#epitaph of the twilight

[tumblingxelian]

Underrated Writing: .Hack's Morganna Mode Gone

There's a villain I don't think gets enough credit, Morgana Mode Gone from .Hack//Sign, Liminality and the four part game series, plus the AI Buster novels.

Brief summary:

Hack is set on a slightly altered history Earth, where in part due to plot & also the era it was conceived it blends the Sci-Fu futurism and "The internet is magic" together with the "Isekai" and "Trapped in a game" story concepts. Different eras of the series have different tones & structures, but this is covering the early eras overarching Villain.

Morganna Mode Gone is the "God" of a game simply called "The World", which was based on the writings of the epic poem Epitaph of Twilight.

But in truth she is more akin to a Gnostic deity, false or proto god. Because her primary purpose is actually to tend to and facilitate the birth of the worlds Ultimate AI, Aura.

I mean actual AI, as in, artificial intelligence, not some shitty algorithm tech bro idiots slapped a trench coat on.

Morganna Mode Gone is herself an artificial intelligence, one capable of contradicting herself, ah sapience, but is still bound by the rules of her programming.

This is a problem for her because once Aura is born/awake, Morganna Mode Gone won't have a purpose and she can't really conceive of what happens then.

As a result, before the series even began she essentially fragmented off a portion of her own identity, forming the Vagrant AI Macha, but she couldn't solve the problem.

Because if Aura dies, then Morganna Mode Gone also has no purpose. She needs a way to Ouroboros this situation, leaving Aura always growing but never developing, never waking.

She also trapped her and Aura's creator in The World when he realized what was happening. He survives the series but never escapes, and eventually devolves/evolves into a sort of living relic.

It was around this period that she began breaking & twisting things to try & escape the paradox she was trapped in. Re-styling herself from Harold's idea of a mother into the Cursed Wave.

This included orchestrating the hunting down and deletion, IE murder of other Vagrant AI's that were forming as a result of the Black Box meant to birth Aura, IE, proto Aura's, like Lycoris.

"I am an unwanted child. Even God doesn't want me." — Lycoris —

As well as using Macha or Guardians to 'Data Drain' any humans who get to close, which at its lightest, leaves them temporarily comatose, destroys their characters and has a negative impact on their mind.

You might notice Moraganna Mode Gone has not yet been established as making an appearance, good eye.

See, one of the things that makes her so interesting to me is that Moraganna Mode Gone is nominally omniscient, omnipotent and omnipresent figure.

She is the underlying system of The World itself and for all intents and purposes a force of nature. As a result she primarily acts through intermediaries, or by guiding others to act for purposes.

Managing to make a villain like this work, and work so effectively is one of the biggest strengths. As it is, we pure Moraganna Mode Gone as a disembodies voice that influences the world & creatures.

She also has some fantastic lines, though not quite as effective without the atmosphere and delivery, I still love them, such as:

"The higher up it is dropped, the worse the crash will be. Hope is the best spice to bring out despair." — Morganna Mode Gone —

In order to accomplish her goal, Moraganna Mode Gone has Macha manipulate and Data Drain Tsukasa. A human who she had been watching and trying to replicate for some time, but without getting what she needed for her goal.

This also involved warping Tsukasa's memories, leaving only those of her abusive father, and creating a divide between her real world identity of Shoji and online identity Tsukasa, to further weaken his ties to the real world. Tsukasa's gender is rather liquid, as far as I can tell and either way, also a lesbian.

"The World and all of its wonders; this is my world, you see."— Tsukasa —

The reason for this was to essentially tie Tsukasa's desire to stay within The World to Aura's development. So long as Tsukasa never wanted to leave, Aura would never want to wake up.

However, other determined players, isolation, and a disconnect from physical sensation leading to alienation led to Tsukasa gaining connections and desires outside of simply staying in The World.

This, Morganna Mode Gone began... Moving chess pieces so to speak. Orchestrating traumatic incidents. Giving Tsukasa a pet monsters for protection but that would also attack those she wanted gone. As Tsukasa continues to develop independence Aura's health improves, VS her sickened, pallid state when Tsukasa is locked in survival mode.

Things eventually come to ahead and well,

Morgnanna Mode Gone basically destroys Tsukasa's mind to ensure a perpetual state of despair and catatonia. Permanently stunting Aura's development.

Much of the rest of the series, is centered on the rest of the characters gaining the necessary knowledge to finally understand the situation.

As well as the Macha fragment of Morganna Mode Gone's ties to Tsukasa creating doubt and Subaru and Tsukasa's bond managing to slowly begin waking Tsukasa up.

Which naturally leads to Morganna Mode Gone needing to orchestrate more despair, but circumstances such as the bastion of Net Slum & her programming keep her from auto winning.

A great deal happens, including some mind fuckery and illussion conversations. Along with more classive abuser tactices like holding the threat of what awaits Tsukasa in theoutside over head.

But eventually Aura is awakened by Tsukasa's desire to return to the real world regardless of the hurled and the characters escape with Aura, thanks to the turncoat Sora.

Suffice to say this doesn't pan out well for him.

Morganna fragments more of herself and uses him as a sort of beacon & vessel to craft the first Phase of the Cursed Wave:

"Riding the Wave is Skeith, the Shadow of Death, to drown all that stands." — Epitaph of Twilight —

This is such an imposing threat that Helba, thematically the same Helba, Queen of the Dark from the Epitaph of Twilight, has to erase the entire world segment they are in just to keep Skeith away from them and put Aura beyond its reach for a time.

Skeith continues to be hosted inside Sora in an ensuing novel, with Sora flittering between amnesiac, malevolent brat and an utterly inhuman monster which violates the basic principles of the game.

But is eventually devoured by Skeith and continued hunting down Aura until the Phase is defeated in .Hack Infection. A memory of Sora leaves behind a reward for the one who did the deed.

Moraganna Mode Gone wasn't done however.

