#from a certain point onwards? lol

[twilightichor]

By the time I will post this I'll already have completed 「Bedtime Story」, meanwhile here are some thoughts as I go through the quest without delving too much into each of them:

✧ It's very interesting to see how this quest is foreshadowing right from the very beginning Natlan in a way, with the thematic of someone without a name vs the importance there seems to be in the [Ancient] name in that nation.

✦ I keep talking about how level-headed Dain is, but I was amazed once again by this when he asked Aether if he thinks Lumine has betrayed him. Considering that he himself is in the position where his own brother actually has and that their relationship is apparently irreparable (there might be some relation with the fact that he figured out the whole truth of what happened with Vedrfolnir, whereas Aether still didn't), it would've been quite easy to spill some venom not necessarily to cause harm and shit talk Lumine behind her back (and even still, they had that dispute hundreds of years ago and still have) and still he not only doesn't, but he cheers Aether a bit by saying that their relationship isn't to a point of no return. The capacity this man has of staying logical despite being the emotional individual he is at times is genuinely outstanding.

✧ Without reading too much into it due to lack of information, the way Dain makes sound that the five sinners betrayed the nation and him seems to suggest that perhaps all six of them shared something in common until they didn't (this beyond the fact that it seems like they were the pillars of Khaenri'ah) or that they gave him their word that they were going to do something which eventually they didn't. We only know a little more about Vedrfolnir, Rhinedottir and Surtalogi so far, but presuming that the missing two are just as powerful in their respective fields as the former three seem to be, it is quite interesting to think that Dain might've been similar if not an equal to them enough to earn their respect beyond the fact that he's Vedrfolnir's younger brother.

✦ Special vengeance talk bullet point. I talked about this recently, so I won't go deeper into it again. However, it's quite ironic to see that Dain's stance on the gods so far was one of bitterness at best to describe it somehow, meanwhile he looks and sounds very angry when talking about them and claiming that he'll never forget their names. Even though he's been affected by the memory erosion, it speaks to lengths that his drive for vengeance against them is so high that, if we were to imagine a what if he were to become say a Black Serpent Knight fiend with no more intelligence or memories, what would persist of him would most likely be his wish for vengeance against all five of them.

✧ More talk about the six: besides five of them being described as carrying the hopes of Khaenri'ah (while Dain put himself out of this, it remains uncertain if it's because he didn't consider himself that important or because he doesn't want to be associated to them in a group together beyond the scope of stopping the Vinster King to prevent the disaster + protecting Khaenri'ah), it's quite telling how powerful they are to become like some kind of regulating system of the monarchy at the time, either by the people's desire or as a thing they attributed to themselves precisely due to that power / influence they had over Khaenri'ah.

✦ The transcendent being notion is heavily interesting if we think about Jakob and René, who became such themselves and if we think about how Vedrfolnir used this exact terminology himself. Suffice to say and just judging Gold alone (and potentially Vedrfolnir too, considering the prophecy of Fontaine and that those stone slates were quite ancient in olden ruins), it's not surprising to believe that all five of them pushed the limits of mortality that would've corresponded to them as humans (?) before the Cataclysm. Given that this seems to be linked to the five of them sharing among them the power of the Abyss, it's quite intriguing to think if Dain himself is a transcendent being or if his mortality limits were nuked strictly by the curse.

✧ Assuming that the power of the Abyss is equal to the world-shattering power he speaks of, it's very interesting how this serves as a contraposition (or maybe not so much contraposition) to the power of beyond Skirk mentioned, supposedly wielded by Dain to defy this world.

◜The six of us, together... We should have been the ones to prevent the disaster, the ones to stop the Vinster King from continuing to rock the foundation of the world. [...] And when the cataclysm occurred, not one of them stood up in defense of their nation, not one came forward to prevent the tragedy... And for that, they shall never have my forgiveness.◞

✦ This here makes me a bit confused as to what to think. By the way this is worded either out of convenience (HYV has a long track record of making Dain's speech be purposefully blurry / uncertain, it's never a matter of hearing him say that the sky is blue and the reality being like that— there is always more to it), it seems like if they stopped the Vinster King, they would've prevented the disaster (unless these two are different things). I say this because later he mentions that the sinners didn't lift a finger to prevent the tragedy nor defend the nation during the cataclysm, supposedly a result of not preventing the tragedy when something could've been done about it time before the cataclysm erupted.

✧ To conclude with the Sinners talk, the notion that if they're left unchecked they could do irreparable damage to the world which... considering it's related to the power of the Abyss and what was caused in Fontaine alone because of Narwhal, hence because Surtalogi, it wouldn't be all that far-fetched to even think about.

✦ Perhaps this is attributed to Dain's intellect and no more, but for someone who is struggling with erosion and how it affects his memories, it's quite intriguing that he'd know what is something that was falsely implanted in his mind if up until that point he had already lost some of his memories.

✧ Ironically I've been talking recently about his capacity of looking at things from a broader perspective / having a very down-to-earth mindset and I think this is yet another example of that: there could be other things Dain could be focusing on just at the notion that someone could implant memories, but not only he doesn't do that, but he realizes on the spot that they're still after the eye of the first Field Tiller and thinks ahead of time to lay a trap for the Abyss Order, as there is something quite clear that makes him think it's impossible for him to have given the eye. And yet Caribert makes him believe that he handed over the eye to Aether and Dain is fine with that wtf.

✦ How does that eye even make it inside Dain's body hello?

✧ Following the miscellanies alongside other subtle details about him throughout his quests, it was abundantly clear to me his connection to Irminsul. But to see him grunt in pain because the Ley Lines were being tampered with to implant in him a new memory really seals the deal for me that the connection he has with Irminsul must be considerably deep to even experience pain. As that is some big sentience that even Paimon points out and that I don't think was seen before except for Rhukkadevata— and she was a divinity and Irminsul's avatar.

✦ I'm positive that I mentioned how "coincidental" some of Dain's actions during the 「Caribert」 quest were, so I won't get back to those. But to add one more as a genuine follow-up to that quest, it's surprising how eerily similar the ruins where he leads the Abyss Order and Aether in are to those where Vedrfolnir was. And Dain hasn't experienced that memory Lumine had 500 years ago... apparently. Locations are different, that's for sure. But there is an undeniable level of excitement at seeing how these ruins mirror the others that makes me wonder how deep can Dain look into things (aka Ley Lines? Irminsul? Some connection to his brother because brothers™?).

✧ To add to the sus from before, the Cryo Abyss Herald was also introduced during the 「Caribert」 quest and he was guarding the entrance to a larger room where Vedrfolnir was.

◜The Abyss Order is putting something in motion. If you return to Vimara Village, I suspect you might finally have the opportunity to locate the missing villager.◞

✦ I've discussed in the past about Dain's foreseeing abilities but sir, what the heck— (I say as this is what exactly happens after Aether leaves the ruins lol).

✧ Although it would be easy to think that his grunts are signs of memory implantation in his mind, the fact that Caribert implanted the last false memory before they entered the cave refutes this. This is because Dain's last reaction (and the most painful one, as even his voice was intertwined with the pain he felt) was when they were already in the last chamber of the ruins they were last together. This concludes that his sentience isn't just on himself and to figure out what said false memory is (as he does notice that), but it's a genuine sentience on the Ley Lines and the disturbances they're suffering.

[jewishcissiekj]

actually! idgaf about Asajj's character changing over the years and shifting directions because that's simply what happens to characters. I won't take that excuse anymore. They should have stuck with her portrayal, style, vibe, personality, and characterization from Tartakovsky's Clone Wars, and getting away from that was a downgrade and did not turn out well and doesn't hold to the character of Asajj Ventress and doesn't work at all and they should've just made up a different character and (<-just saw 10 seconds of a clip of the Anakin and Asajj fight from Clone Wars 2003)

[ghcstao3]

writing a little something for this black panther!ghost because of a scene while playing sottr lol

(edit: part two)

-

Facing death on a regular basis is something Soap had made peace with a very long time ago. It's merely the nature of his occupation, something he chose for himself, and so he'd be a fool to not accept that his life would often be put in danger of being ended.

That being said, Soap's never been particularly fearful of such a kind of loss anyway—or, he wasn't, until he's staring directly into its bloodthirsty maw.

The mission was already interesting to begin with. They—being Price's merry little band of soldiers deemed task force one-four-one—had gone into it knowing it was risky; tracking a feral shifter would be difficult as is only in part due to it being outside their usual duties, but that shifter then being a big cat and ex-SAS soldier with little regard to distinguish enemy from ally increases that danger by tenfold. Soap found himself poring over the details, intrigued by everything that led to the point of finally sending out a team for detainment.

Supposedly—because nothing was technically confirmed—this panther shifter, name Simon Riley, had been held hostage by a cartel for some time, after a mission gone wrong. Retrospective details and investigation hinted at experimentation and brainwashing along with the usual anticipated torture, but it's difficult to be certain of anything when, somehow, Riley escaped and singlehandedly slaughtered everyone in the facility where he was kept.

The amazing part, Soap thinks, is that Riley had gone completely undetected until he'd killed a friendly, still stuck in a mind of base instinct. Intel speculates he'd been patrolling the jungle surrounding the facility for a little over two years now, fending off anything his animal brain deemed a threat.

So it was safe to say the mission would not be simple. Capturing Riley would only be the beginning, if they could even manage so much.

Sweat beads uncomfortable and sticky on Soap's skin in the muggy climate of the jungle, welcoming dirt and gnats to glue themselves to his limbs. He's never been one for humidity, always more partial to the arid sort of heat, but there's certainly an added level of unpleasantness when it feels like he's being watched.

Soap readjusts the grip on his gun, and trudges onward.

"Any activity on your end?" Price's voice cuts through his paranoid silence, startling as the ferns that brush against his arms.

Soap pauses his stride, gaze skirting across the seemingly endless forest; it still is, as it has been for the past however long, a mostly unmoving wall of greens and browns beyond the gentle sway of foliage in a barely-existent breeze and the occasional bird taking flight, or small critter scampering between hiding places.

Quiet.

"Negative," he says. “What’s it—“

He's about to ask the same of his fellow captain's own position when he hears the low growl.

It's deep, guttural, and—most importantly—entirely and undoubtably a threat.

Soap couldn't even think to turn and lift his rifle before he's dodging out of the way of the panther's lunge. Even if it were a real bullet and not a strong tranquilizer, Soap doesn't believe it'd help his chances of survival anyway.

At most he'd buy himself time, and that'd hardly count for anything with a feral and angry shifter to then pursue him and the rest of the team, when they inevitably crossed paths.

He narrowly avoids the follow-up attempt on his life as the panther pivots much faster than anticipated, now a snarling mass of fangs and claws as it stalks closer every time Soap puts distance between them. The gun still tight in his grip, it seems, isn’t any kind of deterrent—proven especially soon when the shifter acts quickly, quicker than Soap, and manages to tackle him to the ground.

The rifle is the only barrier keeping Soap from being torn apart, though he feels a seeping warmth somewhere on his torso that tells him sharp claws have found their home somewhere in his flesh. Soap struggles against pure strength of the creature, gritting his teeth as he pushes back and tries to wriggle free.

Distantly, over the rumbling and hissing, Soap can hear the others crashing through the forest, calling out his name in search of him. The sound distracts the shifter momentarily enough for Soap to escape—however getting his rifle knocked from his hands—and when he sits up it’s with a nauseating pain in his side from where he’d been caught, and is currently bleeding a concerning amount.

He can’t stand without stumbling, and is merely left with the hopes his team might reach him in time to keep him from getting mauled. All he can do is scramble backwards to create distance and delay his obvious fate.

Maybe he’s only so scared of death now, because he’d always believed his own would be swift and relatively painless as a cause of it, given his line of work.

Soap’s back hits the thick trunk of a tree. He winces, trying to swallow the growing panic as the panther begins to creep toward him, steady and calculating. He breathes in, exhales slowly through his nostrils, lifting his chin and baring his teeth in return though he knows damn well he’s trembling.

The shifter is close now, too close, huffing softly as he looms over Soap. Intelligent but wild eyes bore into Soap’s own gaze, the mismatched irises surely a point of intrigue if his life were not in immediate peril.

But the shifter just… stops. Stares at him almost in consideration, and for a moment Soap could persuade himself to believe he sees just a glimpse of the humanity that had been forgone two years prior.

Soap tries not to shrink back as the panther leans in to sniff him curiously, his face so close Soap can feel the shifter’s whiskers tickle his face, can smell the iron and blood of the meat of his previous meal. But then the panther is retreating with a more gentle growl in his throat, miraculously willing to spare Soap despite his track record.

Soap hears the telltale thwick of a tranquilizer embedding itself in the shifter’s pelt, then a couple more following for good measure. For only a brief moment does the aggression return before the big cat is slumping to the ground.

