#headcanon. || WILHELM VON BLUMENTHAL

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Wil’s future kids owo

Lemme tell you. This guy got AROUND.

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Creative Styles & Processes

Like the historical Liszt, Franzi’s creative output tends to go one of two directions. There are some of the more shallow pieces, the ones she just does for show--although to be perfectly fair, even Liszt’s shallower showpieces had significance to them, because though they had no rich meaning or symbolism, they were still more technically advanced than any piano piece that had been written before. But on the other hand, she’s also capable of writing pieces of great introspection and depth. 

She’s done a few albums of popular music; these are what she predominantly makes money off of so that she can live a high lifestyle while also teaching all her students for free. However, she puts the most effort and love into her huge amount of deep, melancholy, avant-garde works that draw from her Christian faith and also her struggles with depression--not least the things she’s still depressed about from her past life, like losing two of her children. It’s only fitting that she would write in that sort of style, seeing as Liszt’s chromaticism, his early experimentation with atonality and his willingness to branch out to “forbidden” techniques such as parallel fifths helped lay the foundations for modern music. And once again, to be fair--even her pop music clearly has a lot of sophisticated and intelligent influences from the classical genre she specializes in; the sound is truly unique. 

Overall, contrary to the notion that many musicians of the past would be rolling in their graves if they heard contemporary music, Franzi LOVES the music of today. She’s thrilled by her past life’s influences in it, and she’s glad to be alive at a time when she can see the fruits of Liszt’s labors. She’s especially thrilled by how technology is used to create sounds that instruments can’t make in order to add depth or a different emotionality to a piece, and she’s definitely experimented with it a ton; particularly, she has a weakness for dubstep--the bass drops just captured her heart like nothing else did. What results is something that sounds like pop, house or dance, but that ultimately employs classical structures and conventions--and also some of the most weirdly introspective dubstep you’ll ever listen to, like this. You won’t find anyone else willing to create sonatas and symphonies that are made entirely (or almost entirely) of artificial sounds!

Her process tends to be very free-flowing and inspired. Sometimes she gets her best pieces just by sitting down at the piano and improvising, then writing down what she likes. Most of the time she’s very relaxed when composing, as it comes naturally to her and all she really has to do is get it down on paper. But at the same time, she also tends to do a lot of “vent art” when she’s depressed; when she writes some of the more melancholy pieces, it really comes from a place of deep sorrow and loss. Her past life chose to pass on and reincarnate because he had lived a full life, and he hoped that perhaps in his next one, some of his depression would be lifted by the passing of time. But not even reincarnating could wash away the pain of some of what happened to him--and in her music, it definitely shows.

Wil’s creative process is……chaotic. Like if you were a psychic and you looked into his brain you’d see an unholy mixture of ADHD hyperfixation and bipolar mania that drives all of these wild and revolutionary ideas (and I would know, that’s where all my ideas come from LMFAO). Psychics have difficulty reading his mind because it’s a constant churning storm of creativity that can leave their minds confused at best and battered at worst in his wake. To most mind readers, his thought process would seem like complete incomprehensible garbage. Yet there is beauty in the chaos, a method to his madness, and what comes out in his adult years is some of the greatest art the world has ever seen.

Having been gifted Wagner’s talent by Meloetta, he writes all the libretti and the music for his music dramas--a concept which he expands in his adulthood to include TV shows, concept albums, and even a video game. And whether you’re consuming it or playing/singing the music, it’s meant to be an all-out assault on your soul. The plot twists, the drama, the fight scenes that were shamelessly inspired by anime, the way it’s all musically expressed in the most extra way possible--it’ll make your soul ascend your body and there’s a 99.999999% chance you’re going to be left in tears by the end of it. And rest in fucking PIECES to the poor innocent musicians and Coordinators who have to play/sing/act what he wrote for 5 hours, because he took a page out of Momma Liszt’s book and made everything he wrote unbearably difficult to perform. To both audience and performers, this music comes for your body, your sanity and your unborn child. 

Honestly there’s no way to describe his style of music other than it sounds like it came from another dimension. It sounds like you just went into a trance that lets you see into alternate realities. You can definitely hear the Wagner influences in there since that’s the guy he got his talent from, but the sound in many ways is also its own thing. In his musical output, things vary from hazy and dreamlike to absolutely balls-to-the-wall insane--filled with an outpouring of pent-up frustration and rage. Given all of the anger he has due to his childhood trauma, he is the musical depicter of rage par excellence. When he loses his shit on those beats, there is no competition ANYWHERE.

