#for real though it's such a well-constructed game

[longlostlorian]

and they were partners

(fanart for tactical breach wizards, one of my very fav games this year)

[theres-whump-in-that-nebula]

That… was an excellent book. Very fucked-up. I like fucked-up books.

[msunitedstatesjames]

I've touched on this in a couple of other semi-related posts before, but I find it hilarious and I appreciate how much Johanna Hezenkoss thinks Emmrich is the protagonist of Veilguard. Like, this woman could not give less of a fuck about Rook. She almost always refers to Rook only by their relationship to Emmrich. She refers to Rook as "one of Volkarin's hangers-on," "that impudent whelp following [Emmrich] around," "Volkarin's companion," and as Emmrich's "paramour." None of these imply that she thinks Rook has much agency. Instead, she acts like Rook is just helplessly following Emmrich around like a puppy, helping him complete tasks (which I guess is partly true).

If Rook romances Emmrich, Hezenkoss assumes that Emmrich seduced Rook and not the other way around, even though Emmrich is noticeably older than Rook and has hardly left the Necropolis in years. She's seemingly amazed by it, and yet it never once crosses her mind that Rook might have initiated the relationship (which is actually the case).

She also refers to Emmrich as the one who destroyed her construct, which is technically true, but she ignores the major assistance he had from Rook, another companion, and most notably Manfred. He couldn't have pulled it off without their help, and had in fact given up, but Hezenkoss acts like Emmrich was her sole opponent in that battle.

I've said before that part of the reason for this is that Hezenkoss seems to think of herself as the main villain of the story, so Emmrich must be the main hero. Hezenkoss says that some of the other big bads of Dragon Age, the Venatori, were nothing more to her than slightly useful and genuinely annoying. She clearly thinks herself above an entire organization of some of the most powerful mages in the world. And she sees Emmrich as pretty close to her in terms of raw power, since she almost invited him to her Vengeance Party but ultimately decided he was too much of a danger to her plans. She also states that she tried to get him to join her in the past, which I don't think she would do for anyone she considered to be less than her equal. Emmrich is genuinely the only person in the game she shows any respect for. Though she mocks his age and finds him to be too sentimental, too moral, and too fearful, she shows signs of agreeing with him on some topics, and she obviously respects his abilities if nothing else. No one else in the game acknowledges his frankly ridiculous knowledge and skill level (except Solas in the end) as much as Hezenkoss does.

And really, Emmrich does have main character energy. Though he does have some age and mortality related fears, dude is overflowing with confidence. When you first meet him, looking for a Fade expert, he has absolutely no problem telling you he's the best possible person for the job. Though he apparently hasn't left the Necropolis in years, he's totally down to join the team and go anywhere you want him to go. If you romance him, he is initially surprised, but he quickly turns into the smoothest dude around, and throughout the game you can hear him comment on some of his many relationships through the years. He's well-dressed, well-spoken, charismatic, highly educated, unfailingly kind, extremely powerful, and he's done so well for himself that Harding mistakes the son of a butcher and a cook for a member of the Nevarran nobility. No wonder Hezenkoss thinks he's the protagonist. The real protagonist is just out here winging it on guts and good luck alone.

[alyakthedorklord]

Batman the Playboy

Justice League, not quite early days but before proper identity reveals, though everyone knows Batman knows theirs, bc he has Opinions™ and Constructive Criticisms™ on their secret-keeping.

The issue is brought up on random occasions. The most notable incident- the Justice League, including Batman, being Drunk for Bonding, (or hit with some kind of drug while out saving the world) and Batman, in a fit of paranoid good intentions because he CARES about these idiots, damnit, why must they be so careless, starts insulting them.

Batman, leaning heavily on the table: “GL, you’re a mess, I don’t even know where to start with you. And Arrow! Your goatee is so distinctive, it’s a wonder no one has called you out on it-“

Green Arrow, also drunk: “Alright, there’s no need to insult my awesome facial hair-”

Batman, in despair: “It’s so ugly.”

Green Arrow: (offended noises)

Green Lantern: “Okay, the only reason you know our secret identities is because you’re a rude nosy bastard who needs to know everything about us like a creepy stalker who needs an ego boost! We’re not stupid, Spooky, we’re just polite. We could figure you out easily if we wanted to. Superman can see right through your mask!”

Usually, Batman would have a good response to that. Something smart and reasonable like “villains won’t care for your privacy, I’m testing you,” or something cutting like “I don’t care enough about you to go digging, I set your secret identity as a training exercise for Robin.”

However, Batman is Drunk, because for some reason imbibing drugs that dampen higher brain function is socially acceptable and often, for some reason, expected, because it’s “team bonding” and “come on just loosen up a bit.” (Also for him, drunk=Brucie)

So what Batman ends up saying is: “I could kiss you full on the lips in my secret identity and you wouldn’t know a thing.”

Superman, plucking the glass from Batman’s hand: “Aaaand that is enough alcohol for you!”

Batman nods. Thank God. He wants to go home and sleep. But first: “Superman, yours is so stupid it’s almost impressive-”

———

Of course, Green Lantern has smelled a challenge. And Green Lantern must annoy Batman. It’s his true superpower. So, the next time they meet (sober) he brings up the issue again.

GL: “So about what you said at the party… the part where you could kiss us full on the lips without us knowing. You still confident in that without liquid courage, Spooky? Bet you your real name you can’t do it.”

Batman, regretting the fact that alcohol has ever passed his lips: “I could do it, but I will not.”

Flash, curious: “Why’s that?”

Batman: “Informed Consent. I will not risk making any of you feel violated, or manipulated, for the sake of a stupid bet and my ego.”

GA, still offended by the goatee comment, trying to back Batman into a corner: “So if we give consent, we’re fair game? Try me, Batman. Even you can’t pull this off. Anyone else game?”

Some of the Justice League laughs, raising their hands.

Flash: “Come get me, hot stuff! I’ll call you out!”

Wonder Woman: “It could be amusing.”

Martian Manhunter: “I would be far too difficult a target.”

Green Arrow: “Not just you. C’mon, Spooky, flirting well enough to get a kiss from me? I’m a classy lady.”

Black Canary: “D-class, maybe.”

Superman, wants a kiss in on the fun: 🙋🏻‍♂️

“So that’s it then!” Green Lantern says smugly. “Batman, if you can kiss… how many people raised their hands? Ah yes- HALF THE JUSTICE LEAGUE, without anyone realizing it’s you, then you win.”

Batman scoffs and walks out, leaving the Justice League in stitches at their joke. Because- Batman? Being good enough at flirting to land a kiss on half the league, without it being forced or awkward, without them recognizing his body language, his voice, his build? How ridiculous!

The Batman is Autistic. The Batman does not understand jokes, especially not ones that are half truths. The Batman has consent, and something to prove.

And Bruce Wayne, billionaire, playboy, and sexy DILF, has targets.

(Please tell me how you think he gets each League member.)

Edit: there have been a bunch of awesome additions in the notes! My own take here.

[claire-starsword]

Shining Soul 2 - Boss bios translation

Prologue and playable characters here

Town NPCs here

Every boss has a small description in the guide book, and the first ones get a bigger one on the website as well. Nothing too big but hey, you get to look Yoshitaka Tamaki’s art, that’s good enough.

Goblin Colonel Gobgovitch (Boss of the goblins)

Goblins have settled down in a corner of Klantol Island several years ago, and slowly built a fort.

Now that fort has become a great military base, and their power is growing.

Gobgovitch plans to take over Klantol Castle, taking advantage of the chaos caused by the recent unbalance phenomenon.

Grove Giant

The reason the witch Wizari set up her mansion in the depths of the graveyard was so she could use the tombs as a wall against intruders.

In this graveyard comes out a monster spirit of the tombs, the Grove Giant.

That's why residents of the area are afraid of this graveyard as "somewhere you should never go near".

Witch Wizari

A witch who is said to have lived for over 150 years.

Lately (that is to say, a few decades ago), she has taken the form of a beautiful young woman, and has been living in Klantol Island.

Taking advantage of Colonel Gobgovitch's rampage, she kidnapped young girls from the castle town.

The reason for doing that is to preserve her youthful appearance.

I probably won't ever talk about these enemies ever again, so might as well note: if you didn't notice, some of these guys and more Shining Soul enemies appear in Narsha's epilogue battles in the GBA version of Shining Force. Gobgovitch is in the second battle along with this game's vikings, and somehow two Wizaris show up in the third battle, along with ghosts and wisps from this game.

The first battle also has giant scorpions and rats like in Shining Soul 2, but perhaps these are too generic to matter. The Kraken in the second battle might also count? It’s purple like this one in battle, though blue like SF2′s kraken in the overworld.

Fairy Princess

Note: the creature depicted is her ally, Clione, which is who you actually fight. I didn't see any art of the princess herself. Btw did you know clione is a real animal? I found this one by sheer coincidence and it’s so neat.

A fairy of light who lives in the Fairy Spring and protects the forest. Because the balance between light and darkness was ruined, she began to lose her reason.

Buddy [Robert in the english version]

The great boss of the pirate ship. He was kind and greatly respected by his crewmates but, after being attacked by the Kraken, his heart was tainted.

Kraken

A monster of darkness. The ink jets it spits are strong in poison and darkness, and humans who are hit by it begin to suffer mentally.

Centipede

A huge snake with four bellies and a head. Some sort of incantation seems to be written on its body.

General Oswald

A swordsman. In order to raise the power of the Chaos Knights, he's leading the excavation of an ancient weapon in the desert.

The japanese name for the Chaos Knights seems to be something like Chaos Growl, which is peculiar but kinda weird. I'll stick with the english version for now.

Vaitalis

A sage who trained well his body and mind, but once he got involved with the Chaos Knights, his heart changed...

Dark Angel

A fallen angel who protects Demon's Tower. As a member of the Chaos Knights, she controls a lot of monsters to hinder your path.

