#does this even qualify as spoilers

[cordycepsbian]

the thang

[layalu]

i should talk more about Boar Boy on main so here's the current Companion Opinions Rundown

Aloth: Was super frustrated with him for playing dumb on the Awakened thing for so long cos Alder had clocked him pretty much since Maerwald. That said, they do actually get on pretty well! And they Get Each Other the best out of the group on account of the. yknow. being Awakened.

Iselmyr: See the problem is Alder kind of likes her. The problem about this is that he he Absolutely Cannot Admit that she is A Person in any way for the sake of his own sanity.

Edér: Started out chill but people being Weird about either him being godlike or him being a druid is a big sore spot, and you bet your ass Edér was/is obliviously delighted by Alder's spiritshift. Also, the way Edér interacts with Iselmyr makes Alder uncomfortable for the same reasons as above.

Durance: Alder attempted an active conversations with him one (1) time before deciding it is not worth the headache and has since resorted to simply not paying attention to him. This drives Durances up the WALLS

Sagani: Dwarf solidarity!! 💪💪 She's easy to talk with, they vibe with each others' sense of humour, and they bond over exchanging stories of their homes since they're from opposite ends of the.. world? continent? and are both foreigners in these lands. He's chill with Itumaak too :)

Kana: He's... loud. Nice, but loud. Alder is kind of fascinated by Kana's curiosity and kind of wished he could share it, but his energy and Presence get a bit much over long stretches of time.

Hiravias: Only just met him, but made a strong impression for sure fhskfdjsl. He isn't weird about Alder At All despite being a druid and in fact doesn't even worship Galawain?? That's cool. And you gotta respect his commitment to the bit (eating raw gust full of shit).

Grieving Mother: Met her even more recently than Hiravias her but he had a very visceral reaction to the. All That and very complicated feelings. It was really unsettling but also feels like being just out of reach of answers or understanding or something important of some sort, so he pleaded asked her to stay with them

[frogs-in3-hills]

i think this is a really interesting comment for taylor to make considering she never actually had any personal experience with alec’s desire for revenge. iirc she was actually a little taken aback by the idea when aisha brought it up after he died, probably because she never fully understood his disaffectedness for what it was (an extreme trauma response). but over a year later this makes me feel like taylor sees aisha’s revenge against heartbreaker as solely alec’s, as opposed to something they were both invested in but that aisha had to take the burden of. the idea that aisha is “acting like regent” when she talks about revenge and not acting like herself i think is inaccurate, it’s just not a stance i would have expected from taylor necessarily. ig she really internalized aisha saying that he did want revenge, even though aisha is the one who did the revenging? did alec ever express that desire in front of taylor? if he did, i forgor ^_^;

[valiant-portabella-pirkko]

Tideturners: The Sidewinder

“Spend enough time in the Mists, and you’re bound to meet the most fascinating people.”

The Sidewinder went by another name, once. She sailed the seas, swindled and cheated, ransacked and pillaged. A pirate’s life was a harsh one-- unforgiving, violent, and usually sodden with salt water. Even among them she was fierce and unrelenting, a bold captain who fought tooth and nail to maintain the confidence of her crew. She made a name for herself, in spite of her rough origins and all the people who didn’t believe she could.

Her name was Mai Trin... But she doesn’t go by that name anymore.

It’s said that there’s many versions of Tyria scattered through the Mists. Countless, even. Sometimes they even clash, fighting for the resources that crop up in the gaps between worlds. Some are better off than others.

Hers is nothing but a memory now, and the origin of an ever-growing shadow that most will never see-- if they’re lucky. Some histories are best left buried.

“We’re the Tideturners, and we won’t be washed away.”

It all began with a simple proposition; a certain sylvari and a certain alliance, and an ill-fated plan to change the world. But this time, something was different.

The Commander of her world wasn’t quite like most. Brutal, relentless, and arguably more dead inside than the corpse minions he commanded. His lack of morals and intense ambition caught Scarlet’s attention, and she decided to invite him aboard the operation. He was an expert in slaying the dragons and their minions, and such insight could be invaluable with the goals she had in mind.

But this proved to be a dreadful miscalculation. Commander Ruju saw no difference between a rebelling dragon minion and a willing one. When the asura recognized seeds of corruption in her mind, he held no mercy.

And with the head cut off the snake, Ruju made his declaration; either what remained of the slain Briar’s alliance would fall in step under him willingly, or their remains would serve him in death. He was an ardent follower of the principles of Oola; necromancy and golemancy were destined to collide, and any who stood in his way would provide the materials to make that dream reality.

Captain Mai Trin recognized then that this wasn’t the Alliance she’d once believed in. The first to have believed her capable of greatness was dead, and Ruju saw them all as nothing more than replaceable cogs in his perpetual war machine. There was no future there, for the Captain or her crew.

Mai took any Aetherblades who were still loyal to her and fled into the Mists.

She’d spend the rest of her life wondering if they could have won when there was still something left of their world to save. Now they’ll never know.

“I spent most of my life making the wrong choices.”

“But if I can still accomplish something worthwhile with whatever time I have left, that’s what I’m going to do. I owe it to all the people who should be here instead of me.”

In the Mists, she and her Aetherblades cut their own path and their own future, far from Ruju’s war against dragons and Tyrians alike. They built a hideaway within turbulent lands where even time itself held no stability, a fortress that they prayed would never be found by the former allies they left behind.

Within the Mists, they thrived by learning to ransack Fractals. Taking from the echoes of realities that could have been, they found every resource they could ever need to survive. Food and water, technology, replacement parts, weapons and armor, raw materials... Whatever they needed, the Fractals would provide.

It was there that Mai would seek out the guidance of a familiar voice; she reached into the shadows, and the echoes answered, whispering. Scarlet Briar became her ally once more, offering advice and frustration in equal measure.

For a long time, it was just them. Mai, her Aetherblades, and the whispers of a mastermind who’d once promised them the path to greatness.

Years came and went, and the war of their world marched on, and on. Its consequences would soon prove unthinkable-- and inescapable. There were some lines not even pirates would cross. But Ruju held no such reservations.

Mai’s echo felt something within their world, a tie that snapped like brittle thread. For the first time, she was told-- begged-- pleaded with-- to return. Never before had the pirate experienced such a pull. Nor could she begin to imagine just what, exactly, had rendered the sylvari so inconceivably distraught.

And so they returned to Tyria for the first time. Airships flickered back into existence from the Mists, materializing over the skies of the Maguuma jungle.

The landscape below them was not the world they knew. Not anymore.

“... Scarlet wanted to change the world, you know. We all did. She inspired people just like Ruju, once. However you feel about that, there were plenty who believed that anything would be better than what they already had.”

“I can’t say it would’ve been, knowing what I know now. But at least she planned on there still being a world by the time she was done, whatever it would’ve become.”

The Grove was nearly unrecognizable. If not for the crumpled remains of the Pale Tree’s vast branches, she might not have realized what it even was.

Tunnels had been torn through the earth, vast caverns that formed what could only be described as a hive. The forest was teeming with massive insectoid beasts that only later would she learn had a name; the chak.

What had once been the sylvari capital city lay in ruins. The Pale Tree was dead. And under the shadow of her fading leaves hid what would, in another world, have been Tyria’s greatest hope. Mai wasn’t sure what drew her eye to that thicket and its glittering occupants, but the moment she laid eyes upon it, she knew she couldn’t just turn away.

So she called over her most loyal crew members, and they descended into the wreckage to seek something far more precious than any gold.

Broken bodies and dented armor littered the forest floor, yet they paid it no heed, cutting through the swaths of chak and stepping past pools of acid to reach their destination. It was there that Mai would be faced with the choice that would change her life-- and the lives of her remaining Aetherblades-- forever.

“... I’m no hero, or freedom fighter, or ‘chosen one’ or anything glamorous like that. I’m just the last line of defense, if you can say that when there’s so little left.”

“I’m the one they call in because everybody else is already dead. I don’t save the day, it’s already too late for that. I just clean up the rubble you so-called ‘heroes’ leave behind, bury the bodies your wars leave to rot on the battlefield, and patch up the few survivors who got caught in the crossfire.”

“Be careful where you toss that title around, ‘Commander.’ It doesn’t mean what you think it does, not around here.”

Hidden in the shrubbery was what remained of the Exalted; they had long since fled Tarir, their home utterly destroyed by a three-way war between Mordremoth’s minions, the chak, and Ruju’s Alliance. Their grand city was no more, and the same fate had befallen so much of the jungle that it even put the pirates on edge. As it turned out, Ruju had injected a mass quantity of highly toxic biochemicals into Mordremoth’s vegetation, but the poison had killed far more than just the dragon.

The dragon wasn’t just connected to the jungle; it was the jungle. And as it coursed through every vine, leaf, and root, it carried its deadly effects throughout the entire region. The chak fed on mass amounts of released ley energy from the killed vegetation, and since the chemical was only lethal to plants, they survived-- and thrived. Their population grew and grew and grew, evolving to utilize this new resource that now dominated their domain.

And as their numbers multiplied and their evolution accelerated... Their domain grew right along with them, undermining the entire landscape all the way into Kessex Hills. The Pale Tree had been a recent casualty; weakened first by an attack from the dragon and then from the poison seeping into her soil, she didn’t stand a chance when the insects reached their doorstep.

Now, with Ruju’s armies on the march across the continent, they had nowhere left to go. Their last shelter was in ruins, and the Exalted’s precious cargo was in jeopardy. It was only then that they would offer the last thing they had to give to the only hope they had left. Mai and her pirates weren’t the ideal alliance, but there was nowhere else left to turn.

Even the sylvari who had brought it to Tarir lay among the dead now. Mai didn’t know her name, back then. But her invocation did-- and whispered it as they looked upon the shining egg that should have been Tyria’s last hope.

‘Oh Caithe. You poor fool. I always knew your devotion would get you killed.’

“... You know, it’s almost funny. Most sailors believe in some kind of superstition, but I never did. If there was any ‘higher power’ out there, it didn’t care about us. We survived because we fought tooth and nail for every scrap. The open sea had no mercy, so neither did we.”

“And then I saw that egg, shining like a beacon in the ruins of a dead city that called to me with its last breath. And I just... Knew. Guess sometimes it takes the end of the world to really put things into perspective, huh?”

The crew was conflicted; some wanted to simply steal the egg and make off with it, but what then? The Exalted would fight to their last armor, and what would they even do with it? It only had value if they could sell it, and who would be its buyer? Certainly not Ruju, and no one else would want it. It was too precious, too powerful, too important to be treated as a mere treasure.

Mai and her invocation came to a joint conclusion-- one of which neither was certain, but both knew was unavoidable. Mai offered the strange, ethereal beings her hand. There was one path forward, and she was going to take it.

An alliance was forged, that day. And that was the day that the Aetherblades were no more. A new name was born, one that would echo through the Mists as it rippled across the fabric of fate-- a reflection of what they would become, and what they were going to do from that moment on.

They would be the Tideturners, one final holdout against impossible odds. And even if they couldn’t save this Tyria from the cataclysm to come, maybe they would still be able to save something else.

“I’m going to tell you a secret: nobody comes to live in the Mists if they have somewhere better to stay. We aren’t the only ones out here, but we all have something in common. We’re all running from something, hoping whatever we find out here will be better than what we’re trying to escape. Most times, it’s hard for it to be worse.”