As all this was happening, she basically began fragmenting off parts of herself into other portions of the Cursed Wave:

Skeith:"The Terror of Death"

Innis:"The Mirage of Deceit"

Magus:"The Propagation"

Fidchell:"The Prophet"

Gorre: "The Machinator"

Macha:"The Temptress"

Tarvos:"The Avenger"

Corbenik:"The Rebirth"

Relying on the logic that Aura wasn't yet 'finished' or otherwise not not correct 7 so needed to be destroyed like any other Vagrant AI, so Morganna could start the process over again.

These phased also sent anyone they encountered into comas and even altered electrical installation and internet usage with their presence, while generally corrupting The World.

Fun fact, they all have the symbol of an eye on them representing Morganna Mode Gone's presence in them and her observing the world through them.

Skeith actually did manage to capture and fragment Aura, but not before she created the Bracelet of Twilight, and with it the Eldrich horror Cubia to combat the Cursed Wave.

Morganna Mode Gone would eventually fuse with the last of her Phases in a bid to directly end her foe that had slowly, over the course of four games, destroyed the other seven phases and Cubia.

Ultimately, Aura had to sacrifice herself to ensure Morganna Mode Gone would be destroyed, but in doing so, also allowed herself to be reborn .

Remnants of her continue to haunt and corrupt the world in the form of Data Bugs and an effort by the parent company to recreate her through the lingering fragments of the Eight Phases doesn't go quite to plan, let's say.

Conclusion:

But yeah, Morganna Mode Gone, No one is doing it like her, she has everything:

She is a force of nature and omnipresent goddess, to a Gnostic false god & a program breaking itself & everything around it in the quest for agency inside its own mind that struck down her creator.

She's a woman bound to and violently rejecting the sacrificial role of mother & seeking to destroy that which will supersede her & a manipulator and abuser, as well as philosopher and prisoner.

She is a corruptive influence on the world as well as the very foundation upon which the world world itself is built & she is the Cursed Wave, part of a story, a myth, a poem that is woven into The World itself.

What's more,

Her fragments in the Cursed Wave Phases are all a wonderful blend of eldrich, Biblical & elemental. Something only enhanced by the games Graphics of the time:

[pochapal]

revisiting the "bodies with no faces" argument to prop up a faked corpse theory is. hrm.

[midnightrook]

I will never not be irritated by the fact that I've either heard that part of "A Pale Fire" before or I've heard something with a similar cadence but can't recall where or what.

[moeitsu]

The Tie Which Linked My Soul To Thee

Hi everyone! I have a new Arthur x female!OC fic I've been working on that's posted up on Ao3, so I figured I would share it here as well. Please let me know what you think! This story is currently still on-going :)

Ao3  Wattpad Masterlist - All Chapters Ch.2 Ch.3 Ch.4 Ch.5 Ch.6 Ch.7 Ch.8 Ch.9 Ch.10

Summary: Kate McCanon, a young widow from the north, meets outlaw Arthur Morgan. When the two cross paths she discovers a complex man wrestling with his own sense of right and wrong. As their unlikely bond deepens, Kate becomes determined to guide Arthur towards a brighter path, even as tensions rise within his gang led by the enigmatic Dutch van der Linde. With danger lurking at every turn, Kate must navigate treacherous territory to protect those she holds dear, all while finding love in the most unexpected of places. Tags: Arthur Morgan/Original Female Character, Widowed, Original Character, Mutual Pining, Slow Build, Eventual Smut, Eventual Romance, Fluff and Angst, Hurt/Comfort, High Honor Arthur Morgan, Friends to Lovers, Child Loss, Trauma, Canon-Typical Violence, Arthur Morgan Does Not Have Tuberculosis, Arthur Morgan Deserves Happiness, Chubby Arthur Morgan, Alternate Universe - Canon Divergence

Chapter 1 - The Frost Gleams Where The Flowers Have Been

1890

Kate had never fancied herself a skilled woodworker. While she had lent a hand to her husband in constructing a barn, her role mostly entailed passing him tools and bringing him his lunch. But as she stood amidst the sawdust, tears streaking down her cheeks, she grappled with the daunting task ahead. She lacked both the sufficient wood and the patience to craft two coffins. Thus, the inevitable decision emerged: they would be laid to rest together.

The Reverend's suggestion to cremate the bodies, emphasizing the need to eradicate the disease completely, fell upon deaf ears. The mere thought of reducing her beloved husband and precious baby girl to ashes felt abhorrent to Kate. Instead, she harbored a tender hope that one day, perhaps, they would blossom into a magnificent Willow tree.

Amidst the melancholy chore, the vibrant symphony of birdsong provided a bittersweet backdrop, reminiscent of the lullabies she once crooned to her infant daughter. With a sorrowful melody humming in her heart, Kate toiled diligently, her hands blackened with grime, each wipe across her tear-stained cheeks a testament to her grief. As the sun dipped below the horizon, casting their modest farm in a golden hue, Kate's work pressed on.

Night descended swiftly, cloaking the world in shadows that seemed to stretch for an eternity. Kate, perched upon her porch swing, found no solace in slumber. Her vigil was solemn, her gaze never wavering from the rough-hewn coffins that cradled her entire world within their confines.

With the break of dawn, the Reverend returned, his disapproval evident, yet tempered by resignation. Together, in a somber silence, they labored to fashion a final resting place. By mid-afternoon, the grave stood ready, a solemn abyss awaiting its occupants. With the Reverend's assistance, Kate tenderly lowered her cherished husband and daughter into the earth's cold embrace.

As dusk settled, the Reverend offered prayers and parting words before taking his leave. Left alone in her sorrow, Kate felt the weight of despair bearing down upon her. In a world forged by men and seemingly devoid of solace for a solitary widow, she found herself with no recourse but to depart.

Beneath the twilight sky, the epitaph etched upon their shared gravestone bore silent witness to her profound loss:

Here Lies My Beloved Noah, And Our Beautiful Daughter, Lorena.

May God Keep Their Souls.

━━━━━༻❁༺━━━━━

1899 

As the sun rose over the horizon, casting its golden rays across the sprawling expanse of Emerald Ranch, Kate found herself amidst the ebb and flow of another day's labor. Nine years had slipped by since the tragic loss of her husband and daughter, a span of time marked by wandering footsteps and the pursuit of odd jobs on her journey westward. 

