#fate beethoven

[seneon]

wanna say that im the best in my bloodline but then i remember i have an elder brother who was straight up born as a walking prodigy

[hanakihan]

i absolutely beg that if one day Tchaikovsky will end up as a servant in FGO he’ll be an archer class purely because of his 1812 overture

‘Sir you can’t use canons in music’

‘Watch me’

[unholysaint12]

As both a Beethoven and a Fate fan, I became really prissy when there wasn’t a Fate version of Beethoven, so I drew him as a Fate girl myself (her attack gets better as her hearing gets worse, she also only make sound based attacks). 

[grainofrhiice]

they look similar :3

[autistic-shaiapouf]

Every time something new comes up I pick up a spiked baseball bat

[usabun-tl]

Beethoven's White Noise・ベートーヴェンのホワイトノイズ — PELICAN FANCLUB

English+Romaji Translation

結局人間が好きだった

kekkyoku ningen ga suki datta

In the end, I liked humans

なぜなら僕は人間だ

naza nara boku wa ningen da

After all, I'm human too

当たり前の手前の理由を探した

atari mae no temae no riyuu wo sagashita

I searched for that obvious answer that was right in front of me

結局人間がわからない

kekkyoku ningen ga wakaranai

In the end, I don't understand humans

次の日はもう別人だ

tsugi no hi wa mou betsujin da

By tomorrow you'll be a stranger

当たり前に名前を変えていつも

atari mae ni namae wo kaete itsumo

So of course you're always changing your name

振り回されてふりだしに来て

furi mawasarete furidashi kite

I came back to the start swinging

振り回していた

furi mawashiteita

I was swinging

心なしはどうかしている

kokoro nashi wa douka shiteiru

Without a heart, I've lost my mind

どの言葉もどうかしている

dono kotoba mo douka shiteiru

And those words make me crazy too

たった一つ信じたのは

tatta hitotsu shinjita no wa

The one thing I believed in

ベートーヴェンの「運命」だった

beetoovun no unmei datta

Was Beethoven's "Fate"

心なしかどうかしていた

kokoro nashi ka douka shiteita

I had lost my heart, lost my mind

堂々巡り　どうかしていた

doudou meguri doukashiteita

Going around in circles, out of my mind

たった一つ忘れていた

tatta hitotsu wasureteita

The one thing I had forgotten

ベートーヴェンも人間だった

beeroovun mo ningen datta

Was that Beethoven was human too

結局人間ってなんだっけ？

kekkyoku ningen tte nandakke

In the end, what makes a human?

心かそれか感情か？

kokoro ka sore ka kanjou ka

Could it be a heart, or emotions?

頭を経由しているかどうか？

atama wo keiyuu shiteiru ka douka

Could it be through the mind?

今更　引き戻されて

imasara hiki modosarete

By now I've been brought back

引き返せなくなった

hiki kaesenakunatta

And returning has become impossible

心なしはどうかしている

kokoro nashi wa douka shiteiru

Without a heart, I've lost my mind

どの言葉も泥の中

dono kotoba mo doro no naka

And those words are stuck inside of mud

たった一つ照らしていた

tatta hitotsu terashiteita

The one thing illuminated

ベートーヴェンの「月光」だった

beetoovun no gekkou datta

Was Beethoven's "Moonlight"

心なしかどうかしていた

kokoro nashi ka douka shiteita

I had lost my heart, lost my mind

堂々としてどうかしていた

doudou toshite douka shiteita

Magnificently out of my mind

たった一つ忘れたんだ

tatta hitotsu wasuretanda

The one thing I had forgotten

ベートーヴェンも人間だっけ？

beetoovun mo ningen dakke

Wasn't Beethoven human too?