“The Turnabout isn’t a vacation spot, or a military base, or anything like that. It’s a refuge for people who don’t have anywhere else to go. We don’t ask questions because we all have our secrets, and nobody needs to know who we were before, just who we choose to be now.”

“Those people are dead and gone, and they’re never coming back. We’re just the ghosts they left behind.”

The last of the Exalted were brought into the Mists aboard Aetherships, and settled into the fortress that would one day become known as the Turnabout. Glint’s last egg was safeguarded in the last place it might truly be out of Ruju’s reach, and in return, the Exalted offered their own magical knowledge to upgrade the facility’s defenses.

New weaponry was developed-- unique combinations of their ancient secrets and the steam-powered technology utilized by the Aetherblades. EX-Cannons were designed that would even act as an extension of the Exalted themselves, allowing the armor beings to interface more directly with the fortress’s defenses. And as knowledge of the continued destruction of their world slipped through the cracks, the sentiment began to slowly shift.

Even pirates had standards, morals that were too low even for them. They’d fight and plunder and pillage-- but this wasn’t about wealth or prestige or even survival, not anymore. And the more that Ruju’s army left naught but desolation in its wake, the clearer it became that this was far bigger than any of them.

It was the fall of Balthazar that shook the Mists, and tipped a far different scale than any had anticipated. Elder dragons were falling, one after the other. The fabric of magic was crumbling, and with it, their world, too. Scarlet began to whisper cryptic warnings of the ‘oblivion’ so soon to come.

Everything was about to get much, more worse.

“There’s worse fates than death. I know, I’ve seen my fair share. Corruption is pretty high on the list.”

“I could almost feel sorry for him, even after all this. I don’t know what Ruju is now, but he’s not an asura anymore. I’m not sure you can even call him alive. Whatever that magic did to him, there’s no turning back now.”

“It’s a part of him, and he’s a part of it, even if there’s not enough left of him to realize it for himself.”

Their scouts began to send back reports of a strange, dark substance that twisted even reality itself. It adhered to no laws of logic or physics, bending matter indiscriminately and killing everything that it didn’t consume. It was growing, faster and faster. If allying with the Exalted had been Mai’s turning point, this was the moment that would truly prove her change of heart.

The Tideturners returned to their world, one more, one final time. Their ships arrived to a Tyria ravaged by shadows and broken magic, this time on a mission that would have no happy ending; to get everyone out that would come, before there was nothing left to save at all. If the world had to end, they were going to salvage what little of it that they could. It would be here that Mai would don a mask for the first time, referring to herself as ‘the Sidewinder’ to conceal her identity. Her world would never trust their safety to a cutthroat pirate, but perhaps it could learn to trust a mysterious, unnamed Mists traveler instead.

Many were unwilling. They planned to fight until the end. Some were left behind, others were carried aboard, and a few even tried to fight the pirates themselves.

Captain Kiel was one of the ‘lucky’ few to be knocked out in the conflict and carried aboard; only after awakening would she discover what had happened. She’d spend the rest of her life coming to terms with it, just like so very many others. Eventually she would go on to become the Turnabout’s co-leader ‘Captain K’ alongside the Sidewinder, but that’s another story for another day.

That day would haunt the pirates for as long as they lived, for there were other things, dreadful, monstrous things, watching them with glowing eyes as they departed. The Mists were about to get a whole lot more dangerous...

The Grand High Sovereign didn’t go down with his world. And there were still so many, many other worlds out there for him to explore and dominate.

“We don’t worship the Six here. There’s only Five, and they don’t ask for our unconditional devotion. They know the role they played in our history, and we know it, too. When their people called out, they were silent. They left their worshipers to die until no one was left to pray.”

“They’re gods, but most of us treat them as guides, mentors, and allies. They don’t win our battles for us, and their power won’t turn the tide of war. That’s up to us. But they answer our questions, and offer their advice. They won’t save us, but if we know the right questions to ask, they’ll give us the tools to save ourselves.”

It would be in the years to follow that the Turnabout would change even more than it already had. Many refugees had fled into the Mists of their own accord, and now wandered among the shadows and demons with no direction and no resources. But they did not go unnoticed.

The Five remaining human gods had been watching. They dared not intervene with the god killer directly, but one thing became clear; if they stood by and did nothing, soon what little remained of their Tyria would crumble. Even the Turnabout itself wasn’t enough to keep them safe. Sooner or later something truly horrific would find them, and their last refuge would be wiped away as if it had never existed at all.

Despite their reluctance, Kormir eventually won the other gods over. They didn’t need to fight, but they did need to step in-- even if it wouldn’t be forever. A decision was made, and after far too long, contact was finally re-initiated-- and an offer was made to the survivors who remained.

The Five broke a piece off of their land in the Mists, Xotecha, and offered it as sacred ground for the Turnabout’s final iteration. Gathering the last stragglers, they aided in bringing the remains of their broken world to a safer location; the heart of a massive temporal storm, surrounded on all sides by walls of broken reality that nothing could easily pass.

And finally, they offered knowledge, one last boon that would teach the refugees how to navigate the Mists and its temporal instabilities more safely. Soon the Tideturners understood its intricacies better than any of them ever would have imagined, devising their own specialized suits that could insulate them from even the most severe and debilitating environments.

Eventually these suits would allow for the retrieval of the impossible and improbable, making for some unique new allies that would aid the Tideturners’ Mists excursions even further... But that, too, is a story for another day.

“Jade tech is really something, huh? It holds a magical charge like nothing else I’ve ever seen, even golem power cores can’t compare. It infuses the whole machine’s physical components with power, and you can do some very... Creative things with that kind of energy infusion.”

“That’s the most I can tell you about our systems, but I don’t think you’ll find anything like this outside the Turnabout. ‘ASP’ really is one of a kind.”

As the Turnabout’s population grew, so did its technological advancement and ingenuity. With it came iterations of Cantha’s jade tech, and new methods of energy channeling that entirely changed the way their facility operated. EX-Cannons were upgraded, and new technology allowed the Turnabout to revolutionize its entire interface in an entirely new way.

A new AI system was introduced to run the facility and aid the ever-growing population; ‘ASP,’ short for Automated Security Protocol. The Sidewinder oversaw its development, and became the head of security for the foreseeable future. The snarky, occasionally morbid AI soon proved to be an exceptional help around the Turnabout... With a sinister secret.

In truth, the ‘AI’ was no AI at all, but instead an extension of the Sidewinder’s secretive Scarlet Briar invocation. By directly interfacing her magic with the Turnabout’s jade tech energy conduits, she was able to devise a method of controlling everything remotely-- with Scarlet operating the machinery independently so she could focus on other matters. In order to maintain the connection, a pair of special magitech gauntlets were constructed with unique jade tech receptors that could channel her magic directly into the system, and generate a ‘tablet’ interface for ease of access anywhere.

Some would eventually become suspicious, but the more time passed, the more that the population came to determine that it didn’t make a difference. The AI was doing its job, Sidewinder was proving herself as an effective leader, and the Turnabout was providing for all of its residents with a surprising amount of efficiency.

Against all odds, people came to believe in the Sidewinder and the bold new world she helped to build. And, even if she knew there were plenty of others who would’ve been better suited to this position than her, Mai would fight every day to become the person that the Tideturners believed she was.

She wasn’t a hero, and she didn’t want to be one. But she could be a leader.

This would only be the beginning of their story, though... Ruju’s march would continue soon enough, and the Tideturners’ work will never be done. Not until the Grand High Sovereign and his void-enhanced army is finally laid to rest.

So, where are the Tideturners now..?

"In the taverns of Divinity's Reach, look for someone with a skull and sword tattoo on their upper arm. You'll see just the edge of it. Show them this coin, and tell them; 'I heard you're looking for lost treasure.'"

"They'll ask you; 'I'm always watching for hidden gems. How'd you find this?’ Answer them; 'it washed in on the tide.' They'll know what that means."

There are few groups more secretive than the Tideturners. Most would say they’re just a strange story whispered between Mist travelers, trying to explain shifting shadows in the distance and mysterious markings under rocks. Few outside their ranks have ever seen them, and even fewer knew what they saw.

Just know this; if the Sidewinder is about, the winds of fate are changing... And it’s likely not in your favor. Not because she brings trouble, but because she’s tracking the ones who do... And where Ruju goes, calamity is sure to follow.

So if you start seeing unidentifiable figures lurking on the horizon, and finding their sigil marked under arches, get ready. And if the Sidewinder drops by to share a drink and say hello, never let yourself forget she’s likely there on business. Ask her when the tide is coming in if you want the truth.

Where she comes from, there are no heroes, not anymore. The good ones never make it out alive. If you do, you’ll be the first.

So get ready... Because a storm is coming, and it’s closer than you think.

Additional Background Details and Headcanons:

- Mai adopted the nickname ‘Sidewinder’ due to its snake theming; I headcanon her to be of mixed Luxon (Serpent clan) and Elonian (Corsair) background, which in turn was why her ancestors weren’t living in Cantha; they left due to persecution from the Ministry of Purity, with her being the first to return after several generations of piracy on the fringes of Tyria. Likewise, Scarlet’s ‘AI’ persona was named ASP to match up with the snake theme.

- While the Sidewinder isn’t Aurene’s first choice as a Champion for various reasons, under certain circumstances she could, potentially, become the young dragon’s caretaker. However, the egg has not hatched as of yet; due to the differences during the time of Heart of Thorns, she didn’t gain as much magic from Mordremoth’s death and as such, hasn’t absorbed enough energy.

- In the significant amount of time spent separated from Mordremoth, ASP has effectively been ‘rehabilitated.’ While she often still makes snarky remarks and has a notably morbid sense of humor, she doesn’t act on her more violent impulses anymore and is actually highly defensive of her new home. Both she and the Sidewinder defend the Turnabout ferociously. Additionally, most Turnabout residents have become familiar with her since she often speaks through the intercoms and offers assistance for a variety of tasks.

- Most characters aren’t aware that the Sidewinder is Mai; those who do are mainly Captain Kiel and the former Aetherblades from her original timeline. Very few people actually made it out of her original Tyria, so there aren’t many who can-- or will-- confirm or deny her true identity. Some others they’ve taken in from later timelines (Agent Y and Joon, particularly) have a pretty solid guess due to knowing Mai in their own world, but can’t be certain.

- Due to the Sidewinder’s first experience with any ‘Commander’ being so overwhelmingly negative, she tends to be extremely cautious of any others she comes across using that moniker. Even the good ones tend to set her on edge; she’s seen enough timelines at this point to pick up on a pattern, and it always places them as a driving force of destiny. That said, she can grow friendly with Commanders on occasion, should they prove to be friendly in return.

- The Sidewinder never, ever introduces herself as Mai Trin, and her mask contains an auditory distortion module that disguises her voice. She never takes the mask off in public. It also contains numerous other mechanical and electronic components, including an internal screen and various overlays for observing various Turnabout statistics, and a sensory deprivation mode that blocks out visuals entirely if she needs to focus her revenant abilities.