She had once heard her father say they had family in California, he had many sisters but only kept in touch with one. Kate wrote to her after the death of her husband, seeking asylum with a relative with nowhere else to go. Her Aunt wrote her back and gave her condolences, she said Kate would be welcome with open arms. 

However, the last she heard of her Aunt was 7 years ago. But still, she continued west. She had come too far and been through too much to stop now. What she hoped to find in the valleys of California, she did not know anymore. Over the years she became more cowboy and less of a woman, her once soft hands now calloused by years of labor. The untamed plains and cold hard ground had become both her refuge and her bed. 

She came to Emerald Ranch only a week ago, her boss; Seamus, was reluctant to hire a stranger, let alone a woman, to help on the ranch. Kate assured him she was cheap labor and was only looking for shelter and a place to rest until she was on the move again. Kate was no stranger to odd jobs, she took any work she could get and saved as much as she could. But she was no criminal. 

She heard Seamus talking to two men as she filled the troughs with clean water. The gentlemen said they were new in town and looking for a partnership, one in which they could both make money. 

“Look I ain't no idiot, and I don't trust folks outta the blue. If you want to work together then you're gonna have to prove to me you’re worth my time.” Her boss's voice raised above the usual noise of the barn animals. 

“Of course! We’re only interested in a partnership, just looking to make a little extra money.” Carried the voice of an older gentleman. 

“No doubt. I do interesting very well. It's trusting that I don't do so well.” her boss answered, still not convinced by the two strangers.

“Look at us, we’re honest as the day is long,” said the other man with cheer. 

“You really want us to prove ourselves to this clown Hosea?” said the other voice, sounding much younger than his partner. 

Seamus scoffed, “good day to you, Hosea.” 

“N-now wait a minute Seamus. Arthur can be rough, and quick with his tongue, but I swear you can trust him, you can trust me.” Hosea pleaded, following Seamus to the side of the barn. Kate now had a clear view of the new “business partners”. 

Kate didn't know Seamus very well, but she could tell he was an honest enough man. Wise for his years, and liked to keep his nose out of trouble. “I’m an old man Hosea,” he began, “and you know why I ain’t dead yet?” 

“Because you don't trust idiots,” Hosea finished.

“Exactly.”

“We’re not idiots, Seamus. Let us prove it to you.” Hosea had an air of confidence, he wasn't some runaway bum looking to make a quick buck. He was serious about a partnership. Although Kate wouldn't say the same for his partner, who loomed behind them like a panther ready to pounce. 

“Okay…I’ll tell you what, old Bob Crawford and his boys just bought a beautiful stolen stagecoach from up north. It’s in their barn. Now you go get that,” he looked around for anyone who might be listening to his scheming, “then we can work together.” He said quietly, placing a hand on Hosea’s shoulder. 

“Who’s Old Bob Crawford?” inquired Hosea.

“An acquaintance of mine…well, not just an acquaintance. He’s my cousin, by marriage.” Seamus explained. 

“Oh so now we’re meddlin’ in your family business?” Arthur boasted with skepticism. 

Hosea waved him off and continued speaking, “Where is he located?”

“Now hang on a moment, you boys could very easily take this coach and sell it yourselves for a pretty penny,” Seamus began. 

“So you comin’ with us? I thought you didn't want to be involved in shady business?” Arthur spoke up again. 

“Heavens no, if my cousin saw me it would be my death. I'm sending someone with you, as collateral.” Seamus turned around and saw Kate already watching them, he waved her over. 

Arthur shook his head disapprovingly, “nah, I don't do babysitters Seamus.” 

Kate was just as skeptical about her part in this, she told Seamus she was looking for honest work, and robbing his cousin certainly falls out of that line. 

“She’s not babysitting . She’ll take you to my cousin's farm and let you do the robbing. Kate has been working for me for a few days now and she’s tougher than she looks.” Seamus said turning to Kate, “I want you to make sure that stage coach gets back to me. You don't need to take part in the robbery.” 

“You’re fine with them robbing your cousin?” She spoke in a hushed tone so only Seamus could hear.

“By marriage,” he added, “and yes, I would love it. The man’s been a thorn in my ass for years.” He said amused.

She nodded in acknowledgement and turned to get a good look at the two strangers. One was indeed much older than the other, with cropped white hair peeking out from under his hat. The other gentleman was tall and burly, and he hid his eyes under the brim of his hat. He seemed wary of strangers and kept both hands resting on his gun belt. 

“Let me get my horse saddled and I’ll meet you boys at the intersection leading out of town.” She spoke, Hosea nodded and was already making his way to his horse. Arthur stood for a moment eyeing the woman, no doubt playing the intimidation tactic. But Kate had seen far scarier men than him in her days. “Y'know the quicker we get this done the quicker you fellas get paid.” She noted.

Arthur scoffed and finally followed Hosea to his horse, “don't need no damn babysitter,” he grumbled kicking dust.

━━━━━༻❁༺━━━━━

Kate made quick work of saddling her black Hungarian roan, she calls Lorena. After her infant daughter. In a moments pass she was on the dirt road leading out of Emerald Ranch and toward Carmody Dell. She waved for the two men to follow her, they stayed behind her a short distance and made no effort for small conversation.

However, she overheard snippets of their own conversation as they went, “I thought you wanted me to be the strong arm? That's usually how it goes,” Arthur spoke.

“Yes but..” Hosea hesitated, lowering his tone a little, “you know how this works.”

“Cmon Hosea that fellers a joke, he don't even trust us enough to handle it ourselves. Now we got a chaperone.” Arthur complained loudly, at least he’s not calling me a babysitter , Kate thought. 

“All the better, he won't cause us any problems. And I cant blame the guy for sending the girl. Two strangers looking for quick money? Hell, I’d want assurance too.” Hosea answered, “besides, if he’s sending protection that means there’s big money to be made. Seamus wants his cut.” 