Price calls it in while Roach helps Soap up, employing Gaz’s help to wrap Soap’s wound as best as is manageable until he can get the proper medical help.

Dutifully Soap offers what answers he can, but finds himself unable to tear his eyes away from the shifter.

There’s more to this story than they had intel, and he’s more than certain there’s more that they haven’t been told, more that’s being kept from them.

And just as well, Soap figures there’s a reason he’d been allowed to live, unlike so many others—and he finds himself knowing, then, that he wouldn’t rest until he understands why.

[gunnrblze]

The sibling dynamic between Hesh and Logan has rotted the innards of my brain. Long ramble of me reading into this too much and probably making it personal below the cut, lol.

They’re extremely close, grow up practically codependent, at least from a certain point onward. Hesh brothers Logan in an almost fatherly way sometimes because their actual father places this responsibility on him (albeit largely unintentionally I imagine), for the literal sole fact that he’s two (2) years older than Logan. That’s it, just two. He got parentified like a lot of older siblings tend to be, purely due to circumstance of being the eldest. If Logan was older this dynamic would most likely have been the same thing. Hesh was pushed into this protector role regardless of how he feels about it.

And I wonder how it would’ve panned out had Elias tried to foster a more ‘behave as a unit’ approach rather than ‘Hesh protect Logan regardless’ type thing. Logan followed in Hesh’s footsteps (QUITE LITERALLY!) and strived to be just like him. During all their training, they “became men” together and learned how to communicate non verbally to the point where they’re near fucking telepathic.

Yes they fight together, yes Logan was there for Hesh always, “Logan has my back and I have his, we’re brothers” yes yes yes. But Hesh was damn near playing caretaker for him sometimes. From the beginning of the game we see Elias telling Hesh to look out for Logan constantly, and he continues to throughout the entire game. And at the end when Rorke drags Logan away you can hear the pain and the panic in Hesh’s voice (duh). Can see him trying to reach for him and crawl to him. From the beginning to the end, Hesh is Logan’s big brother in every sense of the word. From childhood to the moment Logan is drug off the beach, Hesh is right there with him like a guardian angel. Or more like a guard dog maybe lol. And I just wonder what difference it would’ve made if Elias didn’t force Hesh (whether he meant to or not doesn’t even matter) to shoulder the burden of not only growing up himself, but guiding Logan so heavily at the same time.

And what gets me the most about this is that Logan is just as experienced as Hesh, minus those two years that Hesh joined the army before Logan turned 18. They trained together, Rorke implied that Elias trained them a lot himself, and Logan is just as capable. Just as intelligent, prepared, skilled, etc. Yet in some parts of the game, it almost seems like his ‘baby of the family’ role follows him, despite being a skilled spec ops soldier fighting an active war, and it’s just so interesting to me. I just know this has gotta be a deep seated thing for Hesh, to have been his brothers guardian in a sense, despite only having two years on him. He was just as young and confused, just as in need of guidance, and yes Elias provided a lot of that for the both of them, but Hesh kinda had to wing it a lot I think. He didn’t have an older sibling to look up to because he IS the older sibling being looked up to.

And on the flip side, how is Logan meant to interpret that growing up, in any other way besides ‘Hesh knows more, does more, is better than me, knows better than me, etc’ type of thing? You’re being looked after by an older sibling half the time, of course you’re gonna idolize them more than a sibling might do so even in a regular/healthy circumstance. Like yea that’s his big brother and he’s gonna look up to him regardless, but you’re only two years younger being silently treated like you’re in need of this caretaking….c’mon. Elias created a dynamic in which the two of them are so codependent, that it had to have hurt Hesh on an even deeper level to lose Logan than it already would’ve. That would already be soul shattering in the first place, especially with the dogshit ass circumstances they were in, but to lose the little brother that you most definitely feel personally responsible for…? This is why I think Hesh would genuinely be tweaking the fuck out post beach.

And to add onto this ramble about Merrick becoming like a mentor to Hesh, I can see Hesh getting some actual older male guidance without the addendum of ‘also here’s this other guy you need to look out for’ being healing in a way. Dare I say Keegan/Kick would even become like an older brother figure to Hesh and kinda fill that hole, the older brother he didn’t get.

Anyways idk I’m insane about them always. You unintentionally made your sons codependent on one another, and then you die, and then one son is taken, blah blah we know what happened. I mean damn lol.

[icycoldninja]

Hi can I request headcanons about Vergil with a s/o who has habit of giving him THE STARE. Not out of malice but because they just like watching his face lol. Thank you a lot (っ'-')╮=͟͟͞͞❤

Ahahaha I can genuinely relate to this one, ( I spend too much time staring at Vergil I swear) enjoy! 💜

Vergil x Reader who stares a lot headcannons

Sorry about the big-ass image, I couldn't shrink it. (Not mine btw)

-Being an observant guy, Vergil quickly noticed that you were staring at him, but brushed it off as you simply being curious about him, which was understandable--he was a son of Sparda.

-Your gaze was piercing; it seemed to blast right through his skin and deep down into his flesh--no, beyond that--into his soul. He wasn't certain of how you possessed the ability to stare so predatorily, and wasn't sure if he wanted to find out.

-Over time, he noticed that your staring wasn't just curious nor intent, it was like you were observing him; analyzing and spying on him for some reason. Why? What did you want form him?

-He started getting a little uncomfortable, thinking that perhaps you were plotting something devious.

-Eventually, he decided to ask you directly abut it, hoping his intimidating presence would get you to tell him the truth.

-It worked; you were terrified of the way he was glaring at you so you nervously, hastily, and shakily confessed that you simply like looking at him.

-It took him a full 5 minutes to realize what that meant. Once the thought settled in, he nearly fainted. You liked looking at him? Why? You thought he was handsome? Him? Vergil Sparda, the son of Sparda, was considered handsome? By you? Why?!

-He had absolutely no idea what to say to that so he stomped away, stiff as a board.

-From that point onward, the issue was never spoken of again; you continued staring at Vergil's face, taking in every feature, and he remained sitting there, stoically allowing you to observe his every move.

-He honestly didn't mind it--the silent attention was appreciated.

-Occasionally, when the two of you are seated in the same room and no one but you is looking, he will reach up and smooth his hair back, very slowly and sensually, keeping eye contact with you the entire time.

-Just don't tell anyone why you're doing it and Vergil will let you stare at him until your eyes water, and might even stare back with his icy blue ones.

[ghulah]

Papa Emeritus, Terzo and the weight of the Mitre.

Due to popular demand, here is my Terzo analysis. It has been significantly cut down(if you do want the uncut analysis, here) because most of it was bullet points and unhinged notes I made. To be completely transparent, this was inspired by @cityofmeliora's own Terzo analysis post as well as several other analyses which I will be linking (also some headcanon stuff the wifecule had cooked up together lol).

These are all the posts (1 2 3 4 5 ) I used as resources and this compilation of Ghost interviews, as well as the Metal Myths part 2, because that's sort of required viewing at this point, isn't it?

I'll be splitting this analysis up into sections, first are brief descriptions and explanations of my understanding of the different aspects of Terzo - as Papa, as a Cardinal and as himself.

As for my sources, I won't be inserting the direct quotes here(because this post would be the longest ever) and they are all available in the aforementioned links.

Anyway, onwards, Ghesties!

First of all, What is Papa?

This is in reference to Papa, the entity, the image - not the person. Papa is a character, he's a mask, he's a façade. He is an image and an idea and the face of the Clergy. He is everything and he is above all yet he is not. According to mister Ghost-man himself, he is a stereotype, he is someone you know from somewhere and often than not he's old, charismatic, maybe a little bit bitter. He is sort of nebulous, he is a concept.

All whom take up the mantle, the Mitre, live up to this to a certain degree, it's part of the job! It also might be part of the bloodline, but y'know.

In that case, who is Papa Emeritus III?

The character of Papa III, the performer, the leader, the one to show us the way. Papa III is the face of the Ministry, he is a showman, a diva who is perfect for the role of the Satanic Pope who is not only theatrical, but also charismatic and fun and ambitious! He is artistic and outspoken. He knows what he's doing, he loves having a good time - drinks, partying, sex! He encourages it, as long as everyone is safe. He wants to bring about a new age, something to thrive. He will lead us all to damnation!

Papa III cares for his people, he makes sure they are safe and sound even in the midst of the chaos of the Rituals. He is, after all, the messenger that leads the audience through the hero's journey - a guide.

Cardinal Terzo

Let me be clear, this is all derived from Bishop Necropolitus Cracoviensis (who is representative of the album artist Zbigniew Biela) testimonial on Terzo when they were buddies back in Poland.

Cardinal Terzo was a slutty slutty, party man with a revolution in mind. He actually had a lot of visions and ideas to keep the Ministry going and modernizing it. He seemed super, well, locked in. He also likes Futurism, which aligns with his Art Deco and German Expressionism in his box of early 20th century art movements. He saw a future and he wanted to bring it to life, he held the same sins as his brother, Vice, Lust, Greed - but he had Ambition (credit to user cityofmeliora for this epiphany). That's what set it all off. Cardinal Terzo had that joie de vivre.

But who is Terzo?

Terzo Emeritus is a man of many pleasures - it's just those pleasures don't often involve people. He likes early 20th century fashion, he likes early 20th century art movements, he likes theater, he participates in it. He does have a pleasant personality, perfectly charming and joyful and teasing - but, he's not 'on' all the time. Or rather, he might not genuinely feel that way unless something or someone actually interests him. He might not be as slutty as everyone thinks he is. He moves like a fucking cryptid when he isn't performing, which is even funnier considering how open he seems to act. He wanted to do so much as Papa, he cared a lot. He had so many ideas, he wanted to take care of his flock and wanted to spread his ideas and cement the Ministry as a real power by opposing all those mindsets that keep holding society back. He was a revolutionary taken out too soon for another agenda at play, which is his true tragedy.

If anything, his charming Papa persona is what draws people in - but it's untouchable, because it's an idea, a face he puts on. Terzo is most likely the mellow, a toned down version of that face. Secondo influenced him, not enough for him to be exactly like him, though, so.

On a very real level - he's sort of like that 'when your circle small but y'all are crazy' meme. He has only a few people who are truly close to him and know what he wants and who he is while everyone else is on the outside looking in. He seems to keep people at bay, even the ones he approaches first. It's the people who either stick around and play along long enough to catch all his little ticks or the ones who saw through it all in the first place who get close to him.

That self hatred and hatred of everyone came a little later, when everything started to not fit into place anymore. He had restrictions on him, he couldn't bring his vision to life - he began to resent that idea. He knew that he was expendable, it was inevitable that he would be gone soon. He was still Papa, he cared, he wanted better for the Ministry. But it was, to a point, all for nothing if he was going to be stifled.

Ambition and hubris being his downfall is just a repetition of every Greek Tragedy we've been told. And much like the Bringer of Light, Terzo was brought down to Hell. Thanks Sister Imperator.

Sorry if some of this sounds a bit silly, it is quite self indulgent and made when I was sleep deprived. But also, I love character analysis and I love Ghost so!

Bonus tidbit: All that talk of separate travel made me think that Terzo might like sightseeing as a fun headcanon. So in my mind he might have a film camera stashed somewhere to take with him. It fits with the idea that he is quite a recluse and takes time to himself, he doesn't need to socialize to go out and see things and take pictures. Of course this is also extrapolated from his nerdy film and art interests. (this part was inspired by a convo with @3hroo)

[cripplecharacters]

Hello! First of all I wanted to thank everyone who runs this blog, it's wonderfully helpful in a lot of ways, and it's nice to see so much information coming from direct sources all in one place. I have a lot of anxiety around accidentally harming people with my work, so finding such a wealth of references, opinions, resources, and discussion is very valuable to me. It gives me the confidence I need to move forward knowing that I won't get everything right, but I can avoid what I know to be harmful.

I do have a question, sorry for taking so long to get to it. I want to write a story featuring a physically disabled character from at least a semi-accurate historical lens (specifically 19th century England), but I don't want to rely on notoriously ableist doctor's accounts. That's potentially useful for understanding how the medical field understood various disabilities and the social attitudes surrounding them, but I want to know more about the day-to-day lives of actual disabled people before modern medicine/research, especially those who may not have had access to hospitals. My intent is this- I want to understand my character and her disability from a modern perspective, but within the time frame I know this character would not have access to the same information and so would approach her life differently than a person today with the same disabilities would. Do you know of any particular historians or research organizations that might have that kind of information? I apologize for the broad scope of the question, but I am very lost on where to actually start looking and any help would be greatly appreciated.

Thank you for taking the time to read this ask, and for all the work you do in general, have a great day!

Hi,

Thank you for your thoughtful question.