- Her mask and gauntlets work in tandem to help focus the Sidewinder’s abilities; both have extensive jade conduits and circuitry built in, which allow ASP to interface with the Turnabout from anywhere and also prevent it from overwhelming her. If the Sidewinder is going into combat, though, she also has a specialized set of matching pauldrons that increase her power output. Both those and the gauntlets have magic that might seem familiar to those who’ve faced Mai’s revenant invocation in battle... Black spheres of magic surrounded by a red glow, just like the torment-inflicting orbs used by Scarlet when she spirals out of control. That resemblance isn’t a coincidence in the least.

- Sidewinder’s mech glows red instead of green, which may catch some off-guard; any technology influenced by her revenant abilities will change colors to match ASP’s crimson energy signature, and she’s capable of affecting anything that utilizes a suitably advanced system of magitech circuitry. ASP often acts entirely independently of Sidewinder, which can have both amusing and disconcerting results. Mostly it results in the ‘AI’ dropping in on electronic transmissions without permission to deliver quips and commentary.

- While she and Captain K still don’t see eye-to-eye on most things, they’ve learned to forge their differences into a strength. By meeting in the middle on various issues, they often come to much more creative and nuanced conclusions-- and that, in turn, allows them to lead the Turnabout much more effectively. While the Sidewinder typically handles combat management and defensive measures, Captain K is more involved in the political side and handles diplomatic matters.

“Welcome to the Turnabout. Rules are pretty simple around here: keep your weapons boxed in public spaces, don’t take things that don’t belong to you, fight only in self-defense, and don’t aggravate the AI. She bites.”

“... I’m joking, she doesn’t actually bite. But if you try your luck too much she still might shoot you with a stun cannon, so play nice. We don’t have enough room at the infirmary for every hotshot that feels like playing chicken with the defense protocol.”

[meltorights]

[thebuttsmcgee]

now that it's been well over a month I'm gunna be honest

this was my honest reaction when I learned that in the standard ending they play Vandalize ( :^D ) but in the hard mode ending (which was p fucking hard and I worked my ass off for that) they play one way dream

[lgbtlunaverse]

I've seen a good number of people ask a question along the lines of "why do characters like Falin and hate Laios when they're so similar?" and i've also seen good analysis on the differences in how the touden siblings carry themselves that would, despite their shared traits, make a person gravitate to one more than the other.

But i feel like we've overseen one very central thing here.

People don't like Falin

Like... the average person in dungeon meshi doesn't like Falin. She was deeply ostrasized by her home village, in magic school she had zero friends before Marcille and the others generally saw her as strange and a bit offputting.

Characters like Namari and Chilchuck like her well enough but not necessarily more than any other member of their party, including Laios. Neither Kabru nor his party think much of her. The canaries don't give a fuck about her. Toshiro's retainers don't see her as anything else than the weird foreign girl their boss has a crush on.

The reason we think everyone loves Falin is because, despite all the indifferent side characters, the 2 most important and central characters of the story are Laios and Marcille. Who are NOT representative of the average attitudes to Falin! But necromancy georg number 1 and 2 are our main eyes into the story and they love Falin so much that it colours our perspective of the whole world.

The only side character who qualifies as liking Falin and not Laios is Toshiro (at least at first, as he ends the story on much better terms with Laios) and that says a lot about his character, with him drifting to the quiet Falin precisely because of her oddness but being both uncomfortable with and deeply jealous of Laios' much more open expression of that oddness. Because he's a repressed guy from a culture where etiquette is incredibly important.

But like I said, that's a specific aspect of him, not to the world at large.

Because there's also people that click more with laios than with Falin.

Kabru, for one, who is initially distrustful of laios but clearly also deeply fascinated by him and drawn to him.

Minor spoilers, and you don't have to read too deeply into this, because I don't think Kabru particularly dislikes Falin or anything. But it's interesting that when he talks about his distrust of the toudens in ch.32 he's talking about them both. But his big friendship declaration in chapter 76 is aimed squarely at Laios, he doesn't say "you and your sister" he says "you"

And Senshi!! He instantly clicks with Laios, well before he does so with anyone else in the party– who he also becomes friends with, it just takes a bit longer– specifically because they bond over their shared special interest in monsters!! Senshi is kind towards Falin and cares for her wellbeing, but he also... doesn't know her. The reason he is even here, helping to save her, is because he and Laios bonded over monsters and he wants to help his new friends out!

Of course, the theme of neurodivergent isolation is very present in Laios' story. I'm not denying that. He does turn people off, without meaning to and unable to fully understand why! But so does Falin. And just like there are people who like her despite of or even because of those traits, there are people who do the same with him.

In conclusion: "Average person loves Falin and hates Laios" factoid actually statistical error. Average person is neutral on both Falin and Laios. Georcille, Laiorg and Geoshiro, who live in the dungeon and think over 10,000 Falin-loving thoughts a day, are statistical outliers adn should not have been counted.

[sflow-er]

So many thoughts on the fabulous Barbie film, but especially on how anyone who thinks it’s “hateful towards men” clearly isn’t getting the message.

SPOILERS UNDER THE CUT

[Credit for both gifs goes to their makers!!]

I mean... Ken’s arc is secondary to Barbie’s, and rightly so. This is her film, and her message deserves to be the main takeaway.

That being said, I just find it really sad that the people who could’ve definitely used the point of Ken’s arc just let it go right over their heads. Maybe it’s because they aren’t great at reading subtext, or because they just balk at anything presented as feminist, I don’t know.

Because to me, Ken’s arc is about as far from “hateful towards men” as you can get. It’s a multi-layered depiction of how restrictive, outdated views of masculinity can hold men back and make them susceptible to harmful ideologies that promise easy solutions for all their problems but only make those problems worse and hurt others around them.

The first layer is an allegory for real men don’t show their feelings. In the movie, this is represented by Ken’s need to look tough and cool all the time, and to keep his insecurities and sadness bottled up. Barbieland is a utopia where being happy is a social norm, and the main Barbie also starts to struggle with that. The difference is that she eventually tells her friends, and they all support her. Ken just puts pressure on himself not to look weak - in front of Barbie, or in front of the other Kens.

Which brings us to the second level: a competitive and inherently hostile view of the other Kens, aka. toxic male relationships. Some of them are friends, and all of them work together for a while to build the Patriarchy, but they don’t actually bond for real. Even their boys’ nights are mainly about getting back at the Barbies for all their girls’ nights (which really were about bonding). When push comes to shove, the Kens still see each other as competition, which is one of the reasons why the Barbies are able to play them against each other.

Another reason is the third layer: the idea that Ken only has value if Barbie loves and admires him. It starts out as unrequited love that makes you feel sorry for him...until he turns bitter. He basically starts on the path that could lead him down the incel/mra rabbit hole and into a mindset where Barbie owes him love and admiration and the relationship he wants in exchange for his devotion to her. He decides that everything would be better if Barbies were subservient to Kens, but of course that’s not true. None of the Barbies’ newfound admiration for their Kens is real, and his own Barbie still rejects him.

All this is of course underpinned by the final layer, which is Ken’s lack of self-respect and sense of purpose. He’s got a pointless job, he’s not particularly qualified for anything, and he just feels kind of lost in Barbieland - a society run by successful Barbies who are living up to their full potential. That’s why he gets so caught up in the idea of the Patriarchy, which is supposed to make him successful, get others to respect him, and give him a sense of purpose. (This can be generalised to all kinds of harmful ideologies in the real world, e.g. the alt-right movement.)

However, the success he achieves is superficial and not based on any real passion; he even admits that he wasn’t happy in his new position and already lost interest in the ideology. The (forced) respect of others does feel good for a while, but it only goes so far. At heart, the whole thing is still mostly about his feelings of inferiority and unrequited love for Barbie, and instituting this harmful new system did not resolve those for him.

So what does? In essence, breaking out of all these harmful patterns and internalising the idea that he is enough.

He ends up reflecting on his feelings, finally puts them to words (or rather, song and dance), and manages to connect with the other Kens through those feelings. He even cries in relief and acknowledges that it doesn’t make him weak. He and Barbie finally have a proper talk, he lets go of their (non-)relationship, and he listens when she says he needs to figure out his real self. He starts to see himself not through his job, his girlfriend, or even his competition with the other Kens, but as just Ken, who is enough.

I honestly can’t think of a less hateful message to send men and boys.

[babyangelsky]

I know we're all still sweating over the first half of this episode (or I am at least) but since I'm feeling chatty today, I really wanna talk about Mut and Tongrak's conversation at the restaurant and how much I loved it. There are so many little moments that deserve appreciation and recognition.

This is the first one. When the auntie comes over to sing Mut's praises, he doesn't look at her or at Tongrak, he just ducks his head. From what she says, we can gather that this isn't the first time he's brushed off compliments so it isn't that he's not used to praise. I think there's a little more to it.

And look at Tongrak's expression after the auntie leaves.

And the way he looks at Mut afterward. There's fondness there. There's respect and admiration. We've had small moments before this where the way Tongrak looks at Mut changes but this feels like the first time he really sees him. He's getting a clearer picture of who Mut is and what he means to the people in the village.

And it's because of that that he looks genuinely surprised and a little shocked when Mut reveals that his father kicked him out at 15. You can almost hear him asking himself, "how could anyone ever do that to this man?"

Mut talks about how he went to live with his aunt and started supporting himself relatively casually but there's a faraway look in his eyes when Tongrak asks why he doesn't go home.

And he looks down because despite his tone, it hurts to remember why he can't go home. It makes him sad to remember why he considers the fishing boat only his father's instead of theirs, as a family.

There's a defiance in his expression when he says that his father never takes back what he says and neither does he, and there was something about this specific wording and look that made me think that the reason his father kicked him out has to do with him being queer.

I have not read the novel (nor am I asking for spoilers) so I could be very wrong but this moment just read so queer to me. It unfortunately wouldn't be unheard of for a parent to kick out their queer child and for that child to cut ties with them because of it.

The shift in expression when Mut asks Tongrak if he thinks he's pitiful is so tiny but it's so significant. It's like he's daring Tongrak to pity him and resigned to it simultaneously, like pity is a foregone conclusion. It tells me that Mut is used to being pitied. He says himself moments before this that Tongrak could ask anyone on the island for his story so I'm sure there's no shortage of people who do pity him.

Maybe that's why he reacts the way he does when the auntie praises him. Maybe for him it's rare to be praised for his successes without having it be qualified or run through the filter of his personal history.

Even before Tongrak said a word in response, I knew what his answer was going to be. There's sympathy (and maybe even some empathy) in his expression. There's a sort of...I don't know how to describe it. Defiant kinship? that says, "why would I pity you?"

He shakes his head and gives a firm, decisive no. He doesn't pity Mut. He may not say it, but his face says that he's very quickly growing to admire and respect the person Mut has made of himself.

Of course he doesn't pity Mut. And hearing it makes Mut smile. A true, genuine smile that reaches his sparkly eyes and softens just a little bit when he says thank you.

This conversation felt like such a big shift for them. I have no doubt they're going to continue to bicker and annoy each other and piss each other off but from here on I think and hope there's going to be an undercurrent of understanding to it.

Tongrak is open to learning more about Mut and although Tongrak isn't willing to reveal too much of himself yet, the desire to learn more is there on Mut's part, too. He's not gonna push though. He accepts Tongrak's answer of why he became a writer being only for the fun of it.

And he does what no one else has before and praises Tongrak for it.

Which Tongrak was not expecting at all because why would he when no one has ever complimented him before? For Mut to be the first means a lot, and so does the fact that Tongrak compliments him right back.