僕らが見てきた生活は作品の中

bokura ga mitekita seikatsu wa sakuhin no naka

This way of life we've come to see is inside of these songs

いつか終わりが来ることに気づけない

itsuka owari ga kuru koto ni kizuikenai

We won't be able to tell when the end is coming

惑わされているよう

madowasareteiru you

As if we've been led astray

ホワイトノイズ

howaito noizu

White noise

心なしはどうかしている

kokoro nashi wa douka shiteiru

Without a heart, I've lost my mind

どの言葉もどうでもよくて

dono kotoba mo dou demo yokute

And I'm not going to worry about those words

たった一つ　決まっていたのは

tatta hitotsu kimatteita no wa

The one thing I've settled

彷徨うだけの運命だった

samayou dake no unmei datta

Is that my fate was to simply wander around this life

心なしかどうかしていた

kokoro nashi ka douka shiteita

I had lost my heart, lost my mind

堂々としてどうかしていよう

doudou toshite douka shitei you

Magnificently out of my mind

たった一つ大事にしたい

tatta hitotsu daiji ni shitai

The one thing I want to cherish

僕も君も人間だった

boku mo kimi mo ningen datta

Is that you and I were human

[doyoulikethissong-poll]

Beethoven - Symphony No. 5 1808

The Symphony No. 5 in C minor, Op. 67, also known as the Fate Symphony, is a symphony composed by Ludwig van Beethoven between 1804 and 1808. It is one of the best-known compositions in classical music and one of the most frequently played symphonies, and it is widely considered one of the cornerstones of western music. First performed in Vienna's Theater an der Wien in 1808, the work achieved its prodigious reputation soon afterward. E. T. A. Hoffmann described the symphony as "one of the most important works of the time". As is typical of symphonies during the Classical period, Beethoven's Fifth Symphony has four movements. It begins with a distinctive four-note "short-short-short-long" motif, often characterized as "fate knocking at the door", the Schicksals-Motiv (fate motif). The symphony, and the four-note opening motif in particular, are known worldwide, with the motif appearing frequently in popular culture, from disco versions to rock and roll covers, to uses in film and television.

The Fifth Symphony had a long development process, as Beethoven worked out the musical ideas for the work. The first "sketches" date from 1804 following the completion of the Third Symphony. It finally premiered in 22 December 1808 at a mammoth concert at the Theater an der Wien in Vienna consisting entirely of Beethoven premieres, and directed by Beethoven himself on the conductor's podium. The concert lasted for more than four hours. The two symphonies appeared on the programme in reverse order: the Sixth was played first, and the Fifth appeared in the second half.

There was little critical response to the premiere performance, which took place under adverse conditions. The orchestra did not play well - with only one rehearsal before the concert - and at one point, following a mistake by one of the performers in the Choral Fantasy, Beethoven had to stop the music and start again. The auditorium was extremely cold and the audience was exhausted by the length of the programme. However, a year and a half later, publication of the score resulted in a rapturous unsigned review (actually by music critic E. T. A. Hoffmann) in the Allgemeine musikalische Zeitung. Apart from the extravagant praise, Hoffmann devoted by far the largest part of his review to a detailed analysis of the symphony, in order to show his readers the devices Beethoven used to arouse particular affects in the listener.

Beethoven was in his mid-thirties during this time; his personal life was troubled by increasing deafness. In the world at large, the period was marked by the Napoleonic Wars, political turmoil in Austria, and the occupation of Vienna by Napoleon's troops in 1805. The symphony was written at his lodgings at the Pasqualati House in Vienna.

Symphony No. 5 received a total of 94,6% yes votes!

[alightinthelantern]

Movies on Youtube:

Brief Encounter (1945, David Lean)

Opening Night (1977, John Cassavetes)

Close Up (1990, Abbas Kiarostami)

Taste of Cherry (1997, Abbas Kiarostami)

The Song of Sparrows (2008,  Majid Majidi)

Russian Ark (2002, Alexander Sokurov)

Dreams (1990, Akira Kurosawa)

Dersu Uzala (1975, Akira Kurosawa)

The Idiot (1951, Akira Kurosawa)

Drunken Angel (1948, Akira Kurosawa)

Tokyo Story (1953, Yasujirō Ozu)

Early Summer (1951, Yasujirō Ozu)

Late Spring (1949, Yasujirō Ozu)

The Flavor of Green Tea over Rice (1952, Yasujirō Ozu)

Good Morning (1959, Yasujirō Ozu)

An Autumn Afternoon (1962, Yasujirō Ozu)

Sword for Hire (1952, Inagaki Hiroshi)

Rebecca (1940, Alfred Hitchcock)

Thunderbolt (1929, Josef von Sternberg)

Larceny (1948, George Sherman)

Among the Living (1941, Stuart Heisler)

Andrei Rublev (1966, Andrei Tarkovsky)

Mirror (1975, Andrei Tarkovsky)