I'll start of with the fact that disability history is painfully under-researched, particularly the further back in time you go.

Part of this is modern ableism, part of it is ableism from the past, part of this is scattered understanding of conditions in the past, part of it is that a decent number of disabilities need treatment for survival, and part of this is simply a lack of sources. There's other factors, of course, but these are all pretty relevant.

If I'm honest, I generally do my historical research in very sort of piecemeal ways and I get bits and pieces from various sources that I often lose years later, which I recommend to no one lol.

I usually end up reading scientific/historical modern articles that I go to like the third page of google to find, or try my best to find a period piece that will show me a sense of how a person with a certain condition could be treated,

However, let me point you towards some organizations that might help:

This is a page from Historic England that has a general history of disability from 1050 onwards. It's categorized in general time periods, starting with 11th-14th century and ending in the modern times. I like this resource and have used it often, and it's pretty accessible and easy to read since it's made for the general public as opposed to for researchers and historians. Historic England also has further Inclusive research, if you're interested.

The US's National Parks Service (unlikely source, I know) has a project named Telling All Americans' Stories, and has a section for disability history right here. It has a general overview, a section for places, a section for people, a section for education, and one for Franklin Delano Roosevelt's experience and impact re: polio and resulting disability. Of course, this source has more things connected to the national parks, given who is doing the research, but I still find it a pretty good source to start off with. It's also quite accessible since it's aimed at the general public and not historians or researchers.

The Minnesota State Government has a "Governor's Council on Developmental Disabilities," and this council has a general history of developmental disabilities resource right here. It's divided into pre-1950 and post-1950, but it covers a lot of ground while being pretty accessible. It's a pretty cool resource, actually. I'm pretty sure I've found relevant photographs here.

The Disability History Association was established in 2004 has a podcast and is focused on specificlly funding research of disabilities. They have a page right here with a list of recent books and articles about disability history. These are all 2016 to present and all seem to be English language. It also lists two upcoming research publications that are in progress. I haven't specifically used this for my research, but I recognize some of the articles it refers to on that second page I linked. It's entirely possible I've been on this site before without remembering, though.

All Of Us is a blog by the above DHA which seems to have multiple contributors. This one I have not used.

Inclusive Historian has a resource here on a sort of general disability history, and is aimed more towards historians themselves to use to write more effectively. I also see this as a potential tool for fiction writers, as it can be useful when it comes to combining historical accuracy (to whatever degree you want it in your fiction) with modern sensitivities for modern audiences.

Disability Social History project is a self-named newer project aiming to collect historical information about disability and disabled people. It has a resources page here as well.

The Missouri History Museum has a legacy website called Action for Access with a focus on the history of the disability rights movement. This is a narrower focus and earlier than the time period you're going to write about, but it has pictures to browse. I have not found a modern equivalent of this website. Be aware that this website might not fit accessibility standards more common today because it's a legacy website.

Anyway, sorry that this seems so broad and maybe less specific than you'd like — I still hope it helps you and anyone else needing a jumping off point to research.

– mod sparrow

[doink-boink]

Finally drew my interpretation of Zach's parents!

Have had these fellows in the works for a good while!

Really had to lock in when doing the writing here lol - my handwriting is normally a weird hyper mix between cursive and print. But messier. Hopefully its legible! Enjoy some more yapping about these guys below the cut >:D

Must mention this is within my own AU! My interpretation of Zach specifically is a trans man. So uh! No way in hell Arthur is supportive in that regard. He is a miserable man whose only concern is furthering the family business and his public image.

Really looked to both Moral Orel and Bojack Horseman as inspiration for how these two would be. Did not intend for Arthur to share a name with the character he is inspired by lol - but uhm! He specifically is like Arthur Puppington when Clay was a kid: Distant, cold, though not physically abusive. Emotionally? Oh brother, you bet.

Regarding Kim and Arthur's relationship, that was really dead in the water. Kim is a self published author, or rather, an ASPIRING self published author. She mostly writes crime novellas/dramas, though needed some outsider input regarding the legal side of her stories. So, of course, she decides to reach out to the biggest law firm in the area.

It is initially a short and sweet interaction: "I ask you questions, you give me answers and insight when you can." However, she grows to enjoy Arthur's company, falling for him quickly. VERY rushed marriage ensues! Good god! (Of course not ASAP, within a few months time of dating/correspondence) Not too certain as of right now where Zach comes into the mix, but definitely in that honeymoon stage of a relationship where you don't quite know the person yet to really gauge if things will work out or not.

I mean, things absolutely do NOT work out in the end, but they don't know that yet. Arthur I feel is the type to want a family ASAP. Need that sweet sweet heir to the company. Will accept nothing less than a son. Sucks for him, doesn't end up coming to fruition until much later! AFAB child, disappointment on Arthur's behalf, compassion on Kim's. Like a night and day difference - even after Zach does eventually transition (his mother is deceased by this point) his father refuses to accept it until he dies. By until I mean: "You still are not my son." *flatline*

Kim was there for Zach until the day she died, which would probably be around late middle school to early highschool? In that age range. Old enough to have fond and in depth memories. Which! Arthur is the one who discovers what had happened. Busy writing a novel when wham, sudden cardiac arrest - alone, as she tended to keep to herself. Entire family dynamic changes from then onward, though the abusive aspects of it were ever present. Arthur is generally unsupportive of Zach's endeavors, frustrated that he is going into science and robotics as opposed to law. (Though I do think he'd have been trained or prepped for a career as a lawyer throughout his teens-adolescence)

Zach is the closest to his mother, with most of his fashion sense coming from her. Gotta love the turtleneck sweater! @novazentryx came up with the idea that he inherited his early black sweater from Tazzy Chris from her after it shrunk in the wash, loved that so y'know what! This totally applies here. Not only did he inherit the sweater, but also her V-necklace! (Which, if you have seen Zoey, is where she gets it from! As well as she looks strikingly similar to Kim. On that front I think that was a surprise from Aviva, knowing how close he was to her)

Spitballing with this one, but I think it would be interesting if Zach had assisted in pitching ideas for Kim's stories! What aspects of it I do not know, but maybe names for the characters. Mayhaps that is where he gets ZACH from? Don't ask what his deadname is, haven't thought of that and would prefer not to lol

I think that concludes my rambling! Do not really have anything else that is coming to mind at the moment, so feel free to ask questions or leave suggestions about these two! I will more than likely respond ^^ (To asks or replies) Thank you for humoring me and reading all of this if you're here lol, I really appreciate it!!

[ducktracy]

are you anti "sour-puss" daffy? that characterization of him is the primary one in my head. like duck amuck is epitome of daffy in my mind.

CRACKS KNUCKLES SO LOUDLY THEY EXPLODE. i’m giving my “HEADS UP THIS WILL LIKELY BE EXHAUSTIVE” warning now because i love love love love love love love love any chance to talk and analyze and pontificate about the duck. TLDR: YES AND NO

SO. i don’t consider myself “anti sour-puss” so much as i would consider my stance “if Daffy has to be more egocentric and miserly than he usually is then i prefer a very specific set of circumstances for this to be the case”. i have warmed up to the Jones and Freleng duck of the ‘50s onward CONSIDERABLY in recent years—there was a point where i just refused to touch any Daffy short made after a certain point because i knew it would make me frustrated and sad and mad and that’s, respectfully, ridiculous!

it took me watching the Speedy and Daffy cartoons to realize that Daffy in THOSE shorts is what i thought Daffy was in the Jones and Freleng shorts. it dwindles a bit over time (compare how he behaves in The Hunting Trilogy to something like Ali-Baba Bunny, which is a short i still have yet to come around to for that reason—i don’t like the “MINE MINE MINE GO GO GO DOWN DOWN DOWN” duck very much and my issue was that i thought he behaved that way in every single cartoon after a certain point which is thankfully incorrect!), but there’s still some nuance. by the time we’re getting to shorts where Daffy is saying “HOW MANY TIMES DO I HAVE TO TELL YOU NOT TO STARVE ON MY PROPERTY” is when i fully throw in the towel lol

another thing that’s helped me warm up is the realization that Daffy’s personality change is not nearly as objective as it’s made out to be. he has always had an ego, he’s always been reckless, impulsive, and yes, this absolutely includes the ‘30s shorts! Chuck’s Duck is Chuck’s Duck from day one with the line “not bad for a guy that never took a lesson in his life!”.

Scalp Trouble has Daffy on an ego trip fancying himself as an army general (and there is a legitimate, honest to god small dick metaphor joke in that short because he has this huge giant sword sheath that is indiscreetly phallic in design, only to reveal a tiny little dagger), ordering people around and essentially LARPing in this role we immediately know is way too big for him. and when it comes time to battle, what does he do but spend the majority of his time cowering in a corner.

he’s always had these traits! maybe they’re a bit more primitive earlier on, some other traits are a greater priority. but Drip-Along Daffy is one of my favorite Chuck Jones shorts because it’s basically a sequel to The Great Piggy Bank Robbery. and you could argue the same with Duck Dodgers! all shorts have him fantasizing about a hero role that is clearly too big for him to fill, and he is absolutely getting the biggest kick out of assuming this role. Drip-Along is still early enough to also have this sort of innocence and unflappability (that may more accurately be described as delusion or ignorance): when Daffy gets no reception whatsoever in the bar, instead of screaming at everyone to look at him, he just marches to the next order of business and indulges in his next part of his fantasy. this NEVER would have happened had the short come out 5-10 years after when it did.

likewise, the Daffy of the ‘50s and ‘60s is still insane, it’s just a different manifestation of how that’s the case. earlier on, he’s a bit more visibly unhinged. his HOOHOOHOOing fits are a catharsis that you can just FEEL crawling up his throat and dying to get out, and in the really early shorts you can see this sort of half and half battle between cognizance and succumbing to insanity (The Daffy Doc and Porky’s Last Stand especially come to mind). it’s an insanity that relieves itself through sheer manic catharsis. as time goes on, he matures a bit, he knows how to keep better wraps on it; the manners in which he gratifies his impulses just shifts.

and also, Daffy can still very much be a sourpuss early on! Bob McKimson’s Daffy, whose interpretation is very integral in my sort of mental default of who Daffy is, can be very bitter and cynical in particular! or, again, early shorts like The Daffy Doc or Scalp Trouble where he’s more argumentative and his ego is clearly much more tender.

the seeds of what Daffy would become have all been planted, and so that’s allowed me to bristle a bit less and lower my haunches. and i am making more progress in coming around to the later shorts! i’ve been on a Chuck Jones kick recently and been watching lots of Chuck Jones Daffy shorts and enjoying them. i love Drip-Along, Duck Dodgers, Duck Amuck, Deduce You Say, Robin Hood Daffy—i’ve even come around to Rabbit Seasoning which is kind of NUTS to me because there was awhile where i was acting like Bugs and Daffy shorts killed my firstborn. “pronoun trouble” is an inside joke with my friend and dear lord i laugh every time at Daffy’s reactions to Elmer falling for Bugs’ drag act, and the ENDING!!!! omg. i love it. i’ve come around to Beanstalk Bunny as well! it’s a great short!! in getting to know the duck better and understanding how nuanced his development is, i’ve gone a bit softer which is good.

i was just chatting about this recently—i think most of the thorns in my side come from the Daffy and Bugs pair-ups. what i like best and get most out of each character, i get none of when they’re together. i’d rather see Bugs behaving and doing something else, and the same for Daffy. i’m not opposed to a sourpuss Daffy so much as i really don’t like seeing him suffer. i feel like the Bugs and Daffy shorts “punch down” a bit more on him, and i still haven’t found a way to really properly articulate this… i’ll just copy and paste what i was saying the other day here:

Daffy earlier on has all the traits above we talked about, but the difference is that he isn’t really shamed for them outright? of course we’re meant to laugh at his cowardice as he says “go… back… in again….” to the giant towering rat gangster he screamed at to confront him, we’re of course supposed to laugh at the asininity and selfishness of him dodging the draft and taking the Little Man From the Draft Board down with him by locking him in a safe and suffocating him. Daffy isn’t exactly meant to be a role model (but that still doesn’t stop me from finding his bombasm and exuberance and zest for life extremely empowering!), but there’s less narrative pushback against it. seeing Daffy be Daffy and have every action be interrupted by another character rolling their eyes going “oh brother” is where i have a problem, it just sucks the air out of the room for me. especially when Daffy is made to feel ashamed or beaten down for this as well. that’s why i enjoy shorts like Beanstalk Bunny or Drip-Along so much, ending with stuff like “it’s a living!” or being contented in his new position that is often very degrading and a direct consequence of his impulsiveness. a huge part of Daffy’s charm for me is his resilience (even if that equates to ignorance at times), if he wants something he will go to absolutely asinine lengths to get it! and i love that! his drive is so admirable! and i just feel like after awhile that resilience is lost. the issue isn’t that Daffy is a loser, as he’s lost quite a bit before that—moreso, he doesn’t have that good humor about being a loser anymore

I’M ALMOST DONE I PROMISE. but my tags in that video post, as i said in them, i watched The Million Hare the other day which is a short i very much dislike. and it’s not really out of anger or “UUUURGH NOT MY DAFFY”, but moreso it just makes me SO. DAMN. DEPRESSED.

this is the most soul sucking image i’ve ever seen. i get genuinely sad that the cartoons have devolved to starting with “characters watching TV because they’re too bored to do anything, and Bugs just joins him”. no part of this is the resilient, impulsive, manic, pleasure seeking duck that carried us through the past few decades. and this certainly doesn’t represent the wily, impish, inciting rabbit of the past few decades either! Bugs has a greater excuse since i know there’s the pattern of his domestication and Jones’ rule of Bugs minding his own business before being provoked, etc. but man. this image just represents all of my problems with the later shorts and dynamics. the characters are hollow and so are the stories and the directors are checked out or moving onto greater things, and i think all of that just coagulates and manifests in the characters.