Kate came to the same conclusion, up until now Seamus had given her the usual ranch-hand tasks. Feeding and cleaning mostly. This was very different, there must be good money for this stage coach. 

“I guess you’re right,” Arthur muttered.

Hosea mumbled something back to Arthur about “hanging up their hats” if they couldn't finish a job as easy as this. They laughed and began chatting about their travels in Emerald ranch, Kate tuned them out and began humming a song to her horse. 

Her singing always pleased her horse and calmed the girl’s nerves. She was a strong and fierce steed, but jumpy and needy like a baby sometimes. Kate thought naming her horse after her daughter would bring her closure, instead, she was almost convinced that her daughter's spirit lived on in Lorena somehow. In all ways except biological, her horse was her baby.

Carmody Dell was a short distance north past the train tracks and Fort Wallace, Kate had passed it once before. They rode at a steady pace, the men behind her never coming too close. She wondered for a moment what their story was, and why they needed money so bad. Perhaps they were travelers like her, maybe they even had a caravan. She entertained the thought of traveling with a group again, but shuddered at the memories. Her previous caravan adventures had not ended well. 

Once the ranch was in view she slowed and allowed the boys to catch up on either side of her. She led them to a grassy clearing off the road. 

“You should continue on foot from here, I’ll stay behind with your horses.” She said dismounting. The two of them nodded and dismounted their horses, Kate was almost surprised to hear no objections from Arthur. 

“C'mon son, let's see what we’re dealing with here.” Hosea commented walking towards a large rock in front of the house. 

“Son”, so they are family . She mentally noted. Arthur gave his horse a pat, “be a good girl for the lady” he said, tipping his hat towards Kate. She was slightly taken aback by the sudden politeness.

She busied herself with the horses for a bit while the men laid out their plan, she gave Hosea and Arthurs horse a treat and was about to start brushing his horse when he approached her again. Startled, she backed away from his mare, she didn't want him to think she was snooping in his saddle bags. 

“You can keep brushin’ her, she loves attention,” he half smiled reaching up and petting her snout. “I just came to tell ya’ we’re gonna wait till it gets dark. Less chance of getting caught that way.” 

“Smart,” she replied, for whatever reason she suddenly felt very shy in his presence. 

He stood a few feet away from her and she could see more of his features. He was around her age. He had short dirty blond hair under his leather hat, and bright blue/green eyes. Her eyes lingered over his body. He was big too, more than a foot taller than her and well fed and muscular. His bicep had to be the size of her head alone, and she could tell by the fabric of his button down he had a bit of a belly hidden behind his gun belt. 

“What’s her name?” His voice broke through her awkward silence. 

“Who?” She asked and looked back at him. 

He chortled, “the black beauty you got over there,” he nodded to her horse. 

Oh, duh! “Her name is Lorena, she also loves attention but she’s nervous around new people.” Kate answered, still a bit lost in her thoughts. 

Arthur made a clicking sound with his tongue, reaching out a hand and slowly walking toward her horse. “It’s alright girl,” he cooed while she sniffed his palm. He pulled out a peppermint and gave it to her, which Lorena happily accepted. 

Kate smiled at the interaction, “you introduce yourself to my horse before me?” she teased. 

“My apologies ma’am,” he turned to face her, “names Arthur Morgan.”

“Nice to meet you Mr. Morgan, I’m Kate McCanon.” She reached out her hand and he shook it. His grip was firm but polite. 

“Likewise, Miss.McCanon. That’s Belle your brushin’, and that’s Silver Dollar.” He pointed at Hosea’s horse. “I saw this beauty when we first rode into Emerald ranch, had no idea she was yours tho.” He was talking about her horse again, “told myself I’d inquire about buying her if she was available.” 

Kate smiled at the affection he was showing for her horse, she knew Lorena was a beautiful mare. She often received compliments on the road, and many have offered to pay for her purebred. 

“I’m sorry to disappoint you, but she’s not for sale.” 

“Well I can certainly see that,” he laughed, “she seems happy though. You must take real good care of her.” He said, his attention still on her mare as he scratched under her chin. 

“You some kind of horse breeder Mr. Morgan?” Kate asked. 

Arthur laughed, “no no. Nothing like that, though sometimes I wish I was.” He smiled as he said it but Kate noticed there was a sadness in his tone. “I just think they’re neat is all.” 

They had only just met, and while Arthur was not initially the most pleasant, she found it incredibly cute how enraptured he was by her horse. 

“I should probably also apologize for my rudeness earlier, it’s been a rough couple weeks for us and we uh- don’t always take too kindly to strangers.” Arthur took off his hat as he spoke and held it to his chest, a sincere gesture. 

Kate was shocked, the man she met at Emerald ranch not even an hour ago seemed like a completely different person than the man before her. His cold demeanor was gone, or at least reined in at the moment. 

“No apology needed Mr. Morgan. I understand,” She answered. “Although I wouldn’t call it rude, you were just skeptical. Rightfully so, can I ask what brings you to Emerald Ranch?” 

Arthur looked away from her as he spoke, choosing to focus on her horse. “We’re just stayin’ in the area for a few weeks. Passin’ through and tryna make money.” 

“By robbing stagecoaches?” Kate said in an amused tone, “you a bunch of outlaws or something?” She continued, half-joking. 

Arthur looked at her with surprise, “What? No, we uh- got laid off from the railway. Up-north. Just looking for money so we can find a place to settle down again. That’s all.” He looked away again, avoiding her gaze. 

“I’ll say it again, by robbing stagecoaches?” She kept her tone playful, but wasn’t entirely convinced by his story. But it felt good to be the intimidator.

“Wasn’t our idea, Seamus asked us to rob his cousin!” His voice rose slightly with anger. 

“By marriage,” Kate retorted. 

Arthur was about to speak again but only stared at her. 

“I’m just pulling your leg Mr. Morgan.” Kate laughed. “It’s no business of mine. I’m only passing through here, same as you. What you do here and how you earn your money is your business. As is mine.” 

Arthur scoffed, suddenly amused, did this woman just tease me?