Ifreet

A fire spirit who resides in the holy land of flames, Hottazhek Volcano. Will burn to a crisp any trespasser in this holy land, no matter who they are.

Since places came up. The desert, volcano, and ice cave are the only stages to have different names in the japanese version. They have a food theme there, being Hors D'Oeuvre Desert, Gelato Cave, and Piñacola Volcano. The english version instead went with the "azhek" suffix: Driazhek, Koldazhek, and Hottazhek.

Do you get it? It took me way too long to get it but I love them.

___

And that's all! As usual these official strategy guide are coy about the final bosses. You thought you would get any lore on Deatharte and Gillespie? Lol. Lmao. You silly bean.

[hairmetal666]

Everyone in the league knows about Eddie Munson. He has the makings of a great pitcher, except for the fact that his slider has a 75% chance of sliding too high and his fastballs mostly end up in the dirt. His technique is wild, flailing, unrestrained. Which is why Steve is beside himself when he learns about the trade.

The owners, they think that Steve being the best catcher in the league means he can work with Eddie, settle him, make him a real prospect. Steve's input isn't needed with the decision already made, but Munson--with all his tattoos piercings and leather--looks like he'd rather hock a loogie at Steve than take directions from him.

And Steve is the best in the league, the glue that keeps the team together. They're a well-oiled machine, and Eddie is--Eddie is a squeaky wheel.

They meet for the first time, briefly, in the locker room. He's seen the guy before, of course, but now, like this, he can't help but be intrigued by his pale skin and long curls and brown doe-eyes, his lightly muscled frame. And they're in the locker room, Eddie with just a towel around his waist, exposing his toned chest and stomach and the black swirl of his tattoos.

"Steve Harrington!" Eddie reaches out a hand. "Great to meet you, man."

"You too. Excited to have you with us." The handshake is quick and firm and Steve is trying not to be surprised about how excited and genuine the guy sounds, keep his mind away from thinking of how Eddie is naked aside from the towel.

With only a few weeks until the start of the regular season, Eddie starts pitching to Steve. And Steve, he so expects Eddie to fight and grumble and refuse, that his head sort of spins when, on the first day, Eddie claps him on the back with his glove, says, "where do you want me, cap?" and that's that.

He wants to say that they dislike each other, that they're a bad fit, that Eddie is full himself and refuses constructive criticism.

Instead.

Instead it's easy.

Eddie doesn't complain, doesn't argue, just watches Steve, learns him, takes his advice and notes and implements them as much as he can. They like each other, have an easy rapport, get each other. He's tight with all the pitchers, but Eddie is different. They settle each other.

They're best friends. They hangout constantly. And he doesn't have a crush; he doesn't. It would be unprofessional. They're best friends.

But sometimes, sometimes he thinks he catches Eddie looking at him. It's impossible. Of course it's impossible. Eddie couldn't be into the guy Sports Illustrated called "baseball's Ralph Lauren model" in the intro to Steve's Body Issue photo spread. And it doesn't matter one way or the other because Steve won't make a move. He won't jeopardize the team like that.

They don't touch. He touches everyone on the team, often, and Eddie particularly is a physical guy, but aside from that first handshake, he keeps his distance. Steve's afraid--even though it's silly, he's afraid--that once they start touching, he won't be able to stop, and he can't let that happen.

The team is good, competing for first place in the National League. Eddie's success has made everyone else better.

It's late July, they're in first place in the league, and Eddie's pitching a perfect game. There's only been 24 perfect games thrown in the history of Major League Baseball, but it's the eighth inning and Eddie's doing it.

A pitch goes wild, veers high over the umpire's head. Eddie's shaken, Steve can tell with how his fist tightens compulsively around the ball. The next pitch swings wide, towards the batter's knees.

The count is at 2 balls, no strikes, and he can see, even from behind home plate Steve can see, that Eddie's losing it. He heads for the mound, refuses to let it end like this. He closes the distance between them, has a quick internal debate before he puts his hand on Eddie's lower back. They've never touched, this is it, this is--warmth bleeds from Eddie's skin, through the fabric of his jersey, goes straight to Steve's head.

Eddie frowns. "I don't think I--"

"You're going to do it, Ed. I know. I can feel it." He pats his chest, over his heart. "It's gonna happen."

Eddie's breathing settles and it's only then that Steve realizes he's rubbing circles into Eddie's back with his thumb. He's not sure when he started, doesn't want to stop, loves being able to feel.

"Okay," Eddie says.

"Okay."

Steve removes his hand, heads back to home, still tingling with the warmth of Eddie's body even as he crouches behind the plate.

He closes out the inning with three definitive strike outs. The crowd goes wild.

They take the field for the top of the 9th, the crowd is screaming, ready for this, the energy zipping through every player on the field.

It goes by in a blur. Nine pitches. Eddie's perfect game is wrapped up in nine phenomenal pitches.

As the ump calls the last out, there's a moment of complete and utter quiet in the stadium, Steve's heart a pounding hum in his ears, before pandemonium breaks loose. There's screaming, fireworks, someone is crying--

All he can see is Eddie. Eddie's who's thrown his glove to the dirt, is barreling towards him with a triumphant smile bright on his face. Steve stands, runs to close the distance. He sees the moment that Eddie decides to jump into his arms, catches him easily--will always catch him--but his legs are tired and the momentum gets him, sends them tumbling back into the grass.

They're both yelling, laughing, smiling hard enough to hurt. Eddie's hair has fallen out if its tie, tumbling around his shoulders, and Steve gazes at him, can't help it, in this moment can admit that he's so, so astronomically in love.

It's only then Steve realizes that the laughter's stopped, that Eddie's gazing back. Brown eyes shining bright with happiness, cheeks flushed pink, lips parted. Thoughtless, he reaches up to caress Eddie's cheek.

The team reaches them, streaming around them, yanking Eddie and Steve to their feet. The celebration stretches around them, the moment slipping away. He wants to finish what they started but there are interviews, champagne showers, congratulations, that keep them apart. Sometimes, from across the room, their eyes meet, and there's heat there that's new, that sparks something low in Steve's gut.

Hours pass, and finally he finds himself alone in the locker room. He's just pulled on his t-shirt when the door shuts behind him. He spins, finds Eddie, waiting, watching.

He crosses the room without a word, can't not, not now, not after everything. They grapple for a second, the wanting so strong that it takes a second to settle, to find each other. They kiss hard, desperate, seething with desire.

Steve hopes it never ends and it doesn't, just tapers into soft kisses, gentle nips. He can't bring himself to step away.

"Is this for real ?" Eddie whispers.

"I've been insane about you since the trade."

Eddie's smile is blinding. "I used to have those pictures of you--the ones with the little red shorts?--in my locker in the minors. Feel like I'm living in a dream right now."

It lights him up inside, knowing that Eddie wants him, has wanted him. "Let me take you home and show you just how real it is?"

He snorts, but his dimples deepen, eyes shining. "What a line, sweetheart."

"Yeah well, the baseball field isn't the only place where I hit home runs."

[aibafiles]

Esperanto in Metaphor: ReFantazio

Not long ago I saw this this tweet pointing out that the in-game language in Metaphor is Esperanto (written in another script) and I decided to investigate for myself! The vocal tracks are in Esperanto as well, but I want to focus on the text here since I don't have a great ear for it. (The quoted tweet also points out that you can rearrange the title to get an Esperanto phrase - I think it would be more accurately spelled "Metafore Fantazio," or "metaphorically fantasy"!)

For the unfamiliar, Esperanto is the world's most widely spoken constructed language, developed in the late 19th century with the aim of being an easy to learn secondary language that could act as a bridge between speakers of other languages. While its vocabulary and grammar are largely derived from various European language families, it has speakers worldwide, including a sizeable number in Japan. Given the relationship between Metaphor's world and our own, I think it's a cool choice to take a constructed secondary language and make it the in-universe primary language—not to mention the game's themes of uniting different people with a language intended to do just that.

I studied Esperanto myself for some time 9 years ago, though I've forgotten most of it, so I'm very rusty. That said, I was able to sit down and parse one particular block of text that the game provides a translation for, and use that to read the rest! I'm slowly combing through the demo and translating any legible text, and I wanted to share some of the interesting details I found. If any Esperantists see this and want to weigh in, please do! There's plenty I may not remember or be aware of.

Continued under the cut, including content from the demo:

Let's start with the text the game translates for us! Here's what the VO/subtitles say:

O Great Seeker, bearer of fantasy empowered... Hear my wish, and come forth from thy epoch of glory to grant me thy guidance.

Here's the "deciphered" Esperanto:

Ho, granda serĉanto, kiu vivas en epoko de gloro, kiu enkarnigas la povon de fantazio. Bonvolu disdoni al li vian gvidadon.

And here's a more "direct" translation:

O Great Seeker, who lives in an epoch of glory, who embodies the power of fantasy. Please grant him thy guidance.

Not too much different of note here other than the pronoun usage—in Esperanto, the speaker explicitly uses "he," likely referring to the protagonist. I suspect that the English is actually translated from the Japanese line, which is ambiguous, so they made an educated guess here. But, since this is the same speaker who narrates awakening cutscenes and new bonds, it makes sense that they're calling to the Seeker on his behalf!

This is a point I'm unsure about, but from my understanding, "granda" (here translated as "great") typically refers to size, so it seems like an odd word choice to me—but it's possible there are connotations I'm not aware of.

After some poking around I stumbled across some text on the background of the name entry screen that reads "signaro" (character set), followed by the whole Latin alphabet on the next line.

"But Batts!" you may say. "Esperanto doesn't use QWXY! What about the diacritics!"