Speaking of plots though. When he grows older, one critic of his says that “being part of Wilhelm von Blumenthal’s fandom is a form of emotional self-harm.” And honestly, it’s true. Not only does he get his sick kicks from making everybody fall in love with his characters before he kills them, he’s also a master at playing mind games with his audience. If you watch his TV shows he’ll torture you for five entire seasons of suspense with gut-punching plot twists and music that sounds exactly like your anxiety, making you wonder what will happen next. His fandom is always in a constant state of incoherent screeching, whether it’s over a mind-blowing piece of soundtrack, or suspense getting dragged on for yet one more episode, or the death of a beloved character that hit close to home. And that’s just the way he likes it.

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Light vs. Dark Triad

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DARK CORE PERSONALITY TEST

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Wilhelm has some of Richard Wagner’s original Pokémon. Not all of them--his team is mostly new and let’s be real a lot of Wagner’s ‘mon would have some real nasty attachments to their old master and his family--but he does currently have a few.

The first is Fáfnir, his ace (and the Pokémon who will later become his dragon sibling--the dragon that he as a Draconid will Bond Phenomenon with). Fáfnir is a Hydreigon who used to perform in Wagner’s original operas, being most famous for playing the dragon of a near-identical name in the opera Siegfried. However. I should say that Richard Wagner’s love of Pokémon extended only to those who were nonsapient. If a Pokémon was sapient, he’d treat them just like every other human he came into contact with, aka garbage. Fáfnir stuck with the dude because his operatic performances were second to none. But the moment Wagner was cursed to lose his talent after his death, Fáfnir ditched him and his family completely and decided to offer himself to whoever it was that would receive Wagner’s talent.

I should make another note here. Fáfnir is Poison/Dragon, being a variant of the Hydreigon that’s closer to the original hydra (which was deadly poisonous), and he doesn’t have three heads--he has nine. He’s been around for a very long time, long enough that his heads would have been cut off and regrown until he reached the maximum. It’s unusual for such a powerful Pokémon to ally with a boy so young, but as far as the dragon is concerned, anyone who can reach his former master’s level of talent while simultaneously not being the horrific human being he was is worthy of his services.

Wilhelm’s second group of Wagner’s Pokémon includes Brünhilde, his Altaria companion--a German variant that’s Dragon/Fairy before Mega Evolution. Wagner had a ton of Altarias by his side (and quite creepily referred to them as his “collection” even though they were sapient); he’d gathered the best of the best of the best to be able to sing in his operas, and basically hoarded them & their families not letting anyone else “have” them for their productions. Though the Shiny Altarias are still with the Wagner family in Bayreuth, Brünhilde was one of the many who “defected,” so to speak, to Wilhelm once he came around and proved that he had their old master’s capabilities. And for good reason, too. They hang around Franzi’s house with him a lot and he treats them a lot better than Bitchard Wanger ever did.

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Who would you be in a fantasy story?

The bloodied heir

Nobody knows your past, or your real name, but they trust you, which is a stupid move. You are probably an exiled heir from somewhere, spending your time gathering information and tactics on the heroes in order to strike them down. But then grow to like them, and you get a redemption arc. You decide that while being sexy and evil is all well and good, you’d rather go and live by the sea where your family can’t reach you

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Wilhelm isn’t Richard Wagner. That much is clear. But he and other characters refer to Wagner’s music as “his” music and the concept of the gesamtkunstwerk as his concept because Meloetta gave him the rights to it. She basically did what some Harry Potter fans did to JKR and said “the original creator never made this, we’re giving it to someone better.” And oh, he gloats about it a LOT when he’s a kid. My music dramas this and my characters that. But when he grows older, he goes through the same crisis that every other classical musician has gone through with regards to Wagner’s work: Can we separate the art from the artist so easily? Will Meloetta giving the works to someone else to alter and fix as he pleases erase the original stain that Wagner possibly left on it?

I honestly don’t have an answer to that. Neither does the world of classical music. But one day, if he decides that he can’t be the fixer-upper Meloetta intended him to be, he’s going to give the rights to Wagner’s music back to Meloetta and they will belong to no one.

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Meet Wil’s future husband, Odario Narawa.

And what an absolutely BUCKWILD RELATIONSHIP these two have.