I HAVE SO MUCH MORE I CAN SAY but i’m finally realizing i’ve gone on way way way too long and don’t even know if i answered the question all that well LOL. don’t even get me started on “modern”interpretations of Daffy… [starts ranting about how TLTS killed my family for the 80th time as i’m gently lured into the nursing home].

BUT! to answer your question! i’m not really opposed to a more cynical and conceited duck because those traits have always been there, just in varying degrees of intensity. my ideal duck is definitely one locked in the ‘40s—Frank Tashlin and Bob Clampett’s Daffy have always been my favorite, but i’ve sort of adopted a coagulation of Art Davis, Bob McKimson, Norm McCabe and Friz Freleng’s duck as my mental default. i am extremely protective and loving and fanatical of Daffy, i love him more than any cartoon character and i resonate with him more than any cartoon character! i bet he too would also spend an hour typing up a diatribe on his character evolution and how he’s been sorely misrepresented. maybe. Daffy is one of the most varied characters of all time, and it’s really hard to pin him down for this reason. i like a duck that best has a bit of a balance between his traits, and i get more chafed when he’s made more narrow and transparent and just “flanderized” (for lack of a better word) to one or two tropes that then speak louder than his character. i prefer shorts that are more sympathetic and celebratory of Daffy rather than admiring how funny he is as a loser. which, he is funny! but IUNNO. i like a more upbeat and resilient and charming duck, and he can be all of these things later on, but it unfortunately does get fleeting

[batsplat]

Hi bat!!! I was the motogp beginner anon from a while back... About a month later and working my way thru old races from 2000 I have accidentally developed a deep and profound fondness of Sete Gibernau... is it fair to say he is THE prototype for everything Vale did to his later rivals? Your posts on him and their relationship are everything to me - they have given me much to think about, and also facilitated the brain rot! Any thoughts on their 'reunion & make-up' from 2014 onwards?

hi!! I really hope the race recs tag was useful lol, despite my obvious failure to actually finish answering that ask. and omg a sete convert!! it really is going to be half a dozen people soon, exciting times. I'm going to put a pin in the 'reconciliation' half of the ask because the other half was already long enough... and I decided to focus here on valentino's actual tactics rather than his emotions. I still think the sete rivalry did lay the emotional groundwork for subsequent rivalries - but I don't currently have all that many more thoughts from what I said here, here, here, here, here, here, and here (lol)

so yeah, I think the sete rivalry functions as a mix of a prototype and a warning - and it's the first bit I'll be talking about in this post. valentino does have a few rivals pre-sete who he has at least a little bit of tension with - biaggi most infamously, but also jorge martinez and harada in his 125cc/250cc days. and while all these rivalries are formative in their own right, they also come with a certain... spontaneity. valentino makes a flippant comment about biaggi to some reporters, a feud is born as a result. it's kind of the training wheels feud - valentino's just saying shit really, he's provoking biaggi sometimes deliberately and sometimes less so, it's all very earnest and youthful and unrestrained. while he's already a natural communicator, he's a lot less skilful in actually using the media to his own ends, to pursue an agenda or press home an advantage. he's just reacting to every situation as it occurs, leaving us with a feud that consists of mostly isolated flashpoints. that isn't to say there wasn't a sense of escalation - catalunya 2001 and its fistfight beckons - but it's missing a narrative arc... and the reason for that is that valentino is not quite yet exerting his authorial hand on events. obviously valentino is not, in fact, a god and isn't exerting perfect control how each rivalry unfolds - but it is noticeable how many of them end up having such a scripted feel to them. sometimes, this stage-managing didn't work out for him and he came out second best when the dust had settled - but more often than not, he played it to perfection. hence the nine titles

and it's that narrative autonomy that really becomes a feature of valentino's game during the sete rivalry. at first, this magic touch isn't really maliciously wielded against sete... they're not enemies, they're still going on holidays together, valentino is just using sete as a sounding board to work through some things. the stakes in 2003 aren't as much directly competitive as they are psychological - despite 'only' having a 29 point advantage 9/16 rounds into the season, valentino was probably always going to be fine on that front. he's not worried about losing the title... but he is feeling unhappy at honda, he is frustrated with how much he's being criticised, he hates to lose to sete. and so, he uses the humiliation of his sachsenring loss that immediately preceded the summer break, twisting it so that it becomes an inflection point of that season (and also that rivalry). he does all the mind games hair dyeing and decides to sign for yamaha and all of it, and then he bounces back to claim the victory at brno by .042s. where he does his extremely on the nose prisoner's celebration to perfectly define what that season was all about - he's breaking free and taking control of his own story. zero subtlety whatsoever. and that's the climax of the season... like, he's crowned champion in sepang (where he crucially brings back the prisoner celebration but indicates with the novelty lock that he is now free), and his defining victory that year is probably at phillip island... but essentially, his arc that year is resolved at brno. after that, he's reaping the rewards

this is still valentino playing it on easy mode relatively speaking but it's kinda freak behaviour to just decide he 'won't be taking any more prisoners', as he puts it in his autobiography, and then basically stops losing. uses his fury to drop fifteen seconds on the field in australia. remember this is the first time he wins valencia too, because he needs to say goodbye to his bike the correct way or whatever. okay

sete is a little bit incidental to the narrative that year - they're mostly just setting the stage for what's to come. we do get little hints... suspicions on valentino's part (whether founded or not) that sete was taking this competition business rather seriously after all. valentino's remarkably out of character face of thunder after losing at the sachsenring. how they're both playing off this rivalry as so so different to the valentino/biaggi fiasco... they're different, you see, they're friends! you can be rivals and respect each other. it's all fine. sete mainly functions as a plot device to put pressure on valentino - a new consistent rival emerging, one who wasn't supposed to be the challenger, a little older and smarter and without much of a track record of success. not the guy who should be challenging valentino. valentino is generally very pro the concept of rivals, even when he's obviously attempting to destroy them. he's aware that they're part of the show, that you need a great rival for a great fight, that beating the very best is what it's all about. also, obviously, it's an important way of motivating himself. valentino is made better for that sachsenring defeat, for having to sit with his mistake at the very last corner, for knowing he should have won that race and had allowed it to slip through his fingers. for that first half of 2003, he's all over the place, error prone, emotionally a bit of a mess - he's been winning so much, it really isn't hitting the same way anymore. he hasn't been winning the right way. sete reminds him of just how much valentino hates to lose. and valentino learns the lesson gladly

now, 2004 doesn't have quite so neat a turning point, and instead features multiple moments where valentino acts to take control of the season. the drama starts early, at welkom, featuring a bit of a biaggi cameo appearance at a time where biaggi was no longer valentino's major rival (though he does still feature in that year's title fight). as valentino describes in his autobiography, he knows demanding victory of himself and his team wasn't a realistic expectation for that race - but sometimes, you just have to tell yourself a story, engage in a little self-delusion... and, hey, maybe you can turn that delusion into reality. after that, it looks for a little while like that success might have been illusory, like valentino might be on the back foot on his weaker bike after all, with sete's back-to-back victories at jerez and le mans. and then you get another inflection point - the trio of races, mugello, catalunya and assen, where valentino takes control of the season after duelling with sete for the victory back-to-back-to-back. each race comes with its own special significance, from sete's rain dance comment at mugello and alleged yellow flag infringement, to his defeat on home turf at catalunya, to his inability to successfully play the gracious loser at assen. the cracks are appearing in the friendship, yes, but valentino is also wrenching back momentum to his side in rather a dramatic fashion. from then on, it looks like he might be able to see out the season in a straightforward manner

except, of course, he can't. because then you get qatar. I do increasingly feel like I have a fairly good grasp of what Really happened, but that's for another time... the key point is that it's a humiliating experience for valentino, both the penalty itself and then the crash, and it's one where he completely loses his head in a fairly uncharacteristic manner. plus, he hurt his pinkie finger. valentino could have emerged from that weekend cowed and chastened, having to backpedal on some of the... more creative remarks he'd made about sete. clearly, sete was expecting that valentino would do so - or at the very least not continue to escalate the hostilities. and it is during that sepang 2004 weekend that valentino's stage managerial skills are truly allowed to shine. the high drama of the presser, valentino's refusal to concede any ground to sete as sete had to realise in real time he'd wandered into the wrong genre and his previous close friendship with valentino counted for nothing. valentino's subsequent domination of the weekend, the imperious form as sete buckled when the title was in sight. the cruelty of valentino's celebrations, making sure to properly twist in the knife while he had the chance. title fight back on track

after that, of course, comes the process by which valentino unravels sete entirely. he presses home the advantage at phillip island, taking quite a few risks to snatch the win from sete on the very last lap - he did not have to win the race to win the title, but he did so anyway because he needed to beat sete. call it an investment for the future. the opening round of the following season brings with it the rivalry's single most dramatic moment that... well, it doesn't quite end the rivalry, as discussed in this post sete does still have plenty of chances to win in 2005 - but essentially valentino ensures at jerez that he will have an enduring psychological advantage. a victory that really should never have been dramatic! valentino learned his lesson from the sachsenring, he wasn't trying any dramatic last lap overtakes. he overtook sete with three laps to go at jerez, which should really have been that. as detailed in this post, it's his last lap mistake that even necessitates that dramatic final corner overtake. now, as it happens, everything works out perfectly for valentino. losing a home race like that on the final corner is absolutely brutal, valentino's deftly played post-race theatre and the perception that sete didn't stand up to him only makes things worse. valentino was always going to win the 2005 season, but he ensured in the very first race that there would not even be a title fight. but again! crucially! valentino was not planning this! the last lap of the race was very much not what he was intending to happen - it was an error on his part that could have easily cost him the win in rather painful a fashion that started all of this. valentino is ready to risk a crash when he shoves it up the inside of sete... his desperation is key, but so is his lack of planning

so that's where we're at with the sete rivalry... high drama, all these turning points and on-track and off-track theatre that coalesced into a narrative - of which valentino was the master. it feels different from the biaggi rivalry... this isn't just two guys that hate each other, it's a story. and when you frame it in those terms, when you speak to how it feels like valentino is flexing his authorial hand in helping these events unfold... well, then you do start seeing the blueprint for subsequent rivalries. the 2008 and 2009 seasons have a key similarity: a single race that completely changed the momentum of the season, remembered in part for a single highly memorable overtake that valentino inflicted on his title rivals. so if you take that trio of races - jerez 2005, laguna 2008 and catalunya 2009 - you're in a situation where valentino's three most famous overtakes weren't just fun or memorable in their own right, but fundamentally changed the dynamic of their respective rivalries. which... I mean, that feels unlikely, right? sometimes, dramatic races just happen - there's no guarantee they're going to completely transform the rivalry as well as the season. once can happen to anyone, twice is pretty striking, but three times? bit odd innit