Solaris (1972, Andrei Tarkovsky)

Ivan’s Childhood (1962, Andrei Tarkovsky)

Aguirre, the Wrath of God (1972, Werner Herzog)

Fitzcarraldo (1982, Werner Herzog)

Medea (1969, Pier Paolo Pasolini)

Medea (filmed stageplay)

Is It Easy To Be Young? (1986, Juris Podnieks)

We'll Live Till Monday (1968, Stanislav Rostotsky)

Ordinary Fascism (aka Triumph Over Violence) (1965, Mikhail Romm)

Battleship Potemkin (1925, Sergei Eisenstein)

The Third Man (1949, Carol Reed)

Johnny Come Lately (1943, William K. Howard)

Mister 880 (1950, Edmund Goulding)

Beethoven’s Eroica (2003, Simon Cellan Jones)

Katyn (2007, Andrzej Wajda)

Lemony Snicket’s A Series of Unfortunate Events (2004, Brad Silberling)

Mean Girls (2004, Mark Waters)

The Neverending Story (1984, Wolfgang Petersen)

The NeverEnding Story II: The Next Chapter (1990, George T. Miller)

The Thief and the Cobbler (Richard Williams)

Osmosis Jones (2001, myriad directors)

Megamind (2010, Tom McGrath)

Ghost in the Shell (1995, Mamoru Oshii)

Ghost in the Shell 2: Innocence (2004, Mamoru Oshii)

Steamboy (2004, Katsuhiro Otomo)

Badlands (1973), Terrence Malick

Wargames (1983, John Badham)

By the White Sea (2022, Aleksandr Zachinyayev)

White Moss (2014, Vladimir Tumayev)

The Theme (1979, Gleb Panfilov)

The Duchess (2008, Saul Dibb)

Bed and Sofa (1927, Abram Room)

Fate of a Man (1959, Sergei Bondarchuk)

Ballad of a Soldier (1959, Grigory Chukhray)

Uncle Vanya (1970, Andrey Konchalovskiy)

An Unfinished Piece for Mechanical Piano (1977, Nikita Mikhalkov)

Family Relations (1981, Nikita Mikhalkov)

The Seagull (1970, Yuli Karasik)

My Tender and Affectionate Beast (1978, Emil Loteanu)

Dreams (1993, Karen Shakhnazarov & Alexander Borodyansky)

The Vanished Empire (2008, Karen Shakhnazarov)

Winter Evening in Gagra (1985, Karen Shakhnazarov)

Day of the Full Moon (1998, Karen Shakhnazarov)

Zero Town (1989, Karen Shakhnazarov)

The Girls (1961, Boris Bednyj)

The Diamond Arm (1969, Leonid Gaidai)

Operation Y and Shurik's Other Adventures (1965, Leonid Gaidai)

Ivan Vasilievich Changes Profession (1973, Leonid Gaidai)

Unbelievable Adventures of Italians in Russia (1974, Eldar Ryazanov & Franco Prosperi)

Office Romance (1977, Eldar Ryazanov)

Carnival Night (1956, Eldar Ryazanov)

Hussar Ballad (1962, Eldar Ryazanov)

Kin-dza-dza! (1986, Georgiy Daneliya)

The Most Charming and Attractive (1985, Gerald Bezhanov)

Autumn (1974, Andrei Smirnov)

War and Peace: Part 1 (1966, Sergei Bondarchuk)

War and Peace: Part 2 (1966, Sergei Bondarchuk)

War and Peace: Part 3 (1967, Sergei Bondarchuk)

War and Peace: Part 4 (1967, Sergei Bondarchuk)

The Red Tent (first half) (1969, Mikhail Kalatozov)

The Red Tent (second half) (1969, Mikhail Kalatozov)

Sherlock Holmes: The Hound of the Baskervilles (1939, Sidney Lanfield)

The Adventures of Sherlock Holmes (1939, Alfred L. Werker)

Sherlock Holmes and the Voice of Terror (1942, John Rawlins)

Sherlock Holmes and the Secret Weapon (1943, Roy William Neill)

Sherlock Holmes in Washington (1943, Roy William Neill)

Sherlock Holmes Faces Death (1943, Roy William Neill)

Sherlock Holmes: The Spider Woman (1944, Roy William Neill)

Sherlock Holmes: The Scarlet Claw (1944, Roy William Neill)