See. Odario and Wil start off HATING each other. Odario is the bigender child of the famous Black Draconid classical music critic Tsimshala Narawa, who becomes like the Eduard Hanslick of the 21st century--a staunch musical conservative who doesn’t like the direction that Franzi and Wil want to take music in. Like. The two of them were up to some crazy crazy shit. You haven’t heard the music of the future until you’ve heard their classically structured pieces comprised entirely of artificial sounds, or the way that Wil’s music goes . While Tsimshala was much too classy to be the one who described Wil and Franzi’s experimentation as “classical music written by insane people,” he certainly agreed with it silently and wrote against their work on a constant basis. He particularly hated Wilhelm’s notion that TV shows, video games and animation could be called “music drama” and taken seriously in an academic manner as works of art if done right; he lambasted Wil’s Draconid anime ProClassica when it came out and said that those who took it seriously as art should be “ashamed that they had fallen so far.”

So of course, Wil takes one look at this dude and goes, “I’m going to piss him off by fucking his kid.”

Achieving this would be just as hard as you’d expect--yet at the same time, it would also be easier. See, Odario hated Wilhelm’s work just as much as his father did. He hated Wil’s music dramas so much that even though he formerly only wrote the music for operas and not the libretto, he took writing & poetry courses and started writing the librettos as well just to prove that his style of music was just as valid as (and also better than) Wil’s. He didn’t have much taste for Wilhelm’s personality either; teenage/early-mid twenties Wil was a mentally unstable mess who was constantly causing drama on Twitter, particularly in the form of harassing politicians, and Odario with his completely clean sheet thought this behavior was beneath the dignity of a distinguished composer. Lastly, Odario was lukewarm at best to the idea of explicit politics in art. Wil famously says as he grows older, “All of my work is political, and if you can’t see the politics, you aren’t squinting hard enough.” Odario, on the other hand, believed that only the best of the best of the best of writers could successfully pull off politics in their work--and Wilhelm, in his opinion, was by no means one of the best.

These two had one thing in common, though: Each found the other--at least physically--to be irresistibly hot. And when the two of them finally met in person for the first time? Oh BOY did Wilhelm’s gaydar go OFF.

The two of them met, actually, at a competition that was arranged by their fathers--Franzi and Tsimshala--to put it to a public vote as to who was the greatest music dramatist of the time but honestly some people thought it was just history’s biggest dick measuring contest between two parents to see whose child was “better.” There were three separate parts to this competition, all of which would be voted on separately: Pure Music, Pure Story and Music Drama. Odario won the pure music round--the composition Wil submitted was too untamed, too avant-garde. Wil won the pure story round--his capability for creating gripping plots is positively unmatched. But the Music Drama round, for which each one wrote an entire fucking opera to be staged for this competition? THEY TIED. The world came away with no definite answer of who was to be deemed the great music dramatist of all time.

To Wilhelm, though, it hardly mattered. Though his egotistical self usually couldn’t stand the notion that anyone was his equal let alone his superior, he actually saw their equal results as a blessing--because it gave him a clearer inroad for his next step in Operation Fuck My Music Critic’s Son. This is where most people would attempt to resolve their differences with the other party for the best shot at getting them in bed. But Wil always did things his own way. And so he chased Odario down and started teasing, taunting, prodding and even bragging about the results & what they meant for their relationship. You’re so fucking gay for me, aren’t you, he gloated at the end of it. It’s okay. You’re not alone. So many people are irresistibly attracted to me. Embrace it. Set yourself free.

As it turns out, he was right. And the rest is history. 

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What Would Be Your Pokémon Profession?

Teacher

Based on your answers, you were put into a profession that belongs to this category :3

Category- Intelligence

With there being so much to learn about pokemon, everyday for you was never filled with boredom; whether it's by reading from another's field journal, or you yourself finding a new discovery to share; you wouldn't have it any other way.

~~~

You loved learning about pokemon, and loved even more teaching about pokemon! It filled you with joy knowing that the information you were teaching would one day save a trainer from heartache. (Such as knowing what to do if your pokemon is poisoned, when a criminal confronts you, or how to avoid certain areas in the wild.) Knowledge is power, and you nobly gave your students it with earnest!

(Fitting, ‘cause she is a Pokémon teacher! She’s a Coordinating teacher.)

Pokemon Master/Champion

Based on your answers, you were put into a profession that belongs to this category :3

Category- Competitive

Ooh! Looks like you're the type of person who likes a challenge and wants to keep growing stronger. With your pokemon just as eager to win 1st place as you are, you help push each other to greater heights!