I've already talked about this a bit here:

and I've just posted about this in considerable more depth in the context of the 2008 season, which we'll circle back to later. it's one of the most interesting seasons in terms of how the momentum shifts happen over the course of the year, which is why I've detailed the build-up to laguna in considerable detail on this blog. see posts on mugello, catalunya, donington, assen, sachsenring, and laguna itself. here's a basic overview of how the 2008 season unfolds:

the key turning points are valentino getting to grips with the bridgestones, the post-race catalunya test where ducati finally gets their shit together, and then the race at laguna. I don't think you quite get the sense of how dramatic a turning point laguna was if you just look at the results - it's important to emphasise that despite still being behind in the points, casey was the title favourite headed into that race. the idea was that once casey and ducati got going, we could easily be in for a repeat of 2007. just total domination. casey wins those three pre-laguna races very comfortably, having basically led every single practise session throughout those weekends. by the time you get to laguna, it's his fifth straight pole position. even if valentino comes in second to casey every single time for the rest of this season, the points gap is at this stage still way too small for that to work out for him. if you told someone before the race at laguna that casey would win every remaining race that season - sure, it wouldn't have been likely, but it definitely would've been seen as plausible. quite frankly it would've been seen as plausible even right after the race at laguna itself, as is reflected in the discourse in the immediate aftermath of the race

in 2009, the title fight is looking extremely open headed into catalunya. valentino is actually third in the standings before that race, behind casey and jorge - though of course nobody knew at the time that casey would not be in title contention for much longer. there is again this slight sense of valentino having his back against the wall... horrendous race at le mans, then brings it home to third in a similarly messy race at mugello because he knows he can't afford to be throwing away any more points. which... losing at mugello? the race he'd won seven times in a row? the one race in a season where you could reliably pencil in valentino's name as the winner, even if he often achieved his victories in rather chaotic a manner? the italian press was not happy with him, and even less so when jorge beats him to pole at catalunya. there are several references in the race commentary to the italian press writing valentino off, calling him washed (to paraphrase), which is objectively a teensy bit of an overreaction but. y'know. getting consistently beaten by your younger teammate is just not a good look. valentino needed that win at catalunya, both him and jorge desperately wanted to beat each other in a direct duel - and all in front of jorge's own home crowd

which, again. it all just feels scripted, doesn't it. that's what we're coming back to here - this feeling that from the sete rivalry onwards, valentino somehow manages to control the narrative to such an extent that things just keep perfectly working out for him. he wins both laguna and catalunya, everyone remembers those as two of his greatest victories - not just because he needed the win but because of how he executed them. the corkscrew, catalunya's final corner... these defining images that have outlasted the context of the seasons in which they happened. and crucially - crucially! they actually do manage to completely change the profile of their respective seasons. 2009 is a bit messier, though broadly speaking valentino is in control of that year's title fight post-catalunya. let's bring back 2008's results:

that laguna to motegi run? absolute sicko behaviour. casey is the faster rider at the very least in laguna, brno and misano. motegi is valentino's title-sealing race. valentino isn't really the title favourite anymore headed into laguna, and he literally does not lose another race until he wins the title. competing against prime casey. how does that happen, right

so that's the case for sete being the prototype: it's the authorial intent that's striking in these subsequent title-winning seasons, something that originated with sete. you just have these races where it's like valentino draws a little red circle around the date on the calendar and goes, 'okay, this is my momentum switch race'. like sepang 2004, his back is against the wall and he manages to change the complexion of the title fight in a single weekend. like phillip island 2004, he won't be denied his fairy tale victory. like jerez 2005, a single dramatic overtake permanently changes the rivalry. which is all well and good, but there's an obvious follow-up question. how is valentino doing this? why do his rivals not simply say no to being woven up in his dramatic narratives? why is he being allowed to pick and choose his momentum switch races? how does he keep getting away with this...

and it is at this juncture that I will present my five-step plan to playing god in local motorcycling competition, a foolproof (mostly) way of ensuring that the fates intervene on your side. here goes:

choosing the occasion

going in with a plan

playing the 'joker'

milking the moment

bite harder when the opponent is already bleeding

there you go. that's the lessons he learned from fighting sete that later allowed him to script his rivalries. I've cracked the code

let's go through them one by one. the thing is, valentino really did pick his momentum switch races in both laguna 2008 and catalunya 2009. obviously, he couldn't have predicted things would've worked out quite so perfectly for him, but he wasn't just playing it like any other weekend. and both times, he made a great call. at laguna, it's notable that he tells his confidantes he does not intend to let casey win the eve of the race - aka after qualifying has already taken place. laguna might be a track casey was incredible at the previous year and valentino had a rather mediocre record at, but at least valentino knew he'd be lining up right alongside casey. he still needed to get a decent start, a metric in which casey is exponentially more accomplished than valentino, but at least it was theoretically possible for valentino to be in casey's vicinity (unlike at the sachsenring). the track layout of laguna also lends itself to the kind of race valentino was intending to execute in a way that, for instance, the next race at brno just wouldn't be as suited for. laguna is narrow, fast, scary - not a great track for overtaking. which makes defending against a substantially faster rider a way more feasible proposition than it would be on the considerably wider brno track. laguna was also just before the summer holidays, which is kind of a great time to inflict a humiliating defeat on your opponent - you're making them sit with the defeat for a few weeks, rather than letting them wipe the slate clean a few days later. (some might say it's preferable to immediately have more races so you can strike while the other party is still vulnerable but, well, that kind of summer break gap is fantastic for lasting psychological damage.) plus, the mismatch between casey's and valentino's laguna record was such - the momentum casey had built up was so considerable - that absolutely nobody was expecting valentino to challenge for the victory. more detail on the pre-race chat here

biblical levels of over

so yeah. this is obviously easier said than done, but there's really no better race to win when the pre-race rhetoric reads like that. catalunya 2009 has a similar combination of circumstances that make it the ideal momentum switch race... like laguna, it's when valentino really really needed a win. unlike laguna, it's a circuit where valentino has an excellent record at - and has been known to win quite a few duels in his time (as well as lose a rather memorable one to casey two years ago). it's also a circuit where jorge is strong, and unlike with laguna it's no real surprise that the two of them will be fighting for victory. a good circuit for racing and crucially also one that is good for valentino's racing - obviously, it's the last corner overtake that lives on in everyone's minds, but valentino has made much use in his time of his ability to brake particularly deep into the infamous turn one. and of course, it is jorge's home circuit. after beating valentino at his home track at the last race, there is nothing jorge would have liked more than to win in front of his own fans. he's even got a special livery... his celebrations if he'd won that race would have been something to behold. no better time to beat him... even better that there was a moment when jorge will have thought he already had the race won... like casey, element of surprise - just at a different point of the weekend

so, onto the next step. going in with a plan. again, obviously valentino could not have foreseen either of his infamous overtakes unfolding exactly as they did - but it is a case where you can trace back the overtake itself to his intentions going into the race. it's not just a complete coincidence he happened to pull off these specific overtakes in the most dramatic manner possible in what happened to be very important races... in both cases, the overtakes were a logical consequence of valentino's pre-race planning. at laguna, valentino knew that he could not allow casey to get away in front. the entire race was built around the single principle that he had to discard his preferred approach of shadowing his opponents, and instead had to go all in on disrupting casey from the front. by the time the corkscrew overtake happens, lap four, it's also pretty clear where each rider is strong and where they are weak. for all the fighting between the pair of them, casey doesn't actually cross the line of any single lap in first position. that's because valentino knows that casey cannot be allowed to do so - with the ducati horsepower and casey's own skill, casey is inevitably stronger out of the final bend and into the first corner. if casey is allowed to lead there, it's basically game over. all the overtakes in that race between the pair of them happen in the bits of the track that are at or before the corkscrew - and the corkscrew is the last bit of the track where valentino has an actual edge over casey. so, if you've committed yourself to beating casey whatever happens, if you know that you cannot allow him to lead out of the final bend and you're basically on your last chance to prevent it, if you've committed yourself completely to that strategy... well, you're going to stick it on the inside of your opponent, come what may. obviously it still takes a lot of skill and luck for valentino to survive that off-track excursion, but it is essentially a more dramatic repeat of the overtake he executed on lap one. it's a consequence of actual strategy, not just spur of the moment genius

with catalunya, if anything it's even more straightforward than that - valentino tells reporters afterwards that he'd been visualising that final corner overtake in the week leading up to that race. obviously, he would have preferred not to be behind jorge at this point of the race but... well, he knew he had an ace up his sleeve, if he could just pull it off. and he knew he could pull it off, because he'd executed that exact move on casey two years before - as casey jokes about in the presser - just not on the final lap. obviously this is also a case of dramatic irony very much haunting jorge - who, for reasons that remain mysterious to me, went around the week before that race telling reporters that whoever was leading into that part of the track would have the race won. jorge's mental rigidity and his refusal to defend the line properly headed into a corner he assumed valentino would have no hope of overtaking him in is what cost him that race victory. so again, like with laguna, obviously this could very easily have not come off for valentino, obviously it could've gone pretty disastrously wrong. but also... well, valentino had thought about the possibility of needing that move before the race, he was mentally prepared, he'd already tried it out a couple of years earlier - it didn't just come completely out of nowhere

the next step is pretty simple. 'joker' refers to this clip of valentino talking about having bonuses... these moments each season where you can risk a lot and go beyond your limit. don't try your luck too often, but you've got to have a few times where you go that extra step. this obviously doesn't really make sense in terms of like,, tempting fate, that's not how probability work - but it is useful in terms of the underlying psychology. this way of allowing valentino to let go of any inhibitions, to ignore any considerations for his own safety, and instead make a deal with fate... these are the races where he will do whatever it takes to win and he trusts that fate will have his back. and yeah, various races that have been mentioned in this post must surely fall in this category. phillip island 2004, where he makes daring last lap overtakes in the penultimate round of the championship - if he crashes, he's going to have to try and wrap up the title at his bogey track. catalunya 2009 - that last corner overtake could easily, easily, easily have gone wrong, and left valentino in the extremely awkward position of having taking out both himself and his teammate to leave their chief rival with a cushier championship lead. both valentino and especially jorge have alluded to the risk of that move... yes, it's not discussed in quite the same terms as jerez 2005 or laguna 2008 - there was nothing wrong with the move, no contact, it was completely clean. but but that didn't make it any less risky

and the most obvious example is, of course, laguna 2008. valentino has straight-up admitted he was willing to do whatever it takes to stop casey from winning that race, which could easily have involved taking out both of them at a downright terrifying track. it's part of the reason why casey took so poorly to valentino's conduct - less than the actual moves, it is the mindset behind them that was so objectionable to casey. valentino made a bargain with the universe that he would ride without any fear or caution on a track that generally tended to make him quite nervous (didn't even think the corkscrew was suitable to walk down, mind you) - and it's that bargain that allowed him to throw the bike down a terrifying blind corner into the direct path of his title rival. which is all well and good, but. uh. casey didn't get to sign up for this

then you've got milking the moment, which is such a key element of immortalising these races. at sepang 2004, valentino has his nasty pre-planned sweeping celebrations to make fun of sete. at jerez 2005, it's all spontaneous - he's reacting to the animosity of the crowd and hamming it up with absolutely zero restraint. pumping his fist, waving at the crowd, jabbing his finger around... the drama of parc fermé, the fourth wall break to take the piss out of sete's injury en route to the podium, the performative celebrations to really stick it to the spaniards on the podium. the way valentino makes use of his celebrations as another weapon in the psychological warfare arsenal is discussed a bit in this post, including with a pretty lengthy section on the laguna 2008 celebrations. the key bit is that he already knew the lap four corkscrew overtake would be everyone's defining memory of the race - so that was the thing he immediately paid tribute to

the post also discusses how he behaves around casey in the immediate aftermath - how he just will not leave the poor bloke alone... it's something valentino doesn't really do with rivals who have just lost a race, he's not that type of confrontational character. which partly reflects the specific shape of his relationship with casey, but most importantly comes from an awareness that casey is not doing himself any favours with any of his post-race reactions. like, yes, valentino is clearly having fun teasing casey - but he also knows that casey is going to get shit for this behaviour, and the more of that is caught on camera the better. valentino even gets such a lovely rise out of casey when he interrupts casey's tv interview - giving us casey refusing valentino's handshake with cameras and microphones conveniently at hand - that he deploys the exact same tactic with jorge at catalunya 2009. to jorge's credit, for all that he clearly was very pissed off with valentino's celebrations, he manages to play it cool in front of the cameras and puts in one of his better performances as the gracious loser. which (beyond reflecting how valentino feels towards jorge vs casey) probably also helps to explain why valentino wasn't bothering him for the rest of the podium ceremony - it is jorge who pulls valentino off the podium to give him a proper hug, not vice versa

still, catalunya 2009 is in the same camp - because jorge and his team were pretty vocal in the 2010 title-winning documentary how irritating they found the triumphalism of the celebrations valentino and his team put on. again, it's valentino going full ham - yes, valentino likes his celebrations, but he does generally like to play it a bit more cool and jokey and above it all... not shaking his fist about so ferociously you worry he'll throw himself off the bike. there's also of course the lovely little touch of valentino securing his 99th win at catalunya 2009, a sign that the fates may actually for real be on his side -