Sherlock Holmes: The Pearl of Death (1944, Roy William Neill)

Sherlock Holmes: The House of Fear (1945, Roy William Neill)

Sherlock Holmes: The Woman in Green (1945, Roy William Neill)

Sherlock Holmes: Pursuit to Algiers (1945, Roy William Neill)

Sherlock Holmes: Terror by Night (1946, Roy William Neill)

Sherlock Holmes: Dressed to Kill (1946, Roy William Neill)

If any of the links don’t work, try looking up the film in this playlist: link

[inthelandofv]

My angel, my all, my own self,

though still in bed, my thoughts go out to you, my Immortal Beloved, now and then joyfully, then sadly, waiting to learn whether or not fate will hear us – I can live only wholly with you or not at all –

ever thine, ever mine, ever ours…

Immortal Beloved love letter by Ludwig van Beethoven 

[clearancecreedwatersurvival]

When I’m not actively watching Sk8, I consider Adam to be just some guy, not that important, and then I rewatch sk8 and every single scene Adam is in is a big-lipped alligator moment. This man is in a completely different genre and reality than every other character. He’s like an evil looney tunes character, just out here trying to murder high schoolers in a skateboarding duel.

And that’s just the standard sk8 Adam shit, that’s not even to Mention English dub Adam. Dub Adam is on an entirely different level. Every single line!!! Like yes ‘bitches and bros and non-binary hoes’ is forever iconic, but every Single line delivery is camp. He’s introduced just alone in a room staring at a wall of camera monitors and instead of humming menacingly like the Japanese dub Adam, he is operatically warbling along with the melody of Beethoven’s Fate Symphony. There are SO many things wrong with this guy!!!!!!!!

[ezra-fell-and-co]

Aziraphale & Shostakovich

The moment in the record shop when Aziraphale said he was picking up a Shostakovich record I had So Many Thoughts.

The symphony he's listening to is Symphony No.5 in D Minor, Op. 47, composed in 1937 and premiered in Leningrad to a thirty+ minute long standing ovation. Prior to this piece, Dimitri S. spent many nights sleeping in the hallway outside of his apartment so that his family wouldn't see if the government police in charge of enforcing Stalin's brutal rule came for him in the middle of the night. His last pieces had been received harshly by critics and called unpatriotic, which was just about the worst thing a composer living during The Great Terror (1936-1938) could do. Those who were not loyal to the regime and explicitly portrayed it in their art were branded as traitors and sent to gulags or were straight up executed.

The San Francisco Symphony describes the 5th symphony as "the story of a fall from grace and redemption.". Shostakovitch has gone from being a golden example to being eyed as a traitor almost overnight, the 5th Symphony becoming his redemption back into good graces.

So basically Dimitri S. was a man with contrasting ideologies to the powers that be, so to say, who was living under the threat of death, torture, or excommunication from his homeland. Haha, so weird that Aziraphale would want to listen to his music specifically.

(If you've never listened to Symphony No. 5, I highly encourage you to go listen!)

To set the scene-

From The Houston Symphony's 2018 Fighting the Barbarian Artist article on Symph. 5:

"In January 1934, Dmitri Shostakovich scored one of the biggest triumphs of his career with the premiere of Lady Macbeth of the Mtsensk District, a work official critics hailed as the first great Soviet opera. Based on a nineteenth-century novella by Leskov, it follows the misadventures of Katerina, the illiterate wife of a well-to-do country merchant who is driven to murder in order to be with her handsome but unworthy lover, the laborer Sergei. By turns satirical and tragic, Lady Macbeth explored themes of oppression with a potent combination of sex, violence and some truly beautiful music that played to full houses for two years. Then on January 26, 1936, Stalin went to see it. Two days later, on page 3 of Pravda (“Truth”—the newspaper that continues to serve as the official mouthpiece of the Russian Communist Party to this day), Shostakovich found an anonymous review of Lady Macbeth headlined “Muddle Instead of Music.” One representative quote declared that the opera “tickles the perverted tastes of the bourgeoisie with its fidgety, screaming, neurotic music…”" ...

There is debate about if Stalin himself wrote the review to make a point, or if he just signed off on it being printed. It's also unclear if Shostakovitch was being targeted specifically, or just because of his notoriety to prove that no matter how big a name you are you're not safe if you don't fall in line, or if he was just being used as a pawn in the ongoing power struggles of the day.