Well. There aren't any! There are 6 characters with diacritic marks used in Esperanto (ĉ, ĝ, ĥ, ĵ, ŝ, and ŭ), and since our character set doesn't use any of them, we have to make some educated guesses about which one it is at any given time. This is mostly a non-issue since they're real, existing words, but it does make it a bit trickier at points, and relates to another problem I'll get to in a bit. (There are a select few instances where I've seen diacritic marks on handwritten text or shop names, but there are still far fewer than there should be.)

That said, there is also some plain English text using this script as well, so the game does make use of those extra letters, such as the Memorandum UI - scrolling books have titles like "Marine," "Royal Capital," "100 Mystery of Ningen (humans)," and "Melancholia Gen" (?), plus cute notes in the background like "I want to read slowly" and "already read very good."

Anyway, this diacritic ambiguity bugged me for a bit when I started translating some text with "Euchronia" in it, like the above "Regno de Eŭcronio - Dezerto de Tradia." The Esperanto "C" and "Ĉ" are always pronounced "ts" and "ch" respectively, so the pronunciation here is a bit awkward either way, as both characters are meant to precede a vowel. A more natural pronunciation in line with both the Japanese and English would be "Eŭkronio," a spelling I found once in the body of the contract our protagonist signs to join the army, and never again. Alas.

I noticed a few interesting details while translating place names - the "Trad" in "Grand Trad" (Granda Tradicio) means "tradition" - and many locations are labeled on the map that I don't think are mentioned in the demo's runtime - Oceana to the west is named, but also of note are Kalendulo ("marigold," maybe "Calendula" in English) to the east, the Hulkenmont mountains surrounding that region, and the "Malnova Insularo" (old archipelago) to the south.

(Screenshot grabbed from justonegamr on Youtube.)

Lots of fun stuff going on with these posters - the big propaganda poster says "Mi volas vin por homoj" - "I want you for humans!" The poster immediately to its right and the one with the light-haired paripus are both wanted posters with rewards of 50,000 and 7,000 respectively, and the former has a somewhat legible name - Mikelan something (?). There's also quite a bit of illegible text that I'll need to boot up the game to stare at, textures willing.

Here is where I noticed an occasional problem with the text in this game: some of these posters include words that should have diacritic marks, but instead the characters are gone entirely or replaced with a space. For instance, the poster with the face that appears twice on the bottom row reads "Ser a peto - i tiu viro" where it should say "Serĉa peto - ĉi tiu viro" (Search request - this man). I spent so long wondering what "Dan ero" meant on the poster with the red "no" sign before I realized it was meant to be "Danĝero" (Danger).

This extends to some other parts of the game, such as the world map title ("Unuiĝinta Reĝlando de Eŭcronio" written as "unui inta re lando de e cronio," which is how I knew it was a plain C oops), and the giant statue in More's study covered in archetype names, some of which are missing characters.

I suspect that at some point in the process, these characters couldn't be properly encoded and got lost before making it into the game. Most of the UI text seems to be intact, and this only affects graphic text as far as I've seen. Luckily, we can usually use context to guess at what they should be.

There's a ton more that I'm still hunting down and translating, so if you'd like to see it, you can check out my spreadsheet here! I'm hoping to keep updating it as I play through the full game, and I may make some more posts if I encounter any particularly interesting details. A few more tidbits before I go:

This appears to be an annual calendar - number 1 is at the top and it circles around to 12, and then the inner circle runs from 1-30, likely representing the weeks.

Various graffiti found around Sunshade Row that reads:

Ĉi tio estis infero (this was hell)

Malbela elda (nasty/ugly elda)

Merdo (shit)

And in the words of our favorite tooth...

Elbe venontfoje! (Maybe next time!)

[akakay31]

So much for Legends Celebi or B3W3, lmao.

But for real, before anyone starts theorizing about ultimate weapons or ancient wars in Pokémon Legends ZA, there are a few important things to consider first:

1. The game will be set entirely in Lumiose City.

A bit disappointing, though Lumiose is already a big place, and it’ll only be bigger now that it’s the central focus. A smaller scope will also probably mean a higher-quality product in the end, too. Though it does makes me wonder how catching wild Pokémon will work within an urban city. Maybe the game will be more battle-focused, as opposed to the catching-focused Legends Arceus.

2. The game will (almost certainly) not be about the events of 3,000 years ago.

If it wasn’t already obvious by the limited setting, Legends ZA will most likely have little to do with the events of the ancient war and ultimate weapon. If it’s anything like Legends Arceus, Legends ZA will instead be set in a period based on the latter half of the 19th century, soon after the invention of Poké Balls. Anything set before this period would predate the invention of Poké Balls, and thus have to have drastic changes to its gameplay, which is something I just don’t see happening.

And we know that Legends Arceus is set during the mid-to-late 1800s because of the events it is based on, i.e. the Japanese annexation of Hokkaido in 1869, as well as the subsequent colonization efforts.

Similarly, we can guess that Legends ZA will be set during this same period because of the event it is seemingly based on, Georges-Eugène Haussmann’s renovation of Paris from 1850 to 1870.

For those unaware, Haussmann’s renovation was an urban renewal project, commissioned by Emperor Napoleon III, that included the demolition of old medieval neighborhoods, the annexation of surrounding suburbs, the construction of new sewers, etc. The renovation was extremely unpopular, what with the whole bulldozing thousands of houses and replacing them with standardized streets and buildings thing, resulting in Haussmann’s dismissal in 1870. However, work on his plans continued until 1927, and ultimately are what made Paris what it is today.

While Legends ZA likely won’t go too far into the nitty-gritty of the real-world events, knowing what the game will be drawing from is essential for any speculation on what we can expect to see.

In fact, using this same method, we can probably even guess what future Legends games will be like by looking for historical events during the mid-to-late 1800s period. Take Unova, for example, which could…

Oh.

Oh no.

[deadly-diminuendo]

The Ascendant Takes a Bride

an ascended astarion x fem!reader oneshot / nsfw / ~4.4k words

Summary: Just as you and your family are about to fall into ruin, you agree to marry the mysterious Astarion Ancunín in exchange for his promise to pay off all your debts. Attractive and charming though he is, you cannot help but to feel nervous about your arrangement. Some say he is a vampire. You have seen evidence that both supports and counters that claim. You are not sure what to believe. Finally you find yourself alone with him on your wedding night—and Astarion has some unexpected surprises in store for you.

CW/Tags: breeding kink, wedding night, loss of virginity, vampire bites/blood drinking, piv sex, fingering, post-game

Read on AO3

Or read below...

Your husband lifts you across the threshold, tearing you from the comfortable life you knew and thrusting you into a fate unknown, a fate you hope will be kind but fear will be grim.

You did what you had to do. Your family would either flourish or it would fall, and you knew your willingness to marry Astarion Ancunín would make all the difference. Why accept utter ruination when you could instead ensure the prosperity of everyone you love?

Ill fortune plagued your clan for decades—dwindling wealth, diminishing influence, a decaying estate—there was almost nothing left. Poverty was no longer a distant nightmare but an imminent reality. Your parents prayed you might escape its chokehold with a prudent match, but without a single gold coin for your dowry, your prospects for marriage were dire.

When almost all hope was lost the unlikely offer came—the affluent and prestigious owner of the castle on the hill would be willing to pay off all debts and restore your household to its former glory—if only you would agree to become his bride.

The proposal shocked you. You had been introduced to the enigmatic pale elf, but he was far from a man you knew well. Your acquaintanceship amounted to no more than a few polite but empty conversations and the occasional twirl about a dance floor. Then again you did notice how his gaze tended to follow you about the room, and you could never help but to regard him with an equally curious eye.

You were both attracted to and intimidated by him. The gods themselves could not have crafted a more beautiful man, and yet… something about him unsettled you. His grip a little too tight, his smile not quite sincere. He gave you the distinct impression of a scoundrel only pretending to be a gentleman.

And you had heard whisperings about him. They say he is a vampire. A devious, ruthless, heartless man who subsists on the blood of his enemies.

Still you were intrigued. You spent more time than you care to admit constructing and revising his biography in your mind, attempting to, but never succeeding in unravelling all his mysteries. The red irises and the sharp canines certainly supported the local gossip. Yet you’d seen him in broad daylight. You’d seen him eat real food. You’d felt the heat of his skin every time you’d danced together.

Surely the rumours could not be true.

You had a choice to make. Suddenly you possessed the power to save your whole family. Everything—everyone—depended on you and you alone.

So of course you said yes.

Determined as you were, you could never fully exorcise your doubts. Instead you chose to ignore them, to focus on all the good that could come from this arrangement. Your troubles would be over. Your family would live well. You would want for nothing.

Not to mention it was surprisingly easy to picture yourself in his bed.

But those doubts you buried did not lie dormant. Oh, no. They crept and crawled beneath your skin, festering and mutating into a dread that now threatens to consume you whole.

You cannot help but wonder: are you a saviour or a sacrificial lamb?

Either way it is far too late for second thoughts. Today you vowed yourself to Astarion. You promised him your body, your heart, your soul.

You are his wife.

Every part of you tingles with nervous energy—the expected wedding night jitters greatly exacerbated by the misgivings you feel concerning your new husband—and yet you cannot deny the thrill underlying it all.

The way he kissed you at the altar was downright sinful. The way he whispered his desire in your ear made you shiver. The way he held your hips tight against his as you danced left you weak in the knees.

He frightens you, and excites you, and—gods help you—you want him to fuck you.

You thought he might throw you on the bed and make you well and truly his the very second you were alone together. Instead he sets you down with care, ensuring you find your footing despite the bulk of your billowing skirts.

You manage a brief survey of the room—a canopy bed draped in scarlet silk, a plush loveseat in front of the fireplace, high-vaulted windows welcoming in the starlight—and as excessive as it all is in its extravagance, you find it cozy. Romantic, even. A place that might yet become your personal paradise.

Or your gilded cage. You shudder.