Because I really do think that his compliment is coming from a place not only of respect, but from solidarity as well. We know that Tongrak doesn't want the people in the village to think badly of Mut for being affectionate with a man in public, and that moment also read very queer to me.

Queer people are like magnets and, in my experience at least, not only are we drawn to each other, we look out for each other. Tongrak doesn't give a damn what people think or say about him both because he's secure in who he is and because he's only a tourist, but Mut lives there. Despite his snark and snippiness, I don't think he wants Mut to have a hard time existing in his home.

Anyway! Those are just my few cents for this episode. This scene really stuck out to me and I wanted to talk about it because the whole time I was just:

Fort and Peat did some beautifully subtle acting and I didn't want it to get lost in the horny shuffle.

[cjrae]

Stunted Love. Or: The Theme of MaoMao's little finger.

Maomao's little finger is a recurring motif in the Apothecary Diaries, and it receives even more emphasis in the anime's first season - it represents her belief that romantic love leads to pain and destruction. Spoilers primarily for the anime, but also the epilogue of light novel four and Chapter 15 of light novel six below.

Love In A Cage

The motif is first introduced in "The Unsettling Matter of the Spirit" - Concubine Fuyou's story. Maomao has already noted the parallels between the red light district and the Inner Palace, but here we see what happens when romantic love is introduced into the mix. On paper, Concubine Fuyou is a literal object of pity. Her personhood is being gifted to an officer who recently distinguished himself on the front lines, discarded after having failed to please the Emperor. It's telling that this is one of the first times we see Jinshi interacting with a consort where he is completely serious, without bringing his charm to bear. We never hear him say anything, but it's clear that he's communicating the Emperor's order with respect and understanding the gravity of the consequences for Fuyou.

As the events of the episode unfold, the parallels between courtesans and consorts get stronger as Maomao introduces the concept of having a contract bought out - if a man wants a courtesan enough, she is also an object to be purchased, albeit at potentially astronomical price. At first glance, it would seem like these women have absolutely no power in these scenarios - but by the end of the episode, Maomao shows us the feminine side of this transaction - how a woman can manipulate the system she is trapped by in order to get what she wants. All she has to do is lower her value - a rather counterintuitive measure that can go horribly wrong all too easily, as we see later.

And what Concubine Fuyou wants is to escape the Inner Palace to be with the man she loves - a task that she succeeds at. She has played a long, patient game in the service of freedom. Trapped in the cage of the Inner Palace herself, Maomao holds her scarred finger against the freedom of the sky and wonders what kind of medicine love would make.

Devotion

We see further flashbacks to Maomao's past through multiple episodes, but the next time the concept of love is brought up is when Fengming is confessing her role in the death of Consort Ah-Duo's baby in "Honey" (episode 11). Maomao is brought up short by Fengming's confession - she flat out says to the audience that she's never loved anyone with that depth of devotion Fengming displays toward Ah-Duo, so she doesn't know how Fengming feels. But if she doesn't have empathy to offer, she does have a rough kindness. Another person might have said that Ah-Duo deserved to know why her son died, that the knowledge might have provided closure. Maomao, however, believes that knowing the baby's cause of death would only cause more pain (it's never the crime and always about the cover-up) without providing any actual benefit.

With these two episodes framing her early character development we see that, whatever Maomao's natural inclinations are (and I will leave discussion of neuro divergency to those better qualified to discuss it), there is a certain distance between Maomao and her emotions most of the time. It is implied that this distancing from her emotions is a trauma response as the image of a woman holding a knife above her head while kneeling on a bed is shown but not explained (it is the only recurring image during the montage before the discussion about her potential execution with Jinshi).

Lakan and Fengxian

In "Lakan" (episode 18) the motif begins recurring more often as Maomao's parentage is revealed. We've caught glimpses of the sick woman in the annex before, but as the camera pans over the bed, it's clear that this is Maomao's mother (as always in anime, the hair is a dead giveaway). We've seen Maomao in this room, always curled in a fetal position, staring with blank eyes, but here we see Maomao actually caring for a woman who she describes as driving her out over and over again. The camera's focus is on Maomao's eyes as she watches her mother continuing to deteriorate - they're blank yet again, echoing her earlier line of "This is stupid. She's gone."

This is not the look of a girl who genuinely doesn't care about her mother. The image of her mother with the knife upraised is straight out of recurring nightmares that wake her gasping with terror and continue to haunt her after she's returned to work. While there is no AFFECTION involved, there are certainly very strong emotions here. Later, in the bath with Meimei, Maomao wonders if Meimei's in love - and immediately shies away from the thought, insisting that "love is an emotion I'm sure I left behind in the womb."

Interestingly, this is immediately belied as the Three Princesses (the women who took on the maternal role that her mother discarded) begin to pamper Maomao in the bath, and she relaxes into their touch, flushed with belonging and pleasure at their attention.

Confrontation

In "Blue Roses," (episode 22), everything has built to a head. By hiding Maomao back into the Rear Palace, Jinshi is acting as her shield - and Lakan responds with a power play. Both he and Jinshi are aware that Lakan knows his true identity, so Lakan provokes Jinshi with a political test. "Nothing is impossible" for a man with Jinshi's power - so providing some blue roses at a garden party in early spring should be simple, right? It's a near impossible task and Lakan knows it - even if Jinshi were to figure out how to dye the roses to be the appropriate color, they're still out of season.

Up until now, Maomao's response to Lakan has been to hide. But, with Jinshi's reputation on the line and seeing how worn out he is, Maomao has finally had enough. So she takes Lakan's challenge on and, while she's in the process of growing the hothouse roses so that Jinshi can best Lakan, she diverts unwanted attention from the Crystal Palace's handmaidens by showing Xiaolan how to do a manicure - something that draws attention to the deformed pinky on her hand and changes her perspective of the damage to the finger.

The art should be paid attention to here - we see close up shots of two other people's hands after having the manicure done - Xiaolan and Consort Lihua. In both of these shots, there's some subtle detail paid to their little fingers as well - Xiaolan's is ever so slightly crooked rather than perfectly straight, while Lihua flexes her fingers so that the pinky is extended as she looks at her hands. In the next shot, Maomao has done her nails as well - and when Jinshi draws attention to the fact that he's surprised she would do her nails (like Hongiang, Maomao usually prefers work over fashion), she looks at the finger and remarks that, even though her little finger is twisted and scarred, it looks better than it did before - an acknowledgement that the finger is not actually a hindrance, but a piece of her identity.

Healing

Giving Lakan the opportunity to finally do right by Fengxian is the most grace and forgiveness that Maomao can extend to either of her parents. Their romantic love is certainly sympathetic to an outsider, but Maomao was shaped by the consequences. Lakan's carelessness and Fengxian's willingness to break the rules of the pleasure district in order to deliberately lower her value so that she could be with the man she loved, is the guiding cautionary tale of her life.

But Maomao has also grown over the season. She is neither the terrified little girl, abandoned by mother and father alike (however unintentionally on Lakan's part) nor a teenager full of fear fueled rage at Lakan's persistence. She is Luomen's daughter and proud of that fact - she has found her family and a place in the world. It is with that more adult understanding of the world around her that she dances atop the wall of the Rear Palace, giving her parents the only thing she can, which is her blessing and best wishes for their short future, as she sends her mother off.

Sure enough, who is watching her as she takes a step toward a more mature identity but Jinshi? Other characters have provided a shield between Maomao and Lakan - Verdigris' madam, Meimei and even Luomen. But it is on Jinshi's behalf that Maomao decided to face Lakan herself. She loves her adoptive dad and granny and sisters with all the affection she never received from Fengxian, but Maomao's actions have always spoken much louder than her words - Jinshi protected her and she, in turn, chose to face her childhood bogeyman to help him.

Is it stating the obvious that Maomao tripping and Jinshi catching her is an obvious metaphor for falling in love?

As she dances on the wall, we see the two seemingly disparate sides of her identity coalesce into a whole. The moment she lets down her hair is a uniquely Japanese moment of eroticism (this is why maiko and geisha use the oshiroi that bare the nape of their necks), even as she's also deliberately reapplied her freckles.

The moment she realizes that Jinshi truly sees all of her in a uniquely emotional moment, she trips and is made terrifyingly vulnerable as she nearly goes over the edge - only to be caught safely in Jinshi's arms.

Safely back atop the wall, the little finger comes up one more time - except that this time, instead of looking at the damage inflicted and seeing the scar, Maomao looks at her pinky and shows it to Jinshi, telling him what sounds like a strangely gruesome medical fact. That a fingertip can regrow if cut off. For all the trauma that her biological parents caused her, for all that her pinky will be scarred for the rest of her life, the wound did heal. Maomao has healed - she is capable of friendship, loyalty and love that can inspire devotion - even if she rarely displays open affection.

Love Creates Fear

This motif comes back again, at the end of light novel 4 (what will be the end of Season 2, if the studio continues to stick to two light novels a season for pacing, which I expect they will). Jinshi has officially cast aside his cover as a eunuch and stepped into the political limelight as the Imperial Brother. Maomao, as a result of their adventures, has returned home, to her apothecary shop and, as she works she thinks about how everything has changed.

"Jinshi must have finally gone back to being whoever he really was. Maomao didn't know his real name: she couldn't have used it even if she did. The worlds they lived in were simply too different…Anyway, now that Jinshi was no longer a eunuch, he couldn't get away with keeping some lowborn girl around him…So it was for the best, really, that Maomao had come back to the apothecary's shop in the pleasure district."

As Maomao ruminates to herself about how she will never see Jinshi again, she retreats to what she knows best - medicine. She's got her emotions under lock and key and she's begun experimenting, working on creating a more potent painkiller. However, her pain tolerance is too high to work with her previous methods.

Or, to lay the metaphor bare, Maomao has dealt with abandonment before, but not like this. Her usual methods aren't working - so it's time to up the ante. What she does next is extremely telling.

"'Got to cut deeper if I want to be sure'. Maomao looked at her left hand, then tied some string firmly around her pinky. She stood and took a small knife from a cabinet. 'Here goes!'

Just as she was about to bring the knife down, a beautiful voice interrupted her: 'WHAT are you doing?'

Without a word, she turned to see a man in an unusual mask standing in the entryway of the shop…'Done with all your work?' Maomao asked, undoing the string around her finger and putting the knife back in the cabinet."

The thought that she and Jinshi are now living in such different worlds that they will never see each other again is painful enough that cutting her finger off in a thinly justified experiment is preferable to feeling her own emotions. What Maomao wants in this moment is a return to the emotional numbness of the past - only this time, she will do the damage herself.

But Jinshi is not Lakan and abandoning Maomao for any reason is simply not an option. Just as he caught her on the wall, Jinshi catches her again. A prince is standing in an apothecary shop on the edges of the red-light district, a place where he should not be - except for the fact that it's where Maomao is.

Connection and Communication

Finally, as a callback toward the end of light novel six, Jinshi and Maomao are beginning to reconnect after Jinshi screwed up and lost a lot of emotional ground in light novel five's epilogue, and he does the following.

"She reached out for the package, which Jinshi had put behind his back, but he planted a palm on her belly to keep her from sitting up and she couldn't reach it. She kicked her legs from sheer frustration and this time he grabbed her ankle. She was just trying to decide what he might be planning when he brushed the tip of his pinky finger along the back of her foot.