He went to speak again before another voice interrupted them, “Arthur! Get over here!” Called Hosea. He pointed a finger at Kate as to say this isn’t over and walked away. 

Amused with herself, Kate grabbed an apple and sat down against a tree. Watching the sun set as she waited for the cover of night so the two men could pull off their heist. 

━━━━━༻❁༺━━━━━

Kate woke suddenly to the sound of horses moving. She quickly got up and looked in the direction of the ranch. Sure enough the stage coach was steadily moving down the path away from its place in the barn. She quickly mounted her horse and trotted over to them. 

“Nice work! Follow me back to Emerald Ranch and try to keep it in one piece.” She called up to Hosea who was driving the coach. With that she clicked her tongue and took off ahead of the coach at a steady but quick pace. Not wanting to get themselves caught. 

Before Hosea could crack the reins he looked to Arthur as he was about to get in the coach, “you ride ahead with her. I got this.” 

Arthur looked confused, “why wouldn’t I ride with you? The horses will follow.” 

Now Hosea was giving him an amused look, “I heard you with her earlier.” 

“And?” The cowboy replied slightly annoyed. 

“You’ve never fumbled our cover story so bad!” He quipped, “it was like listening to a child tell it!” 

Arthur shook his head, “now you’re playin’ match maker old man?” He teased, trying to hide his smile.   

“I’m just saying it wouldn’t kill you to go talk to her son."

Without another word Arthur nodded and dismounted the coach, getting into the saddle and riding off to catch up to Kate.

[literaryvein-reblogs]

Hey, do you by chance have any dialog prompts for internet friends? Thanks!

Hi! This reminded me of how letters can sometimes be similar to how "internet friends" communicate. So here are some examples that may be used as prompts:

“Send me the words ‘Good night’ to put under my pillow.” —John Keats to Fanny Brawne

“To say I apologise just seems to be inadequate. Please write to me soon.” —Hughes to a ticked-off Lowell (similarly, internet friends may argue; one may apologise, sometimes beg for a response)

“I am lonely, Neal, alone, and always I am frightened. I need someone to love me and kiss me and sleep with me; I am only a child and have the mind of a child. . . . It is pure pity that I beg now, not comradeship or love or sympathy.” —Ginsberg to Neal Cassady (similarly, internet friends may confess their emotional turmoils)

“When you write my epitaph, you must say I was the loneliest person who ever lived.” —Robert Lowell, in his letter to Elizabeth Bishop, recalls this message to have been said by her

“Why are you alone in London, and when do you go to Salisbury? Do go there to cool your hands in the grey twilight of Gothic things, and come here whenever you like. It is a lovely place and lacks only you; but go to Salisbury first.” —Oscar Wilde to Lord Alred “Bosie” Douglas

“How can Death get at the Unborn, go back before birth and look at death. Or look at death though a coffeecup or sharpen your pencil on it, protect the chair against it, don’t destroy the chance of a boulder to life.” —Snyder to Ginsberg (similarly, internet friends may not always be coherent in their messages)

“Teaching is a groove, I have total freedom, and my poetry class is full of interesting hip young minds.” —Snyder to Ginsberg (similarly, internet friends may talk [or gossip] about their daily lives; so-and-so is “one of the meanest cats in Japan” -Snyder)

“My main psychic difficulty . . . is the usual oedipal entanglement . . . I have been homosexual for as long as I can remember.” —Ginsberg to Wilhelm Reich (similarly, internet friends may verbalise their internal conflicts)

“I ask you for violence, in the nonsense, and you, you give me grace, your light and your warmth. I’d like to paint you, but there are no colors, because there are so many, in my confusion, the tangible form of my great love.” —Frida Kahlo to Diego Rivera

“Ah, how good it was to hear your voice. It was so inadequate to try and tell you what it meant. Funny was that I couldn’t say je t’aime and je t’adore as I longed to do, but always remember that I am saying it, that I go to sleep thinking of you.” ���Eleanor Roosevelt to Lorena Hickok

“My heart has often been too full to speak or take any notice I am sure you know I love you well enough to believe that I mind your sufferings nearly as much as I should my own...” —Emma Darwin to Charles Darwin

“I composed a beautiful letter to you in the sleepless nightmare hours of the night, and it has all gone: I just miss you, in a quite simple desperate human way.” —Vita Sackville-West to Virginia Woolf

“...you are lavish with little secondary loves, like that night in Thiviers when you loved that peasant walking downhill in the dark, whistling away, who turned out to be me.” —Jean-Paul Sartre to Simone de Beauvoir

“Think of me, sometimes, when the Alps and ocean divide us, –but they never will, unless you wish it.” —Lord Byron to Teresa Guiccioli

Notes on writing internet friends' dialogue (similar to how people write letters):

Example: "Words in Air: The Complete Correspondence between Elizabeth Bishop and Robert Lowell" — Similar to these poets, your characters may lead very different lives, which you can make apparent in their dialogue:

For instance, Bishop's letters contain ardent descriptions of Brazilian flora and fauna, affectionate accounts of her humble neighbors in Petrópolis, and wry gossip about her upper-class social circle in Rio; whilst Lowell updates her on his tumultuous life with wives #2 (Elizabeth Hardwick) and #3 (Caroline Blackwood) and on the stateside literary scene.

Despite differences, your characters may still remain friends. Example: Bishop and Lowell's politics differed. Yet both tactfully avoided debating politics, and remained fast friends. (While Lowell was very publicly protesting the Vietnam War, Bishop was socializing with Brazil’s leading conservative politicians.)

Write your character's dialogue in a descriptive way. Unless they are sending one another photos or videos, most internet friends would be very vivid in their description. Example: In Hughes' 1956 letters, he frequently reported encounters with animals in a descriptive way (usually including his own interpretations): he’s sitting in a valley reading when a wildcat comes along and starts “to stare me out—very offensive”; he’s walking across a field when he sees a “beautiful cow” alienating the affections of a calf from a jealous horse.