Your gaze falls upon the object nearest you: an ornate full-length mirror. You almost fail to recognize the woman you see staring back at you. You are the very picture of fairytale whimsy in your intricate ivory lace and your crown of white roses. You smile. To hells with your unwelcome anxiety. This is your wedding night, and you will enjoy every minute of it.

Or at least you will try.

Astarion’s reflection closes in behind yours, and you find yourself rather relieved to see that he has one. Another strike against the rumours.

You admire him in the looking glass. High cheekbones, enticing lips, bewitching eyes. Even his so-called flaws, all his wrinkles and his laugh lines, suit him to perfection.

And he admires you right back—more shamelessly than you do him—hungry eyes mentally peeling off your dress as they rake you over.

“My beautiful bride.” You melt under his simple yet sultry praise, your imagination running wild with fantasies of what bliss the coming hours might bring. You know little of carnal pleasure but your own touch. By the end of this night you are sure to know much, much more.

His hands sweep across your shoulders, fingers slipping beneath the fabric of your little capped sleeves. In the mirror you catch a flash of that devious smirk, the one that hints at the rogue you think he truly is.

“Almost a shame that I have to undress you.”

Your mouth runs dry, any words you might have said forever lost in the silence.

You do want this. You want to make love to your husband. You want to learn to love him in every sense of the word.

You want to trust him.

But can you?

“May I?” he asks, one hand travelling down to the laces at your back, the other hand enclosing yours in his. Feigning chivalry all while his firm grip screams out his barely suppressed urge to tear your gown from your flesh and pin you hard against the wall.

This is it. There is no going back now. You passed the point of no return hours before, your fate sealed with two little words: “I do.”

He wants you.

And so you will let him have you.

“Yes.”

With that, his fingers thread through your laces, pulling them loose with alarmingly efficient speed. Quite the expert he must be. You have, after all, heard talk of his rakish ways. Those rumours are much easier for you to believe.

You feel your bodice loosening, though your struggle to breathe persists, the weight of this moment somehow heavier than the mass of your dress. You gather your courage to do your part, tugging off your sleeves and letting the fabric fall away from your skin, pushing what remains down over your hips. Astarion takes your hand as you step out and away from your unwieldy gown, kicking it unceremoniously into a corner. The second it is out of the way, he pulls you back in front of the mirror with a force that makes you gasp.

“Look at you,” he says, and you glance at your reflection. You are bare before him save for what hides beneath your lacy smallclothes. “You are exquisite, darling.”

His fingers dig into your skin, seeking all your soft and sensitive places, your body beautifully pliable under his exploratory touch. He gives ample attention to the delicate curve from your waist to your hips, and to the lovely heft of your breasts, squeezing and kneading and molding you to his liking. You watch, mesmerized, the self-consciousness that might have held you back fading away. His thumbs repeatedly ghost across your nipples, soft lips nuzzling your neck as he grows hard against your backside—and, gods, your cunt aches for him. Not even the graze of his sharp teeth, suspect as it is, could dissuade you now.

Lust obliterates what was left of your modesty as sweet sounds spill forth from your parted lips. Already you are falling apart in his arms and he has not yet once stroked you between your legs. “Please…” you hear yourself beg.

He laughs. It’s a hearty, almost mocking sound, but you are too far gone to mind. “You will have to be more specific, I’m afraid.” As if he could not guess. Both of you know exactly what you want. “Use your words, pet.”

“Please touch me.”

Insufficient.

“Make love to me.”

Much better.

And there is one other little thing you should tell him.

“Like no one before you ever has.”

There it is, that devilish, devastatingly sexy grin. He is pleased. Maybe a little too pleased. You again note the pointed tips of his canines, and you expect, one way or another, you will soon be devoured.

“Oh, my sweet little virgin,” he purrs, hands slipping off your smallclothes, a finger dipping inside your slick heat. Hells. A relief sublime and yet nowhere near enough. “You have been so, so patient for me, haven’t you?” Patient is the last thing you feel right now as you arch into his touch, desperate for more friction, more pleasure, more Astarion. “Rest assured, my little love. I will reward you well. Grant you your every desire. Of course, I expect all I want in return.”

“Anything,” you cry, and you mean it. You waste no time contemplating the meaning of his words, nor your own. You just want to be fucked.

“Anything?” You nod and he smirks, increasing the pressure and pace as he inserts a second finger, holding you steady as you squirm. “Such a good girl for me, aren’t you? All these years you saved yourself for my bed, and you didn’t even know it, did you?”

Should you be answering with a nod or a shake of the head now? You are no longer sure, your mind incapable of thought beyond imagining how glorious your orgasm will feel when he grants it to you. You eventually decide upon nodding, and you hear him chuckle.

“Adorable. The way you look, the way you sound—” He nibbles at your neck, then breathes into your ear. “And I bet you taste just as sweet.”

Your blood chills at the thought of him tasting it. A shiver runs down your spine.

No… Surely he speaks of something pleasurable. Something you have heard other young women gush and giggle about. Something you would like to experience for yourself. You let passion burn your needless worry away, writhing about as you refocus on release, your eyelids fluttering closed.

The next thing you know his hand is clutching your neck. “Watch.” You immediately obey his growled command, your eyes locking upon your own reflection, all flushed and disheveled. Gods, you look positively ravaged and you have yet to even take his cock. You glimpse his smile, a sure sign he is thoroughly enjoying the utter mess he is making of you.

“This pretty body of yours was meant to be mine, wasn’t it, pet?”

This time you know just what your answer should be. You nod furiously and he moves deliciously faster. It won’t be long now.

“Oh, and I assure you I will put it to excellent use.”

You nod again. You are certain he will. You keen as his fingers curl into you.

He grins. He knows he has you now.

“My, what an eager thing. You will be the perfect little vessel for me, won’t you?”

You agree. You would give him anything. As long as he takes care of you, too.

And he will take care of you, won’t he?

“A vessel to take my pleasure in whenever, wherever, however I want?”

You will. Gods, you will. You moan out your assent and punctuate it with his name. You will spend your life parting your mouth, spreading your legs, offering your body to fill and to fuck as he pleases. As long as he makes you come, too.

And he is about to make you…

“And to carry my children?”

You surrender to ecstasy as it wracks you senseless, clenching violently around his fingers and singing out your instinctive answer with ardour. “Yes!”

Only as the pleasure subsides do you begin to think things through.

What did he just say? What did you just say?

You knew this topic would come up eventually. It is an inescapable expectation among the nobility—sometimes unspoken, sometimes spoken very loudly—but always present either way. And yet the last thing you expected was for Astarion to speak of children right on the cusp of your consummation. You thought you would at least first get to know each other as lovers and partners before ever considering becoming parents.

Your state of shock does not discourage him. Instead he smiles wickedly as he gives your hardened nipple a pinch, sending another jolt of desire straight to your cunt. He begins rubbing your clit again, making you mewl, only to leave you whining when he withdraws. He leaves a trail of your own slick along your skin as his hand slides up to rest at your lower abdomen.

“Oh, my sweet love. I can already imagine how gorgeous you will look swollen with my child. You do want to give me a child, don’t you?”

You stare in silence though you have to admit it is not an unwelcome idea.

“You will let me come inside you, won’t you?”

Gods. Now that is an idea you welcome gladly. Something innate, something deeply ingrained within your core cries out your need. You crave it, crave to let him spill his seed inside you. You wriggle about in his arms as you picture it.

Motherhood just might suit you.

Astarion spins you around and you gaze into those stunningly hypnotic eyes. You press a hand to his chest and discover that his heart beats just like yours, its steady, strong tempo dismantling your lingering doubt. A mortal. Like you. 

“I can tell you want this, darling,” he says. Perhaps you do. “Your heart races at the thought. Give yourself to destiny. Give yourself to me.”

Only one answer comes to your mind.

“Yes.”

He captures your lips in a kiss that ignites your lust and kindles your affection. His arms feel like home. Like you have always belonged to him and you always will.

You need him now.

You only manage to undo a single button of his overcoat before he lifts you off the floor and lays you atop the silk and softness of his bed. Your bed, you realize. You imagine spending many endless nights together here in a tangle of limbs.

He stands there stripping himself as you lie and watch with rapt attention, and yet you hardly know where to look—his beautiful eyes bore into you with intense hunger, his deft hands work effortlessly through his every layer, his newly bared skin tempts and tantalizes you—every part of him competes for your admiration. When he finally pulls off his smallclothes your eyes are instantly drawn to his cock, thick and flaunting his desire. On instinct you part your legs.

The sight of you splayed in invitation lures Astarion onto the bed and over you, arms and legs caging you in, lips colliding with yours, cock ready at your entrance. You roll up your hips to tease him, your lack of patience testing what little remains of his.

Your little nudge is all it takes to make the last of it crumble and he crashes into you.

You wince at the initial tinge of pain. It passes in seconds, dulled by your arousal, and you are thankful for the mercy. You succumb to the pleasure of him stretching and sinking into you, your body eager to accept the whole of him as he slides deeper inside.

“Easy, darling. I promise a little pain is worth all the pleasure.” He gives you the soothing coos and slow movements of a gentle and cautious lover—a part he plays well, you would think, if not for the tension you detect coiled in his muscles. You recognize he is a man struggling to hold back, and that epiphany has your cunt clenching around him.

Emboldened by your obvious want, he starts to fuck into you in earnest, pushing in and pulling back in a rhythm you already know will be your new addiction. At first you try to match every intoxicating motion, pushing your hips upwards to meet him thrust for thrust, but instead you find yourself squirming wildly, only able to pet him as he works. You relish the sound of his grunts and groans, how they signal his enjoyment of you, though you know you are drowning them out with your wanton moans. He does look far too in command of himself for your liking, and in your mind you set yourself a goal: you will learn how to make him relinquish that tight control.

Of course, if Astarion wants to focus on your pleasure—well, you certainly will not complain about that. If nothing else, your husband is proving to be a generous lover.