Either way, he was very aware that he was in danger. A friend of Stalin's was vanished when he wrote to Stalin in defense of Shostakovitch's work after the fateful review.

The 5th was a result of Dimitri knowing he needed to get back into good graces, so he had to give them something that they wanted. Or at least something that sounded like what they wanted.

Symphony No. 5 is very sneaky in how it subverts the expectations and requirements of Stalin's Russia.

For one, it's form- a symphony is a very structured form and very Western, popularized by Beethoven and co. It's also instrumental, which allowed Shostakovitch to hide a lot of references, subversions, and musical sarcasm/critiques without the untrained critics and government officials being any the wiser.

D minor, the main tonality of the symphony, has been described by various music theorists about what kind of emotional experience it portrays. John Mattheson in 1713 described it as "Serious, Pious, Ruminating. Melancholy, feminine, brooding worries, contemplation of negativity."

However, for our purposes, Aziraphale is listening to the fourth movement, which is also the most political. (More excellent write ups about the entire work can be read here, here, here, and here. There is a PBS documentary about it here.) ((It also shifts to an ironic D Major as one point, which Mattheson describes as "Triumphant, Victorious War-Cries. Screaming hallelujah’s, rejoicing in conquering obstacles. War marches, holiday songs, invitations to join the winning team."))

The fourth movement is bombastic, letting the brass section loose right at the start. The main theme in this section is from an unpublished song that Shostakovitch had written as a setting for a Pushkin poem. The piece as a whole and specifically this movement is a direct critique of Stalin himself.

The poem?

With sleepy brush the barbarian artist The master’s painting blackens; And thoughtlessly his wicked drawing Over it he is daubing. But in years the foreign colors Peal off, an aged layer: The work of genius is ‘gain before us, With former beauty out it comes. Thus my failings vanish too From my wearied soul, And again within it visions rise, Of my early purer days.

Which I think speaks for itself in what kind of mentality Aziraphale might have listening to the symphony.

I'm not sure which recording he listens to, but in the record shop we are shown that it's a record with a blue label on the disk. There are several recordings that have blue labels including the 1972 Moscow Philharmonic with Kiril Kondrashin and the 1989 Scottish National Orchestra with Neeme Jarvi. Leonard Bernstein and the NY Philharmonic have a very famous recording as well.

But I think the most likely is the 1962 Vienna Philharmonic with Constantin Silvestri. Why? Well, here's the record:

[izzyspussy]

liberation starts within the mind: Ian/Mickey + Daemon AU

summary: Mickey's daemon hasn't settled, but they can fake that just like they can fake everything else about them. (If only it weren't for Ian.)

Warnings for canon-typical internalized homophobia and ableism.

They’re sitting alone in their room when the idea comes to them. Well, when the idea comes to Mars. That’s their system: Mars comes up with the good ideas and Mickey comes up with the shitty ones. It makes pretty good sense that that’s how it is. After all, your daemon is supposed to be all the best parts of you, right? So it figures that Mars would get the smarts and Mickey’d be left with nothing but stupid. He’s not bitter about it. It helps him fit in his place like he’s supposed to. And it seems like it’s a family trait anyway, for your daemon to be smarter than you. But, hey, maybe that’s just ‘cause all the Milkovich humans do tons of fucking drugs. “We have to fake it,” Mars says. It’s about four in the morning or some shit. They’re both tired, but it’s no surprise to either of them that they can’t sleep anyway. Tonight they are – or at least Mickey is – blaming it on the bruises across Mickey’s jaw and forearms. Mars had been sprawled across the couch and Mickey’s lap shaped all pretty like a St. Bernard, and Terry and Polly had started in on her again. He’d called her fucking Beethoven while Polly pulled on her ears, and Mickey had sassed Terry back and earned a beating. Terry’s ticked because Mickey’s gonna turn fifteen in a couple months and Mars hasn’t settled yet, and Terry thinks that means Mickey’s some kind of pussy or that he’s touched in the fucking head. Mickey knows better, knows that Mars can’t settle yet because Mickey ain’t ready to be who he is, but to admit that’s the reason is far more dangerous than to let Terry keep thinking Mickey’s weak-minded or whatever. Now, Mars is curled up on Mickey’s chest as he lies on his back and stares at the ceiling, shaped like what Mickey had been informed snootily was “a weasel not a goddamn ferret, for fuck’s sake” and Mickey knows she’s right. Showing the terrible hand fate decided to fucking deal him is not something Mickey can ever do. Since he ain’t got the guts to bow out of the game all he can do is bluff, and bluff forever. At Mickey’s nod, Mars slides off of him and off of his bed and tells him, “I’ll try out a few kinds and stick to whichever is most comfortable when we’re in public. And hey, maybe if we’re lucky I’ll just get stuck or something.” They both know she won’t, but they’re lying to everybody else so why not tell themselves something sweet once in a while?