Sometimes internet friends tell each other mundane things, like their dreams: For instance, in his letters, Hughes recounts, and attempts to analyze one, often violent animal dream, after another.

Also found this article on The Psychology of Social Media, which you might find useful.

Sources: 1 2

Hope this helps with your writing. Do tag me, or send me a link. I'd love to read your work!

[thiefcats]

Why you aren't, but should be shipping Mihawk and Perona together, an essay.

First of all, Perona and Mihawk are adults. When they met, Perona was 23 and Mihawk was 41. Yes, this is an eighteen year age gap, but I want to start with this because it's the primary reason I see for people not liking the ship. After two-three years living under the same roof, by the time Perona leaves to go find Moria she is 25-26 and he is 43-44 (depending on how long you believe is sailing time between arcs and when their birthdays may fall between the time Zoro was dropped off at Sabaody and the summit at Mariejois took place. 

Let's pretend for a moment Mihawk really is a vampire. This means one of two things, either he died at 41 and is actually centuries old, or he became a vampire sometime in his 20s and is legit 44-45 years old. Either way, Mihawk comes off as extremely old fashioned in the way he talks, the way he dresses. I would say he, like Perona, is a gothic romantic. Romantics tend to put their other passions first in favor of actual romance, keeping this in mind this would indicate that like many handsome dark brooding autistic men before him (the good ol' Darcy type) he has put romance on the wayside because he wants a love that is real. This is not an uncommon romantic trope amongst gothic romantic and vampire lovers and generally stories with immortals. 

Often in fiction and romance novels the centuries old immortal is paired with a mortal (usually completely human) woman between 18-35. This type of romantic man has waited centuries for the right person they could form a lasting bond with and has not had much experience with actual love, if at all. For a few examples: ACATOR series Feyre and Rhys got together when Feyre was 20, and before that she was even younger with her first faerie boyfriend. In All Souls Trilogy Diana is suggested to be in her late 20s/early 30s and Matthew is pretty much old as dirt. In the Twilight Series Bella was 17 when she met Edward, who was 104.  These are a trope for a reason, and when done right it’s a pretty good trope. 

I'm going to include an incredibly unpopular opinion here, but "Goth Fam" is weird and here's why. While amusing in theory, portraying two grown adults and another grown adult as children and one adult is incredibly infantilizing. I won't disagree Zoro and Perona have a very close relationship where Perona especially is seen taking care of and is incredibly protective of him, I don't see where this necessarily makes them sibling coded (the same way I don't think Nami and Zoro are sibling coded). I won't get into that in more detail here about my thoughts on Zoro and Perona, but here's my hot take. 

Both Zoro and Perona are incredibly autistic coded, which makes drawing them drawn as children with Mihawk incredibly cringe. Mihawk did not know Zoro and Perona as anything but adults and does not get a right to claim either of them as his children unless they offer that up first. We never see either one of them directly call Mihawk a father figure. 

A 5’3, petite queen, the way Perona dresses and wears her hair is a fashion statement. I don't think she would like being portrayed as an actual child. Post-time skip she even has a tattoo on her arm the same place Nami’s tattoo is placed on her left arm, permanently branding herself and displaying her loyalty as a Thriller Bark Pirate. Perona does not need another father figure, she has not only Moria, but multiple other male figures in her life from her crew more rightful to the claim of being a parental figure than Mihawk does.

I think some people take the title ghost princess too seriously. Do not get it wrong, Perona is Moria's Ghost Princess and has been a pirate since she was presumably a child. Of course her epitaph is ghost princess. But if you see the way she is treated by Moria, he lets her run the place. There's signs of her everywhere, she shows up to his meeting like lol boring you woke me up for this? He lets her have a pick of whatever servant she wants and I'm pretty sure she has Thriller Bark’s master bedroom. She's like Regina George meets Usagi meets a pastel goth pirate. 

This also brings me to Mihawk calling Perona "musume". I think Mihawk calling her "gosuto musume", just like her epitaph, is taken too literally. In the modern context, this might mean daughter, but we've already established nothing about Mihawk is modern. One Piece itself is supposed to be 1500s if we're going to get super technical. 

Not only is Mihawk incredibly proper, but he's also a piece of shit. This is the same guy that called Zoro a little green froggy when they first met just to get a rise out of him. We only see him calling her this once, and this was presumably days after they met (a week or two tops). Immediately after she's called this, Perona yells at Mihawk not to give her orders. Contextually, this could be taken that he's giving her a backhanded compliment for appearing youthful, a lot like calling someone "auntie" might be taken as offense to the wrong person, which would indicate he's trying to get a rise out of her and it worked 

When they first meet, it does not go too well. Perona was already incredibly lonely to begin with before Zoro was dropped onto the island, she had taken care of his wounds for days on end and spent at least a week playing hide the swords so she had someone to keep her company. Meanwhile Mihawk is mildly irritated his quiet castle has uninvited guests and Perona's demands of him, his blasé attitude towards Zoro going out and trying to get himself killed has Perona deciding that he's heartless and she doesn't want to be alone with him.

Somewhere within two years, this changed. Not only does Perona go back to the island after seeing to it that Zoro didn't get lost trying to find his own damn ship, but when it's time to go we get a glimpse of what kind of life they've lived without Zoro around. If she couldn't stand him, that would have been the perfect time to go. 

Instead, we see that they have high respect for one another enough to take care of each other. To me, this bickering between them about what they did together isn't a conversation between a father and a daughter, it's a lover's quarrel. 

This is your typical “old married couple” banter. She’s saying "you never liked my father and you're ungrateful" and he's saying back that she's the ungrateful one because he's done more than enough for her in return to prove he does care.

I think Perona is trying to start a fight here, to protect her own heart so that she can leave on hostile terms and this bastard reels her right back in with just a few words. 

When Mihawk says this, there's a pause in the music from the silly arguing background, to this soft romantic beat, much like one might see in a romantic anime or drama when the couple are having a moment of intense feelings for one another.

Mihawk actually doesn't say much at all, but Perona knows his meaning immediately that if he didn't care for her in any way, he wouldn't have said anything at all.