You reach up for a kiss, eliciting from him a growl that rumbles down your throat as you taste his tongue. Never have you felt this close to another person, and you long to get even closer. You touch his face, his chest, his shoulders, wanting to explore every inch of his skin as you take every inch of his cock. When you throw your arms around his back, the scars your fingertips find there briefly distract you, but you quickly decide that is a story for another time.

Experimenting a little, you pull your legs back and angle your hips, the slight adjustment to your position an even better fit than you thought possible. You squeal when he presses into a delightfully sensitive spot—and so he does it again, and again, and again, repeatedly, rigorously, relentlessly. You concentrate hard on your impending climax, your mind conjuring up an image of him filling you to the brim with come night after night.

“You are mine. Mine to treasure. Mine to fuck. Mine to breed.”

That delicious thought sends your walls spasming, your mind shattering, your entire body pulsing with incomprehensible bliss. His name bursts from your lips as you ride out the sensation, and it pleases you to know you will be calling it out the rest of your life. You have never felt better.

Still you wanted him to join you in your freefall over the edge and you cannot help the twinge of disappointment you feel when you realize he did not finish with you.

Not that you mind continuing to indulge in your favourite new activity.

He stills a moment and you stare up at him, confused, concerned, even. “I would like to try… a little something else. Take a little more from you. That is if my dearest little love would be so good as to oblige me.” You cannot imagine what he means. You must look utterly baffled because he then chuckles and asks, “Do you trust me?”

“I would trust you with anything.” The words slip out automatically and yet they come as a surprise to you. He is your husband, yes. But you barely know him. You thought you were done questioning this, but a shadow of doubt creeps back in. Something in his tone you do not like. Honey laced with poison.

Is one night of passionate sex really enough to found your trust on?

You decide it is a good start at least, and brush off the invasive thought.

He grins and turns you around, his hands all over you again, his lips planting kisses along your back, your shoulders, your neck. You let out a contented sigh.

A sharp, searing pain rips through you. You grimace. In your hysteria you imagine daggers embedded in your neck. And then it hits you.

Fangs.

You married a vampire. You let him fuck you. You let him bite you.

The first shock subsides, leaving a throbbing numbness in its wake, blood rushing out of your veins and into his greedy mouth. You should be screaming in horror, planning your escape, forsaking your vows in hopes of a return to a normal life. Instead you lean back, pliant and willing, nestling yourself against him as he holds you in his fierce embrace.

You have never known such peril and yet in the cradle of his arms you feel… safe. 

You should not feel safe.

“Sweet hells,” he rasps when he stops, lapping at your wound one last time. “I have not tasted something so delectable in decades.”

This is madness. And yet a surge of pride swells in your heart at his praise. You do feel a little dizzy, a little weak—but still very much alive.

He pushes you to your knees and plunges back into you, a hand pressing you down as he fucks you into the mattress. You steal a little glance at him over your shoulder, meeting his eyes for only a second—but you will never forget their eerie, unnatural glow. You bury your face in your pillow and shut your eyes. Perhaps it is better that you don’t look. That you don’t know.

So this is Astarion out of control.

You tremble in ecstasy and in fear, still shaken by the frightful revelation, and yet still yearning to merge and meld with him endlessly. Your body begs you to bend to his will, an echo of his voice reverberating in your mind. Succumb. Surrender. Submit. So you do. You could not deny him now even if you wanted to.

You let yourself moan with abandon as his length slams in and out of you. You revel in the divine new depth this position allows him to explore and the feral sounds he makes as he drives into you faster. Bucking against him, you find yourself shaking as you reach the precipice of your pleasure.

With every pump, each more erratic than the one before, you can sense Astarion losing more and more of himself in his frantic search for euphoria. When at last he finds it, cock twitching and pulsing against your walls as he spends himself inside you, you break apart again with a delighted cry. Your final thought as he fully empties into you is a question of how long it will be before you begin to grow round with his child.

When it is done, you lie panting beneath him, logic and reason beginning to clear your clouded mind. You become all too aware of his seed seeping out of you, and the dull pangs of pain in your punctured neck. How can you just accept all of this?

Astarion settles in beside you, and taking a tentative turn, you face him, eyes catching sight of the red trail trickling down from the corner of his mouth. Blood. Your blood. He casually wipes it away as if it were no more unusual than a little spilled wine. You shiver.

You know your shock must be written all over your face. “Come,” he says, and you listen, shifting your body closer to his and giving in to his gentle caresses. When he speaks again, his expression is soft, his voice smooth. You feel a touch more at ease.

“You were so, so brave for me tonight. You need not fear what I am, love. Besides—I need you mortal. Fertile.”

A deluge of questions and concerns flood your mind, and yet that last word sends a thrill through you that shakes you to your core, pushing your worries away. Already you want more of Astarion—you want him to cherish you, to worship your being, to bring you heaven again and again. You snuggle up against him, communicating your desire with a burning kiss. 

You will ask for answers someday.

But not tonight.

+++

Astarion likes to watch you.

Never has he seen a lovelier creature. You sit smiling down at the sweet baby bundled in your arms, the swell of a second child already beginning to show even through the layers of your dress. You have done your duty so beautifully well. Like he always knew you would.

He decided he would have you the moment he saw you. So like a love he lost ages ago and yet her superior in every way. The defiance he recalled and resented had long been bred out of your line, replaced with a demurity and a domesticity that made you ideally suited to your purpose. You could not be any more perfect for him.

And so he made it his mission to make you his. No doubt he could simply charm you into bed, but it was not enough to make you want him. He had to make you need him. The fools in your family had already made much progress in that regard without his interference, but the pull of a string here and there ensured your desperation.

And of course he made every claim on you he could. He wedded you. He was the first and the only to bed you. And he impregnated you so very easily. It was like you were made to be bred. What better way to declare to the world that you are his and his alone?

Your beautiful brood of children will strengthen his reign, infiltrate and influence every powerful organization, spread the Ancunín name throughout the city and the whole world. And the nobility does like a lord to have his heirs—even if an immortal will never need a replacement.

He watches as you look up. You notice him and give him that pretty smile.

You have given him so much. Even love. In him you have awakened an affection he thought he might never feel again. That he did not even know he needed.

You complete him.

He smiles back at you.

There is only one claim left on you to make, one that will come years from now, when the time of child-bearing is behind you.

To make you his bride for all eternity.

Thank you for reading!

My AO3 | My Masterlist

[assaultmystic-archive]

ive shared this essay on tranmisogyny and nihilism with a few friends, and then realised u might as well all have it. circa 3k words. enjoy x

Apology

The complete and systematic account of transmisogyny is, of necessity, a hopeless exercise. Abjection is the mother of the totality after all. We are talking about the constitutive incompleteness of the world, the necessary impotence, the weeping lacuna of artifice that begets all things! If we theorised the whole world, we would not speak of transmisogyny once, because it is a condition on the possibility of theory, and so must be forever excepted

So, what little that follows is a betrayal. Partial by design (to let the light in) and necessity (I am tired. I am weak.), it is a betrayal nonetheless. Nothing could fail to be. So let's be honest. To theorise transmisogyny in full would be to draw borders around its extent and its diffusion. To theorise transmisogyny in full would be to construct and fortify its privileged subject -who is and is not transmisogynised. To theorise transmisogyny in full would be to tell "the transmisogynised" what to do about it. I don't want to do any of these things, and I will fail. There is no conversational path into discussion of what's possible that does not foreclose some options. We, the disinherited, conduct our peculiar miracle by fleeing down paths others cannot even see. So, take what you like and laugh when I give away my limits. Have fun.

Preliminaries

All of this is play, everything is. Nothing really matters. The real, in fact, is a mesh of overlapping consensuses that have been built not merely incidentally, but structurally, on our expulsion. There is no serious, real, or proper way to be a tranny. In fact, it remains integral to the notion of consensus as such, and reality by extension, that we are delusional in our self-articulation, paranoid in our recognisance of our exclusion, and dangerous at the point at which we express any of this. We are thus freed to recognise everything as play, for though those involved in playing out the real have their stakes in us (though they are loathe to admit it) we are disbarred from ever really holding stakes in the real. Because that's what real means.

The enshrinement of this exclusion as unreal is both necessary for the sustaining of the real as really important, but is also absolutely critical to facilitating the social character of transmisogynisation. All affordances granted to us allow us to play, however temporarily, at admission to reality. Those on the inside know we ought to be grateful for this mercy. It is particularly advisable for those who would like more sway over consensus (those who do not see themselves as having that sway already) to let us play inside sometimes. We get cold out here. Some of us get so cold we become frozen, we forget we are playing, we become unable to move, so keen on coming in that we harden into fixed things, like those inside are. But we will know no benefit for it. Even if they wanted to, they could offer us no rewards. Whether they know it or not, it is just a game.

Each magic circle that defines with its border the games of the real is drawn in our blood. Each empire and every banner they flew. Every flag. Every cause. All of it, all of it had its stakes in us. All had to eject us. We were understood to stand for nothing. For annihilation, for nullification, for endings. The family line ends here. The revolutionary project will see no children. In fact, there only was a "we" insofar as we were taken to stand for nothing. We are unified in that we are constituted by resistance to that which ejects us from the social, every social. We are unified in this alone. The trappings of inheritance, family, reproduction, legacy, futurity. What world that is, or was, or is being built could truly love the tranny? At best they'll have us die in the shadow so that their gleaming future would shine more brightly for contrast. No. We have each other. There never was a world for us, because wherever a future was believed in we threatened it in our nihilising impotence. This keeps us vital. Keeps us dangerous. Keeps us laughing.