'Hrk?!' Maomao choked, squirming...The back of her foot, and her back as well, were hopelessly vulnerable to a gentle brush of the fingers.

'M-Master Jinshi...That's...not...fair!'"

While Jinshi is still the instigator in this scene, this is the the first instance of romantic and sexual contact that Maomao accepts, eventually bursting out laughing - and when he gets that laughter, Jinshi also immediately backs off, accepting that he has pushed her as far as she can go right now. But that first contact was via that tiny fingertip representing love.

His hard-learned patience is rewarded when Maomao is finally willing to speak to Jinshi about how she's feeling about his desire to marry her, first obliquely as they discuss the plot of a very familiar tragic romance, before she addresses the issue directly.

"Instead of answering, she murmured, 'I don't want to be an enemy.' Jinshi gave her a sidelong look as if to ask whose enemy she meant. 'To Empress Gyokuyou,' she said.

Would Jinshi understand what she was saying? If not, that was fine, Maomao thought. There were things even he didn't know.

'You - '

He seemed about to ask her something else when a horse whinnied outside..."

Maomao may be hesitant, she may feel very confused, but she finally gives Jinshi something to work with here - communicating to him not that she simply doesn't care about him that way, but that she has a very real, concrete fear about what a romantic relationship with him would mean, not only for them, but for everyone else around them.

That's a lot to balance on the tip of a pinky.

[nonsensology]

So I've had these Grunkle Stan crackships on my mind for almost a year now. Could be interpreted as platonic, but I think there's great and fascinating potential if interpreted fully romantic. Full musings and explanations below (Warning: very disjointed and random).

Uncle Chan from Jackie Chan Adventures

Maybe Ford and Stan stumble across the Chans on one of their globe-trotting adventures. Both groups fight off the same supernatural threat and surprise each other with their ease and familiarity with the weird and fantastical.

I feel Uncle is kind of a weird in-between of Ford and Stan. He is knowledgeable but not a nerd like Ford, is generally cranky but doesn't get into trouble like Stan does, although he does have a level of disregard towards authority if it gets in the way of his goals. He's quick to do research instead of impulsively charging into a situation.

I think Uncle's dynamic with Stan would be hilarious. They would argue a lot on how to deal with a threat, but once they agree to work together, they could kick ass. Once he gets past his initial annoyance, Stan would probably enjoy Uncle's quips, even more so when he realizes that Uncle does not say them to be funny, he's just naturally snarky.

Uncle is never shown having any romantic interest or relationships, so I kind of headcanon him as ace, but I think it would be really interesting to see what kind of queerplatonic relationship he and Stan could form.

Jade and Mabel would probably hit it off immediately, and while Jade isn't as studious as Dipper, she also has an enthusiasm for the supernatural so she'd probably get along decently with him. She'd also probably think Stan and Ford are super cool, especially considering their lax attitude toward giving children weapons. Though they do still take the kids' safety very seriously.

Jackie is doubtful of Stan, much like he was with Viper, but seeing Stan look out for the kids would probably endear him a little. Ford might also help ease his worries, and maybe they both could have fun discussion about archeology.

I think Tohru and Soos could get along decently, though Tohru would find Soos' eccentric musings odd at first.

Additionally, Uncle's shop is in San Francisco, practically next door to Dipper and Mabel in Piedmont. The kids would easily visit each other every weekend.

Bruno Madrigal from Encanto

Stan has been to prison in Colombia, so I don't think he'd willingly travel there for fun, and Encanto Valley seems relatively closed off from the rest of the world, so I imagine their meeting is accidental, maybe a result of the Stans getting caught in a storm or something. They stay for a while in the valley while repairing their boat.

Stan might initially be outraged at the idea of the Madrigals not charging anyone for the use of their gifts, but perhaps lightens up when he sees how close-knit the community is. He'd still come up with ways they could show off their powers Mystery Shack style, probably butting heads with Alma in the process, lol. He might encourage Bruno to adapt a more showman-like approach to his seer abilities to make it more presentable and less intimidating.

Bruno and Stan connecting over their shared feelings of isolation from family is definitely what drew me to these two together in the first place. If they ever got serious about their relationship, I can imagine the biggest hurdle would be deciding if they should continue a long-distance relationship, since neither is keen on asking the other to be separated from their family.

Yuuko Ichihara from xxxHolic and Tsubasa: Reservoir Chronicle

Major spoiler alerts for both series. It's been many years since I've read them, and Tsubasa had so many plot twists that even CLAMP (the writers) admitted they were confused by the end result. I also might be misremembering some details, so bear with me. Factoring in the plotlines for both series and Gravity Falls would make for an incredible AU fanfic that I unfortunately am not qualified to write.

Due to Yuuko's shop being in Tokyo, a whole ocean away from Oregon, I like to imagine some timey-wimey space mumbo jumbo allowing Yuuko and Stan to meet in the dream realm. Maybe at some point, Yuuko's shop would obtain a door connecting it to the Mystery Shack.

Stan and Yuuko both have a mischievous side, though Yuuko is generally more reserved. They could start out as drinking buddies, though I imagine Stan would probably favor a light beer, while Yuuko loves sake.

They also both use aliases (it is never revealed what Yuuko's real name is), but Yuuko would likely be upfront about it. As their relationship progresses, Stan would probably feel comfortable telling Yuuko his real first name, even after she tells him the supernatural dangers of giving your real name.

While Stan scams his customers, he generally sells harmless entertainment and trinkets, whereas Yuuko grants wishes and operates strictly on an equivalent exchange basis. To quote the wiki, "All of Yuuko's customers must pay a price in order to grant their wishes, which can be no more or no less than the one demanded, or else harm will come to one's way. She is not one to tell the customer the most direct way to solve their problems because in the end, it can only be solved with that person's own realization and resolution to change themselves... Her abilities are not unlimited and may almost seem like a curse as it appears that she is unable to do anything for anyone or grant any gift (other than feelings) without it becoming a binding transaction." 

When Stan finds out just how powerful Yuuko is, I think he might react with a mixture of hesitation and awe, especially when she reveals she knows about his past, and Ford being lost in the multiverse. I am on the fence on whether Yuuko would use her powers to bring Ford home sooner, or let Stan continue working on the portal because he's already close to completing it and this would be significant in defeating Bill.

I found that the main villain of Tsubasa, Fei Wang Reed, surprisingly parallels Stan. Both endanger reality to bring back someone who is lost, but while Stan does it out of love and devotion to his family, Fei Wang Reed only did it in an arrogant plan to prove himself a powerful sorcerer. And in Fei's case, the person is already dead. CLAMP's universe establishes that the dead cannot be brought back to life, and Fei's wish to do so would cause the universe to be destroyed. I wonder if Bill would factor Fei as part of his plans.

Stan also surprisingly shares a lot in common with Fai D Fluorite. Both use their twin's name (Fai's real name is Yuui), and for much of the series Fai's tragic backstory regarding his twin is unknown, and he hides his trauma under a laid back exterior. I think Stan would empathize a lot with Fai, after he finds out his backstory.

Kimihiro Watanuki is revealed to have been created to fill a void left by Syaoran after the latter wished to turn back time. I remember Watanuki's character arc involved realizing that people cared about him. "Don't disappear", "Continue existing". Stan would probably take Watanuki under his wing, much like he did with Soos. Watanuki might find life with the Pines family far more chaotic than he's used to, but slowly warm up.

Yuuko is revealed to have died a long time ago and has basically been in magical stasis due to Clow Reed's unintentional wish. When time finally moves forward again, Yuuko eventually passes on. She doesn't return in the canon series, but Watanuki is stated to have also suspended his time to wait for her return. In this AU, maybe she reincarnates in the past and reunites with Stan and the Pines in the present day.

[queenlua]

hey lua what decks do phoenix aceattorney and miles aceattorney play in magic

PHOENIX WRIGHT

once upon a time, a friend bullied me into going to a Pro Tour Qualifier, which was probably the largest Magic tournament i’d ever been to at that time, right?

i was happy to be bullied, to be clear, but the problem was… i hadn’t played standard-format Magic competitively in about 2-3 years.  so my knowledge of the current metagame, what deck archetypes were popular, and what the current cards even were, was staggeringly limited.

“it will be fine,” said my friend.  “here, take this spare deck i built.  it’s super-straightforward and easy,” he lied.

he said this to me approx. 8 seconds before the first round began, so uhhhhh, i sure was playing a game of magical cards without ever having even looked at the damn deck before!

so, lo, literally in the course of playing the deck, i was learning how this shit was supposed to work.  “oh!” i’d exclaim with delight, halfway through my turn.  “THAT’S how those two cards are supposed to interact.  oh that’s super clever.  what a neat combo.”  and then i’d proceed to shiftily look at my opponent over my cards, riffle those cards a lil bit, and then say “pass” with as much of an enigmatic vibe as i could muster.

meanwhile, my opponent was Actually Prepared, and they were Trying To Win, and they were pissed.  they threatened to call Slow Play on me because i was taking so fucking long reading all the cards.  as in, he literally called a judge over, who stood there watching me the whole time, in order to determine if i was being Criminally Bad At Magic versus just A Regular Amount Of Bad At Magic, and i was sweating bullets the whole time because i didn’t know this deck or their deck or any of those cards and AHHHH why is the judge staring at me!!!

….which only served to make it EXTRA-humiliating for this poor fuck when i proceeded to eviscerate them 2-0.  hahahah get dunked onnnnnnnn nerd!!!

and then i also proceeded to eviscerate my next opponent???

sheer dumb luck.  i cannot overstate how ill-prepared i was for this tournament.  i absolutely did not deserve these wins.

meanwhile the friend who gave me the deck was having a much worse time with their deck, and they were like “what the fuck. you weren’t supposed to win. how are you winning with that shit, my deck’s so much better than yours”

anyway.  i think that’s the kind of scenario Phoenix would get into if he were an MtG player.  dude Gets Himself Into Situations And Then Uses Cleverness + Bullshit + Luck To Get Out Again.

(AA4-era Phoenix seems like he’s doing the same thing… but, in reality, he’s actually been meticulously crafting his deck in secret for the past six months.  he’s not even aiming to win the tournament, he’s just exploiting a known weakness in the opponent-matching system that lets him know with certainty who he’s going to get matched up against (spoiler: first round is Kristoph), and he’s hyper-optimizing his deck to beat Literally Only Those People.  meanwhile, Apollo, who built a tryhard hyper-optimized variant of Red Deck Wins, is lowkey annoyed that Phoenix's seemingly-random pile keeps vaulting him just one table above him in the standings, because Apollo knows his deck is better. he knows it!!!! just let him go 1v1 and prove it aaaaughhhh!!!)