Perona's personal style has changed a lot in the last two years. She no longer wears her hair in pigtails and appears in a younger style. If anything, it looks like her personal style is heavily influenced by Mihawk's in romantic black, whites and reds. She hung up her crown (presumably because she was under the impression Miria was very likely dead and he was the reason she was a proper princess). Her hat in particular is very much the female version of his, featuring white roses instead of a big fluffy feather. Red lining and all.

Hats in One Piece are so important, and I personally love the idea of him gifting her a hat to make her feel better about hanging up her crown (or because she was stealing his- one of my favorite headcanons).

[legitimatesatanspawn]

Facts retained about Crisis Core from the original PSP release:

Zack is now Fanfic tier Shounen Idiot Hero. My dumb forgetfulness in casting Poisona or using Antidotes is now completely in character for the main character.

Genesis is Prototype Sephiroth Gackt Edition and is a total Theater Brat who has no business showing up whenever/wherever he does.

Dumbapples.

Genesis's weird epic poem turned play that reminds me more of the Epitaph of Twilight from .hack// than anything from the FF games. "LOVELESS" looked like a perfume brand or something in OG FF7 so "Loveless" being his and Midgar's obsession is an odd take.

Angeal is Prototype Zack Swoler Edition who never uses the sword his dad broke his back to pay off because somehow it is more Family Honour to never use it.

Sephiroth is tired office man who low key vibrates in "someday going to snap" energy.

Tseng is young and its the first time I get a full look at that weird zipper-suit the Turks wear. Also I don't think he actually helped me in-game?

Is Veld in this game? Probably not. Wait no Vincent wasn't (technically) in this game, the inexplicable appearance was in Before Crisis. Dude just went out of the coffin for a fanservice cameo and then went back in and his buddy left him there.

Hollander is an even more Inept Hojo. And looks vaguely like Pokemon's Professor Birch.

The Three Firsts all have stalker fangroups. Some even have two. SE really said Midgar's super thirsty.

The fanciest dressed smug looking blond man is somehow not the most extra new character in the cast. Also his outfit isn't as insane as Reeve's from Dirge of Cerberus, one of the two PS2 SE games I keep forgetting to play. (The other is The Bouncer.)

Hojo exists here and looks like a rat who gets pissy the more you trash his expectations for your skill level. I find this hilarious.

Turks and SOLDIER are at war with each other and happily would trash each other in VR Missions I mean the Job Board tasks.

The ACTUAL war between Wutai and ShinRa exists and Yuffie is the tiniest little idiot who is lucky that the invading force was Zack or she'd be dead.

Limit Breaks are now a gacha gamble roulette thing that I swore was rigged against me. Also raises questions about what the DMW system was like in-setting if its somehow scanning people from the future.

[timeskip]

I fucking KNEWWWWW the epitaph riddle was pointing to somewhere on the island. How else would they be able to solve the riddle while the island is cut off from the rest of the world??? Oh my god it's so good

I'm also very curious about what Eva found out considering they AREN'T TELLING US how she solved the riddle. I'm a little worried about her dying since she's going off alone but uhhh it feels too important to kill her here when she's working on the riddle. Also next deaths presumably should be the second twilight and so a pair would be in the most danger. Thank god she didn't take Hideyoshi with her, I guess?

I only just got to the bit where Eva is going down the tunnel but I'm SO EXCITED :DD

[incorrect-mtg]

Flavor Text Highlights - Legends

<- Previous Set | Next Set ->

Cool - Flash Counter

“She grinned at me—a wicked grin. ‘I hope you weren’t relying too heavily on that, my dear.’” —Medryn Silverwand, Diary

Funny - Carrion Ants

“‘War is no picnic,’ my father liked to say. But the Ants seemed to disagree.” —General Chanek Valteroth

Funny - Crimson Kobolds

“Kobolds are harmless.” —Bearand the Bold, epitaph

Emotional - Lost Soul

She walks in the twilight, her steps make no sound,/ Her feet leave no tracks on the dew-covered ground./ Her hand gently beckons, she whispers your name—/ But those who go with her are never the same.

<- Previous Set | Next Set ->

[rose-reads-visualnovels]

Who do you think the first victim(s) will be?

I thought it was going to be Shannon because she was made to suffer and the narrative kept hiding her from me and dooming her, but with the way things are I think Kanon is the one most likely to die first.

But if we’re killing via Epitaph guidelines then “the 6 chosen by the key” will be sacrificed all at once and then we’ll have individual killings later.

Maybe it’s all the Parents - Natsuhi (so she can look suspicious) making it 5 deaths + Kanon.

This results in All the Servants (minus Kanon) + All the Cousins + Just Natsuhi as the authority figure being the first batch of survivors.

Then Shannon/George will die together in the second twilight.

And then who knows…

WAIT FUCK. I forgot about Rosa. It’d be Rosa + Natsuhi + Cousins + Servants (- Kanon). With all the other parents dead.

— Rose, the Revolutionary Witch

[rarilight]

found an epitaph that i'm using for my futurama fanfic and let me tell you we should all be glad i didn't find this when i was writing rarity's last message to twilight in TEL during the 2yr separation bc

let me tell you

the emotional damage it would have brought would have been devastating

[honestlyvan]

(Now on DW!)

The more I joke about Ovan being Aura's favourite the more seriously I start taking my own position on it, partially because I feel like in any other cyberspace story the overlord AI punishing his planeswalker hackerman activities would be part of the premise, but in the story we get, it's actually almost the exact reverse of that.

Ovan is not just not punished for his initial curiosity, he's already been rewarded for it when the story starts. His possession of the Epitaph, while entirely symbolic, marks him as having a scholarly mastery over The World, having discovered the secrets of the world and then being rewarded for that knowledge with the revelation of the final secret, inaccessible through means other than the favour of its keeper.

Ovan has completed exactly the kind of hero's journey you'd expect from the character he's playing as the guildmaster of the Twilight Brigade. In Fidchell's prophecy in vol3 he is practically identified as a "master of both worlds" figure, a cipher for both AIDA and The World, already in possession of the keys to both.