Read on AO3 ->

[oneknightstand-if]

Do you have a playlist for the game?

Eh... not so much. I'm not a very aurally-inclined person (ironic I know since One Knight Stand has a lot of elements of a sound novel) as I've had vestibular migraines since I was a child and one of the most frequent triggers is loud noises.

So I've got literally decades of trauma from someone blaring loud music causing me to have vertigo that lasts days/weeks. That pretty much means I don't really seek out music very much and most of my favorite tunes come from soundtracks.

However, there are a few things that I listen to every now and then (at a suitable low volume 😅) which fit the mood of OKS.

Songs That (Will) Actually Appear in the Game

Verdi’s Requiem: “Dies Irae”

Bach's "Air (on the G String)"

Grieg's "In the Hall of the Mountain King"

Vivaldi's "Four Seasons - Spring"

Beethoven's "Ode to Joy"

Beethoven's "Moonlight Sonata"

Last Resort Horror Ambiance

Temple on the Hill

Weirdscape

Modern Times

"She is a Witch" (Puella Magi Madoka Magica)

"Modern Crusaders" (Jojo's Bizarre Adventure: Golden Wind)

"Beautiful Fighter" (Corpse Princess)

Jenkins "Requiem - II. Dies Irae"

Camelot

"O Fortuna" from Carmina Burana

"Duel of Fates" (Star Wars)

Kokia's "Harmony"

"Kiseki no Umi"(Lodoss Wars)

"Currents"(Suikogaiden)

"La Mia Tristezza" (Suikoden 2)

"Ware, Bara ni Insu" (Requiem of the Rose King)

"Ibara Rinbukyoku" (Requiem of the Rose King)

I actually listened to the opening Entertainment from Goblin Slayer quite a bit while writing that Camelot dream sequence segment from Chapter 2-1.

[fromkenari]

Waterloo Letters #4 (4/4): Hometown stuff

Re: Hometown stuff A agcd@eclare45.com                9/4/20 8:31 PM to Henry H, Fuck. I’m so sorry. I don’t know what else to say. I’m so sorry. June and Nora send their love. Not as much love as me. Obviously. Please don’t worry about me. We’ll figure it out. It just might take time. I’ve been working on patience. I’ve picked up all kinds of things from you. God, what can I possibly write to make this better? Here: I can’t decide if your emails make me miss you more or less. Sometimes I feel like a funny-looking rock in the middle of the most beautiful clear ocean when I read the kinds of things you write to me. You love so much bigger than yourself, bigger than everything. I can’t believe how lucky I am to even witness it—to be the one who gets to have it, and so much of it, is beyond luck and feels like fate. Catholic God made me to be the person you write those things about. I’ll say five Hail Marys. Muchas gracias, Santa Maria. I can’t match you for prose, but what I can do is write you a list. AN INCOMPLETE LIST: THINGS I LOVE ABOUT HRH PRINCE HENRY OF WALES 1. The sound of your laugh when I piss you off. 2. The way you smell underneath your fancy cologne, like clean linens but somehow also fresh grass (what kind of magic is this?). 3. That thing you do where you stick out your chin to try to look tough. 4. How your hands look when you play piano. 5. All the things I understand about myself now because of you. 6. How you think Return of the Jedi is the best Star Wars (wrong) because deep down you’re a gigantic, sappy, embarrassing romantic who just wants the happily ever after. 7. Your ability to recite Keats. 8. Your ability to recite Bernadette’s “Don’t let it drag you down” monologue from Priscilla, Queen of the Desert. 9. How hard you try. 10. How hard you’ve always tried. 11. How determined you are to keep trying. 12. That when your shoulders cover mine, nothing else in the entire stupid world matters. 13. The goddamn issue of Le Monde you brought back to London with you and kept and have on your nightstand (yes, I saw it). 14. The way you look when you first wake up. 15. Your shoulder-to-waist ratio. 16. Your huge, generous, ridiculous, indestructible heart. 17. Your equally huge dick. 18. The face you just made when you read that last one. 19. The way you look when you first wake up (I know I already said this, but I really, really love it). 20. The fact that you loved me all along. I keep thinking about that last one ever since you told me, and what an idiot I was. It’s so hard for me to get out of my own head sometimes, but now I’m coming back to what I said to you the night in my room when it all started, and how I brushed you off when you offered to let me go after the DNC, how I used to try to act like it was nothing sometimes. I didn’t even know what you were offering to do to yourself. God, I want to fight everyone who’s ever hurt you, but it was me too, wasn’t it? All that time. I’m so sorry. Please stay gorgeous and strong and unbelievable. I miss you I miss you I miss you I love you. I’m calling you as soon as I send this, but I know you like to have these things written down. A P.S. Richard Wagner to Eliza Wille, re: Ludwig II–1864 (Remember when you played Wagner for me? He’s an asshole, but this is something.) It is true that I have my young king who genuinely adores me. You cannot form an idea of our relations. I recall one of the dreams of my youth. I once dreamed that Shakespeare was alive: that I really saw and spoke to him: I can never forget the impression that dream made on me. Then I would have wished to see Beethoven, though he was already dead. Something of the same kind must pass in the mind of this lovable man when with me. He says he can hardly believe that he really possesses me. None can read without astonishment, without enchantment, the letters he writes to me.