((also, in case you want Actual Concrete Cards And Colors And Stuff: in general i think Phoenix prefers limited play (draft, sealed, "anything where you open booster packs on the spot & throw a deck together") to constructed play, because he doesn't like being tied down to any one game plan. when he does play constructed, i think he's less attached to a specific colors and more attached to specific mechanics. in particular: he's not a combo player exactly, but he likes mechanics that feel like bullshit. dude saw Madness for the first time & his eyes lit up & he was in LOVE, "you mean i'm discarding the card but then i can cast it for free??? hell YES." he absolutely ran a poison counter deck during New Phyrexia. ah fuck i just realized he was probably a huge stan for noted awful expansion Battle for Zendikar, i think i gotta cancel him now, sorry))

((and i think Phoenix also has a touch of Timmy in him! like, i went to a huge state tournament once with a bunch of really skilled players, and there was this one dude in our car who had a really solid deck, clearly adhered to a lot of the trends in the meta at the time... but his win condition was a Shivan Dragon. which wasn't a bad card at the time, it was a reasonable win condition, but it was... slightly suboptimal? not at all the obvious pick? sort of random? and multiple people asked him "why is that your win condition" & he shrugged and said "i like dragons." so the dragon stayed & that dude ended up getting second place in the whole tournament so FUCK optimal play, bring a dragon. i think Phoenix would sneak in a dragon now and again. just 'cause))

MILES EDGEWORTH

this one is trickier!!!

young!Miles is just going to play Whatever The Meta Deems To Be The Best Deck, right. the von Karma perfection thing and all. it's all very boring & micro-optimized to be the Best Deck Of Its Kind & he pours over the results of the big name tournaments week after week & does some math or whatever to hyper-optimize his own build of the Obviously Correct Deck. there is no soul in any of this, purely Executing On A Formula.

...but then he experiences Character Growth & has his big gay crisis & now he has to pick up the game again. he opens the latest tournament results... clicks around some win % stats for various cards in a desultory kinda way, and... his heart's just not in it, right?

enter 2-4 era Miles. 2-4 era Miles is playing some utterly unhinged Five Color Good Stuff thing. there's a lot of Planar Chaos cards in there, because that whole set was about Weird Shit & cards doing Stuff You're Familiar With (But In The Utterly Wrong Color!!!) & all that is resonating with Miles more than he'd care to admit. he cannot possibly talk about his unnecessary feelings but he can make a weird noise rock album about them. and by noise rock album i mean this fucking Magic deck.

and he's playing this deck with a 100% straight face, as though this is the exact same behavior that won him the Junior Super Series five years in a row & not a desperate cry for help from a madman. everyone else is like Miles... are you playing fucking singletons... in a fucking standard deck... you know your deck will be more consistent with four-ofs right... and then he gives a cool fish-eyed stare & taps out to cast some arcane bullshit legendary creature & gives a single rap of his knuckles against the table to indicate that he's passing the turn.

and it works, is the thing! all those years of training to be the Spikiest Spike Ever have paid off; this Five Color Good Stuff thing relies on some pretty clever insights to make the mana base work, and parts of what he's doing eventually get adopted by the larger metagame to become an Actual Serious Deck. but, like. it's still a monstrosity. any skilled players watching are still definitely wondering Are You Okay, Dude.

after 2-4, i think Miles settles back into playing something more normal. he still cares about winning, but he's going to do it with a touch of class. he wants a game that involves dialogue, some actual back-and-forth, because just trying to combo off is lame coward behavior.

aw yeah baby we're talking counterspells!!!

he's a blue player at heart & he's happiest when he's updating the autopsy report shutting down whatever his opponent's plan is. he'll splash other colors as the occasion calls for it, but he'd be happy running mono-blue the rest of his life. like, i ran a pretty fun Legacy deck back in the day which consisted of:

every kind of counterspell i could get my hands on,

propaganda because FUCK creatures,

thieving magpies for the card draw,

and a few silver wyverns to, y'know, actually win the game

...and i think Miles would appreciate that deck. just play counterspells until the opponent runs out of steam & then cruise your way to victory with a couple birds. simple. elegant. classic. doesn't involve any of this modern Planeswalker bullshit (Miles regards most developments that happened to MtG post-Time Spiral block or so as affronts to game design).

(i do think Miles has a secret fondness for sagas as a card type, however. they remind him of all that Character Growth, but in an abstract/subconscious/nonthreatening way. too bad most of them are a bit of poor match for the kinds of decks he likes to play)

FINALLY: i think Miles hates playing Commander with every fiber of his being & Phoenix loves it & this is a pretty serious point of contention in their relationship. poor dudes

[fantasywater]

Stolas will never be called what he is in canon.

Spoilers: Brief mention of Via storyboard leaks.

Firstly,the same woman who said a main character getting dragged off to a room to get ganged raped was the funniest joke in the show is not about to call another main character in her other show a rapist.

Instead, she gives lip service in a vacuum to what Stolas has done to shut critics up. The Full Moon episode for example is her technically dealing with it so now she can move on. Basically, Stolas to her is off the hook. That's why she wrote him calling himself a monster(with the qualifier IF in front of it), and Blitz got to rant about his hatred. She even let him say everything you put me through, but without going into any detail of course.

However, notice how none of that matters in the very next episode. Stolas supposedly thinks he's a monster, but is weirdly very snarky to Blitz and calls his victim a motherfucker on stage at a hate party for him. Blitz screams everything you put me through(sooo rape) you pompous asshole, but is trying to get sex literally in the cold open, pulls Stolas close in his lap, gets jealous, and looks at him with romantic longing like Stolas is a prize that Blitz should be sad that he has now lost.

Also, notice how she hops so strongly to classism since that's a safe negative topic for Stolas's transgressions. However, that was never the biggest issue with their dynamic. It started in Opps with Blitz suddenly caring, very much so, that Stolas is a prince. Even the majority of his tirade in FullMoon dwelled on that aspect the most instead of the more pressing issue.

She does this with Octavia as well. The lyrics in her song give lip service by saying "I won't forgive you, I won't take it, I will grow without you, you will only know my name", and then she goes no contact. However, let's look at the foreshadowing of why this isn't going to stick.

Complete strangers Octavia and Luna hug like their best friends in Seeing Stars. Octavia and Luna semi-hug and giggle in the pride poster. Plus a rather curious one, which the official Spindlehorse account hurried up and deleted, was a car decal sticker with Blitz, Stolas, IMP, as well as Via, all together and Blitz is saying My Family on the tagline.

Also, Spindlehorse is a business first. Therefore she is not about to have anyone in the show call Stolas by name what he actually is. To do so would tank her show by destroying her most popular character.

There would be a mass exodus because the Stolitz fans wouldn't be able to lie to themselves anymore if anyone in the show point-blank said rape or coercion. So safe lip service is all we will get so that the several money shots in Sinmas can happen plus the marriage foreshadowing in the merch.

However, here's a game to play in debates with the Stolitz fandom.

"Did Blitz have free will or was it coercion?"

-Drop a pic of the chain scene.

-Then the scene of the feathers trying to muffle Blitz as he fights and screams.

-Now put those scenes side by side with the one of Stolas calling himself a monster if Blitz is a prisoner.

-Also for extra fun add the scene of Blitz looking degraded and angry after sex in one of the mirror images from All to You.

Now watch them scatter.

Thoughts?

[too-many-hyperfixations]

Transformers One Megatron Character Analysis

The movie calls him something else for a lot of its runtime. I’m calling him Megatron because that’s what we know him as and it’s cooler. Spoilers for the movie and a TON of paragraphs ahead.

Megatron’s arc in Transformers One isn’t primarily about betraying Optimus, it’s about his trust in authority is shattered and how that affects all other forms of trust for him.

We meet Megatron in this movie before he believes himself on the level of the primes and thus not having taken up the name of one. This movie is Optimus’ movie, as most transformers movies are, so we have to encounter Meg through him. Meg’s first time speaking his own mind rather than just covering for Orion is on the train shortly after his initial onscreen appearance, where he chided Orion for breaking into the archives yet a g a i n. The reason he does this is interesting to me though!

See, Megatron doesn’t just point out that it’s dangerous because this isn’t the first time security has chased him down, he says it’s an unnecessary risk. Meg cares as much about the source of the planet’s energon being revitalized as anyone else, but he wholeheartedly believes that their leader is not just looking in the right area in the first place, but that he is fully capable of wrenching free the matrix from the forces that be on the surface! Mind you that these are forces he nor anybody else can verify. Only Sentinel and his personal cabinet (who have everything to gain from keeping their mouths shut) have ever actually BEEN up there!

For all the faults of Orion in this movie before the consequences of his actions force him to discover what it takes to become a dependable leader, Orion forces Meg out of his comfort zone in the ways he has to be to grow as a person! This is what leads to Megatron getting into the race, which is the first time we see Meg having to make split second decisions, and doing really well at it! The two nearly get first by a close margin!

The next time that Orion manages to talk Meg into a situation outside of his comfort zone is when he gets them to go all the way to the surface, and even explore there, instead of going home! Meg’s journey on the surface marks the first time he really starts making choices for himself, because although he has a friend he trusts enough to follow the decisions of with him, there’s no authority up here with him. Sure, his former manager is there, but she was demoted earlier and he followed Orion’s judgement over hers even then. Megatron is now making decisions as part of a group in a situation with nobody qualified to give orders. Even when a sudden mountain formation starts taking out the tracks, listening to Bee and running is a conscious decision made in the moment rather than one made because he does this every day this is what you do. He can make decisions in a split second for himself, he's done it with hiding Orion in his cart, but never without the safety net of someone to defer to. When the quintessons are scanning, Meg is at equal standing in the group with their discussion agreeing that those ARE quintesson ships and then helping decide their course of action about the danger. This all comes to a head in the cave, when Megatron, loyal Megatron finds out his life is a lie. His own words on his LIFE BEING A LIE! The minute he fully processes that this information is real and what it means, he goes into a pretty brutal explanation of how he wants to kill Sentinel! This doesn't just break his trust in authority, however, he starts questioning if he can trust ANYONE he's meant to trust! He takes the capsule of proof the original prime gave them partly because he doesn't trust others with it, and partly because he now has a need to be the one in control, including over how that crucial information gets used. If he can't trust the person whose integrity is the most important for their entire society, can he even trust his friends? By the time they reach the Old Guard, Meg has already decided that the answer to that question is no. Even while running over Sentinel with a TRAIN, Optimus is set on using the power of broadcasting and entrusting truth with the people to do the right thing with it! Megatron believes Starscream's philosophy even before he's told the words of it, the strongest bot gets all the power. His trials out here have been those of combat as well, that have fortified his mind, made him worthy! The problem isn't in the system, it's in this one specific person who needs an example made of him for all time! "The rebirth of Cybertron cannot begin with an execution!" Says Optimus. To Megatron, it was always the only way. The strongest bot deserves all the power.

[thatscarletflycatcher]

Annotated Editions: the case of Jane Austen's Persuasion

The other day I made a post about my poor opinion of David Shepard's annotated editions of Jane Austen's novels, specially in terms of how much praise they get in the Austen fandom. That last qualifier is important, because while in general I do think they aren't great in a vacuum, it's specifically the place of honor they get in fandom that makes my judgement harsher; not because popular=bad, but because, well, if you claim to be excellent, you should be excellent.

So I'm gonna try here to compare three annotated editions: Shepard's, Norton Critical, and Oxford World's Classics.

Let's begin with the introductions/prefaces. Prefaces are complicated, because for the most part there is a tradition in this sort of literature to treat them as a free space for an essay, basically fulfilling the role of an afterword, instead of working as an introduction, as a summary of the historical, biographical, anthropological, artistic, etc, clues that will facilitate and enrich the comprehension of the text by the reader.

How goes Shepard about his introduction to Persuasion?