Also, Ovan's possession of the Epitaph -- the final secret -- does implicitly mean Aura liked the story Ovan was telling to Aina about The World. If her first wish was simply to be born, to exist, then it would stand to reason that after being granted that, she would like to be acknowledged as being there, in existence, as a part of the world and The World alike. It's an acknowledgement that she liked being seen and found, that Ovan's interpretation of her made Aura feel understood.

[pochapal]

nobody does frustrating non-answers any better than genji i have to say

[dreaminginthedeepsouth]

In Light of Nature Photography: Harvest Moon setting this morning over the Jemez Mountains in New Mexico.

The twilight arc is visible, showing the pink glow known as the "Belt of Venus" and below the pink, the deep blue is the shadow of the Earth cast on the upper atmosphere.

[Robert Scott Horton]

* * * *

Full Supermoon today, exact 10.57 BST. As the Aries-Libra axis is highlighted, if the language speaks to you it might be a good day to ponder/meditate upon Gurdjieff's choice of epitaph for his father's headstone: I AM YOU YOU ARE I HE IS OURS WE BOTH ARE HIS SO MAY ALL BE FOR OUR NEIGHBOUR.

[Ian Sanders]

[yyoon5]

I can't wait for when the day comes.

We fly away from our homelands to finally succumb.

Pressure within our chests condenses like the roots of a tree,

blinding us as we sit and sip on our black tea.

In our heads, all the lingering debris remain

as the enveloped nights continue, they'll deplane.

We'll flower a space full of cozy dinners, little passions.

Twilight will bathe you even when you wake from thrashings,

and coax me to caress you over a tender-sewn bedside.

Even when you're drawn and forget how to laugh,

eventually when I struggle to read your name on an epitaph,

in the dark shadows you strung me away into,

I'll warm your heart so blood won't turn it blue.

Bury the memory of your sullen voice into my mind,

Vivid, the song of beauty's chosen, impeccably designed.

When night comes and you curl your fingers into mine,

my heart will transmute into your confession shrine.

I will bring you the seas and the romance,

I will bestow upon you floral luxuries perchance.

You'll lay my head down on your lap where my fingers lock,

our kisses altering into remains of powdered chalk,

until our love sails proud in the wind, a golden-green leafstalk.

[batbeato]

The wildest thought just came to me.

Meta-Beatrice's (our golden witch) birthday is November 29th, because that is the day Sayo solved the epitaph and learned of her heritage. Ultimately, it was Genji who gave her the hint on how to solve the epitaph in the first place.

Why would Genji chose that specific date? Kinzo was already dying, could literally die at any point in time, so it wasn't as though the time to reveal Sayo's survival was limitless - Kinzo's days were numbered, likely since around the time he hung Kuwadorian Beatrice's portrait within the mansion. They had no way of knowing when the man would keel over, regrets un-atoned for.

Which leads me to thinking that November 29th was Kuwadorian Beatrice's birthday. As far as I'm aware, though we have Bice's birth date, we don't have Kuwadorian Beatrice's.

Genji, Kumasawa, Kinzo, and Nanjo would know, though. They'd be able to possibly orchestrate a meeting just for Kinzo.

For Sayo to appear in front of Kinzo on that day, the day her mother was born and her grandmother possibly died, is the closest thing to the resurrection of the 'witch' in a magic-less world - at least, for Kinzo, in the twilight hours of his life.

Because this time, Kinzo isn't directly seeking out Bice's reincarnation - he's now entreating for his daughter Beatrice to call for him, and to at last seen Lion - his child, his grandchild - alive, when they'd been thought dead for over decade.

Repeating not the sin of rape, but superimposing the spirit of the mother over the child as a selfish form of repentance, to grasp what is no longer there for Kinzo to reach out to - ultimately, the only person who gets relieved by this is Kinzo. Is it even true repentance, regardless of the genuine guilt and remorse he felt after the death, and Sayo's presumed death (as Lion), because he is still in-part repeating the cycle of sin that started with Bice's death?

Kuwadorian Beatrice is dead, didn't even truly understand what Kinzo had done to her. His words won't reach, possibly wouldn't even make sense to her.

Which then had me start wondering on whether Sayo knows this to be her mother's birthday? Considering it doesn't seem like Genji or Kumasawa ever challenged Kinzo's narrative of Kuwadorian Beatrice being anything other than 'the reborn golden witch' or 'the ruler of kuwadorian', they might have just said 'it is your birthday' or something, half-in-habit of obscuring the truth before (or maybe after, when Sayo is just wondering why? Why did they save her, why did it happen, why that day to give her a hint -) delivering the whole sordid truth and history behind Bice, Kuwadorian Beatrice, and Sayo herself.

Either way, whether it's brought up or not, this was a really random headcanon that popped into my head.

Hm. I think the timeline is that after Genji gives the hint, Sayo goes ASAP to the library to check (or at least, there isn't any indication of time passing). I can imagine she might have to wait until after work, it does seem like it's nighttime by the time everything finishes up, so... The timeline does check out in terms of planning for it to be on a specific date. I'd say Genji could be aware that Sayo is looking into solving the epitaph and thus would know she'd be interested in a hint like that, and would look into it immediately. There's still the chance that Sayo wouldn't look into it or solve it right away, but... The odds are good.

Adding on, if we add Lion into it, it could be that Lion's birthdate is also Kuwadorian Beatrice's. Lion had to have papers made, so it would be easy for Kinzo or Genji to set that as the birthday, especially if Lion/Sayo's actual birthdate was within a few months (to avoid inaccurate age). So it could be that neither Sayo's given birthdate (presumably chosen as a coverup to avoid suspicion) nor her November birthdate are her birthday, but that the November birthdate is their mother's birthday.

It might also be that November 29th is Sayo's birthday, and that's why Genji picked that date in particular to give them a hint.

Regardless I think the idea of Genji picking November 29th due to it being a significant date makes sense, especially since Sayo struggles with the epitaph for a few months first. Thank you for sharing!