McQuiston, Casey. Red, White & Royal Blue: A Novel (pp. 301-304). St. Martin's Publishing Group. Kindle Edition.

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[godeaterazathoth]

Issues I have with ikevamp

That I’m venting here because they won’t leave my skull

*Content warning, we’re talking about men in the past, they did some bad stuff*

Part 1, historical inaccuracies

I’m I history nut so this really gets to me, since I know the deep details of these peoples lives.

The timeline, ok so the game takes place in 18th France, correct me if I’m wrong but I think it is in the second empire (1852-1870) considered there is a noble class, yet you can clearly see the Eiffel Tower which was completed in 1889, there is no mention of the 1889 exposition, so it must be after the tower had become permanent, by then the 3rd republic was around, if we are in the republic the Count wouldn’t be called that by the npcs at all the parties he goes to, no matter which we’re in, NOBODY mentions Napoleon III at, NOT EVAN HIS UNCLE (WHOSE SOMEHOW BECAME CASS CONSCIOUS!)

How does the time travel work, example, Dazai died in 1948, his plan was seemingly to wait until he’s born in 1909 then kill himself as a baby, but then he decides to use the magic door, what are the consequences of 2 Dazais existing at once or him erasing himself from history, he’s a pretty important literary figure, does someone else replace him or does the space time continuum collapse?? Is the future Vlad sees set in stone or can it be changed, just copy someone else’s time travel bit!!!

So straight up these guys aren’t who they say they are, we’ll go through 1 by 1

Napoleon- doesn’t mention he left the love of his life to marry a girl 20 years his junior (like think how interesting it would be if he’s conflicted about love cuz he had to give it up for political reasons) -that scene where MC talks about all the ‘good’ that he did in Europe, like committing war crimes against the Spanish and Portuguese and Eastern Europeans, being a coloniser, killing the slaves he freed when they asked for more rights, killing thousands of men in a meaningless war (ligit H*tler vibes)

Arthur- goofy irl, literally believed in fairies, had 5 children and married twice but he never mentions any of this, he cheated on his first wife while she was dying of TB, he was a liberal unionist (tldr didn’t like Irish people) he was anti-immigration, might have committed fraud. We’ll get to the other issues I have with him.

Leonardo- fruity as hell, vegetarian

Mozart- they got his character completely wrong, the guy was a complete man child, vain, broke, by the end of his life his career fell off (Beethoven better composer), in love with his cousin 🤢, had a s*at fetish 🤢🤢🤢. The hole Salieri thing didn’t happen.