- which, like with the corkscrew at laguna, is of course something valentino had the presence of mind to pay attention to. more discussion of this too in the 2008-10 jorge/valentino rivalry post

so yeah, milking the moment. making sure everyone remembers the race - and everyone remembers the best bit of that race. making sure it hurts as much as possible for the opponent, whether that takes the form of consistently hounding them or just being incredibly triumphalist in front of their home crowd. if possible, have a stab at letting them stitch themselves up as publicly as possible

might not be a lesson valentino learnt directly from how sete's reaction at jerez 2005 in parc fermé was seen as inadequate - but it's the kind of thing that does make you understand the importance of The Moment. these immediate reactions matter... valentino could play the gracious winner easily enough, but his rivals might well have been doomed whatever they did. sometimes it's about ensuring your opponents only have bad options, right?

and lastly. all of this would have been completely pointless, just an utter waste of time, if valentino had then gone off to crash in the next three races. this feels like one that's flirting with stating the obvious - yeah, no shit, it's better for you to keep up momentum after your big momentum switch race than to lose it again. but it is key! if you're making such a big fuss about your big dramatic win, then you've got to lock in and actually make them suffer... hurt the opponent when they're already bleeding etc etc. again, the 2004 playbook is instructive here - valentino promises sete won't win another race, and then he locks in to win the next three himself. one pretty comfortably after tormenting sete all weekend, one after a dramatic last lap battle, and the last at his bogey track (the final time he won there in his career). in 2009, this isn't all that spectacular - valentino wins the next race reasonably comfortably, but also... y'know, it's assen, he's good at assen, jorge has a more complicated record there. does allow him to secure his 100th win at the first time of asking. the other key moments that season is pulling off the sachsenring win by 0.099s (a margin he didn't commemorate but I'm sure he noticed), the misano win after the indy flopfest where he did the donkey ears celebrations, and doing such a good job phillip island pre-race that he managed to spook jorge into a first lap error. catalunya is the clear turning point that season, but valentino is also helped out by how casey becomes increasingly competitively irrelevant after that point. who knows how that season would have gone if casey, who obviously had not been psychologically affected by catalunya, had still been healthy. 2008 is more clear cut in that regard... I've just put out a post that discusses in plenty of detail how the immediate post-laguna stretch goes horrendously wrong for casey, but of course it is pretty notable that casey has his first ducati race crash at laguna and then immediately follows it up with another two out of the lead at brno and misano. it is also a span of races that is EXTREMELY relevant to the thesis of this post, since the writing around those races repeatedly pays direct tribute to the idea of valentino the storyteller:

or valentino the witch, whichever you'd prefer

as I repeatedly stressed in that post, there are absolutely other reasons why casey just happened to have that particular string of poor results - ones that have nothing to do with valentino's ability to exert pressure or cook up nasty spells. obviously, a big caveat in this entire discussion is that however you slice or dice it, the way all of this unfolded for valentino still involves a heavy helping of good fortune. but, well, you make your own luck!! valentino built a reputation for breaking his opponents off the back of putting a curse on sete - which means that by the time you get to casey, you've got people speculating about whether valentino is using black magic on the guy. it's a reputation valentino built on merit, but it's still one that acquired a kind of mythical status... and valentino was able to use that in its own right. those infamous skills of putting pressure on his opponents - ones that for a while there had extremely noticeably (and worryingly) not been working on casey. pick your fighter, a voice in your ear whispering to you mid-race or an invisible hand prompting you to make errors

and that, ladies and gentlemen, is how you write your own sports narratives. make your rivals despair in five quick and easy steps

IN CONCLUSION. obviously there's also other ways in which sete served as the prototype for later valentino rivalries - again, plenty of this blog has been dedicated to detailing the emotional repercussions of that feud and how it may have affected valentino's approach going forwards. but!! I wanted to take a different approach in this post and really just focus in on the actual sporting implications... how interesting and intricate momentum is in terms of its sports psychology, how adept valentino is at deliberately picking and choosing his moments to rewrite the narratives of a given season + rivalry. momentum is one of the most important psychological aspects of competition and obviously valentino is hardly the first athlete to be particularly skilled at twisting it to his advantage, but you have to give him credit for doing so in such a dramatic and also fun manner. not everyone can use curses to ruin their rivals

and yes, of course valentino did get lucky for some of these races to go so perfectly for him - you cannot plan the corkscrew overtake or that final corner catalunya drama, and both of them are so risky he would rather have avoided him. but on the other hand, yes, I still think there's enough evidence here to suggest he also made his own luck. very accomplished in using the psychology of competition to his advantage! and a lot of it did start with sete - the first rival against whom valentino wasn't just reacting. what valentino did to sete was more than that... it was about taking control of the narrative. a lot of what valentino did to his subsequent rivals, especially in the context of winning the 2008 and 2009 title fights, can be traced back to tools and tricks he first started wielding against sete. sete was the emotionally fraught trial run - what valentino did in 2008-09 was the actions of a man who had already mastered his craft

[rockymountainqueen2]

Back to the Swamp rundown!

So...

Disney Channel's YouTube account just released a new TOH chibi tiny tale.

And it's a crossover with Amphibia!

Here's my summarization of the events.

It begins with Luz meddling with the good 'ol portal door.

I'm not sure what she's expecting to accomplish, but Eda and King evidently found it interesting enough to watch. Eda even brought popcorn!

But whatever Luz did, it worked!

I have no idea when this is supposed to be occurring within the series timeline by the way. Luz is wearing season one outfit, has access to the portal door, which is also not destroyed.

So, season one, right?

But Eda has her post "Let the pain be shared" silver eye... And her season two dress for that matter!

Ah well, onwards to adventure! Eda is all for it!

King is a bit more... concerned, but comes along too.

Doesn't stop him from being mystified about the wildlife, though.

I guess Luz was trying to get back to The Human Realm?

Because she seems utterly shocked by the sudden realization that man-sized insects means that she can't possibly be on earth, lol.

But luckily for the denizens of the owl house, they've landed in Amphibia! By Wartwood! Right in front of the Plantar family home!

While Anne's friends Marcy and Sasha were visiting no less! What luck!

Anne and Luz formally reunite and introduce their respective families/friends to one another. It's very cute.

Sasha and Eda evidently decided that they just had to have an arm wrestling competition.

Sasha uses the powers gifted to her by the Calamity Box in order to win, lol.

But Eda gets the last laugh!

Then Marcy and King play a board game together.

Annnnnd she also uses her Calamity Box powers to win.

Girls, you do realize that's considered cheating, right?

Hooty also makes an appearance.

I guess he was wondering where everybody went?

Polly proceeds to use him as a jump-rope, lol.

I'm surprised that Hooty isn't more into this, but maybe he was genuinely worried about the people who live inside of him and didn't appreciate being used a kid's plaything after braving the unknown in his best effort to find them. Lol.

Meanwhile, Luz is showing off her sick glyph skills!

...Which I just realized, probably shouldn't work in Amphibia.

Ah well, we wouldn't have gotten this nice moment where she and Anne show off their magical powers to each other otherwise!

After all is said and done, our heroes settle down to have a meal.

I'm reasonably certain that they're eating bugs. Yum, protein.

Hop Pop and Eda are doubtlessly exchanging tips on parenting orphans and their other-dimensional friends, lol.

Throughout this whole adventure, the portal door has been... shrinking?

Because... the writers needed a reason for Luz and Co to have go back to The Demon Realm suddenly?

XD That's my best guess, as I don't recall there ever having been a time limit when it came to using the original portal door. It was kinda OP like that.

Anywho, Luz and Co need to leave immediately. Anne and Luz are quite sad to see one another go.

King really wants to make sure to say goodbye to everybody properly!

To the point he was a little too preoccupied to notice the portal door closing on him.

Also: Hop Pop faints because he thinks he just saw a little kid get decapitated, lol.

Meanwhile, back in the owl house, Luz is sad that she had to say goodbye to Anne. Eda comforts her, it's a sweet sight.

What isn't such a sweet sight is what King looks like minus his skull.

Although King himself is rather nonplussed about the whole thing.

Like mother, like son. Lol.

Luz is completely and totally horrified by the sight of King...

And that's the note that we end on!

Overall, cute little short.

And as a bonus...

XD This is officially canon now.

[goofy-gang-in-the-wacky-chat]

OK LOSERS ITS LORE TIME!!!

so basically a mutant is a person who is born with both physical abnormalities and supernatural abilities! wow!

mutations are passed down genetically after manifesting. mutants are usually split into three categories:

gen 1:

first gens are mutants who randomly manifest from non mutant parents. their powers and mutations are a lot more noticable. Iris [say hi people] for example has the ability to completely manipulate all of a person's senses causing all kinds of hallucinations that can be indistinguishable from reality. her mutations are pretty obvious, the mouth face, the tail, the skin discoloration

gen 2:

vivian is a second gen mutant, that means one of her parents was a first gen. she inherits lesser versions of her parents mutations, she has four eyes while her mother might have had eight, some mutations are already completely absent at this point. she also has a lesser version of her mother's abilities, she can look up to 2 weeks back into someone's memory!! :3

gen 3 [and onward]:

and finally frans is third gen! [meaning one of her parents was gen 2, you get it] her only mutation is her 2 tails and her only power is being able to move light objects with her mind. after this point the difference from non mutated people are practically invisible.

while there's really not a reliable way to tell if a mutant child will be born to a set of parents what is known is that when there are more gods active on earth more 1st gen mutants will be born!

*i call them pseudo angels/demons because their resemblance to the bibles depictions of angels and demons is a coincidence lol

aside from the solitary instances of mutant-folk their are also the mutant species. these are groups of people whose ancestors made deals with various gods to allow them to be reshapes them as the god wanted so they could gain powers in exchange. :]

angels are associated with the god of light and are unaffected by physical damage.

demons are associated with the god of fire and can learn pyromancy.

and merfolk are of course associated with the god of the sea and can live underwater.

just because a person is part of a species created by a certain god it doesn't mean they wont worship others, ninas family [the demon in the picture] actually choose to worship the god of creativity :]

[chibishortdeath]

Ok weird opinion of mine I guess idk how to start posts aaaa

I think Simon’s “barbarian” design really works story and character wise.

Yeah, it’s silly and absolutely not historically accurate whatsoever, but it kinda makes sense in a certain weird way.

We know from Lament of Innocence and Dracula’s Curse that the Belmont family is generally on rough terms with the public. Leon gets his title taken away and, even though he gets his sword back at the end of the whole Walter situation as confirmed by how Belmonts onward have that sword, he’s still generally kinda shunned for going against the church’s wishes and the tail end of the crusades happening at the time. And Trevor is straight up banished from the country for fear of his strength. He’s much isolated from other people off in the house in the woods until he’s called to help fight against Dracula and gets some friends on the way.

And this kinda sets up the situation that the family was living in during Christopher’s time. The Belmonts are social outcasts; their existence is acknowledged, but they’re not really associated with or thought of very highly at this point. So, it wouldn’t be unlikely that they just wouldn’t really care for or be caught up with social expectations like fashion. When people are going to be wary of you regardless of what you do, why not dress however you want? Especially if you know no one’s going to do anything about it! Especially if it’s practical; the longer, looser sleeves and pant legs of the time would be restrictive in a combat/acrobatic context. So Christopher probably just wore whatever he wanted, and to be fair he doesn’t really seem to interact with anyone besides family very much.

First I wanna mention that I am completely aware that Simon was designed way before any of these other characters. But these characters are chronologically before him and can explain where he gets these design choices from in universe.

So, what about Simon then? Well, Simon has a lot of themes of wanting to be like his ancestors. Christopher is directly mentioned as someone he wonders he’ll ever compare to. Judgment shows him looking up to Trevor as well, and even though that game is of interesting canon status lol, it’s an example of that character element being used again. And this is reflected in his barbarian designs! The cape he wears in the manual drawings resembles the cape Trevor throws off in the opening of CV3. The general light armor and skimpy clothing is reflective of both some of Christopher and Trevor’s designs. The metal armor in Simon’s Quest being reminiscent in shape to Trevor’s on the CV3 box art. It just makes sense that Simon would be trying his damnedest to emulate the guys he’s been looking up and comparing himself to his whole life.

And the sudden transition from the barbarian look the family had for years to the more with the times fashion that Juste has makes a lot of sense considering Juste grew up in a time when the family was highly respected and in the middle of town, somewhere where keeping social expectations and appearances would be expected of him.