~~~

You made it possible, but most of all, your pokemon made this all possible. Willing to accept any challenge, you grew, lifting the weak, you grew, encouraging the down, you grew. You're at the top because others are lifting you to the top; this wasn't a journey by yourself.

How are you different? You never once doubted yourself or your pokemon.

How are you the master? You're not conceited.

How are you the champion? Devotion.

But one thing is for sure, you're the very best, like no one ever was.

(Somewhat accurate; he’s definitely conceited and he still hasn’t learned to grow by lifting the weak yet…dslkfjdslkfjsldkfjlsdkfj)

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what kind of protagonist are you?

villain protagonist

you're a villain, you're a bad guy. look at you, you're so EEEVIL. no one really sympathizes with you, but your story is too interesting to look away

classic hero

you're a good guy with morals and shit. there's something special about you that makes you destined for greatness. but with great power comes great responsibility...

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Speaking of his aging. Wil is pretty much an ageless vampire. His current icons I’d say are still good until he gets into his mid-twenties and even when he’s fifty he still looks like 10 wholeass years younger. How does he do it? I don’t know, but dermatologists sure do hate him!

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Wilhelm is pretty. Like--unfairly fucking pretty. He was a good deal prettier than his stepsisters, which earned the eternal envy and hatred of his abusive stepmother (not to mention the stepsisters themselves). Literally she wouldn’t let him go out of the house in the same places as his sisters because whenever they did, he’d draw compliments from people (sometimes “Oh my gosh, what a gorgeous girl you have!”) and his sisters wouldn’t. And as he grows older, he just becomes even more of a femboy. Which is great! Because he’s not just a guy, he’s actually bigender.

His gorgeousness becomes the subject of a lot of memes once he’s older. As I said before, he’s the Kyubey of classical music. Cute, sweet, innocent-looking, but actually he’s Music Satan who once pulled a will-they-won’t-they fall in love with his series’ two most hotly shipped characters for five whole seasons before having them kiss for the first time as they tragically sacrifice themselves in the final fucking episode. Like I can’t overstate the sheer disparity between his pure, delicate appearance and how fucking evil and twisted he gets writing plots and soundtracks that cruelly play with his audience’s feelings before ripping their hearts out and smashing them on the ground (as well as doing collateral damage on every single musician who plays his works due to the difficulty). When he ages into his forties and still looks unusually baby-faced, people joke that he drinks the blood of all his dead characters to stay so young and fresh and that’s why he’s so fond of killing them off. 

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Wilhelm’s whole personality and the full scope of his artistic work summed up in one tweet.

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What brand of stupid are you?

Himbo stupid

You're just an all around kind person who's a little too gullible. You are knowledgeable on weirdly specific trivia but a lot of common knowledge seems to have slipped you. You probably aren't the best at math but by god can you fix a flat tire. Everyone remembers you as a friendly person, you just might need to brush up on your reading comprehension again

mad scientist stupid

You might be a genius in one area but you fail hard in other things. You try to apply your knowledge of one thing to something you aren't great at to varying results. You are reckless and do whatever it takes in pursuit of your goal (this usually involves something exploding). You were doing quantum physics this morning but charred your grilled cheese for dinner. Your social skills probably aren't the best but you're "that person that knows a lot about the thing" so that's something to be proud of

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what’s your red flag?

self-obsessed

most likely a superiority complex stemming from an inferiority complex. its you before anyone else.

ur lowkey manipulative

gaslight, ur not cool

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what do you create from?

Melancholy

You create from melancholy. There is an aimless sadness that pervades your life. It's not as though there's anything in particular you're grieving, but you still find yourself possessed of a peculiar somberness. This melancholy seeps into your art, where it becomes a directionless lament. You long to make your senseless sadness into something beautiful and bittersweet, so you depict it countless times throughout your work. It sets the tone of everything you create, filtering all you craft through a melancholic lens. There is a nostalgia for what never was, a grief for something you never had, a longing that doesn't know what it craves. These are the feelings that serve as your inspiration: vague, listless lamentations.

Spite

You create from spite. There is a deep resentment burning inside you that demands to be let out. You have been wronged and you can't bring yourself to forgive or forget. Your work is an act of defiance, a striving to prove others wrong and leave your mark on this world. You will declare loud and clear the injustices you've been dealt will not silently disappear, that they will demand an audience over and over again. You create to force people to acknowledge the unpleasant truths they try to ignore. Your art is fueled by a need to expose the insidious evils and hypocrisies that you've been subject to. It is a means of becoming more than just a victim, a way of reclaiming your life as your own.