Strategy, or, how to play

We have no interest in talking about identity independent of conversations about strategy. The way we constitute ourselves is conversationally liquid. To rebuke a tranny for their identificatory strategy is to reproduce transmisogyny, to think you know what living her circumstances might take better than she does. We call ourselves what we need to to survive the imposition of gender upon us. Recalling our movements through the social this becomes trivially obvious. Confronted each with your boss, your local tboy callout artisan, the police, a John, your mother, your ex, the gender clinic, who wouldn't call herself what she did only as an attempt to get what she wanted? When we meet others like us then, we cannot presume they know that we would love them whatever they called themselves. They might see a cop in front of them, might see a John, might worry this'll come back around - the local scene might shun a girl for calling herself a crossdresser, even as a joke (let alone for 'real'). So can they trust you? Do you intend to make that clear? But between us, once we know we are among friends, identification is about options, about imaginative flight, about the proliferation of lifeworlds bleeding from the critical harm done to us. Because what could we stand to gain by insisting that girls cannot be faggots? That boys cannot be trannies? Every should've-been-man of us has run, by herself, the labyrinthine complex of gender as domestication. Are you going to begrudge him calling himself a sissy now, after a lifetime of living in the word's shadow? Get over it! You are being invited to play, to walk through walls! Fool that you are, you cannot see the smile on the face of the trannies you claim to love while they call themselves the things you promised yourself it was really unacceptable to be. You have lost sight of the game, and now you come back to your sisters and you ask them to sober up, to get real. After all, we have cisgenders to convince, don't you know? Real people. Why, if they heard you talking like that we'd all befucked! But they are not here. Or at least, they were not here until you started doing their work for them.

There is after all, no real identity. Or, rather, the claim to a real identity is one move among others, and holds no special weight. It is special only in that it invokes the game of the real, the inside of the magic circle, to push others out. This can be great when you are having sex and a tranny tells you that you're not a real woman like her and that you should [do what she wants] about it. Otherwise it's quite fucking boring. If it happens that the world has fallen at your feet in such a way that you find labels more personal to you, that is, they feel like more than social tools for communicating how you would like to occur to others in the world, we're glad for you. Just don't expect us to feel the same. There is nothing we really are underneath this, in fact there is no need for an underneath. What good has the legitimate, the true, the valid done for any of us?

Transmisogynisation, or, how to draw a circle

A popular school of thought sees transfemininity as intentionally performed through a succession of discrete speech acts through which one establishes a relationship with womanhood while cAMAB. More simply - we identify as trans women, or as transfeminine, and so become subject to transmisogyny. This is a hangover from a history of "born this way" queer sloganeering. That we must always have been settled on the inside, and our targetting is a matter of some transfeminine essence. It's bullshit, which is no problem, but the trouble is that it's bullshit with extremely low explanatory power.

More to the point, transmisogynisation describes a matrix of concrete social and institutional processes, through which cAMAB people may become (forcibly) disidentified with masculinity, and become a part of the gendered abject. What the prevailing model correctly understands, is that some of these transmisogynising processes can be willingly submitted to. We might choose self identification as trans woman or other locally prevailing transfemininity, working “as a woman”, engagement with legal or medical apparatus of gender. However, none of these social affordances (that are deployed by social institutions to effect the circumscription of transfemininity) are free from the potential for coercion. If we want access to any of the processes described we experience pressure to present a legible transfeminine gender identity. If you do not call yourself by the terms of the locally prevailing models of transfemininity your access to social, legal or medical affordances is immediately threatened. There is immediately a pressure to be a certain kind of tranny - the institutionally respectable kind, and this pressure weighs on our self descriptions whether we know it or not. Identity, then, is always already under pressure. What would I have called myself, if I had never had to call myself anything for the sake of estrogen, or for a job, or for community? I will never know. Neither will you. What the position outlined fails to account for at all, is that many processes of transfeminisation are straightforwardly coercive, have no choice element because they are inductive abuse. We did not choose our subjection to social practices of violent harassment and exclusion based on perceived difference, for example. Did not choose to be called faggots, sissies, or retards because of the position we were being forced into of not-a-real-man. Did not choose the rape, the beating, the manipulation that othered us from manhood, carried out in sacred silent complicity over a whole lifetime. Every cis woman ex who forced you into a feminised position of permanent care is in cahoots with your dad who hit you is in cahoots with the tboys you gave a bad vibe are in cahoots with the boys in your high school changing room are in cahoots with your rapists. There was, in fact, a conspiracy to forcibly feminise you. It just wasn't glamorous, sexy, or conscious. It doesn't make sense to speak of our transmisogynisation, then, as a matter of our personal identity so much as it does of our being identified. Target lock, y'know? Maybe something gave you away, maybe it didn't. But identifying a boy who's never gonna make it is socially critical, and you were picked. Picked so other boys could differentiate themselves from you, so girls could have you and know you weren't like other boys - they could hurt you and get away with it. So your ejection from your family could be justified. Even if none of them ever once called you a tranny, they were making one of you.

All this to say, the representational force of specific visions of transfeminity cannot be substitute for solidarity along the lines of that we are transmisogynised. Personal identification, pronouns, these things are secondary - and are no substitute for attending to the specifics of our oppression. We can call ourselves what we want, but falling behind the banner of a fixed identity category just limits our solidarity, makes us rigid, makes us easier to kill.

Theory, or, giving the game away

Transmisogyny is itself transmisogynised. Like us, our oppression is always novel, always ready finallyfor a good welcoming into the fold, always unmapped, always a great way to sell a book. Yours could be the first real, definitive, proper text on transmisogyny! Imagine! Over the past decade alone (say nothing of techniques perfected in milennia gone), round after round of coordinated harassment campaign and social media clean up have left us with a legacy of articulating ourselves over and over, hashing out the same points for each new spawning. A neotenised theory, in a forced state of arrested development. Our place in history continues to be the damnatio memoriae.

The kinds of theorisation that tend to stick around share a basic structure - they are outreach oriented, interested in engaging with a "broader" feminist or queer or historical or marxist tradition. Of course the subsumption of transmisogyny as a mere articulation, a phenomena within this or that more important, more material, more real tendency follows.Theory looks to place transmisogyny on terms that others might recognise, fixing some points of reference in order to reach a presumed shared audience. The trouble of course is that now you are looking to share points of reference, an audience, with a cisfeminist, a twerf, a "transandrophobia" spewing tboy. You might tell yourself that this is only in order that you might convince the undecided, to win new people round, so they see the natural integration of the theorisation of transmisogyny into your school of thinking.

These institutionalising desires exact costs. Foremost amongst which is the need to identify a positive transfeminine subject. The identification of this subject (presently, the sID'd transgender woman) ensures that the framework shares identifiable points of reference with rival theories of gender that emerge within hegemony, in order to more legibly engage with them. Put more simply, it makes it easier to argue with the tmra, the cisfeminist, the twerf, if everybody arguing presumes themselves to already know what we’re talking about, but to just differ in attitude. Whether she's valid, whether she's more or less privileged, whether she's really a woman. Such fun!This is the process of theorisation as marketisation - an audience after all is just a cipher for a market. All debate is in fact spectacle, safely ensconced within its academic home. Irrecognisance is complicity.

By entering into the bloodsport of theory we can endlessly defer the practicalities of articulating relations between the transmisogynised that are aware of the endless hatred the real holds for us, and avoid responding to that weaponised reality lucidly. We can foreclose the conversation about what we do, so that we can settle, once and for all who we are. Of course, whoever finds themselves on the outside of our shining new identity (once we've settled it - won't take long) will perhaps lack our enthusiasm for whatever solidarity we seek to build without them after the fact.

I'll concede that I only speak in these terms (not my own) because you are my kin, and I want to reach you. I am a hypocrite. I made my apology already. I believe in you more than I ever believed in anything real, so I'm going to let you make a hypocrite of me.

For the road, or, from the sickbed

I am tired now, and quite sick. I caught what might be the flu, or might be covid the other day. Things occur to me through a thicker haze than usual. So I am going to be presumptive and pass on some things I have learned talking with my friends, as though you’ve any need.

Pay attention to the way that transmisogynisation picks at and worries received views of agency. When girls tell you that their transness is something they affirmed, they are of course right. The same girls are also right when they talk about how this was done to them. Histories are mobile, histories are strategic. Stories we tell about ourselves are social technologies. We never have to be one thing, never have to resolve (scorn anyone who tells you otherwise), we exist with contradictions of coercion and choice. We have to. What does this mean for the possibility of the transmisogynised historical “subject”? What might we have to say about the necessary diffusion of subjectivity experienced by many like us- what kinds of politics is it incompatible with?

Pay attention to the lines along which people draw their politics. What kind of insults do they use? They are telling you who is other to them. They are telling you who they do not feel they need to answer to, and so in whom the stakes of their real will be placed, alongside you. If they speak of lazy stoners wasting their time in queer organisation instead of joining this or that political project - in my opinion, they have told you more than enough. Anarchist or otherwise. These are the lines that need to be drawn so that a politics can be defined. Those who speak this way, our kin not least, hurt themselves. They do this for a cause.

Kindness is never, ever, called for. Will never be called for. It is not politically substantial. People will tell you that kindness is radical and they are wrong. People will tell you that kindness is no part of a coherent politics - not something you ever owe and they are right. You need never be kind. This is because kindness is an excess. Kindness is an inherently unjustified and unjustifiable gesture, an overabundance of care that no politics invested in its own reproduction could ask for. When you meet trannies, I would really appreciate it if you could be kind to them.

[witherby]

Hi can I request a snow day with the batfamily?

Hi! Yes you can!

What is the Bat Family doing on a snow day?

Bruce:

His ass is staying Inside! He's old and cold! A decent chunk of his bones are metal and he's uncomfortable! But he will happily watch his kids play around on the grounds of the manor as he drinks a cup of coffee. If they drag him out for any reason, he'll oblige enthusiastically, but afterwards you will find him huddled in a blanket by the fireplace for the rest of the evening.

