets close to him and theo closes his eyes, expecting to finally be kissed by him, but more than that, he desires understanding. he often brushes off his own difficulties and has a tendency to be emotionally clueless (for example about his parents' divorce), but what i see most in his character is the desire to be understood, to be seen by akk, for akk to see him for who he is and to love him for who he is. (akk, of course, has been doing both of those things all along. he's constantly taking pictures of theo, he's watching him through his window--with theo's full knowledge--he is always looking at him, he's always loving him.)

it's not inherently queer to want to be loved as we truly are, i believe heterosexual people experience this, too, but in the context of queerness itself, being perceived as queer by other queer people is indeed a fundamental aspect to experiencing queer love (maybe not in gay for you bls, but i haven't heard of much gay for you happening in real life). not to be unscientific about this, but the vibes of the perception aspect of enchanté are just very queer to me, you know?

oh, and speaking of desire: enchanté in general is very physical. there is a level of intimacy between the actors and the camera that seems incredibly intentional: there are several shower scenes, scenes of theo and akk shirtless, TWO (2) nude gawin scenes (though one of those is sadly a fake-out and he is actually wearing shorts), many, many scenes that include bare feet, which is not something i see super often in bl, at least not to the point that i notice the frequency of it.

enchanté is very rooted in the physical reality of desirable bodies: theo is allowed to openly, physically flirt with saifa, even though that's not even his endgame love interest, phupha uses physical touch in his pursuit of theo, natee shows his obsession with theo by drawing his face/body about a hundred times, and akk and theo are wholly unable to keep their hands off each other. i've joked about the intricate rituals, but seriously, they are constructing so many intricate rituals. there are two separate scenes in which they make up excuses to kiss each other's elbows/arms/backs. they keep touching each other in a thousand ways, in every possible way they can that is still plausibly deniable as physical desire--until they kiss while watching that movie and then it's just a game of chicken of who will confess first. because their physical attraction to each other is undeniable. it's obvious. this was really refreshing to see in a genre that so often plays with the blushing maiden trope, and one character is so often made to pursue the other: on enchanté, akk and theo are equally horny for each other. it's not their lack of physical attraction that keeps them apart for so long.

(sadly, the show then shies away from actually getting very sexually physical: after their desperate, stunning, amazing balcony-kiss, they aren't allowed to be horny for each other in the last two episodes, when they're actually in a relationship. this is just one of the many aspects that i didn't like about the conclusion of the story, because you simply cannot tell me that these two as we got to know them in episodes 1 to 8 would really be as chaste with each other as they're shown in episodes 9 and 10.)

leaving that aside for the moment, let's talk about that kiss. as mentioned right at the beginning, when these two kiss each other on the balcony, it's desperation in its rawest form. these two--and especially theo--crave each other. theo kisses akk like he will die without him. theo kisses akk like he can finally breathe. theo kisses akk like he never wants to do anything else ever again.

i'm a bit obsessed with book's acting here, because of all the kissing scenes i've seen him in, i think this is THE most desperate one. force plays it a bit more subtle, but book's expression is full-on anguish. theo waited his whole life to be kissed by akk, and book portrays that so beautifully, with such depth. it's one of my favorite bl kisses for sure, it's played with so much heart, so much feeling, that it's hard to even think of kisses that compare, apart from the bad buddy episode 5 rooftop kiss.

anyway, all of this to say that enchanté to me is deeply, lovingly queer, and it's a shame that so many people are sleeping on it. (and that includes myself, i was wary about watching this show for a long time because i'd heard so many negative things about it.)

but i'm here to tell you: watch enchanté. it's wonderful, it's hilariously funny, it's endearing, it has book and force in it, and it is extremely queer.