Idk if any of this makes sense, but aaaaaa random stream of an idea I guess. I like Simon getting to being weird and out of place for his time period and country lol. Also I’m not saying that other designs are bad!!! I like all of Simon’s game designs tbh, Ayami’s is really cool too and works for some of these points cause it’s also kinda barbarian esque but just in black and red, I’ve cosplayed it before lol. Yeah idk that’s it and I am sleepy goodnight—

[torchstelechos]

that everyone loops AU makes me insane bc we know that siffrin is fairly observant even if they miss stuff (... missing eye) a lot.

which means everyone has to be constantly whispering to communicate when they think siffrin isnt listening. which siffrin would. 100%. so obviously pick up on the literal first loop onwards. and they'd NEVER improve their opsec because siffrin would NEVER even let out even a remote hint he can hear them whispering and talking without them. even if they cant make out the words

actual hell for siffrin "my family hates me actually" nolastname

It does make me insane actually, I know I like to joke about Siffrin being oblivious but a lot of his general "oblivious" nature comes from a variety of things that would NOT interfere with their ability to realize the party is hiding stuff from them. As you said (and iirc Basilpaste has mentioned), their eye causes them a lot of trouble as it's a recent disability that interferes with their ability to find things (the key in Euphrasie's office and the key in the mirror room + the trap in death corridor) which would explain his general "oblivious" nature when it comes to physical things such as the counter. Its a disability! But he doesnt react to it as such! So a lot of the fandom tends to also forget that it's interfering with their own perception of how Siffrin see's themself and the world. Then, we also have their "oblivious" nature to social interactions but honestly, a lot of it comes from his memory issues (losing a TON of cultural identity and language can absolutely fuck up your ability to ask about certain things) and his self esteem/mental issues that make it so that he can't accept that they are desirable or wanted so... good things tend to be assumed to be something he made up or isn't true despite it being true. (I highly doubt that Siffrin isn't aware on some level they are loved and cared for by the party, it's why some of the scenes in the game hit harder for them because they know! He does! He just can't accept that reality)

Having said all this, it makes the scene's where the party tries to play keep away with information even worse! Because that's Siffrin's whole job! Knowing when things are sketchy or bad, as to keep everyone safe from unexpected things like traps or blockades is his job!! It is literally his job description, and as much as the party tends to overlook this, Siffrin would catch on as soon as it became apparent even Bonnie was in on it. I'm sure Siffrin could write off Odile, Mirabelle, and Isabeau discussing something in whispers if they thought it had to do with Bonnie (this Siffrin would still think Bonnie hates them and wouldnt understand why) but at the point that even Bonnie is clearly in on it, it becomes apparent that Siffrin is the only one out of the loop (lol). Which, holy shit, the absolute wreckage of realizing you are being kept away from something that a child is in on... the only reason that happens if its something about you specifically. And as you said! Siffrin wouldn't say anything! Because they want to stay with the party, so if they help, and do better, maybe they can get back in the parties good graces? Maybe if they help more, maybe if they can do something that the others cant, they can be kept around? Even if its not for the same reasons Siffrin wants to stay with them, maybe they can get the others to want them to stay? None of this gets communicated because if its something wrong with Siffrin, then they have to fix it himself! Which gets the oroboros tail stuck in his mouth, because the more Siffrin tries to help in this au, the more they fuck up the plans the others have. Its so messed up!! I love it dearly.

This is Bonnie's secret quest dialed up to an 11 on how much it hurts Siffrin and the party would literally never realize this until it hits them in the end. Like oh god, I think I would simply have to make it up for Siffrin forevermore after the loops lol. Patron Saint of go fuck yourself over here is a sniffling sad wet cat of a fella. I love this au, I love it so much

[bigskydreaming]

IWTV season finale (or more accurately the second half of it, from the end of the interview onward) has me positively vibrating with the implications (or at least my interpretation). Midway through the first actual meta I feel like I've written in years lol, but I've always felt like the series' meta narrative was ABOUT the power of narratives and all the ways they can distort the truth, make myths out of past events, turn fact into fiction and reframe and recontextualize things in all manner of ways......

From the editing of Claudia's diaries to Armand's memory manipulations to Louis' unreliable narration to the very format of Daniel's interview to the story Armand tells about Claudia's fate and how that shapes the story of Louis' life with him and on and on and on.....its a hugely sprawling, intricate web whose sole common thread is the reality that everyone's history is only history to THEM....to everyone else, its a story told to them....either BY them, or by someone else ABOUT them, or in some other way rendered mutable by the power of secondhand narration and all the ways intentional and even subconscious biases can reshape it.

I mean, even the facet of this in which Daniel's book IS as factual as possible, and is taken as such by vampires, but to humanity it reads as fiction because they view vampires as inherently fictional, and how this thematically ties back into how easily the lines between fact and fiction can be blurred merely by virtue of what you're willing to ACCEPT as true and capable of existing, vs what you WANT to be true and capable of existing, and what you'll go to any lengths to deny ever COULD be true or capable of existing.....

The paralleling of all this with the beginning of the season starting with Louis and Claudia's quest to find other vampires, whom they weren't even sure existed, and how much Claudia WANTED it to be true that there were others like them, and how quickly the very thing she searched for turned into the very thing she wanted to get away from when the reality of those other vampires turned out to be different from what she'd hoped for....

How much of what Armand said and did was built upon the foundation of knowing it played into what Louis would PREFER to believe had really happened, because the reality of who ACTUALLY saved him would by its very nature challenge certain things he'd long accepted and internalized as fact in order to make his peace with how things went between him and Lestat, ie the idea that Lestat was inherently monstrous, just look at the proof that lay in the monstrous things he'd done, ergo he was predisposed TO assume that it must have been Armand who saved him, because Lestat just wasn't capable of that, would never even WANT to, and the simple truth that regardless, he DID, subsequently required reconciling that with his fundamental perception and understanding of Lestat as of that point in time, and the fact that Armand's house of cards was in reality so, so FLIMSY, and vulnerable to toppling with just the right push but it still lasted for 77 years because it had been built upon the foundation of Armand's awareness of just how badly Louis NEEDED reality to be that simple:

Armand loved him and was there begging for his forgiveness for his part in things, ergo, of course Armand would have saved him when he had the chance.....vs Lestat had never loved him and would never in a million years genuinely apologize for anything he'd done or even admit he was wrong, let alone forgive Louis and Claudia for what they'd done to him, ergo, of course Lestat would never have saved him even if he had the chance.....

Like it really was that simple, that flimsy, and yet that enduring, Armand kept the lie going for almost 80 YEARS because he was confident about having built his narrative on the bedrock of what Louis believed to be true of Lestat, what he accepted as immutable FACT....

I REALLY want to rewatch some earlier episodes at some point, specifically Season One eps involving Claudia's diaries and stuff about Lestat, because I'm very curious how that comes across in hindsight - a lot of people have pointed out how little we really know of what Lestat actually thought of Claudia, and I'm curious now how much of Armand's editing and reframing of things made it a priority to emphasize the take that Lestat had nothing but contempt for Claudia.....like what I mean by that specifically - because none of this of course is meant to excuse or defend anything Lestat has done to either Louis or Claudia in the past, of course - what I mean there is Louis, even at the points where he's MOST prone to viewing Lestat in terms of extreme binaries, still has always been aware that he has complicated feelings about Lestat and that his love for him and his desire to believe that at least some of what he'd perceived as Lestat loving him had in fact been real....

Like, when it comes to him and Lestat, Louis KNOWS that he's an unreliable narrator, that he's never going to be 100% capable of having an objective view of how he truly feels about Lestat and how Lestat feels about him. Which could've made Armand's lies a lot more fragile, if there was even a chance Louis might even just in passing wonder "what IF Lestat had been the one to want to save me that night" and from there potentially sparking upon the possibility that wait....AM I sure he didn't......

BUT. For a variety of reasons, not the least of which are Louis' protectiveness towards Claudia, guilt about anything she suffered as a vampire due to having been the one to beg she be made one in the first place, and seeing Claudia as HIS responsibility......Louis' view of Lestat's treatment of Claudia has always been a lot less forgiving than his view of Lestat's treatment of him. The very things that make him WANT to give Lestat the benefit of the doubt in some cases when it comes to their own interactions, because he wants to believe that Lestat did in fact genuinely care about him.....go hand in hand with the unlikelihood of him giving Lestat the benefit of the doubt when it came to how he felt about Claudia, as interpreted by Louis based on Lestat's interactions with her....

AND Claudia's journals....and what she had to say - and believed - about Lestat's view of her. At various points, Louis has been as prone to outright REJECTING the possibility of Claudia being an unreliable narrator as he is to accepting that his own recollections and perceptions are unreliable....because he enshrined her and put her on a kind of pedestal in an effort to keep her memory at a distance from him, where it hurt less, felt more like something told to him in a story rather than the visceral pain of losing someone he loved like a daughter. You could call Louis a liar, because it was no worse than what he'd accused himself of. Call Claudia a liar, and you wake the revenant of all Louis' most primal, savage (and ultimately failed) efforts to protect her from harm, still haunting the few things left of her like the ghost of Louis' paternal instincts and love, cursed to linger around any mention of her because it would forever have the unfinished business of needing to protect her, even now, long after it was no longer even a possibility.

Point being, I'm wondering now how much Armand leaned into THAT, to shore up the weak spots in his story......how much the potentially (and likely) far more murky, messy, and complicated truth of Claudia and Lestat's view of and feelings about each other got left on the editing room floor of their actual history so that Armand's director's cut of the past could condense all of that into the far more simple - and polarizing - idea that Claudia hated Lestat and Lestat hated Claudia, and no matter HOW complicated and uncertain things might be when it came to the truth of Louis and Lestat's history and feelings....on THIS count, there was no doubt....Lestat would never lift a finger to help Claudia, never have a kind word to say about her, had nothing but apathy with an occasional detour into contempt when it came to her.....

And thus, Armand whispered into Louis' ear for seventy seven years worth of nights spent haunted by her memory and his guilt and belief he should have done better by her - if Louis could be certain of nothing else in this life, its that Lestat would never be on Louis' side if it meant being on Claudia's too, and for that reason alone, he couldn't POSSIBLY have been the one to save Louis that night.

It had to be Armand. Nobody else had ever understood how Louis felt about Claudia. Nobody else had ever cared that Louis had loved her so much and missed her so badly. Nobody else ever WOULD.

And so the house of cards remained standing, because fragile as it was, Louis never saw a need to push at the card at the very bottom.

Until of course, a gust of hot air named Daniel came in and huffed and puffed and blew the whole thing down.

(Largely, imo, because of the power and importance of stories, rather than the actuality of their actual interactions and things Armand had physically done to piss Daniel off and make him hold a grudge, lol. Personally, I feel like Daniel - who prides himself on his ability to see the truth, report the truth, TELL the truth rather than, y'know - "stories" - who is so vehement about his role as a truth teller rather than a story teller that he will not let a single instance of someone calling his book a novel instead of a memoir go unchallenged, someone for whom the distinction between truth and fiction is a line he's staked so much of his life's work and subsumed his very identity in - its not any one THING that happened when Daniel first met them decades ago that really pissed him off, I'd argue.....its the mere knowledge of Armand messing with his mind, muddying his memories, making it IMPOSSIBLE for Daniel to ever fully trust the truth of his own personal history....THAT was the unforgivable crime that fueled Daniel's spite and was like okay, so for Today's To Do List, I'll be wrecking your marriage, your past 80 years worth of machinations, your reputation and just overall blowing up your life in every conceivable way. RIP to this little house of cards you built here, its adorable. I brought a battering ram.)

Anyway. I'm just saying. I think the role OF narratives and their importance and power WITHIN the overall narrative of the show is one of its most fascinating aspects, and is what has me so amped for Louis' arc next season to see if they go in the direction I'm hoping they do based on his final scene, which I interpreted not even so much as Louis throwing down the gauntlet to the rest of vampirekind and saying I'm not scared of you.....so much as Louis recentering himself in his own identity, his own perception of himself rather than Louis-as-depicted-in-the-stories-of-his-loved-ones-lives, and emerging from the wreckage of the house of cards he'd spent the last 80 years living in, with a reignited desire to CHOOSE life, rather than just drift through it eternally like an immortal record of the past with no real desire to partake in the present....

And thus, having every intention of surviving whatever comes next, due to vampirekind's shared focus and aggression towards him. He's not looking to just go down swinging, IMO, the Louis of the final scene took his time getting there. He was deliberate, methodical. He took his time between kicking Armand out of the tower and returning to it and telling the collective children of the night to come at me, bro. He retraced his steps and revisited New Orleans with intent, took in a tour guide turning past events into a mythic tale with a smirk that cast no judgment on how true or not the tour guide's version was, but rather felt instead like he was enjoying the shared joke of how easily something-that-was ended up spun into something-so-much-more-folkloric-than-it-actually-had-been. He repaired his tower and redecorated his personal place of power with actual mementos of someone he loved where once there'd just been the memory of her lying over everything like a funereal shroud, heavy and haunting and unspoken and thus impossible to ever take comfort in or make peace with. He stood there for who knows how long, through who knows how many nights, and just listened to his many would-be-enemies announce themselves and their intentions towards him, all the things they planned to do to him, and then and ONLY then, he picked his moment, took a seat, settled in......

And began to tell a story.