Tim:

He's the one dragging everybody outside to play. I think a lot of people don't realize he's not a recluse? He has so many friends, he has an extroverted personality, he is very charismatic! He knows if he just frames it as a competition, the other three are going to slink out without question. Tim ends up kick-starting a tradition to have a snowball fight tournament, and the winner gets a whole sheet of Alfred's cookies to themselves.

Jason:

He's so down for any snowball fight because it's gonna turn into a real fight real fast, and he's always itching to burn off some leftover aggression from the Pit. You need to dodge his snowballs. He is packing them with ice and rocks. He is fighting dirty. He scoped out the grounds for the best defense points and has already built little snow forts to hide behind, lying in wait for his victims to come within range. He's ruthless in his quest to come out on top.

Dick:

Dick doesn't particularly like the snow. It's cold and wet and seeps into his clothes. However, as the oldest it's his duty to show up all his siblings, so he's building the biggest and best snowmen, he's making the most well-constructed snow forts, he's making the prettiest snow angels, and he's throwing the first punch when he gets pelted by a rock-packed snowball, Jason, get the fuck over here you promised you'd stop doing that, last year I got a conCUSSION —

Damian:

He overdoes it. He didn't have a normal childhood, so of course he doesn't entirely get the appeal of lying in the snow and swishing his limbs about to make weird shapes in it. He will take the snowball fight Way Too Seriously though. This must be some new training exercise, surely, and he needs to utilize all his skills to get the job done.

Jason might be packing rocks into his snowballs, but Damian is packing batarangs. This strategy lasts all of twenty minutes before Tim realizes his bleeding into the snow, and, oh, yes, that's a blade in his shoulder. It's game over real fast after that.

Damian and Jason, the cheaters, do not get brownies. Dick is dubbed the winner and shares his spoils with Tim after helping stitch up his wounds.

[save-the-villainous-cat]

Angst with Villain finding out their lover is hero pleasepleaepleaspleadepl—

The villain put the bloody suit onto the table and sat down next to the hero.

In an instant, their lover put down the coffee mug with a shaking hand and stared. First at the torn clothing dipped in blood, then at the villain. Their eyes were wide and they looked like a deer caught in headlights.

"Take your time," the villain said. They were curious if the hero was going to come up with any excuses, other lies that fit into their web of a smartly constructed fairytale. A fairytale of being a civilian — a poor, innocent person who happened to fall in love with the big bad villain.

"What is there to say?" the hero whispered. "I fell in love with someone I shouldn't have."

"I told you who I am when we hooked up for the first time," the villain said. They took in a deep breath. A part of them feared the hero had left the suit in the bedroom on purpose, another suspected this entire relationship to be a way of obtaining information.

Both options hurt equally. God, the villain would have probably not cared if the hero had told them in the very beginning. But the lying? The hiding? While the hero knew about them?

"I never meant to hurt you." The villain looked at their, well, lover and tilted their head, not quite understanding how the hero could say something like that. Something that wasn’t mirroring their actions in any way.

"I was honest with you from the very start." The villain brushed the hero's throat with their fingertips, feeling the heated skin burn the ends of their fingers. Gently, they pushed against the hero's windpipe with just the right amount of pressure they knew the hero liked. "But you lied to me."

The hero grabbed the villain's wrist and squeezed hard, just like the villain liked it. They couldn’t help it.

Despite the pain, they wanted the intimacy, they wanted everything to be fine again and the hero seemed to be wanting the same thing.

"I'm sorry," the hero said. "Truly, I should have said something."

The villain increased the pressure on the hero's throat for only a second. Killing the hero now would have solved 90% of their current problems but neither their heart nor their soul agreed on doing so.

Instead, they grabbed the hero's jaw and followed their jawline with their thumb.

They weren't sure if they hated the hero.

The hero with their crooked smile, with their obsessive fascination for video games, their hero with their strange knowledge about random history facts, their lover who didn't like tomatoes, who went to bed late at night, who overworked themselves constantly.

How was it that the villain hesitated now? How was it that they couldn't get rid of someone who caused most of their problems?

"So, you were going to tell me? When exactly?"

"Honey..."

"Don't."

"I didn't know, I thought I could quit eventually. Or you'd quit and we could start a new life. I fell in love and I couldn't help it. I wanted to be selfish just this once, I wanted a normal civilian life, I wanted not to be the hero for once. I wanted someone to take care of me. Someone strong." The hero looked away, their gaze full of pain. "When I'm with you, I don't have to be the hero. I'm not being treated like a hero. I liked that."

"You knew about me, though." The villain clenched their free hand, trying to make sense of the things the hero was saying. "You lied to me."

"Please, I didn't want to hurt you. I never meant to...for me it's just work. It's not personal. It had nothing to do with you."

"Did you use me this entire time? Every time I talked about my plans, did you just use that to your advantage?" The villain could hear their own voice shake. How was this even real? How was this happening? Yesterday they had thought about ways to propose and now, they were going to throw the hero out of the apartment.

How was the villain always the fool? Always the person who couldn't possibly be happy permanently?

"You know me better than that," the hero said. "If you want to kill me now, go ahead. You have every right to be angry at me."

The villain stared at them. They could feel the hero's heartbeat pulsating against their palm.

But they couldn't. They couldn't.

And instead, they leaned forward, loosened their grip and kissed the hero. One last time. It was quick and left the villain - surprisingly - not strangely empty but rather achingly sore inside. They pulled away, blinked the tears out of their own eyes.

"Be gone by tomorrow, will you?"

The hero took in a quivering breath and nodded.

"Whatever you want."

And so it was.

[anneapocalypse]

What is "the occult" in FFXIV?

Ever since I first laid eyes on the EE3 bit about Urianger's parents I have been noodling on one thing in particular. Encyclopedia Eorzea volume 3 refers to "the occult" as Urianger's parents' field of study (and the reason they were so absent from his life). Every since that discovery, I have been curious what that actually means. What is "the occult" in a universe where magic is real, measurable, and a highly legitimate and prestigious field of study?

So, where else is "the occult" referenced in the game?

Thanks to this invaluable searchable transcript, I've found a few other references in MSQ.

The first use of the term "occult" in MSQ that I've found is way back in the Gridania starter quests when some Ixali "Occultists" are trying to summon Garuda at the Guardian Tree. In isolation I'd take this one with a grain of salt since it's very early in ARR, but I think it's consistent with other usages. The description for Whorleater Extreme also uses the term, referencing "the occult knowledge of the Ascians," so from the start there is an association of the occult with Ascian magicks and specifically with summoning.

The only other mention in MSQ comes from Alphinaud in Endwalker, where he and Krile are giving us the tour of Sharlayan, and specifically Phenomenon:

Alphinaud: As the center of what would later become the Studium, it was established to promote the study of aetherological phenomena, hence the name. Alphinaud: Though with aether being a fundamental aspect of nature, its scope expanded to include every conceivable facet of life and even the universe itself. Alphinaud: And then, in the four hundred and thirty-second year of the Sixth Astral Era, Phenomenon was decreed complete and the Studium officially opened as a place of learning. Alphinaud: With a long and storied history, it is without question the world's leading authority in aetherology, the arcane, the occult, astromancy, and countless other fields, standing proud as─ Alisaie and Krile: ...Sharlayan's foremost educational institute!

Okay, so "the occult" clearly falls within the general field of aetherological phenomena and magic, though that we could have guessed already. Something that catches my eye is how in more than one place, "occult" is contrasted with or referenced as distinct from "arcane." This is the case in Alphinaud's speech above, as well as in the Blue Mage quest "Everybody Was Fukumen Fighting," wherein Bluehood says, "No occult tricks or arcane incantations can contend with the all-surpassing might of blue wizardry!"

In the Loporrit Allied Society quests, we also get this odd little quest "Hare-Raising Thrills," in which we're asked to make "Occult Paraphernalia" for a Loporrit called Thrillingway. Depending on crafting job, dialogue with Keepingway will elaborate thus:

"It seems he requires a pair of shears─but not just any pair. No, he desires blades sharp enough to carve fur clean off!"

"He wants a sturdy coil of rope suitable for binding all four limbs of…a 'friend,' allegedly."

"Seems he wants a highly acidic gel for some dubious purpose I did not have the heart to inquire about. Honestly, I think it's best if we don't know."

Which. I mean. Okay. lol. Do what you will with that.

But probably most illuminating is the use of the word "occult" in a couple of Red Mage quests, and in the Sky Pirate raid quests.

In "The Weeping City," Cait Sith says, "Thus did the Mhachi magi construct an occult device that would more securely bind the voidsent to their will..."

And in the Red Mage quests "With Heart and Steel" and "Traced in Blood" we have, respectively:

"The tomes with passages pertaining to the voidsent Lilith are all forbidden occult works..."

and

"...the secrets behind Lambard's occult transformation."

In both contexts, "occult" seems to be connected to voidsent, specifically to Lilith in the case of the Red Mage quests.

And this ties back to the references in ARR as well, since from the beginning Ascians have been connected with the Void, even before we knew what the Void actually was. So it's safe to say at this point, I think, that "occult" can refer to magicks connected to the Void and to Ascians.

There's just one more reference I found that flummoxed me a bit, and that's this description of the Arcanist class, which refers to arcanist weapons as "occult grimoires." I found it odd initially because in most other contexts "occult" seems to refer to magicks seen as illicit, as opposed to the socially acceptable "arcane." But it does make a kind of sense, given that it is from Arcanist that we get Summoner. If summoning of primals is occult, then by extension so is summoning in the arcanist sense, even if it's not truly the same thing. This would seem to be the exception to "arcane" and "occult" being distinct categories, which leads me to believe that the distinction is more cultural than ontological.

So I think from the above, we can consider "occult" to be a fairly broad term that may be used in several distinct but overlapping senses:

Magic related to the summoning of primals.

Magic related to the Void, voidsent, and Ascians.

Magic which is taboo, forbidden, or otherwise outside of that which is socially accepted.