There's a brief note to the reader before the preface itself explaining what kind of notes he has added to the text; so far so good.

The preface itself is roughly divided in the following sections:

a biographical sketch of Jane Austen (5-10%)

comments on the spot Persuasion occupies popularity wise in the list of Austen novels, followed by, as Shepard's argument for why it is so;

An in-depth comparative analysis of the whole plot and main characters of the novel, with other Austen novels, pointing "pros" and "cons." (90-95%)

A comment on how he thinks Austen's style would have been moving forward, disagreeing with Virginia Woolf.

The first section is useful to contextualize the work, but the second is basically spoilers + Shepard's opinions on the novel and on the novel as compared to other Austen novels; this latter part is of little or none usefulness to the reader, and even its quality as an essay has several very weak, "sloppy" points. For example, the assertion that Persuasion, like the rest of Austen's novels is a romance; not only because many would disagree, but because a good introduction would include a discussion of the genre of the novel, and for an Austen novel the discussion and explanation of the nature and tensions of romance, bildungsroman and comedy of manners is VERY important. Another weak point is the blank assertion that Austen never wrote a scene between two men alone, which is false). Another notorious absence in this introduction is the historical setting of Persuasion; it is a rarity between Austen novels in how relevant the Napoleonic Wars are for the plot and how firmly they date the narrative. Tied to this are considerations of class, and the meaning of the navy as a symbol of meritocracy and Austen's special relation to it through her family... none of which are even mentioned in this preface.

How does the Norton Critical Edition by Patricia Meyer Spacks tackle the same part?

When did Austen write the novel and when was it published.

Brief summary of currents of opinion on tone and theme of the novel.

A discussion of traditional views on the "femininity" of Persuasion.

Critical evaluation of this in relation to contemporary analysis of the ethical and the political in Austen and the novel.

Her own interpretation of the novel as an ethical study on the concept of self-love.

A brief note on the choices made for the presentation of the final text.

I do think, even by this brief summary, one can uncontroversially say this is a better preface. While it still lacks the practicality of information that is mentioned rather than explained about the context of the novel, its use of spoilers is sparse and isolated rather than extensive. No supporting references to other novels are made (which I think is a good thing, because those involve a certain requirement of familiarity for the reader), and while the personal interpretation of the editor is presented, it is not an opinion on why Persuasion is popular, but a reference, a way for the reader to organize and approach the text of the novel.

Now on to Oxford World's Classics, introduction and notes by Deidre Shauna Lynch.

Napoleon and the briefest historical context he provides for the novel

An analysis of Persuasion's uniqueness in the Austen canon through the character of Anne

The permanence/change break through the changed roles of houses and the predominance of travel in comparison to previous novels

The role of memory and with this a tieback to continue elaborating on the historical context of the Napoleonic Wars in England and the cultural change it brought in the understanding of History

Persuasion as a sequel-like novel, for which a main interpretative key is that of History and Memory

A stronger attention on aging and disability

The interrelation between war history and social history in the novel, and the time frame of the events

More elaboration on the theme of past and present and personal history, with a contrast between Sir Walter's reading of the baronetage and Anne's reading of the newspapers

An interpretation of Persuasion as commentary on Sir Walter Scott's restoration plots; Wentworth and Mr. Elliot as two forms of return of the past.

An analysis of The ConversationTM between Anne and Harville still on the theme of personal history.

A comparison between the two endings of the novel

The assertion that the novel isn't melancholy and nostalgic in the end, but open to the future

This introduction is much more meandering and essay-like than the Norton one, and in that way much closer to Shepard's, in its use of spoilers and commentary on a text the reader is unfamiliar with. It's definitely not a GoodTM introduction as introduction, but it still includes mentions of important historical context and keys to reading the text; and its commentary provides references not only to other authors writing at the time, such as Scott and Wordsworth, but of more contemporary sources as well. There is some poliphony to it beyond a mention in passing to Virginia Woolf.

Besides that, it's also worth mentioning that the volume includes a brief biography of Austen and a chronology of her life elsewhere, a full note on the text editorial choices, a selection of bibliography for further reading, and three context appendixes on rank and social status, dancing, and Austen's relationship with the navy. As much as I'd think those appendixes should have taken the place of preface and the preface a place of afterword, the information to the reader has been included.

In terms of this kind of extra, Shepard has included a chronology of the novel, maps, and pictures in his notes, which are features the other editions don't have that might be of interest; but he has not provided good contexts like the Oxford edition does, either in the introduction or as appendixes; or pieces of solid, well researched essays and contextual texts like Norton does. Both Oxford and Norton include the cancelled chapters in an annex; he doesn't.

Someone would reasonably argue that Shepard chose to include all contextual information in the notes, and here is where personal opinion comes across the strongest: I think he does it that way, not for the reader's convenience, but for the padding of the notes and to inflate the value of his role as an editor. The addition of titles to the chapters of the novel, and the repetition of notes and information serve, in my opinion, the same end. In my opinion, there is a substantial difference between providing someone contextual information before they engage with something, and giving it as the something unfolds. Your first experience of a soccer match would be entirely different if someone told you the rules of the game, the stakes of the particular match, etc, before you get to the stadium than if they were to feed them to you during the match; and I think the former is a much more satisfying and rich experience.

So, notes!

Shepard's editions have lots and lots of notes. For example, for Chapter I of Persuasion he makes 65 notes, against 9 of Norton and 15 of Oxford. A first impression would say "oh, that's a really nice lot of info!" until you stop to think if this is really such a heavy text that it requires a note every 40 words on average. That's almost two notes on the extension of this paragraph alone. Let's dig a bit more to see where are the differences in selection.

Norton's, as you might have guessed now, tend to be editions heavy on the commentary side through essays and articles, and so notes are minimal and sparse. The notes on this chapter are on "baronetage", "patents", "creations", "Dugdale", "worsting", "chaise and four", "Tattersal's", "black ribbons", and "alineable". None of the notes go over a line. Oxford includes all these, and adds "High Sheriff", "exertions of loyalty", "duodecimo", "heir presumptive", "awful legacy", "dear daughter's sake", "every ball", and "his agent". Listing all the Shepard notes would be exhausting, so let's try some general classification of the notes that aren't the ones above:

3 geographical notes that amount to "this is a place in England, see map", which are easily understood in context.

14 glossary notes which usefulness/necessity is very variable. Awful and town are very reasonable notes; one wonders the necessity of notes on bloom and independence which are easily understood by context.

This theme of usefulness extends to the rest of the general notes. That stillborns were not uncommon during Jane Austen's era, or that Austen's fabricated entry of the baronetage actually does look like an entry of the baronetage is trivial and not necessary for the understanding of the text at all. That lady Russell is the widow of a knight is something that the text will state the following chapter, and that knights ranked below baronets will be heavily implied there too. The explanation of what an old country family is literally reads as redundant. Many notes are like this: information that is trivial, explained further on in the text or easily understood through context. This is specially the case of notes like the one saying that cousin marriage wasn't illegal, that people of high status spent a lot of money showing it off, and that rich people also went into debt.

There are useful notes, but when you trim them down to the actually pertinent and useful, there aren't many more than the ones included in the Oxford edition.

Now let me take a look at some of the notes shared between Shepard and Oxford:

On patents/creations:

Shepard:

The book listed families in order of receipt of the title. Thus Sir Walter would first see the earliest patents (i.e., grants conferring the baronetcy); there would be only a “limited remnant” of them because most early baronetcies had expired by this point due to the death of all possible heirs. Sir Walter could only know this by consulting another book such as Dugdale (see note 9) and comparing its list of all baronetcies with the entries in his baronetage, for the latter would show only existing titles—that he has done this indicates how obsessed he is with the matter. This carefully acquired knowledge arouses Sir Walter to admiration for himself as the holder of a surviving baronetcy. He would later come to the many pages showing the creations, or new titles, of the last (i.e., eighteenth) century and feel contempt for their relative newness (his came from 1660; see note 12).

Oxford:

limited remnant of the earliest patents: a title was also referred to as a patent: ‘a writ conferring some exclusive right or privilege’ (Johnson). Sir Walter regrets the passing away of the families whose titles date back to the seventeenth century. James I had created the title of baronet in 1611 and had used the financial support he obtained from the baronets he created to fund his army in Northern Ireland. endless creations of the last century: Sir Walter’s contempt for the low-born recipients of the new titles that the government had distributed would extend to those who, like the commander of the Fleet, Lord Nelson (the son of a mere country clergyman), had recently been rewarded with newly created peerages for their war service.

Oxford omits information that will be said explicitly later on in the text (that the Elliot baronetcy dates from 1660), and in its place includes a very relevant example of a new patent to show why Sir Walter looks with contempt upon new creations, rather than simply repeating what the text says.

High sheriff:

Shepard:

The High Sheriff (often simply called sheriff) was, after the Lord Lieutenant, the leading official in a county, responsible for the execution of the laws. He served for one year. The position, usually held by a member of the gentry, carried great prestige and would be a source of family pride.

Oxford:

the chief representative of the Crown in county government, the High Sheriff presided over parliamentary elections and the administration of justice. Holders of the office (which is now a mainly ceremonial one) were chosen annually from among the principal land-owners of the county.

While Shepard gives me something I can gleam from the text itself (the social importance of the title) Oxford tells me what his job entailed.

The note on duodecimo is an interesting case, where technically Shepard's information is more complete, but he spreads it in such a way as to pad his note count and extension. He simply notes that it is a small book, and refers to a note on books on chapter X:

“Large” could refer to thickness but is more likely to refer to length and width. At this time books came in widely varying sizes. The principal ones were folios, in which a standard sheet of paper was folded in two to make the pages, quartos, in which the paper was folded into quarters, octavos, in which the paper was folded into eight pieces, and duodecimos, in which the paper was folded into twelve pieces. Thus the length and width of a duodecimo would be one-sixth those of a folio. The type of book would influence its size. Popular books, especially novels, tended to come in smaller sizes, while serious, scholarly ones were usually larger. Thus the size of Charles Hayter’s books helps spur the Musgroves’ worries about excessive studying. They might be naturally inclined to such worries, not seeming bookish at all themselves.

What's the reference for this note specifically? "and having been found on the occasion by Mr. Musgrove with some large books before him, Mr. and Mrs. Musgrove were sure all could not be right, and talked, with grave faces, of his studying himself to death." Clearly the natural place of this note is on "duodecimo" in chapter I, but by this strategy Shepard not only manages to make two notes out of where there should be only one, but inserts notes visually in chapters in such a way as to make it appear like he has lots and lots of substantial, erudite explanations to make all the time. This strategy he repeats a lot through the text.

It's these habits of trickery, of padding and puffing up that I find intellectually dishonest, and rather inexcusable in a man who is an academic and must know better. I have also accused him of sloppiness. Perhaps I could have been more charitable and say that Shepard is a Historian by profession, and the things that touch on the literary and the philosophical, his references are much more scarce and lacking, not particularly well researched (in contrast with his historical notes). I mentioned how despite being relatively similar in tone and aim, the contrast between Shepard and Oxford showed that the Oxford annotator was familiar with literary authors in ways Shepard wasn't. This reflects in notes as well. For example:

Pinny

Shepard:

Charmouth is another coastal town (see note 8, for a description). Up Lyme sits atop the ascent next to Lyme, and offers views of the town and sea. Pinny is a spot a little west of Lyme. (For locations, see map.)