He didn't throw caution to the wind, double down, say fuck it, if I'm going out it'll be on my terms.....IMO, the Louis of the final scene, with the same predatory glint in his eye and devil-may-care smirk he's worn in past scenes where he's given himself permission to be the monster, if he felt the moment called for it, just was past caring, or saw it as necessary to make it through the night....

This is a Louis who doesn't give a shit about any blaze of glory, this man came to win. He chose life over death once upon a time, hell, he chose life IN death, and then he did it again and again even throughout the times when he got lost and weighed down in the inevitable tragedies of life and couldn't make the most of the equally inevitable triumphs along the way.....and I feel like he's finally at a point where he's ready to make that MEAN something. On HIS terms.

There's not going to be another book with Daniel, not about him, anyway. Let Lestat have the next one. If there's a story to be told about Louis now, it won't be told in someone else's book, in Claudia's journals, in Armand's half-truths or even Lestat's regrets.

The only one telling Louis' story from here on out is Louis. And he's going to decide what it says. I feel like this is (or at least COULD be) a Louis who is preparing for a war he has every intention of winning, and he took his time and considered his options before choosing his field of battle. He armed himself with a very specific weapon for very specific reasons. The final scene is Louis issuing a challenge, yes. But its also Louis turning his enemies into his audience, and saying.....let me tell you a story.

This is the story of The Vampire Louis De Pointe Du Lac, he intones, introducing himself with pageantry picked up from those he's met along the way in his journey these past two seasons, but given his own flourishes, said in his own voice. No mere mortal, or even mere immortal....no. This is the story of the Vampire Who Yes, Just As You Accused, DID upheave your whole world by spilling your secrets to the rest of it, who yes, DID break so many of your laws, just like he has in the past and chronicled in said book as though he genuinely gives not a single fuck. Let it be known. Let it all be known! Let his personal sanctum, that private place of power most vampires and covens are zealous about keeping hidden because of how vulnerable even the most powerful of them are when stuck in their coffins at noon, be known. Let his security measures be known. Let everything they could possibly need to enact their judgment, vengeance, fury, and just overall bloodlust upon him....be known.

Because the Vampire Louis De Pointe Du Lac....owns the night, he says.

He tells them a story, that tells them everything but also tells them they know nothing, and turns everything they know about him, think they know about him, every secret or vulnerability offered up in Daniel's book, everything that could be gleaned by any of them going to Armand or Lestat or anyone else for intel on him......into irrelevant details.

Because his story he told - to an audience of jaded immortals, masters of manipulation, mind games, and the various machinations that colored so much of Louis' history with both Armand and Lestat, because they learned them from each other, learned from the same people, taught others, and on and on and on.....the story he told to an entire world of schemers, many of whom have centuries more practice than him in the art of turning fact into fiction, distorting reality into fantasy and making themselves into mythical monsters instead of just people who do monstrous things, just now with Added Years and Also Strong Branding.....

Well, the funny part about it, the thing he could be busting a gut laughing about on the inside.....

Is the story he told is not actually a story. It was fact. Truth. One hundred percent verifiable truth.....just....presented as a story.

And thus, to the practiced and cynical eyes of immortal master storytellers slash liars slash strong believers that all vampires are as prone to truth-twisting as them.....

For everything his "story" told them, the attached implication is there MUST be more he's not telling them. No vampire offers all that up, waves a red flag like that, declares war on untold legions of immortals more powerful, more experienced, more monstrous than him.....

Unless there's something he's NOT saying. Some trick. Some scheme. Some sword of Damocles hanging just out of sight over head, waiting for the first challenger foolish enough to take at face value this relatively young upstart (who nevertheless has survived over a century in the company of some of the most dangerous and unpredictable vampires out there - always a bundle of contradictions, our Louis).....and as much as they ALL agree this heretic must burn for what he did, for what he dares, laying claim to the night like that, like he has any RIGHT, let alone some greater right than THEM....

Well. SOMEONE has to take the first swing, don't they? And suddenly.....they're probably not all that eager to BE that first contender, the first to take a run down the straight shot Louis has invited them to take right to his front door and down the hall to where he can be found sleeping in his coffin incapable of defending himself.....

Because, well. There HAS to be some trick, doesn't there?

And there is, of course. The trick is that there is no trick. The lie is that the truth isn't a lie, its the actual truth. Its a simple, basic, and perilously flimsy house of cards Louis has erected around his tower as his ACTUAL fortification, but if this is his game, he's got reason to be pretty confident in it buying him a fair amount of time and allowing him plenty of maneuvering room while he engineers more of the situation to his advantage.

After all.....nobody knows better than Louis how effective something like this can be.

Its quite literally the exact same sleight of fact and fiction that Armand used to keep him contentedly playing make believe for the past seventy seven years. The more you ground a fiction in lies someone is already telling themselves or is all too willing to believe - because it falls naturally into place alongside similar-seeming and deeply-rooted beliefs - the less you actually have to LIE. The less you actually even have to do at ALL, because they're already inclined to fill in the blank spaces with their own correlating assumptions and just keep going and going from there. The fiction writes itself, because you've just given them the prompt and invited them to use their own history as a map for what makes most sense to come next.

And why wouldn't they? Vampires are natural storytellers, after all. How else does a factual species continually convince the world around them that they're really just fiction?

Armand's lie worked as long as it did because it was never a gamble at all. He knew it would work - at least for a time - because it always works. Vampires do this constantly. We've seen it time and again. They pull this gambit on each other, they pull it on themselves, they turn their own histories into stories that make them feel better whenever they peer into the past because perception is reality and if you have literal mind powers that let you alter perceptions at will its not exactly a hop skip and a jump from there to the belief that you can render reality similarly mutable.

Life is beautiful and great and wonderful and also hard and cruel and painful. And the unfortunate truth for many of us is the memories that hurt tend to have more weight than the memories that lift us up. They have an easier time sticking around, accumulating their weight, making the accumulation of decades and centuries more of a curse than a blessing unless you find some way to relieve the pressure, shed those burdens regularly. Or just get really good at telling yourself that weight, those hurts, they just aren't there. Because the things that caused them never happened. Because your immortal life has been wonderful and grand and anyone who challenges that is probably a liar who is invited to defenestrate themselves at the next available opportunity.

Armand wasn't shocked that a few pokes at his house of cards could collapse the whole web of lies. He was shocked that someone poked at it at all. He's five hundred years old. That shit just doesn't happen. That's not what they DO. Vampires only GET through as many centuries of bloody, brutals acts by LYING to themselves about those acts not being bloody or brutal or that they were done by someone else entirely, EVERYBODY KNOWS THAT, what kind of fucking BARBARIAN goes around poking at other peoples' houses of lies to see if they'll collapse when like, no shit, its OBVIOUS that it would collapse, because duh, its made of CARDBOARD, nobody is out here in Vampirelandia arguing that these things are sturdily constructed, but its not like its a problem as long as you just dont POKE at it and like, who even does that? Its RUDE!

*Enter Daniel, stage left, with jazz hands*

The older you get, the more memories you have, the more they all cram up against each other, the lines get blurred, the contents of each memory end up in each other's boxes, and when its that already that hard to tell which ones are still accurate anyway, its that much easier to just go with the stories and decide fiction's an acceptable substitute for fact any day.

Its not surprising it took a relatively young, spry and sassy septuagenarian to remind the two century plus lying liars who lie....that all of that may very well be true.....but that doesn't mean facts don't still matter. Truth doesn't still matter.

Any vampire could see the fragility of the ruse Louis' erecting here based on their own experiences doing the same thing. Most of them won't, because exposing the reality of his ruse requires an admittance of familiarity with it themselves. And that leads to acknowledging when and where they've deployed it in their own lives, with their own companions.....

And vampires, as we all know....rather famously don't spend a lot of time looking at themselves in a mirror.

The ten million Louis paid Daniel to tell his story was well worth it, and not just because it let him see what Armand had done. But because Louis already knew the power of a good story.....but Daniel reminded him that the truth has power too.

Its all in how you use it.

Related but tangential.....not gonna lie, a major inspiration for this take is just Louis fucking SMILING so much more in the last several scenes of the episode than in pretty much any of the present day scenes until now, at least in any kind of way that feels genuine and like he's actually engaged with what he's smiling at and dialed in. Like just....it feeling like being freed from the isolating house of fabrications he's spent the last several decades in has already led to him reconnecting with that fond curiosity he's had in the past, when not being alternately wallopped with Trauma and Tragedy hammers every other scene he's in. Him being able to look around and just take in stuff like "oh hey, that sparks joy. Neat. Forgot I had that emotion."

Like, I just really, REALLY like the scenes in the show (relatively few and scattered as they are) where we get.....playful Louis. The simple sincerity of just finding something amusing.....

Buuuuuut I also like when Louis is being a bitch and also when Daniel is being a bitch and I just think their being a bitch frequencies should be allowed to sync up more. As a treat. Just saying, this interpretation/take was 100% inspired by the thought of Louis finding the effectiveness of his ruse hilarious in an ironic kinda way, and being like, I wonder if Daniel thinks the joke is as funny as I do, since I think he's pretty much the only other person who'd get it without me explaining anything.

Daniel: Oh I absolutely do, except I just think its hilarious and not in an ironic way or anything, its just funny. Plus I enjoy that its at most vampires' expense, because at the risk of generalizing, literally every single vampire I've ever met has been a giant dick. So. There's that.

Louis: You do remember that you're a vampire too now, right?

Daniel: Well yeah. And I've met me, and I'm a giant dick. Where's the confusion here, Louis.

Anyway.

ALSO! The parallel of Daniel writing a fact-based memoir that exposes the truth about vampires to a world that refuses to believe it because it challenges the beliefs they already have about what is fact and what is fiction.....

And Louis armoring himself with truth told as a story to vampires that refuse to even look for the holes in that armor because to do so would risk applying fatal pressure to the fiction painted over the vulnerabilities in their own.....

.....mmmm. *chef's kiss*

So, yeah. I would love it if the above interpretation is where things go. Based on where they left Louis, I feel pretty confident I'll like wherever they take him next season regardless of how well it aligns with this take or not, but I mean. I'm egotistical enough that I'm like yeah, I would in fact like it if the show validated the two hours I just spent haphazardly rambling away in a post that started off with "So this isn't an actual meta but rather a post ABOUT a meta that I'm GOING to write but that is not actually this" and then turned into an obvious meta that didn't even have the fucking decency to be the meta that the post was initially about.

Look, I'm just saying. I would win so hard at being a vampire, I've already finished all the prerequisite courses.

Thus concludeth the rambles.

.....ugh fucking hell, just remembered that now I STILL have to write the actual meta that I was already planning to write before my brain decided hey what if instead of that we did a whole Russian nesting dolls thing that turned that meta into like, nine other metas that don't get you any closer to writing the thing that you originally set out to write hahaha this is fun, I'm fine, the show has absolutely not rewired my brain chemistry at all.

[bestworstcase]

You have any thoughts on JL x RWBY Part 2 continuing character arcs (to an extent) from Volume 9 onwards? And the return of a certain villain from the RWBY side of things?

HE’S ALIVE IN MY HEART.

also i am so sorry but i’m a parody of myself:

“Where we grow up… it makes us who we are. For better or for worse. But what happens when that place is gone? Do you still carry that place with you even if it doesn’t exist anymore? Who are you if your home is no longer real?” <- hi this is about salem

the most hysterical thing about this film is it fucking gift-wrapped textual support for my Unhinged Headcanons about how grimm cognition works. yes yes different world different rules but team rwby’s powers changed in a manner that effectively compensated for their lack of aura (except weiss, who lost hers altogether presumably because she is Really Going Through it with the identity crisis) but the point is: “grimm cognition can occur out-of-body” is a foundational conceit for what i’m doing with them in tdt brhgjfbskj

what else. let’s see. obviously the crossover films aren’t canon but equally this one being written to follow from v9 is fun because it means we get some DELIGHTFUL KERNELS OF INFORMATION for example:

the v9 timeskip is probably not longer than a month or two at the most. it’s been “a few weeks” since the first film, which took place during v7 (presumably near the election); v8 lasted two days. they were not gone from remnant for very long

salem is not in vacuo <3

ruby appears to have taken what the blacksmith said about summer cracking under pressure to heart in ALL THE WRONG WAYS LMFAO. she is not going to have a good time when she finds out where summer rose is now.

weiss’s turn on the salem merry-go-round. hm who else do we know who grew up imprisoned by her cruel father and witnessed the utter destruction of her home and then (metaphorically) died and returned into a new world where everybody HATES HER for what she is? lol. lmao even

but the most interesting piece here—and the one that i think is most likely to become the centerpiece for ruby’s character in the show proper, largely because it isn’t developed at all in the film, is “as long as we save remnant, what else is there?” <- that sound you hear is the summer rose grenade whistling through the air.