As a footnote, I think this is particularly interesting in the context of Urianger being introduced as our resident expert on primals, despite the fact that that's... really not specifically his field of study but merely adjacent to it. Urianger's primary interest is prophecy, and certainly plenty of prophecy seems to reference primals and Ascians and that's where we see him doing a lot of his research, but it's not the same field, merely overlapping.

Without more information we can't know for certain what his parents were actually studying. Maybe they were interested in primals, or Ascians, or the Void. Maybe they were studying Void-related magics. It's also possibly they were simply arcanists particularly interested in the summoner side and we shouldn't read much more than that into the reference to "the occult." Who knows.

But nonetheless, several of these interpretations would mean that in a way, Urianger has followed in their footsteps despite their making apparently little effort to guide him that way, which I find to be an interesting angle to his character and also profoundly sad in its own way--not that he found his own interests in those areas, but that the Augurelts had a child so naturally inclined toward their own interests and still took so little interest in him.

[delightfullyquirkydoodles]

Okay, buckle up, friends and neighbours, because it's time for:

THE DOOPLISS DISSERTATION

(Obviously, you should take all of this with a HUGE chunk of salt, since I'm not only an internet-poisoned fandom blogger, but also a former English major with a penchant for over-reading.

Still, I spent a long time writing this, so I'd appreciate it if you gave it a read.)

So before we talk about Doopliss himself, I feel like we should talk about Creepy Steeple, since a lot of the topics I'm going to be touching on relate to the actual building.

Neither the original Gamecube version nor the Switch remake really bothers to explain what Creepy Steeple actually is.

None of Goombella's tattles say anything about the building's intended purpose. The name vaguely implies that it's a church of some kind -- in Japanese, it's called Odoron Jiin, or "Astonishing Temple" -- but that's still not very helpful.

Still, for the purposes of this analysis, I'm going to assume that it's meant to be a church.

This brings me to the Steeple's stained glass window, which shows a scary-looking Doopliss standing over some piranha plants.

From a design standpoint, I'm guessing that this detail was added to give the location a spooky vibe, but from an in-universe perspective, the implications are wild.

Like, who designed this? How long ago? And why? What the heck is it supposed to represent?

Unsurprisingly, the game offers no real answers, but I have a couple of theories.

The first is that the people of Twilight Town (or their ancestors, or something) created the window in Doopliss's honor.

Stained glass windows often depict saints or angels, so maybe the Twilighters used to worship him? Like, maybe Creepy Steeple was once dedicated to him and then, for whatever reason, the worshippers decided to leave?

It's not super likely, but I didn't want to rule out any possibilities. This is a weird freaking temple. Literally anything is possible, as far as I'm concerned.

My second theory is that Doopliss designed the window himself. He seems like a guy with a lot of spare time, so it's not too much of a stretch to say that he came up with the idea and then spent weeks building it by hand.

He could have also bullied the Boos into constructing it for him. I dunno. I just have this mental image of him pulling pranks on them and generally being a nuisance until they caved.

The bottom line is someone wanted to Doopliss's face to be front and center. And if that someone is Doopliss himself, then hoo boy, there is a lot to unpack here.

Maybe I'm projecting, but it feels like Doopliss is wrestling with some major self-esteem issues.

Despite being an incredibly powerful shapeshifter who somehow cursed an entire town, he seems very childish. He spends all his time watching TV and coming up with new jokes. He throws tantrums when he loses. He wears a party hat, of all things.

Based on that, I'd say that he's probably starved for attention. He's probably pretty lonely living in Creepy Steeple all by himself (doubly so if my theory about the Twilighters is correct).

I'd even go so far as to say that his scheme to turn the Twilighters into pigs is motivated by this need for attention. I mean, what better way to get people to notice you than to cause a town-wide panic?

I feel like the disguises he uses over the course of the main story also support this theory.

Though Mario, Zip Toad and Professor Frankly are quite different from one another, they all have one important thing in common: they're famous. Mario's a world-renowned adventurer, Zip Toad is a well-known actor and Frankly is a tenured professor whose students love him.

Doopliss even alludes to this after stealing Mario's body, telling him, "You're so popular around here! I just love being you!"

By transforming into beloved figures, Doopliss can get the attention he craves.

I also think that this is why he joined the Shadow Sirens. Sure, Beldam abuses him almost as badly as she abused Vivian, but at least she notices him. That's better than nothing.

The most conclusive piece of textual evidence is found in the epilogue. In her letter to Mario, Goombella explains that Doopliss has joined Flurrie on-stage in her production of "Paper Mario".

Obviously his shapeshifting abilities make the play a lot more realistic, but why would he bother participating in it at all? This guy was a villain for most of the game. Why would he suddenly decide to join up with one of his enemies?

Because, as far as I can tell, he's not a villain. Just a guy who's sick of being ignored.

I dunno. Doopliss's motivations have never been super clear, but I feel like there's more to him than meets the eye.

If you have any thoughts or ideas of your own, feel free to comment. I'd love to hear your thoughts on this.

[blueiscoool]

Three Roman Graves Uncovered in Portugal

Three burials dating to the 5th or 6th century AD have been unearthed in the ancient Roman city of Ossónoba in Faro, southern Portugal.

The Ossónoba’s first archaeological evidence dates back to the 4th century B.C., when the Phoenicians settled in the Western Mediterranean. The city was then called Ossónoba From the 2nd century B.C. until the 8th A.D. the city was under Roman and Visigoth dominance being afterwards conquered by the Muslims in 713.

A team of archaeologists from ERA Arqueologia discovered ancient Roman structures and the remains of a man, woman, and child while conducting excavations over a 5,000 square meter area that will eventually house a real estate development.

The excavations, which took place before a construction project, revealed the grave of a man whose skeleton was complete and who would have been between 39 and 45 years old, as well as a young woman under the age of 25, and a baby who would have been no more than six months old, according to archaeologist Francisco Correa.

Francisco Correia, the project’s head archaeologist, said in a statement that the discoveries were made in an old truck repair workshop and are believed to date from the 5th or 6th century.

The tombs appear to have been looted in the past to steal “small bracelets, necklaces, and rings,” according to anthropologist Cláudia Maio. The tombs indicate that the people may have had “some economic status” as they were not simply placed in open graves but instead buried in carefully built graves.

The proximity of the three people’s graves seems to indicate that they were family members, though the team cannot be certain of that. “But we cannot say anything for sure,” the anthropologist said.

To learn more, the researchers hope to be able to provide more precise answers through DNA tests and isotopic analysis techniques used to determine population movements and dietary habits from chemical traces in ancient human remains.

This latest archaeological discovery did not come as a surprise to archaeologists, who had already led similar works which resulted in the discovery of a Roman game artifact believed to date back to the first century AD in 2020.

“We know that we are in an area with archaeological potential where there is a 17th-century convent (of Santo António dos Capuchos) to the west, and to the east lies the area where the mosaic of the Ocean God (Deus Oceano), now a national treasure, was found,” he said.

What did come as a surprise to archaeologists was the location of the tombs.

“Based on previous studies, this would have been an area that was possibly residential or more linked to industrial activities. There are many traces of salterns. Largo da Madalena would have been the entrance to the urban area of the city of Ossónoba. The identified graves are in the Figuras area, near Teatro Lethes, close to the Ermida de São Sebastião and the Pavilion of Escola D. Afonso III. This area is almost within the urban fabric,” the archaeologist explained, adding that this illustrates both the “growth and decline of Ossónoba.”

The graves of the man and the woman “were sealed with limestone slabs,” believed to be reused parts from “some of the most emblematic buildings that would have been here in the area,” he believes.

According to the project manager of ERA Arqueologia, who was co-responsible for the work, in addition to the graves, hundreds of small pieces were also discovered which suggest that there may also have been a mosaic there.

The researchers also recovered Roman artifacts in the area, including ceramics, bone dice, nails, pins, a spoon, possible evidence of a dye factory, and coins minted during the reign of Constantine the Great, between A.D. 306 and 337.

Cover Photo: Roman mosaic of the god Oceanus, part of the ancient city of Ossónoba, the modern town of Faro, in Portugal.

By Leman Altuntaş.

[hometoursandotherstuff]

Completely fenced in blue estate in Alvin, TX. 2023 new construction has 7bds, 10ba, 10,400 sq ft, $3.9m. Well, it isn't all white inside, either.

It was just built last year and already on the market. It looks like there's a marble inset of da Vinci's Vitruvian Man in the floor. Interesting.

The color of the walls and royal blue moldings cheapen it, but I kind of like the blue marble floors and the fireplace.

They have the pictures too high up, they should always be eye level. Maybe they're tall people, what do I know?

They went with shiny gray laminate cabinetry and big modern fans mounted to fancy baroque ceiling medallions.

I like the backsplash, too.

The primary bedroom has a nice fireplace and doors to the terrace.

Here's a factoid- the big fans, if you get them from this company, actually say "Big Ass Fans," b/c that's the real name of the company. I don't know if these are, though.

Huge ensuite has a round marble shower with round windows. Too bad that they picked such bright blue paint. I really think that softer blues would've looked so much better.

They have this kind of elevator and it's black marble. Creepy.

Each secondary bedroom has its own ensuite.

The 2nd floor landing.

They've got a game room up here.

And, there's a guest room w/ensuite off the game room.

More stairs and another level up.

This must be the uppermost level.

This floor is a giant game room, and it also has 2 beds, so what goes on up here?

Nice bath, too.

Roof top terrace with Astro Turf. I hate that stuff, it deteriorates and clogs landfills.

Looking down from the top floor.

Covered patio with a grill and stuff, plus a pool with a rock waterfall.

Look at how the pool water appears to come up onto the patio.

Here's a hot tub.

The neighbor's property looks like it fits into theirs like a puzzle piece. 1.70 acre lot.

https://www.zillow.com/homedetails/1259-County-Road-147-Alvin-TX-77511/26491303_zpid/?