Vincent- they made him too mentally stable, I’m all for him being meek, but the guy had serious issues that they ignore, he ate paint thinner, was rejected by his both crushes, WHY DOES HE HAVE BOTH EARS, DID IT GROW BACK, THEY SHOULD HAVE LEFT HIM WITH ONLY ONE, also he should be ginger smh. Oh yeah and they never mentioned the s*ecide attempt.

Theo- doesn’t mention his wife, or son, WHO HE NAMED AFTER VINCENT, his wife is the person responsible for Vincent’s work not being completely forgotten, was way nicer irl.

Issac- tbh hotter irl, low key ace, maybe a fruit, kinda mean, the only thing they got right was the major virgin vibes.

Jean- WHY MAN!??!! Even if the didn’t want a lesbian route, they could have gone with any other guy from the 100 years war, Edward black prince, idk WHY GENDER BEND ONE OF THE MOST PROMINENT WOMEN IN HISTORY, I’m fine with the delusional trans dude lie, but they say that he was a guy all along, THEN WHAT WAS THE POINT OF HIM BEING BURNT AT THE STAKE IF HE WASN’T CROSS DRESSING???!!! was he double cross dressing??? This is the worst of them all, give me the girl boss we deserve (revers fate)

Dazai- not depressed enough imo, he was a leftist, again missing wife, their were two su*ecide attempts, guy lived through fire bombing, had a few children that he is fine to erase from existence.

Shakespeare- probably a fruit, again never mentioned his wife and kids, btw the way he talks is annoying, some people don’t think he’s real.

Faust- NOT A REAL PERSON.

Sanson- too young, this guys is 67, really liked the guillotine, just saw execution as his job didn’t really care, had a wife and kids.

Vlad- Ok is he supposed to be Vlad THE impaler? Cuz he’s not evil enough, or is he a Dracula reference, cuz he can’t dance that dance either, why did they call him Vlad if he isn’t a blood thirsty war criminal.

Count- not enough history to work with.

Part 2, problematic moments

So I ha have seen some posts on the low key misogynistic way the MC is written and treated and there are a lot of issues wit white washing history so another trigger warning ⚠️

Misogyny- the MC of this game is not the best, I know she’s a self insert but she has no backbone at all. She lacks agency I’m most of the routes, like the MC getting kidnapped is a troupe in all these games, but Emma can escape on her own, Kate has ⚽️, even Alice had more depth to her, seems the only thing MC can do is cry and wait to be saved, I swear she gets kidnapped once in every route, I think they could have given her more character to work with. Another thing, but Jean being a man is bad, really bad, she’s a feminist icon but they made her a man, it’s sought of saying that women aren’t capable of this so she had to have actually been a man.

Handling of SA, important one here, I’m ok with the flirty guy, but I really hate Arthur, he doesn’t just flirt with her in chapter 1 he assaults her and acts like he did her a service, and she just forgives him!?! I’m fine with a guy that sleeps around, I like Jin and Nokto fine, but the way Arthur talks about women, always calling them Birds (if they were going for English slang it doesn’t work cuz he doesn’t have a cockney accent) or worse Skirts, it’s dehumanising, and shows that to him women are vehicles for sexual pleasure and aren’t on an equal level of understanding. There are smaller parts to, Leo kisses her without consent, the Count hides the truth from her, idk but Theo calling her a ‘hound’ sounds like he’s calling her something else…

Minor points on classism, I’m not expecting the communist manifesto, but all these games aren’t very good at dealing with class deviation. In Vlad’s route, the orphan boy thinks he can impress the rich girl, this is the 19th century, capitalism is on the rise, but there’s no comment about how it’s impossible. The little school Napoleons runs is strange, considering he was in a position where benefited from poor people existing and staying poor, ( side note, he’s teaching them swordsmanship when ww1 is right around the corner, just saying they won’t need it in the military) called MC out as a social climber, these games sought of depict the past through rosé tinted glasses, there’s only passing reference to how fucked people were in the past, Also all the historical inaccuracies above tie to this.

Anyway love to hear some other opinions, (I started playing this game before my transition and have always thought it it was wired, it’s my personal least favourite just cuz I couldn’t really get into any of the guys, my OC ended up as a Carmilla reference so….)

I have seen a post talking about some of the issues before so that’s what got me to write this out, if you disagree or want to add anything I’m all ears 👂

Thanks for reading 💗💖💖💕💓💝💗🥰🥰🥰❤️✨✨✨✨❤️⭐️⭐️⭐️