Oxford:

Many readers encountering this description of the scenery of Pinny, just west of Lyme, have detected an echo of the poet Samuel Taylor Coleridge’s ‘Kubla Khan’ (composed 1798; published 1816). See lines 12-13: ‘But oh! that deep romantic chasm which slanted | Down the green hill athwart a cedar n cover. . . .’ The romance of the landscape is the product of a series of landslides, which have carried into Pinny Bay some of the cliff paths on which Austen must have walked during her stay in Lyme.

Marmion and The Lady of the Lake/Giaour and The Bride of Abydos

Shepard:

These are two long narrative poems by Walter Scott. In contrast to the above poets, Scott immediately achieved great popularity. The two poems cited here, his most widely read, were among the best sellers of the age—and in this age, poetry generally outsold novels, at least until Scott’s own novels appeared. Both poems are stories of love and war, set in sixteenth-century Scotland; a critical element of Romanticism was fascination with the past, especially the medieval past, and Scott was central to fostering this sentiment. Jane Austen mentions each of these poems in her letters. These are two narrative poems by Lord Byron, the other highly popular poet of the time. Both are tragic love stories set in the Middle East; fascination with foreign lands, especially ones regarded as highly exotic, was another feature of Romanticism.

Oxford:

The first two titles refer to long narrative poems, romances of medieval times, published by Sir Walter Scott in 1808 and 1810; the third and fourth refer to ‘Turkish tales’ published by rival poet Lord Byron in 1813. The poets’ representations of warrior heroes committing doughty deeds in picturesque settings probably contributed to their wartime popularity. Still, the notes that Byron appended to his poems adopt a more cynical view of their heroes’ sabre-rattling than do the poems themselves, in ways that distinguish their account of heroism from Persuasion’s, idealistic view of its chivalric war hero. Anne and Benwick prove themselves faithful observers of the literary scene when they attempt to adjudicate between Scott and Byron (an attempt they resume on p. 90). Similar efforts at a comparative evaluation of the decade’s two most commercially successful poets are pursued in William Hazlitt’s The Spirit of the Age (1825) and the anonymous A Discourse on the Comparative Merits of Scott and Byron (1824).

Our best moralists

Shepard:

These could refer to a wide array of works, especially from earlier years. The eighteenth century, whose spirit Jane Austen exudes in many respects, was characterized by a general preference for prose and an emphasis on greater rationalism than the Romantic period. Moral essays, frequently supported by observations on life and contemporary mores, were popular throughout the century. Collections of letters, often highly polished, also appeared. Finally, biography developed as a significant genre, and it, like much of the prose of the time, often had a moralizing tone, pointing out lessons and presenting examples of virtuous behavior.

The difficulty in following precepts of patience and resignation had been a popular theme of many writers, especially when discussing the influential philosophy of Stoicism, which counseled rational indifference to the ills of life. Similarly, as in all ages, many who preached virtue did not always live up to their preaching. One of the most influential prose moralists of the eighteenth century, and a favorite author of Jane Austen’s, Samuel Johnson, addresses this point in one of his essays (The Rambler, #14). He writes that “for many reasons a man writes much better than he lives.” But he argues, “Nothing is more unjust, however common, than to charge with hypocrisy him that expresses zeal for those virtues, which he neglects to practice; since he may be sincerely convinced of the advantages of conquering his passions, without having yet obtained the victory.” Rather, he claims that such a man should be commended for attempting to impart to others some of his own, possibly hard-earned, wisdom. From this perspective, Anne’s counsel to Captain Benwick, which does certainly come from her own extensive experience, would represent a valuable and benevolent service to him, whatever her own failings in achieving patience or self-control.

Oxford:

The texts Anne prescribes to Benwick would very probably include works by Samuel Johnson. Throughout the second half of the eighteenth century readers made an almost medicinal use of the essay series The Rambler (first published 1750-2), in which Johnson treats such topics as the dangers of solitude and the necessity of resignation in the face of loss. Johnson’s biographer James Boswell claimed of The Rambler that ‘In no writings whatever can be found . . . more that can brace and invigorate every manly and noble sentiment’ ( Life ofJohnson, ed. R. W. Chapman (Oxford: Oxford University Press, 1983), 154).

Here I would note that the much longer two-notes reference of Shepard sits between vague and repetitive, and that in my opinion both sin by omission of Shaftesbury (Anthony Ashley Cooper).

Dark blue seas

Shepard:

Byron’s The Corsair, a work Jane Austen mentions reading in a letter (March 5, 1814), begins with the lines, “O’er the glad waters of the dark blue sea, / Our thoughts as boundless, and our souls as free.”

Oxford:

Benwick and Anne perhaps recall the second canto of Childe Harold's Pilgrimage (1812). Its description of the hero’s voyage from Greece and of the ‘little warlike world within’ (ii. 154) he enters when he boards the ship certainly glamorizes nautical life: ‘He that has sail’d upon the dark blue sea, | Has view’d at times, I ween, a full fair sight’ (ii. 145-6). They may also be remembering the lines that open The Corsair (1814), a description of the freedom that the poem’s pirates enjoy as outlaws: ‘O’er the glad waters of the dark blue sea, | Our thoughts as boundless and our souls as free’. In a letter of 1814 Austen sounds jaded about the Byronic heroes, such as Harold and Conrad the Corsair, who enthuse Captain Benwick: ‘I have read the Corsair, mended my petticoat, & have nothing else to do’ ( Letters , 257).

'eleven with its silver sounds’

Shepard:

The origin of this phrase, which seems, based on the quotation marks, to be from a particular text, has never been identified for certain. One commentator, Patricia Meyer Spacks, suggests the phrase may allude to a line in The Rape of the Lock by Alexander Pope, a poet Jane Austen certainly knew well: “And the pressed watch returned a silver sound.” The phrase does not represent a literal description of the operation of the clock, for the component parts of a clock were made of other metals than silver, usually brass or steel. Clocks were standard parts of a home, designed for elegant appearance as well as utility.

Oxford:

The literary allusion has not been traced. In 1921 Herbert Grierson conjectured that Austen was here misremembering the description of the coquette’s morning rituals that Alexander Pope gives in The Rape of the Lock (1712): ‘Thrice rung the Bell, the Slipper knock’d the Ground, | And the press’d Watch return’d a silver Sound’ (i. 17-18).

Note how here Shepard is crediting Meyer Spacks, but does not reference where (the Norton Critical Edition), whereas the Oxford annotation traces the conjecture to what appears to be its original proponent.

The pen has been in their hands

Shepard:

At this time there had been moves to improve the quality of women’s education, but it still was inferior to men’s, especially at the higher levels—no universities admitted women. As for books, while women had come to constitute a substantial portion of those who wrote novels, men dominated virtually all other fields of literary endeavor.

Oxford:

even as she has Anne object to examples from books, Austen echoes the precedents set by figures in the literary tradition who have previously commented on men’s monopoly of the written word. Anne sounds like the Wife of Bath in Geoffrey Chaucer’s Canterbury Tales , who is exasperated by male clerics’ representations of women, and, closer to Austen’s time, like Richard Steele’s character Arietta, who recounts the story of Inkle, the mercenary Englishman, and Yarico, the native woman of Jamaica whom Inkle betrays, so as to counter her male visitor’s trite examples of female inconstancy. Arietta observes, ‘You Men are Writers, and can represent us Women as Unbecoming as you please in your Works, while we are unable to return the Injury’ (.Spectator, 11 (13 Mar. 17 n)).

I'm not saying that necessarily Shepard's notes should be absolutely excellent in every single way and aspect in order for it to be a serviceable/good annotated edition; but all the things I have mentioned above make them appear to me thoroughly undeserving of being considered excellent, above the rest, or definitive.

[see-arcane]

WARNING: Spoilers for The Vampyres, Dracula, and "Clarimonde" below the cut.

Also a bit of knife-twisting of the metaphorical variety. (Not that it hurts any less than steel.)

Rather than throw myself into another scribbling digression to take a break from other scribbling digressions, I’ve scratched a story itch via the sketchbook. This is the result.

I’ve gotten questions about what happens to ‘Quinn Morse’ aka a certain knife-swinging solicitor who God, the Devil, and Death itself won’t let die after the events of The Vampyres. The obvious answer is: dude’s still doing the job appointed to him by the Powers That Be. Poor guy is stuck paying a Faustian due of wiping out the predatory undead before he can ever put down the blade and hop in the grave himself.

Enter Clarimonde, from Théophile Gautier’s short story of the same name (also “La Morte Amoureuse” “The Dead Leman” “The Dead Woman in Love”) who’s still out here breaking hearts and ruining sleep schedules. The girl’s an undead party queen and a romantic hedonist, but is so terrible at the vampire part of vampirism she regularly drops dead(er) from being too hesitant about taking blood and/or conscripting. She takes barely a drop of blood when she does get to it; though that sin was enough for her own heart and physical form to get broken with betrayal. She got better—corporeally, at least—and carried on.

Until she crossed paths with Mr. Tall Dark and Sold His Soul for Love. And vice versa, our good friend the ex-Victorian psychopomp has finally run into a vampire it would be immoral to slay just for the sake of erasing another undead ‘to-do’ off the list…even if she’s temporarily the only one in the world. And therefore the only barrier between himself and finally getting to rest with his loved ones. He doesn’t even have the impetus of killing to save someone’s life as an excuse. Damn it.

I won’t say I’m not thinking about fully scribbling out the bizarre/sweet/likely doomed companionship that could exist between these two love-powered angst machines. The idea’s got teeth, pun intended. Plus there’s definitely an itch to be scratched regarding my old headcanon that Clarimonde was the Pretty Girl in Piccadilly that Mina and Dracula nearly broke their necks trying to get an eyeful of once upon a time. There’s some loaded ammo there for Clarimonde to really test her safety by mentioning, ‘Hey, your wife would have wanted it. I know, I read her mind that one time. We can break out a Ouija board and confirm.’

But I am trying to reserve the bulk of my writing juice for the current Big Project, so it’ll have to be something to poke at around the corners for now. Just wanted to share the concept with folks who might be interested.

Also, some deleted dialogue:

Clarimonde, posing in her sheerest funeral veil: “So, what are your thoughts on casual intimacy?”

Jonathan, sharpening the kukri: “I’m a big admirer of the praying mantis’ approach.”

Clarimonde: “The male’s or the female’s?”

Jonathan: “Either.”

Clarimonde: “So no romancing unless it’s to pull some psychosexual chess master mess on a villain?”

Jonathan: “Supposing the villain in question used said intimate betrayal on their own victims, yes. Also, they’d know something was wrong if I was ‘immune to their charms’ and—what’s this?”

Clarimonde, handing over several centuries’ worth of letters: “Documented evidence from members of aristocracy and clergy that I am a nefarious succubus in need of punishment for my preying on the morals and hearts of pious citizens. Look, they even included illustrations of how they’d do it.”

Jonathan: “…And were these documents attached to deliveries of jewelry or just sacks of gold?”

Clarimonde: “Both. On account of my evil coercing them into it.”

Jonathan, handing the letters back in a portfolio: “I’m afraid your villainy does not qualify for my services at this time. You’ll have to reapply with one or more proofs of murder and/or predation upon mortal innocents at a later date.”

Clarimonde: