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mad-hunts · 3 months ago

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if barton tried hard enough, he thought, imagining himself being literally anywhere else but the warehouse right then was easy. this place was never meant to be lived in for an extended period of time after all; despite the fact that it had appliances that you might see in an every day home like a fridge.

it put him on edge instead of at ease, and it certainly didn't better barton's mood when he stayed in it either, after all. but so long as he was allowed to dream within it to some degree... it was tolerable. plus, he had company here, courtesy of nico, jack, and barton also supposed jervis counted. nico had complicated feelings towards the doctor, though, and spending time around jack whilst in it thus far gave barton an unfortunate impression; which was that his own son was made nervous by him.

and the irony of it all was, barton only gathered that because he could feel cognitive empathy towards him. something that didn't include feeling but reasoning. therefore, the hopes of him somehow patching that up with jack someday were drastically decreased. barton vaguely listened to jervis respond to what he'd said about him being in the warehouse solely because of them; all of the words but one not quite having any actual impact on him, this being 'nightmares.'

the smell of the yuja tea that jack prepared for jervis, as fragrant in the air that it was, seemed to be the one thing keeping him from being sucked down a unpleasant train of thought. for someone who didn't feel human half the time, barton sure as hell experienced his own fair share of seeing 'ghosts' from the past and mourning the way some things had gone in his life. and regret, as well as sorrow, were practically intertwined in every single 'normal' person's life that he'd known.

speaking of regret, once he'd closed the curtains, something from the small cabinet hanging on the wall next to them fell to the floor. barton picked it up and was immediately reminded of why he kept this photo here instead of at his home. hiding it away helped alleviate the pain of not only loving someone and losing them, but also knowing that at the time it was taken, everything seemed fine.

'my 19th birthday party - spent right, with my handsome fiancé!' was written on the back in marcy's handwriting. barton felt like screaming and smashing something simultaneously. the photo was instead placed in his pant pocket, whilst he dragged his hands down his face and thanked his lucky stars that jervis wasn't exactly expecting any big conversations from him. barton's hand flexed by his side before he was changing his shirt, wondering just what the hell he was supposed to do after seeing that again.

grief was a thing he'd never been able to pend down how to deal with 'appropriately,' unfortunately. from marcy, to the momentary blink of an eye that felt like his bittersweet friendship with yves, to his son julien's death - barton thought he'd be destroyed by all of those losses for the longest time. but he supposed he was still here, god willing, or laughing at him more like if such a being did exist. barton noticed the fabric that was splitting on the blanket and how jervis very much appeared to be in his own world.

it was at that moment that he reached for something in that same cabinet he'd opened to change his shirt, finding that sewing thread and needle he'd stored in there long ago. barton kept it there because the shirt he was wearing had actually torn at some point and he'd fixed it. though, he had no use for it now, so he decided to put it on the edge of edge of the cabinet if jervis wanted it. but he didn't really know what he wanted. that night seemed to be a series of gut punches now as the other touched upon how jack was a good person and barton should be proud of him.

he blinked several times as he felt this sensation like something ugly was swirling within him. jack had always kind of gotten the short-end of the stick, and for what? ❝ ahh. well, sometimes i've found myself practicing behaviors towards him that my father used to use on me... but i try to stop myself when that happens. jack has come a long way, as the first time i met him, he was a scared two year old who was on his own with his brother. but now jack's a young man and very brave, despite maybe still being scared sometimes. ❞ barton cleared his throat then, ❝ that's normal though. so yeah, i am proud of him. ❞

barton turned his attention back to jervis and tilted his head at the other's sluggishness. being vulnerable like that surprisingly didn't feel too nerve-wracking, as he added just a bit more to the equation. barton gave the iv bag jervis was hooked up to a good squeeze, ❝ hmm. are you still in pain, jervis? or are you just tired? ❞ he observed the other silently and looked down at the cards before the both of them. that is, before barton heard jervis approve of him reading his fortune.

he drifted a hand along the cards then. choosing one that felt 'right' came without much difficulty to barton, and when he did, the reversed 'wheel of fortune' card for jervis's past. the next card he chose was the reversed 'six of swords' for jervis's present. barton flipped the last one for his future and was greeted by 'the sun,' which made him let out a soft 'huh' and smile a bit. ❝ well... i hate to start off with the past when you got this card, but i guess we have to. ❞ he was about to start interpreting jervis's fortune when jack came back into the room with the breakfast he promised the other. well, talk about convenient timing.

Jervis merely rolled his eyes at Barton’s remark, fingers biting into the fabric of the blanket as he pulled it around his shoulders like an old shawl. The plush material was a little threadbare at the corner; a tear disrupting the otherwise seamless fabric.

Sea-green and white plaid. Utilitarian, impersonal.

It sufficed perfectly; his thin frame was almost terminally intolerant to the cold. 27 years in Gotham had failed to inoculate him against the frigid rains and bone-chilling air sweeping off the harbor.

“Trust me, I’m well aware where I would be, if it weren’t for you both. I see enough of the place in my nightmares… so I don’t require any reminders.” He flexed his fingers around the teacup, feeling the warmth seep into his hands as he cautiously tipped the liquid into his mouth. It had a strange, but not unpleasant consistency, like warm, thin honey that slid smoothly over his tongue in a tangy blend of sweet and sour. Tiny bits of softened citrus peel floated in the syrupy mixture.

Barton’s IV pole scraped slightly along the concrete floor, a sharp metallic sound that mingled with the sudden rasp of the curtains being jerked shut. The room was clean and sparse, a sterile space designed to be free of clutter, yet a faint, telltale mustiness clung to the air—a lingering scent of damp fabric and stale dust that disinfectant alone couldn’t quite mask. Beyond the makeshift partition, the rest of the warehouse stretched out in vast, dark emptiness. The floor was cold, unpolished concrete, marred with cracks that split like spider webs. Dim, flickering fluorescent lights cast a harsh, uneven glow, barely cutting through the haze of dust that swirled in the air.

But, of course, beggars couldn’t be choosers when it came to hideaways—especially when you’ve learned to take shelter wherever you can find it. Or when you were part of the criminal element.

How far he’d come and how little had truly changed.

Jervis glanced across the room at where his coat, shirt, and gloves rested neatly on the desk, carefully folded with almost surgical precision. He flexed his hands again around the teacup, feeling the phantom prickle of sensation where the wool-lined leather should be—an exposed vulnerability that gnawed at him, made his skin itch with invisible grime.

He sank his teeth into a particularly broad piece of yuja peel, the bitter tang releasing as he bit down; meanwhile, Barton’s voice drifted in one ear, out the other like the static hum on a faulty wireless. He chewed slowly, savoring the rind as he turned his attention back to the small tear in the blanket. Nodded intermittently.

Jervis’ callused, scarred fingers found the frayed edge; the fabric was worn thin and splitting, and he traced it absentmindedly, feeling the uneven fibers beneath his touch. For a moment, his thoughts shifted to the sewing kit buried somewhere in his bag, imagining the small spool of thread and the thin, glinting needles; each one ready to pierce the fabric and pull it back together.

As if stitching this small wound would make any real difference, he thought bitterly; like it could somehow soothe the cold reality pressing in on them from all sides… It was a small, pointless task, a flicker of control in a situation that felt like it was slipping away, unraveling faster than he could sew it back together. He knew it wouldn’t ameliorate anything—wouldn’t solve the problems looming larger than this tiny, frayed corner. And yet, his fingers lingered there, desperate for something tangible to fix; something he could make whole again, if only for a moment.

Jervis gave no reply as Barton moved to change his shirt; blinking hard as he gazed down at the floor, but the darkness behind his eyelids refused to stay empty. Flecks of indigo light bloomed in the black, shifting like dust motes that twisted with each beat of his heart. The room swam as he opened his eyes again, the ceiling blurred and murky like the styrofoam cup Alice stored her wet paintbrushes in. He scratched absently at the IV in his arm, feeling the tug of the thin plastic embedded in his skin but barely registering the discomfort. The bright pinpricks danced at the edges of his vision, trailing like little comets whenever he turned his head.

“You ought to be proud of him, I imagine. Your son… he seems like a good lad.” Jervis’ voice was a wisp of silk, smooth and thin, like it might unravel into nothing if he spoke too loudly. He tilted his head slightly, almost resembling a marionette on a slack string, the hint of a smile touching his lips but never quite reaching his eyes. He ran a finger along the rim of his teacup, the motion delicate and deliberate as he pondered Barton’s final query.

“Hmm… can you?” Gray eyes blinked slowly, the lids heavy and sluggish, further dragged down by fatigue. The question lingered in the air, softly innocuous. He glanced over at the tarot cards Jack left behind on the desk—arranged in a rough, careless spread, but somehow feeling deliberate, as though the cards had fallen exactly where they were meant to. The edges were worn, curling slightly; the images esoteric, half-familiar symbols. Stars, sun, moon, cups and swords, animals and human figures rendered in faded colors.

He paused, gaze narrowing, subtly curious despite the exhaustion that weighed down his expression. For a moment, his hand tightened around his teacup; twitched like he might reach out and touch them, as if by brushing the surface he could glean some hidden answer buried beneath the painted ink.

‘Why, they're only a pack of cards, after all.’

His grip on the blanket slipped momentarily, fumbling at the worn edge before he reached for his collar instead. He dug beneath the charcoal fabric of his T-shirt, searching with a practiced motion until his fingers found the tarnished silver chain again. He drew it out slowly, the weight of it comforting against his skin as he absently ran his thumb over his and Sylvie’s rings, threaded side by side on the links.

The metal was dull, no longer shining with the luster it once had, but it carried a certain softness now, smoothed by years of worry. His eyes dropped for a second before he let the chain slip back beneath his shirt. “By all means, if it tickles your fancy…” Jervis gave a short, rough half-shrug, the motion stunted as though his shoulder couldn’t quite decide whether to follow through.

#divingdownthehole #tw: grief.#tw: mentions of death.#tw: mentions of child death.#tw: negative thoughts.#OOH you used a quote from alice in wonderland in here? that is epic NGL though i don't think i know which one you used ahahhh #and AWW well gosh... you're going to make me blush now <33 but thank you so SO much for saying so + i just want you to know #that i enjoy writing with you a lot myself! but yeahhh i feel as if barton is a lot more quote unquote 'subdued' here than usual #but it kind of makes sense because this man hates being in the warehouse probably just as much as jervis honestly (': and with #everything that went on regarding the picture he found. all i can say to that is GAHHH but you're good!! don't even worry about it #i totally understand as i know i took a bit to reply to this one though that's just 'cause i want to give you the best quality reply #possible + sometimes i don't have much time to sit down and write but i did today tehe!!! but really? oh my gosh thank you VERY much-#for all of your kind words! it really means a lot to me that you not just like the little things i've put into his character but love them #;; like i don't even know what to say besides that makes me feel so happy!! but geezzz you're making me turn bright red like a tomato over #here now and simultaneously going to make me hashtag cry in the club. just the fact that he's fascinating to you is like... everything a #writer like me could dream of y'know? and i return the same feelings ten-fold because jervis is just SO interesting that i feel #like i can't get enough of roleplaying with your version of him (': but JSJSJ well alrighttt i'll try not to worry about the muse versus mu #thing then since you're being so sweet. and i thank you once more for that BUT 😭 THIS IS ME RN because you're also my bestie and-#being called a ray of sunshine is? possibly one of the nicest things anyone has ever said to me?? so i'm giving you a big hug right now-#and letting you know i think you are an incredible human being. but yeahhh there's a UHHH whole terrible story behind that-#unfortunately but i'm just going to boil it down to: yves died and barton sought to essentially make him be a 'part' of him because #he actually has no idea how to healthily move on from... most relationships 🫠 so he decided to do something TOTALLY normal-#and replace one of his arms with yves's (sarcasm) but TBH i have to say i wouldn't even blame you if you weren't joking about that-#because this man is seriously WILDING for that. like barton is absolutely 100 percent not okay no matter what he tries to tell other #muses 💀

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iamthedukeofurl · 9 months ago

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Discworld is an interesting beast in the age of ACAB. Like, the city watch books are a story about police and the way in which a good police force can help and protect people. Which would make it copoganda. And I'm not going to say that the City Watch books are completely free of copoganda, but they also do something interesting that fairly few stories about heroic police officers do, and I think it has a lot to do with Samuel Vimes. A lot of copoganda stories like, say, Brooklyn 99, are perfectly capable of portraying cops as cruel, bigoted, and greedy, but our central cast of characters are portrayed as good people who want to help their communities. The result is that the bad cops are portrayed as an aberration, while most cops can be assumed to be good people doing a tough job because they want to help protect people from the nebulous evil forces of "Crime". The police are considered to be naturally heroic. Pratchett does something very interesting, which is provide us with Vimes' perspective, and present us with an Unnaturally heroic police force. In Ahnk-Morpork, the natural state of the watch is a gang with extra paperwork. It's the place for people who, at best, just want a steady paycheck and at worst want an excuse to hit people with a truncheon. Rather than be an army defending people from the forces of Crime, the Watch is described as a sort of sleight-of-hand, big burly watchmen in shiny uniforms don't stand around in-case a Crime happens in their vicinity, they stand around to remind people that The Law exists and has teeth. The Watchmen are people, when danger rears it's head, their instinct is to hide and get out of the way. When faced with authority, their instinct is to bow to it out of fear of what it might do to them if they don't. Carrot is a genuine Hero, but his natural heroism is presented as an aberration. Normal Cops don't act like Carrot does. The fact that the Watch ends up acting like a Heroic Police Force is largely due to the leadership of Sam Vimes, but Vimes himself is a microcosm of the Watch. The base state of Sam Vimes would be an alchoholic bully of an officer, one who beats people until they confess to anything because that makes his job easier. Vimes The Hero is a homunculous, an artificial being created by Sam Vimes fighting back all those instincts and FORCING himself to behave as his conscience dictates. Vimes doesn't take bribes or let his officers do the same because, damnit, that sort of thing shouldn't happen, even if doing so would make things a lot easier. Vimes doesn't run towards sounds of screaming because he WANTS to, he forces himself to do so because somebody needs to. It's best summed up in Thud “Quis custodiet ipsos custodes? Your Grace.” “I know that one,” said Vimes. “Who watches the watchmen? Me, Mr. Pessimal.” “Ah, but who watches you, Your Grace?” said the inspector with a brief little smile. “I do that, too. All the time,” said Vimes. “Believe me.”

In the hands of another writer, or another series, this exchange would be weirdly dismissive. To whom should the police be accountable to? Themselves, shut up and trust us. But from Vimes, it's a different story. Vimes DOES constantly watch himself, and he doesn't trust that bastard, he's known him his entire life. The Heroic Police are not a natural state, they're an ideal, and ahnk-morpork only gets anywhere close. Vimes is constantly struggling against his own instincts to take shortcuts, to let things slide, but he forces himself to live up to that ideal and the Watch follows his example. Discworld doesn't propose any solutions to the problems with policing in the real world. We don't have a Sam Vimes to run the NYPD and force them to behave. We don't have a Carrot Ironfounderson. But it's at least a story about detectives and police that I can read without feeling like I'm being sold propaganda about the Thin Blue Line.

#discworld #sam vimes #copoganda

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mollyrealized · 1 year ago

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How Michael Met Neil

original direct link [MP3]

(Neil, if you see this, please feel free to grab the transcript and store on your site; I had no easy way of contacting you.)

DAVID TENNANT: Tell me about @neil-gaiman then, because he's in that category [previously: “such a profound effect on my life”] as well.

MICHAEL SHEEN: So this is what has brought us together.

DAVID: Yes.

MICHAEL: To the new love story for the 21st century.

DAVID: Exactly.

MICHAEL: So when I went to drama school, there was a guy called Gary Turner in my year. And within the first few weeks, we were doing something, having a drink or whatever. And he said to me, “Do you read comic books?”

And I said, “No.” I mean, this is … what … '88? '88, '89. So it was … now I know that it was a period of time that was a big change, transformation going through comic books. Rather than it being thought of as just superheroes and Batman and Superman, there was this whole new era of a generation of writers like Grant Morrison.

DAVID: The kids who'd grown up reading comic books were now making comic books

MICHAEL: Yeah, yeah, and starting to address different kinds of subjects through the comic book medium. So it wasn't about just superheroes, it was all kinds of stuff going on – really fascinating stuff. And I was totally unaware of this.

And so this guy Gary said to me, "Do you read them?" And I said, "No." And he went, "Right, okay, here's The Watchman [sic] by Alan Moore. Here's Swamp Thing. Here's Hellblazer. And here's Sandman.”

And Sandman was Neil Gaiman's big series that put his name on the map. And I read all those, and, just – I was blown away by all of them, but particularly the Sandman stories, because he was drawing on mythology, which was something I was really interested in, and fairy tales, folklore, and philosophy, and Shakespeare, and all kinds of stuff were being mixed up in this story. And I absolutely loved it.

So I became a big fan of Neil's, and started reading everything by him. And then fairly shortly after that, within six months to a year, Good Omens the book came out, which Neil wrote with Terry Pratchett. And so I got the book – because I was obviously a big fan of Neil's by this point – read it, loved it, then started reading Terry Pratchett’s stuff as well, because I didn't know his stuff before then – and then spent years and years and years just being a huge fan of both of them.

And then eventually when – I'd done films like the Underworld films and doing Twilight films. And I think it was one of the Twilight films, there was a lot of very snooty interviews that happened where people who considered themselves well above talking about things like Twilight were having to interview me … and, weirdly, coming at it from the attitude of 'clearly this is below you as well' … weirdly thinking I'm gonna go, 'Yeah, fucking Twilight.”

And I just used to go, "You know what? Some of the greatest writing of the last 50-100 years has happened in science fiction or fantasy." Philip K Dick is one of my favorite writers of all time. In fact, the production of Hamlet I did was mainly influenced by Philip K Dick. Ursula K. Le Guin and Asimov, and all these amazing people. And I talked about Neil as well. And so I went off on a bit of a rant in this interview.

Anyway, the interview came out about six months later, maybe. Knock on the door, open the door, delivery of a big box. That’s interesting. Open the box, there's a card at the top of the box. I open the card.

It says, From one fan to another, Neil Gaiman. And inside the box are first editions of Neil's stuff, and all kinds of interesting things by Neil. And he just sent this stuff.

DAVID: You'd never met him?

MICHAEL: Never met him. He'd read the interview, or someone had let him know about this interview where I'd sung his praises and stood up for him and the people who work within that sort of genre as being like …

And he just got in touch. We met up for the first time when he came to – I was in Los Angeles at the time, and he came to LA. And he said, "I'll take you for a meal."

I said, “All right.”

He said, "Do you want to go somewhere posh, or somewhere interesting?”

I said, "Let's go somewhere interesting."

He said, "Right, I'm going to take you to this restaurant called The Hump." And it's at Santa Monica Airport. And it's a sushi restaurant.

I was like, “Right, okay.” So I had a Mini at the time. And we get in my Mini and we drive off to Santa Monica Airport. And this restaurant was right on the tarmac, like, you could sit in the restaurant (there's nobody else there when we got there, we got there quite early) and you're watching the planes landing on Santa Monica Airport. It's extraordinary.

And the chef comes out and Neil says, "Just bring us whatever you want. Chef's choice."

So, I'd never really eaten sushi before. So we sit there; we had this incredible meal where they keep bringing these dishes out and they say, “This is [blah, blah, blah]. Just use a little bit of soy sauce or whatever.” You know, “This is eel. This is [blah].”

And then there was this one dish where they brought out and they didn't say what it was. It was like “mystery dish”, we had it ... delicious. Anyway, a few more people started coming into the restaurant as time went on.

And we're sort of getting near the end, and I said, "Neil, I can't eat anymore. I'm gonna have to stop now. This is great, but I can't eat–"

"Right, okay. We'll ask for the bill in a minute."

And then the door opens and some very official people come in. And it was the Feds. And the Feds came in, and we knew they were because they had jackets on that said they were part of the Federal Bureau of Whatever. And about six of them come in. Two of them go … one goes behind the counter, two go into the kitchen, one goes to the back. They've all got like guns on and stuff.

And me and Neil are like, "What on Earth is going on?"

And then eventually one guy goes, "Ladies and gentlemen, if you haven't ordered already, please leave. If you're still eating your meal, please finish up, pay your bill, leave."*

[* - delivered in a perfect American ‘serious law agent’ accent/impression]

And we were like, "Oh my God, are we poisoned? Is there some terrible thing that's happened?"

We'd finished, so we pay our bill. And then all the kitchen staff are brought out. And the head chef is there. The guy who's been bringing us this food. And he's in tears. And he says to Neil, "I'm so sorry." He apologizes to Neil. And we leave. We have no idea what happened.

DAVID: But you're assuming it's the mystery dish.

MICHAEL: Well, we're assuming that we can't be going to – we can't be – it can't be poisonous. You know what I mean? It can't be that there's terrible, terrible things.

So the next day was the Oscars, which is why Neil was in town. Because Coraline had been nominated for an Oscar. Best documentary that year was won by The Cove, which was by a team of people who had come across dolphins being killed, I think.

Turns out, what was happening at this restaurant was that they were having illegal endangered species flown in to the airport, and then being brought around the back of the restaurant into the kitchen.

We had eaten whale – endangered species whale. That was the mystery dish that they didn't say what it was.

And the team behind The Cove were behind this sting, and they took them down that night whilst we were there.

DAVID: That’s extraordinary.

MICHAEL: And we didn't find this out for months. So for months, me and Neil were like, "Have you worked anything out yet? Have you heard anything?"

"No, I haven't heard anything."

And then we heard that it was something to do with The Cove, and then we eventually found out that that restaurant, they were all arrested. The restaurant was shut down. And it was because of that. And we'd eaten whale that night.

DAVID: And that was your first meeting with Neil Gaiman.

MICHAEL: That was my first meeting. And also in the drive home that night from that restaurant, he said, and we were in my Mini, he said, "Have you found the secret compartment?"

I said, "What are you talking about?" It's such a Neil Gaiman thing to say.

DAVID: Isn't it?

MICHAEL: The secret compartment? Yeah. Each Mini has got a secret compartment. I said, "I had no idea." It's secret. And he pressed a little button and a thing opened up. And it was a secret compartment in my own car that Neil Gaiman showed me.

DAVID: Was there anything inside it?

MICHAEL: Yeah, there was a little man. And he jumped out and went, "Hello!" No, there was nothing in there. There was afterwards because I started putting...

DAVID: Sure. That's a very Neil Gaiman story. All of that is such a Neil Gaiman story.

MICHAEL: That's how it began. Yeah.

DAVID: And then he came to offer you the part in Good Omens.

MICHAEL: Yeah. Well, we became friends and we would whenever he was in town, we would meet up and yeah, and then eventually he started, he said, "You know, I'm working on an adaptation of Good Omens." And I can remember at one point Terry Gilliam was going to maybe make a film of it. And I remember being there with Neil and Terry when they were talking about it. And...

DAVID: Were you involved at that point?

MICHAEL: No, no, I wasn't involved. I just happened to have met up with Neil that day.

DAVID: Right.

MICHAEL: And then Terry Gilliam came along and they were chatting, that was the day they were talking about that or whatever.

And then eventually he sent me one of the scripts for an early draft of like the first episode of Good Omens. And he said – and we started talking about me being involved in it, doing it – he said, “Would you be interested?” I was like, "Yeah, of course." I went, "Oh my God." And he said, "Well, I'll send you the scripts when they come," and I would read them, and we'd talk about them a little bit. And so I was involved.

But it was always at that point with the idea, because he'd always said about playing Crowley in it. And so, as time went on, as I was reading the scripts, I was thinking, "I don't think I can play Crowley. I don't think I'm going to be able to do it." And I started to get a bit nervous because I thought, “I don't want to tell Neil that I don't think I can do this.” But I just felt like I don't think I can play Crowley.

DAVID: Of course you can [play Crowley?].

MICHAEL: Well, I just on a sort of, on a gut level, sometimes you have it on a gut level.

DAVID: Sure, sure.

MICHAEL: I can do this.

DAVID: Yeah.

MICHAEL: Or I can't do this. And I just thought, “You know what, this is not the part for me. The other part is better for me, I think. I think I can do that, I don't think I could do that.”

But I was scared to tell Neil because I thought, "Well, he wants me to play Crowley" – and then it turned out he had been feeling the same way as well. And he hadn't wanted to mention it to me, but he was like, "I think Michael should really play Aziraphale."

And neither of us would bring it up. And then eventually we did. And it was one of those things where you go, "Oh, thank God you said that. I feel exactly the same way." And then I think within a fairly short space of time, he said, “I think we've got … David Tennant … for Crowley.” And we both got very excited about that.

And then all these extraordinary people started to join in. And then, and then off we went.

DAVID: That's the other thing about Neil, he collects people, doesn't he? So he'll just go, “Oh, yeah, I've phoned up Frances McDormand, she's up for it.” Yeah. You're, what?

MICHAEL: “I emailed Jon Hamm.”

DAVID: Yeah.

MICHAEL: And yeah, and you realize how beloved he is and how beloved his work is. And I think we would both recognise that Good Omens is one of the most beloved of all of Neil's stuff.

DAVID: Yes.

MICHAEL: And had never been turned into anything.

DAVID: Yeah.

MICHAEL: And so the kind of responsibility of that, I mean, for me, for someone who has been a fan of him and a fan of the book for so long, I can empathize with all the fans out there who are like, “Oh, they better not fuck this up.”

DAVID: Yes.

MICHAEL: “And this had better be good.” And I have that part of me. But then, of course, the other part of me is like, “But I'm the one who might be fucking it up.”

DAVID: Yeah.

MICHAEL: So I feel that responsibility as well.

DAVID: But we have Neil on site.

MICHAEL: Yes. Well, Neil being the showrunner …

DAVID: Yeah. I think it takes the curse off.

MICHAEL: … I think it made a massive difference, didn't it? Yeah. You feel like you're in safe hands.

DAVID: Well, we think. Not that the world has seen it yet.

MICHAEL (grimly): No, I know.

DAVID: But it was a -- it's been a -- it's been a joy to work with you on it. I can't wait for the world to see it.

MICHAEL: Oh my God. Oh, well, I mean, it's the only, I've done a few things where there are two people, it's a bit of a double act, like Frost-Nixon and The Queen, I suppose, in some ways. But, and I've done it, Amadeus or whatever.

This is the only thing I've done where I really don't think of it as “my character” or “my performance as that character”. I think of it totally as us.

DAVID: Yeah.

MICHAEL: The two of us.

DAVID: Yes.

MICHAEL: Like they, what I do is defined by what you do.

DAVID: Yeah.

MICHAEL: And that was such a joy to have that experience. And it made it so much easier in a way as well, I found, because you don't feel like you're on your own in it. Like it's totally us together doing this and the two characters totally complement each other. And the experience of doing it was just a real joy.

DAVID: Yeah. Well, I hope the world is as excited to see it as we are to talk about it, frankly.

MICHAEL: You know, there's, having talked about T.S. Eliot earlier, there's another bit from The Wasteland where there's a line which goes, These fragments I have shored against my ruin.

And this is how I think about life now. There is so much in life, no matter what your circumstances, no matter what, where you've got, what you've done, how much money you got, all that. Life's hard. I mean, you can, it can take you down at any point.

You have to find this stuff. You have to like find things that will, these fragments that you hold to yourself, they become like a liferaft, and especially as time goes on, I think, as I've got older, I've realized it is a thin line between surviving this life and going under.

And the things that keep you afloat are these fragments, these things that are meaningful to you and what's meaningful to you will be not-meaningful to someone else, you know. But whatever it is that matters to you, it doesn't matter what it was you were into when you were a teenager, a kid, it doesn't matter what it is. Go and find them, and find some way to hold them close to you.

Make it, go and get it. Because those are the things that keep you afloat. They really are. Like doing that with him or whatever it is, these are the fragments that have shored against my ruin. Absolutely.

DAVID: That's lovely. Michael, thank you so much.

MICHAEL: Thank you.

DAVID: For talking today and for being here.

MICHAEL: Oh, it's a pleasure. Thank you.

#neil gaiman #michael sheen #david tennant does a podcast with...#good omens #aziraphale #crowley #sushi #whale #the cove #oscars 2010 #coraline #mini secret compartments #howneilmetmichael #howmichaelmetneil

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room-surprise · 6 months ago

Text

New Ryoko Kui interview dropped!!!

(This is a quick and dirty translation made using machine translation, and which I've lightly edited to add clarity. I'm not fluent in Japanese so I may have gotten things wrong. I'm sure others will do a better job later.

ADDITIONAL CONTEXT: This article is from a Japanese gaming magazine, like the previous interview in Famitsu, so they focus on video games and don't discuss other influences, even though they do get mentioned and are clearly pretty major.)

Kui was able to write "Dungeon Meshi" because she was not good at eating food and participating in human relationships. In this interview, we dig deeper into the influence of games, and how Ryoko Kui focuses on things she likes and dislikes while writing. [Writers of the Gaming Generation]

Dungeon Meshi.

This manga is attractive for its unique theme of "dungeons, defeating monsters in the labyrinth, and cooking them," as well as the unique characters, detailed human relationships, and deep worldview depicted in the labyrinth. It is currently being made into an anime, and adventurers from all over the world are fascinated by the world of "Dungeon Meshi."

So I thought , "I wonder if this work was drawn by someone who loves food and people." The depiction of such delicious-looking food and the construction of delicate human relationships and characters. Surely, it must have been drawn by someone who absolutely loves it.

However, in reality, the author, Kui Ryoko, says that she "is not good at either food or relationships."

So why was he able to continue drawing things she was not good at?

During the roughly 10 years of serialization, Kui has continued to confront "things she dislikes." This interview delves into Kui's unique creative techniques... and at the same time, it also delves into her "favorite things."

That's the "game"!

Those who are familiar with the subject may already know this, but Kui is also a big gamer. And it seems that "Dungeon Meshi" is heavily influenced by RPGs such as "Wizardry."

As a result, this interview turned out to be "I asked Kui a lot about her likes and dislikes." Likes and dislikes. They are the source of all interests and curiosity.

So how do we use this knowledge in our creative endeavors? How does this knowledge manifest itself in Dungeon Meshi?

How were those charming characters and the deep world created? We spoke to the original author, Kui Ryoko, and the editor, Masaru Hiroi, about things they could only talk about after the series was completed.

This is a game with the volume of a great labyrinth. I hope you will explore it all the way to the final floor!

Dungeon food. It's eat or be eaten. There is no superior or inferior, to eat food is simply a privilege of the living. Dungeon food. Ah, dungeon food.

First, I want to ask about how Kui first encountered video games.

--What are some influences from games in Dungeon Meshi? What was your first game, Ms. Kui?

Ryoko Kui (hereinafter referred to as Kui): I played traditional RPGs such as [blank?] and "Final Fantasy."

I think the first game console I ever played was a Famicom, which my parents won in a lottery . So before I knew it, we had a Famicom at home. I think my parents bought me the Super Famicom and PS1 after that...

After that, I took a break from games for a bit around the time of the PS2, but around the time of the PS4, I was finally able to buy games with the money I had earned myself .

--Why were you able to stay away from games around the time of the PS2?

Kui: I was too busy with exams, so I thought, "Well, I shouldn't be playing games," and left. When I started living alone after that, I couldn't play games because I didn't have a TV. My computer was also a Mac. [Macs aren't compatible with many games.]

--What was the trigger that made you think, "I want to play games" again?

Kui: I think the biggest thing was starting the serialization of "Dungeon Meshi."

Fantasy stories all have different settings, but at the same time, there are also things they share in common. For example, if you want to create a fantasy work, but you only know "Dragon Quest," it will end up resembling "Dragon Quest." It's scary to copy the setting of only one work.

So I just wanted to play a ton of different fantasy games and get an idea of what the most common general understanding of fantasy is.

--Did you start playing it while you were still developing the concept for Dungeon Meal?

Kui: That's right. If I'm going to talk about "eating food," I have to play a game that has a system for eating food .

So I was interested in "Dungeon Master." However, at the time there was no easy way to play "Dungeon Master" on a real machine, so I played "Legend of Grimrock", which can also be played on a Mac.

["Dungeon Master," is a computer RPG released in 1987. Time passes each time you take an action in the dungeon, such as moving, fighting, or resting, so its biggest feature is that the game progresses in real time according to the player's actions. "Legend of Grimrock," is an action RPG released in 2012. It has a game design similar to "Dungeon Master."]

Until then, I had felt that overseas games and games played on PC were too difficult, but I felt like I had overcome one obstacle there. I thought, "Oh, this is pretty easy," and started playing a lot of different games.

-- Those two games are quite heavy even among RPGs, I think, so did you actually have that much difficulty with them?

Kui: No...I would say that my impression is more that best-selling games are easy to play (laughs).

I'm not that good at games myself, so I usually play games that allow you to adjust the difficulty on a super easy setting. So, games that allow you to lower the difficulty are always a lifesaver.

-- I've heard that apart from RPGs , you also like games such as "13 Sentinels: Aegis Rim" and "Paranomasite FILE23: The Seven Mysteries of Honjo ." Do you have a favorite genre, Mr. Kui?

Kui: I guess I'm just not very good at games that require you to use your brain through trial and error.

But in RPGs, if you just level up and keep tapping, you can win and progress in the game. Also, in novel-type games, if you read the text, you can progress. By this process of elimination, I quite like RPGs and text-based games .

Personally, I like games like Disco Elysium the most, which are text-heavy, top-down, and have maps to explore.

...Even I think that's a pretty negative reason (laughs).

Everyone: (laughs).

Hiroi Masaru (hereinafter referred to as Hiroi): But, Ms. Kui, you have really played quite a lot of games, haven't you?

Kui: No, the reason I'm able to play so much is because I play in a pretty callous way ...

I often buy a game, play it, and then just don't play it. So there aren't that many games I complete... I only complete a few a year. I play around 40 games, and if I complete 5 or 6, that's good.

When I asked if I could draw at Comitia, I got scolded.

-- Have you had any exposure to fantasy outside of digital RPGs?

Kui: I think it's not just games, but also the fact that I've always loved foreign fantasy novels . I was given books like "The Neverending Story," "The Lord of the Rings," and "The Chronicles of Narnia."

-- Dungeon Meshi gives off an atmosphere of Western fantasy like gamebooks or tabletop RPGs, rather than the typical Japanese fantasy games like Dragon Quest.

Hiroi: I think I went to Kui's house before the series started. At that time, we were discussing the name of a sci-fi manga called "Drawing Inside the Brain," which I had rejected many times.

Ms. Kui said she wanted to serialize this sci-fi manga... and when he was on the fourth draft, he said, "No, this isn't going to work," and when I looked at the scribbled notes next to her desk, she had already drawn the original version of "Dungeon Meshi" ! (laughs)

Kui: ……………No, I don't remember much (laughs).

Everyone: (laughs).

Kui: But I had wanted to draw a manga about exploring a dark dungeon, like Wizardry .

Since I was in elementary school, the manga I drew in pencil in my notebooks were all fantasy stories about swords and magic, so I had always wanted to draw a proper fantasy manga. However, there weren't as many fantasy manga in bookstores at the time as there are now, so I wondered, "Maybe fantasy doesn't sell."

Hiroi: At the time, there were a lot of people in their teens and twenties posting fantasy illustrations on online communities for artists, such as pixiv, and Kui was one of them.

I thought, there are so many people who want to write fantasy, so if she writes a fantasy aimed at this generation, it might sell.

And when I saw Kui's notes, I thought to myself, "Let's make a straight-forward fantasy manga, without making it weirdly twisted."

Kui: I originally thought of making this "dungeon exploration manga" as just a hobby... When I asked Hiroi if I could draw it at Comitia first, he got angry.

[Comitia is a comics convention in Japan for original self-published comics.]

Everyone: (laughs).

Hiroi: I said, "If you're going to draw at Comitia, then make sure you draw it as a proper serialization!" (laughs)

However, at that time, Kui had already published two collections of short stories, and they were being reprinted. In other words, she had a certain number of fans even before the serialization began.

So I decided, if Kui creates a pure fantasy for those fans, we can't fail badly. If it doesn't work, we'll just learn that fantasy is difficult to sell after all.

--By the way, were there any discussions between you and Ms. Kui about the fact that fantasy doesn't sell?

Kui: I remember vaguely talking about how fantasy manga doesn't sell well and how difficult it seems. I don't know much about light novels, so that might have been there for a while.

However, since a lot of fantasy manga were coming out around the same time, it was probably a "transitional period ." Maybe it was just when people started to feel more and more like they wanted to draw and read fantasy.

Not everyone is that interested in the things I like

-- I feel that "Dungeon Meshi" is a title that has breathed new life into the fantasy genre. How did you go about creating the setting and world when dealing with fantasy?

Kui: I try to think, "Not everyone is that interested in the things I like."

I like to think about pointless settings endlessly, but there are times when I think , "When this setting is actually made into a manga, people probably won't be interested in this story." So I try to include things that will make people interested, and cut out things that will distract people as much as possible.

For example, in "Dungeon Meshi" I initially wanted everyone to speak various languages. On top of that, I wanted to make the characters "only able to communicate with each other in one language"... but Mr. Hiroi said "Don't do that" (laughs).

Everyone: (laughs).

Kui: Even when I'm drawing it myself, I think, "It takes more than six panels to explain this setting...", and if I explain the setting more than necessary, it slows down the pace of the story.

Moreover, since "Dungeon Meshi" was a monthly serialization, unlike a weekly series, there wasn't much time for extraneous stories. Specifically, I had to draw one episode of about 30 pages per month.

In that case, there was no time to add in settings like "Actually, he was thinking about this behind the scenes" or "Actually, he can speak two languages." So, rather than there being any clear choices, there were quite a few times when "there was no time to do things normally." If it had been a weekly serialization, I might have included more.

--Does the scene where Chilchuck yells insults in his own language feel rather "forced"?

Kui: That's right (laughs).I thought, this only takes one frame...it's my chance [to include information about language]!

--So you haven't thought through all of these "fictional languages" yet?

Kui: If Dungeon Meshi were to be my life's work and I were to spend my whole life creating this world, I think it would be more fun to think about it...but initially, I thought that Dungeon Meshi would end in a few years.

Hiroi: Initially, I said, "It'd be nice if it continued for about five volumes" (laughs).

However, Kui's first draft really had a lot of material... so the editors cut out a lot of it. I understand that it's the parts the readers want to read, but I cut out the parts that deviate from the main story. So it's a battle between the "author who doesn't want to be cut" and the "editor who wants to cut."

--By the way, what kind of discussion took place between the "parts you want to cut" and the "parts you don't want to cut"?

Kui: There were a lot of them every time, but I can't remember them specifically now...it was just small, unimportant details that got cut.

In the scene where the hams made by the Red Dragon go back into the pool of blood, I remember saying, "You don't need these," and they were about to cut them off, but I remember desperately stopping them by saying, "We'll need them later!" I'm glad they weren't cut off.

But once I think of the setting, I want to include things, and then they get cut out, so at first I didn't want to expand the world too much.

I also wanted to complete the story within the dungeon. I didn't want to reveal the name of the country, and I didn't want to give the characters surnames. But in the second half, Hiroi-san told me, "The world is too small, so you should make it bigger," and I was like, "Are you sure?"

--Mr. Hiroi, why did you say that?

Hiroi: As the story progressed, it became clear that "Dungeon Meshi" was no longer just about saving a sister in a dungeon. So I decided that it would be unconvincing if the story had no involvement with the outside world, since what was happening in the dungeon was something that would affect the fate of the whole world.

For example, in real life companies, the more important a decision you make, the higher your superior's rank becomes, right? When I thought about it that way, I felt something was off about the idea of Laios and his friends deciding the fate of the world on their own. "How can they make that decision without anyone knowing about it?"

The fact that the Canary Team was there meant that there must have been a system of reporting, contacting, and consulting here, because that's how "society" and "organizations" work.

In short, I think we were thinking about the situation and asking, "If an organization were to get involved in saving the world, how persuasive could they make it given the society that exists in the story?"

Kui: Well, the plot hasn't changed at all.

From the beginning, I had intended to write a story about saving the world, but I also thought it was possible for the world to be saved by only a select few people in the dungeon who knew the circumstances. Changing it was what Hiroi-san thought would make it more persuasive.

When I was drawing the first half, Hiroi told me, "You don't have to decide anything yet." I was in a hurry to move the story forward and explain the world and story setting, but he told me, "It's better to limit it to introducing the four main characters until about the fourth volume." But in the second half, he said, "Introduce more people and expand the world."

Everyone: (laughs).

Hiroi: Kui-san was like , "That's not what you said originally!" (laughs) But both had meaning...

Kui: I was the one saying, "If we expand the world there, the story will never end, right...?"

After drawing it through to the end, I realized that the balance between holding back and expanding didn't work the way I had expected. I think this is one of the reasons why the serialization of "Dungeon Meshi" took so long.

-- But there are a lot of characters in "Dungeon Meshi," and the relationships between them are complicated. I heard that you also created the relationship diagram for "Taikaishu" [※3] ...

Kui: No, I haven't made one [I didn't do that?]!

[Taikaishu is a full-color web comic by Funako Tsukasa that began serialization on a website in 2005 and is still ongoing. Its unique worldview has earned it a loyal fanbase, especially on the Internet.]

-- Eh? Is that not the case?

Kui: To be precise, I just created an account on the fan wiki.

When I started reading "Taikaishu," I struggled with the complex setting and the large number of characters...and I thought "it would be easier to read if there was an explanation or a list of characters."

So I searched for a bulletin board where readers were sharing their thoughts and asked if there was a summary, but they said there wasn't. So I thought, "Maybe if there was a place where someone with more knowledge could summarize it," and I just made a wiki account.

So I didn't actually edit it. It seems like I've been given credit for someone else's work, and I'm sorry about that...

Dungeon Meshi was created from a sense of guilt about food?

-- "Dungeon Meshi" started off with the catchy theme of "cooking monsters," but little by little the darker aspects and deeper world were revealed. Was the structure of "little by little revealing the darker side" something you had in mind from the beginning?

Kui: I thought I needed a theme to serialize it so I thought I'd try "food education." There were a lot of gourmet manga at the time, but I felt like there weren't many that focused on food education.

-- Considering that the theme is "food education," it makes sense that the nutritional value of the dishes in the story is clearly written down.

Kui: With the theme of "food education," I also thought up a rough outline of the story. Rescue the kidnapped princess, defeat the evil wizard, defeat the final boss, and become king... the framework is pretty simple.

But when I actually tried to proceed with the plan, I realized, "No, this story can't be done so lightly..." At first, I thought I could draw it in a more light-hearted manner.

Hiroi: At first, you were trying to finish the fight against the Red Dragon in one episode, right? I was like, "is that possible?" (laughs).

Everyone: (laughs).

Kui: When I tried to actually tell it in one episode, it ended up feeling like a very brief summary... In order to tell the story I wanted to tell, I had to tell it more thoroughly than I originally thought.

-- Did you have any special thoughts about the theme of "food"?

Kui: No... well... if I had to choose, I'd say I have a strong grudge against food.

Since I was a child, I was a very picky eater, and mealtimes were a pain for me. I hated eating in front of other people, and there was a time when I hated seeing other people eating, so I would look for toilets that were rarely used and eat my meals in the toilet.

When I was doing it, the word "toilet meal" didn't exist, so when the term actually appeared in society I was so happy, thinking "everyone was doing it!"

[Toilet Meals are a social phenomenon in Japan.]

Everyone: (laughs).

Kui: I was thinking, "This is so terrible, right...?" but it was a relief to realize that other people were doing the same thing.

--So what made you choose the theme of "food education"?

Kui: My parents, who were struggling with my picky eating, taught me many things, including the "triple eating" method, but it was no use and I continued to be a picky eater into adulthood. My parents had instilled knowledge about food education in me, but I was not able to put it into practice.

[Kui might be talking about Triangular Eating but I'm not sure.]

So the only thing that remains is that I feel an enormous amount of guilt when it comes to food and eating...

Hiroi: If you think about it objectively, the series starts off on a very negative note.

Kui: But now I've gotten over the habit of eating with other people... or rather, I've come to like it. My editor takes me to lots of delicious places.

--When I was a student, I was trying to leave my udon bowl at school, but my teacher found out and made me eat the packet of udon by myself. There was no soup, and it was really hard to eat the udon by itself.

Kui: It must be tough. I tried to hide it, but my teacher found out and I got really angry.

Hiroi: I've tried to hide it in a drawer before. Then, something dried up came out of the drawer... (laughs bitterly).

How can I draw things I hate?

-- Or rather, is it the fact that you're not good at it that gives you a higher level of insight into the food?

Kui: I think it's because you're interested in it that you either like it or dislike it. Inevitably, you spend a lot of time thinking about it.

Since "Dungeon Meshi" depicts a lot of food, one might think "Do I like eating?", but in fact there are many times when I draw it because I dislike something .

--Aside from food, do you also draw things that you dislike?

Kui: Maybe. For example, human relationships, modern times, fashion...?

-- Perhaps the relationships between the characters in "Dungeon Food" are portrayed so delicately because the author is not good at dealing with human relationships?

Kui: I've always been very curious about things like, "(This person is usually so cold, but has such a charming smile in front of other people)" ...

I feel the same way, but I think people are different in the way they show their true colors. I think it's strange that it stands out to me...

-- I have a simple question. When you draw something you hate, how do you feel? No matter how much you hate something, do you find it fun to draw it?

Kui: The events in the manga don't directly involve me, so I don't dislike the things I'm drawing as much. Also, when I draw while looking for the good parts, it can lead to new discoveries.

Also, I think it's scary to draw only what I like.

In my work, the important thing is "what to capture with the camera," and there's no need to go out of your way to capture filthy things, but at the same time, I think the world will look bigger if you keep in mind that "there are a lot of inconvenient, dirty, and unpleasant things outside the camera." That's the feeling I have when I paint/create manga.

When playing a game, if I have to choose between a game where I only feel like I'm in the world inside the game screen, and a game where I feel like there are lots of people living on the other side of the screen, and that the people in that world could travel anywhere they wanted, I think the latter is more fun to play.

I'm always thinking about how to express that "sense of the vastness of the world" ...and I personally like games that have "a world" to them.

-- Do you ever incorporate elements from the game into your manga?

Kui: On the contrary, I think that is a part that cannot be adopted .

The best thing about games is that each person has a different experience. Games that have lots of endings are also a result screen for what you've done up until that point. When I see something like that, I think, "That's so cool."

Personally, I think that's the game's greatest appeal, and something that could never be replicated in a manga that doesn't have players.

If you're so busy, when do you play games?

-- I'm personally curious, how do you find the time to play games? Even though you're busy with your work as a manga artist, you play quite a lot of games.

Kui: I often use the Steam Deck before going to bed or during breaks between writing manuscripts. In fact, I almost only use the Steam Deck now. I keep it by my pillow, so I can take it and play before going to sleep, or during breaks...

--Is Steam Deck really that convenient?

Kui: I recommend it. The screen is small, but it can run Cyberpunk 2077 .

Also, personally, I've gotten tired of having to turn on my PC to start up a game...with Steam Deck, I can just turn it on and it starts up instantly, even when I'm lying down. How do you writers usually play games? There are times when you have to play games for work, aren't there?

--When it comes to work, I calculate backwards how long I'll be playing before I start playing...If it's a game that can be completed in about 60 hours, I usually estimate that I'll play for 3 hours a day and complete it for 20 days in a row.

Hiroi: It's a lot of work!

Kui: That's amazing... You really are a gamer.

I've always thought that I have a talent for playing games ... but I'm not really good at that. If I'm given a game that's a little difficult, I get tired of it right away, and I'm not very good at trial and error. The range of things I can enjoy is very narrow.

I wonder if game developers around the world are also struggling with the question of "Should I make my games accessible to a wide range of people, even those who aren't particularly gamers?" or "Should I make games that are challenging and can be played deeply?" The same problem exists with manga, too.

When there's a game that I can't play well, I feel happy because it means the creator decided that there's no need to pander to people who can't keep up.

-- By the way, when you play games, do you do it as a normal "hobby"? Or do you play more often to find material for your manga?

Kui: Of course, a big part of it is that I play games as a hobby, but it is alleviated by the fact that playing games might be useful for my work (laughs).

Even if I'm not that interested in a game, if I think "it might be useful for work," I'll find the courage to buy it, and no matter how expensive a gaming PC is, I can still buy it if I think of it as a work tool. So the hurdles for many things related to games are lowered for the reason that it's "for work."

--So, when you read manga, do you feel like you're reading it for work?

Kui: In my case, manga has become my job, so when I read it I can't help but think of work.

However, I still enjoy gaming as a hobby . That's why I don't want to lose this hobby... and I don't think I'll be able to enjoy it as much if I get involved in games as a job, so I don't take on any games-related jobs.

Does the depth of the world come from the fact that it is "not decided"?

-- I heard in advance that "Dungeon Meshi" was written with a clear awareness of "what should be explained" and "what shouldn't be explained," so could you tell me more about that?

Kui: Having read a variety of fantasy novels and games, I thought that the "moment of discouragement" was the "repeated use of foreign words." When you write something like "XX of XX of XX," if there are three or more katakana characters, there is a high chance that it will be skipped over by Japanese readers.

That's why I try to refer to town names as "the neighboring town" whenever possible, and refer to characters who appear in flashbacks as "uncle" rather than by their full names, so that readers can understand without having needing exposition.

The magic used during battles in "Dungeon Meshi" is depicted in such a way that you can "understand what kind of magic it is just by looking at the picture."

-- What other aspects of Dungeon Meshi are there that you deliberately left out of its concrete settings?

Kui: Numbers and language are the settings I avoided touching. For example, just by deciding the month of birth, it is first determined that there is a moon in this world. From there, it is also determined that there is gravity.

What's more, just the concept of a "birthday" means that there is a division into a "year" and that the world is determined to have a 365-day cycle. It quickly becomes complicated.

But on the other hand, if I were to set the details and make it something like "This country's currency is 1 gold, which is worth 5 yen," it would be a burden on the reader. When reading the work, the reader would be forced to convert it into "1 gold = 5 yen" in their minds every time. That's why I try to write it with "readability as a priority" as much as possible.

However, if you're creating a "fantasy" in the truest sense of the word, it would be better to create something that corresponds to that world's calendar or metric system in order to really immerse yourself in that world, so it's difficult to get the balance right...

-- I think that style of "deliberately not giving explanations" is quite amazing.

Hiroi: I think that 's definitely partly because "Dungeon Meshi" is a silly title.

The "mindset" of the reader is a little different...I think that from the very beginning, the reader is made to recognize that "this work isn't going to say anything too difficult."

Kui: Also, we had to give a bit of thought to coming up with the character names.

For example, the main characters in Wizardry are given names that correspond to their professions, such as "Warrior" or "Wizard." The "Senshi" in Dungeon Meshi was taken from that ... I named him after thinking, "I want that person to play an active role."

That's why I wanted the overseas version of Senshi's name to be "Fighter", but I was worried that overseas readers would be like, "What does that mean...!?" so I kept it in my head.

--The character names in "Dungeon Meshi" tend to be around 3 or 4 letters long and fit nicely.

Kui: If the name gets too long, it won't fit in the speech bubble...It's generally said that a line in a speech bubble should be about 7 to 8 characters long to be easy to read.

So "Chillchuck" is really long... I actually thought that the abbreviation "Chill" could be used more, so I named it that way, but it didn't work out so well, so in the end I just kept calling it "Chillchuck". Even I was thinking "that's long" while drawing it (laughs).

Everyone: (laughs).

Kui: Anyway, there are quite a few manga-like circumstances where "maybe four characters would be enough."

--By the way, are there any rules for naming the characters in "Dungeon Meshi"?

Kui: It's not detailed, but there are "settings within the story" and "meta-settings that are just for my own enjoyment."

For example, [if Dungeon Meshi was a game] the Shuro party has names that would be given by a certain type of player. When playing a games, some people give their characters themed names that follow self-imposed rules. In that sense, meta-wise, the Shuro party is played by a player who names their characters with a plant-based restriction.

Also, since the player likes girls, the party members are all girls, and so on... (laughs).

Hiroi: Oh, I didn't know that!

Kuon: ...While it's fun for myself, I also create characters by asking questions like, "Why is the party mainly made up of women?" or "Why do they all have similar names?"

However, even if I revealed these settings in the story, it wouldn't have made the story any more interesting, so they are merely "settings that only exist in my own mind."

-- What are some specific examples of "settings that you deliberately didn't reveal"?

Hiroi: I still remember when I said, "I want you to depict the elven kingdom in more detail," Kui replied, "That's going too far."

The dwarven country was depicted quite a bit, so I personally thought it could have been shown a little more...

Kui: I felt that if I depicted that, it would limit the reader's imagination.

There are definitely "lines that suggest something might happen," and when it comes to parts that are better left to the reader's imagination, I often choose not to draw them.

Also, even when we present settings that readers think they can just skim through, they often try hard to remember them...

It all started with the manga "Eating soba through your nose."

--Let's go back to the topic a little. How did Ms. Kui and Mr. Hiroi meet?

Hiroi: I think we scouted her.

I saw a short story that Kui had posted on Pixiv and sent him an email asking if I would like to draw a manga. I remember that he had a really funny four-frame manga called "Eating soba noodles through your nose ." It was about a character eating soba noodles through his nose and crying out in pain... I think I was drawn to his drawing ability, which made me feel like "Wow, that looks painful" when I saw it (laughs).

And from that point on, we have come to this point.

[This may not be the exact comic that Hiroi is talking about, but it's a comic Kui posted on her blog about someone eating soba through their nose.]

Kui: Oh, is that so? Isn't it something like "Shugaku Tenshi" [※4] ?

Hiroi: No, that's not true! The manga about eating soba noodles through the nose was made before "Shingaku Tenshi". By the way, that manga was planned to be published in "Rakugakihon" , but when I asked Kui-san "Can I publish this?", she was very against it...

Kui: No, that's fine, but... I didn't think other people would find it that interesting.

Everyone: (laughs).

Hiroi: But that was more than 10 years ago...

--By the way, was Mr. Hiroi the first publisher to contact you?

Kui: Before that, an editor at East Press had contacted me. I was originally publishing fantasy manga that I had drawn as a hobby on my personal website. I compiled them into a self-published original comic and exhibited it at Comitia, and they asked me, "Would you like to publish this long manga as a book?"

However, after the editor asked around to various people, it seems he was told that "this will be hard to sell"... so the plan was dropped. Instead, it was decided to release a "short story collection" of short manga that had been published at the same time . This is "The Dragon's School is on the Mountain: A Collection of Works by Ryoko Kui" published by East Press.

I was contacted by a few other people as well, but the two people I still keep in contact with are Mr. Hiroi and the editor at East Press.

-- When you went from drawing short stories and web comics to starting a commercial serialization, did you study anything like "how to draw a serialized work"?

Kui: I learned almost everything about how to draw manga from Mr. Hiroi and the editors and writers at Harta .

I had absolutely no understanding of whether panel layout was good or bad, so up until the middle of the serialization, I would rearrange the storyboards one panel at a time, and I would get lectured like "Don't put a panel like this here."

I was also impressed when I was shown original manuscripts by other artists. They look beautiful in print, but the real thing is even more impressive. This is what it means to be good at drawing manga.

It didn't finish as I expected

-- Speaking of "serialization," you mentioned earlier that you initially intended to end it at about volume 5. Did "Dungeon Meshi" continue longer than you had anticipated, Ms. Kui?

Kui: First of all, I didn't really understand what a "serialized" comic meant, so I didn't even know how much of a story I could get done in how many pages. So, I thought I could wrap up the story nicely in about five years, in five volumes.

But I never quite got around to finishing it. It was so hard... (laughs).

Hiroi: To be honest, when I first heard "Volume 5,"I thought to myself, "(Are you kidding me...?)" I didn't say it out loud though (laughs).

--Honestly, even as a reader, around the time of the fight with the Red Dragon in volumes 4 and 5 I was starting to feel like, "Huh? It seems like it's coming to an end soon..."

Kui: From the beginning, my goal was to "defeat the Red Dragon at the halfway point." However, I was supposed to fight the Red Dragon in Volume 4, even though it was supposed to be 5 volumes. So I thought, "Huh? It's not over yet," and I gradually lost interest.

By the time I got to around volume 10, I felt like no matter how much I drew, it would never end. I didn't want to drag it out, but no matter how much I drew, it just never seemed to finish.

Hiroi: Even from an editor's perspective, it seemed like Kui was getting very anxious from around volume 10 onwards.

-- Having finished the long-running serialization of "Dungeon Meshi," did you experience any changes in your mindset?

Kui: I think it was great to have the experience of learning that it would take 10 years to draw a story of this scale. And when I think about my lifespan and how many more works I can draw... it makes me dizzy.

Hiroi: I feel like I'm constantly fainting...

-- Ms. Kui, are there still any works you want to draw in your mind?

Kui: Not that much. But I love drawing manga, so I want to draw a lot. I don't know if I'll have the stamina to continue for another 10 volumes, but I want to continue working as a manga artist somehow.

But maybe... I don't think it will sell that well next time...

Hiroi: Stop! Don't say that!

Everyone: (laughs).

Kui: In that respect, "Dungeon Meshi" sold well, so I was able to draw what I had imagined to the end. Next time, I think it would be better to consider the opposite scenario of "if it doesn't sell" and make it shorter.

That's the next new challenge.

-- In addition to the expectations for your next work, do you feel any pressure?

Kui: In my case, the first collection of short stories I published was fairly well received. For a manga I drew for the first time, that's about it.

That was a relief, but at the same time, I felt that "Ideally, the reputation of my next work will also steadily increase, but there will definitely be ups and downs." If the reputation of the next work is bad, will I be able to continue drawing without getting discouraged? I realized that the "battle with myself" had just begun , and I was terrified when I read the first volume.

What game has cute illustrations, in your opinion?

Kui: This is a completely different topic, but you 've played SaGa Frontier 2 , haven't you? Aren't the pixel art in SaGa Frontier 2 really cute?

--The pixel art in SaGa Frontier 2 is...the best!

Kui: The illustrations in "SaGa Frontier 2" have such exquisite balance... if you try to express that in a picture, you can't reproduce that cuteness. It's like "exquisite head-to-body ratio."

-- In your opinion, Ms. Kui, are there any games that have cute illustrations?

Kui: The first one that comes to mind is definitely SaGa Frontier 2. Also, I still remember how cute the character designs were in Final Fantasy Tactics.

But back in the day, I used to trace characters from FF7 . I thought, "There are so many cool designs in the world..." (laughs).

Hiroi: Nomura (Tetsuya)'s drawings are amazing, aren't they?

Kui: I traced Cloud and Aerith on tracing paper and quietly said to myself, "So cool..." and got really excited. I noticed something while I was working on the "Dungeon Meshi" anime...basically, games and anime are made by many people, aren't they? So I always thought, "Many people must be giving various opinions to make them."

But when I got involved, I realized that one person's power is quite large. This was quite surprising. I thought that there were multiple people who wrote the script and storyboards, and that each person had their own responsibility, but... the power of one person is quite large.

──No matter how much the work is divided up, it's important to have a director or supervisor who brings it all together.

Kui: Yes, in the end, it depends on the power of the person who takes the lead ...

However, at the same time, I think that the division of labor between scriptwriting and storyboarding is something that would never be possible with manga. In the end, you have to create everything in one person's mind, so "bias" inevitably arises. So personally, I don't like the idea of it becoming a "world created in one person's mind."

Hiroi: However, not only in manga but also in novels, the individual author's personality is strongly expressed. I wouldn't go so far as to say "ideology"... but the person's way of thinking is strongly expressed.

Kui: Speaking of which, people who create games alone, such as indie games, are amazing.

It's often said that manga artists "come up with everything, from the art to the story, all by themselves," but I don't think they can compete with independent game creators who create the music, programming, and art all by themselves.

Moreover, even more than manga, no one can give their opinion until the game is completed. If you think about it that way, making a game by yourself is really a "one-man battle." At the same time, what I like about games is that there are quite a few "works that are not made with much consideration for cost" ... I enjoy it a little bit.

-- Do you ever think, "I want to make a game?"

Kui: I once bought RPG Maker , but it ended up being a complete failure... (laughs).

Everyone: (laughs).

Love for "classic RPGs" was a major influence on "Dungeon Meshi"

-- I'd like to ask you, Ms. Kui, since you play a lot of titles on Steam and other platforms, have you ever had any problems playing a game?

Kui: Simply put, a "game that doesn't work" is a problem (laughs).

This sometimes happens with games made by individuals on Steam... they don't have any reviews, so there's no way to deal with it other than contacting them directly. There have been a few times when I've been stuck and wondered, "What should I do?"

Other times, I'll buy a title that just happens to pop up at the top of Steam's rankings. Sometimes I'll play it thinking, "The graphics are kind of cute, so I'll give it a try," only to find that it's incomplete beyond the framework.

--So now people are playing titles that aren't that major.

Kui: Also, when I played Planescape: Torment, which is said to have influenced Disco Elysium.

While playing, I came across a character who was suffering from a terrible curse that made his whole body smell and become sticky. A quest was triggered to ask the NPC who had cast the curse to lift it, but when I asked them to lift the curse, I ended up being cursed with a curse that made me have constant hiccups ...

So when I was walking around the town, the "hiccup" dialogue started popping up all the time. What's more, every time it happened, I would freeze up for about 0.1 seconds. All the dialogue was filled with "hiccups." Anyway, it was a troubling curse.

I had no idea how to deal with this either, so I decided to just kill the NPC who had put the curse on me. The NPC also challenged me by saying, "Maybe if you kill me, the curse will be lifted?", so I tried killing him, but... it didn't lift the curse at all (laughs).

Everyone: (laughs).

Kui: I thought maybe the quest would progress in other places, so I walked around here and there, but the curse was not lifted after all. I was really curious, so I looked back at overseas information exchange thread online, and I found someone had written a lecture that said "You know what happens if you kill an important NPC without thinking about it, right?"

So I realized that this curse can never be lifted again. Even if I wanted to rewind, it was an auto-save, so I had to go back almost to the beginning... I was really... in trouble!

-- But "Planescape: Torment" hits a pretty impressive spot. Was it something that just happened to catch your eye while you were browsing Steam?

Kui: I originally liked games in the same genre as Baldur's Gate, so I think that's how I got into Planescape.

Also, I saw information that a huge amount of text in Planescape was translated by one person... I'm not very good at English, and games like Planescape have a lot of text to begin with, so I'm at a loss if it's not translated into Japanese .

However, when extraordinary people like those who make Planescape use their precious time from their lives to accomplish great things, I feel very grateful.

-- So, Ms. Kui, do you prefer games that are closer to the classics?

Kui: That's right. The first game I played was The Elder Scrolls V: Skyrim, and it was so much fun that I searched for "games similar to Skyrim" and played a lot of the games that came up.

All of them were completely different games from Skyrim, but they were fun. However, I don't like "old games". I think that newer games are generally more polished and well-made.

-- Wizardry, which influenced Dungeon Meshi, is also a classic work.

Kui: When I was a child, I saw my father playing Wizardry V : The Heart of the Maelstrom. As time passed, I remembered that there was a game called Wizardry. The game I played at that time was Wizardry VI: Forbidden Pencil.

I also played Wizardry V , but it was hard to see the map unless I chanted a spell. I was directionally challenged, so even though I had a guidebook at hand, I couldn't progress.

--By the way, were you more interested in making a manga out of "Wizardry" than the tabletop RPG "D&D" ?

Kui: When I was researching fantasy, "D&D" was often mentioned... but I had never even heard of "TRPG" before. First of all, you can't play it without friends, and I was shocked to find out that lots of people have friends they can play with like this...!?

Everyone: (laughs).

Kui: So when I looked up TRPGs on Wikipedia, I couldn't imagine that people actually played this kind of game. I was more confused and thought, "How can people really role-play in front of other people?"

After that, I watched replay videos on YouTube and it was only then that I understood how games like D&D worked.

Games, manga, novels. What is the purpose of all creative works?

-- What was the last game you played?

Kui: Recently I played a school management game called "Let's School." It's made by a Chinese company that also made "My Time at Sandrock."

Hiroi: You really like that kind of game, don't you? (laughs) Oh? Haven't you played "FF7 Rebirth" ?

Kui: I'm thinking about playing the remake of FF7 once it's completed.

Hiroi: No, no, if we don't do it now, we'll never finish it! It'll be a long time before we do it!

--Honestly, I also thought it would take about 10 years for FF7 Rebirth to be released.

Hiroi: I thought it would take about that long too... I really wanted it to be completed while I could still see. So, please do it!

Kui: Once it's finished...I want to play it all at once (laughs).

--Do you and Ms. Kui often talk about games?

Hiroi: Ms. Kui sometimes says, "I want to talk about this game, so I want you to play it." I played "Red Dead Redemption" because of that. Also, a long time ago, Ms. Kui recommended "13 Sentinels: Aegis Rim."

Kui: Whenever there's a game I want to discuss with someone, I always recommend it to Hiroi.

But maybe I haven't been playing games as much lately. Until now, I've been playing games because I thought of it as "for work," but now that the serialization of Dungeon Meshi has ended, I've been playing less games.

Moreover, I'm not the type of person who gets that into one game...I don't generally play through a game in repeated playthroughs, and I'm usually satisfied once I've finished the story.

Hiroi: Then we have to start [a new ] serialization soon.

Everyone: (laughs).

-- I'd like to ask you personally, do you have any "recommended indie games"?

Kui: I highly recommend "Papers, Please" and "Return of the Obra Dinn."

First of all, "Papers, Please" is a simple "spot the difference" game, so I didn't have high expectations at first. But when I played it, I felt like there was a proper "world" to it . Also, I was curious to see how the story continued.

And "Return of the Obra Dinn" had a great atmosphere. There were hints to solving the puzzles if you looked closely, but there was also a good balance of being able to force your way through, and the music and production were cool.

Hiroi: Come to think of it, you read quite a bit of the novel after the serialization ended, didn't you?

Kui: Ah, you mean "1984" by George Orwell? That was good...

I've always thought that creativity isn't necessary for life... It's entertainment, so it's not essential to life. But after reading "1984," I thought, "I guess creativity is necessary after all."

Humans need stories to experience things that should never come true, to prepare for bad things, and to prepare for understanding other people... You might think, "You should have already learned that when you were younger," but I was deeply moved by this realization.

Anyway, I feel that it would be great if people could learn things they didn't know before through this work.

Hiroi: ...Overall, it just felt like we had a fun time talking about games (laughs).

Kui: We just used the interview as an excuse to talk about the game (laughs).

-- No no, thank you very much for sharing your valuable story! (End)

I think I can understand a little bit about being interested in things you hate.

It's easy to analyze "why do you like something?" when you like it, but it's surprisingly difficult to analyze "why do you dislike something?" When you understand the reason, it seems that "why do you dislike it" is often more meaningful.

Perhaps creative works exist in part to help us understand the things we dislike.

I was able to hear a lot of deep "creation stories" that made me think about such things. Also, Ms. Kui is a huge gamer. Mr. Hiroi also likes games quite a bit. Since serious talk and game discussions alternated, the content may have been emotionally confusing. But I feel like "Dungeon Meshi" has a similar atmosphere.

If you haven't read "Dungeon Meshi," please take this opportunity to read it. It depicts a fun adventure. On top of that, it may help you prepare for difficult things that might happen in your life someday. Of course, it's also extremely interesting as a manga. I think it's definitely one of the best "entertainment" of our time.

Why does the body want to live? What does the mind want?

This is because we have a "desire" to pursue what we like and dislike. In fact, "things we dislike" are just as important as "things we like." By understanding our own "likes and dislikes" through creative works and entertainment, humans can prepare for things that happen in their future lives. Food and creative works are equally important for human growth.

...That said, I'm not sure if it has a nice punchline, or maybe not.

To eat. To experience creative works. These are truly the privileges of life. In order to live, we must continue to eat.

Now it's time to eat. What shall we eat today?

#dungeon meshi #delicious in dungeon #ryoko kui #kui ryoko #dungeon meshi research #translation

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bimboficationblues · 3 months ago

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so the thing about "read theory" as a mantra: in the social media sphere there is a consistent downplaying of what that kind of commitment actually entails, plus a consistent obfuscation of what exactly the commitment is necessary for.

let's say that you're interested in learning more about specifically "Marxist theory." This, I think, also raises a bunch of questions about what we mean by theory - works of political philosophy, texts on revolutionary and military strategy, political speeches, journalistic or sociological analysis, historiography - these varying things with very different discursive norms and standards of evidence or logic often get rolled into one singular object called "theory." but let's set that aside for now.

you want to learn this for maybe an assortment of reasons, here's a few (non-exhaustive) good ones:

Marxism has been a substantial historical force that has probably had a notable impact on the world around you in some way.

Learning about Marx/ism might offer some level of insight into your current social world that other things are unable to offer.

Many texts - Capital, The Wretched of the Earth, The Second Sex, The State and Revolution - are also world-historical forms of political literature, which is interesting.

Follow-up to 2 - maybe having some level of familiarity with these things will give you the ability to better articulate yourself and participate in social and political movements around you.

generally speaking the Social Media Marxist approach is to tell you to go read off a list of texts of whatever writers the author personally agrees with or whatever works she happens to have read. so you decide to start with the big guy Marx, who is at the top of the list. totally reasonable decision.

however, there are a few contextual questions that might reasonably come up when doing so.

first, it will be clear that Marx did not pop out of an intellectual vacuum; Lenin has a rather popular identification of the "three sources of Marxism" - post-Hegelian German philosophy, French socialism, and English political economy. from my perspective, these are more like three of his main objects of ire (and so in some sense are both influences and also breakages - but not strictly speaking a synthesis), but I digress. so, frequently, in order to grasp what Marx is talking about or responding to, you are going to need some level of familiarity with a lot of additional people: Smith, Ricardo, Malthus, Hegel, Bauer, Feuerbach, Hobbes, Spinoza, Rousseau, Mill, Sismondi. suddenly you are not just learning about the works of one guy, but his attitude towards all the people he relies on for support or aims his criticisms at. and each of those different intellectual relationships is going to be different. sometimes at different times!

second, and relatedly, Marx is not always the most charitable to the people he's criticizing, who were often rival socialists (so there were pretty notable political and personal stakes at work in proving them wrong or diminishing their influence over the movement). the introductory materials to the new translation of Capital also observe that Marx's approach to scholarship is, shall we say, haphazard; often he makes quotes or citations that are not actually representative of what he's citing. finally, many of the people he's criticizing have sort of been rendered obsolete historically *in no small part* due to the success of Marxism as a political orientation in the late 19th and early 20th centuries. so to determine whether Marx is being fair to the people he is basing his critique on, we will have to do some level of intellectual work to check. so now we're not just evaluating Marx's relationship to different thinkers but also the substantial content of each of those thinkers themselves.

third, Marx did not pop out of a social vacuum. all of these different writers didn't just crop up from nowhere but wrote within particular sociohistorical contexts, some of which were rather divorced from the European revolutionary wave, first worldwide financial crisis, and the shifting character of the United States in the wake of the Civil War and the formal abolition of slavery - some of the historical events that Marx was more explicitly engaging with. and the radical liberals, republicans, and socialists Marx criticized all also had their own intellectual and social histories. so now we're getting a little far afield from the initial notion, which was just to read some guy, and getting into the realm of social history, and trying to understand the relationship between world history and the ideas produced within it.

fourth, you are a subject in the world, which is to say YOU did not pop out of a social or intellectual vacuum. you likely bring predispositions, assumptions, biases, and cognitive distortions to what you read; we all do. working through those and trying to note where they're happening - where they might be fine and where they might be problematic - will require a certain willingness to reflect, to write, to take notes, to analyze and self-scrutinize, and to be critical of both yourself as a reader and of the text you are reading. (a nested problem is that we have a truly staggering amount of material from Marx and Engels, and you might have to make certain determinations as to which material is important or worthwhile or more useful, and identify the standards by which you think that - all of which requires a certain reflection on your status as a political thinker).

okay, so consider all that. we started with "I wanna read this one guy," we end with "to really grasp the work of this one guy it's also important to know both preceding and contemporaneous world history, his intellectual influences, and the gaps or silences or errors in his work.” now consider that, if you really want to be able to speak on them with some level of confidence and intellectual honesty, you have to apply approximately the same level of rigor to every other writer on the Social Media Marxist approved list - Lenin, Fanon, Che, Kollontai, Cabral, Mao, Luxemburg, whoever. not to mention their critics, both direct and indirect!

Marx developed his work through an incredibly sustained engagement with enormous volumes of different material; we have entire notebooks of him poring over Max Stirner, or Spinoza, or the political economists, or the empirical observations of English factory inspectors. I'm not saying that you have to do that, or even that one strictly *has* to go down any or all of the first three rabbitholes I identified. Marx was in the somewhat unique position of sustaining himself through the support of Engels and his journalistic work, as a product of being in perpetual exile. that's not the kind of position that most of us are typically in.

the point is not "commit yourself to being a perfect monastic scholar in order to reach perfect truth" - such a thing is probably a fantasy, even if we wish otherwise. the point is that if you think "theory" is worth taking seriously, well, you have to actually take it seriously. if you don’t think it has stakes or utility, that’s fine; different people find different things useful. I think “theory” is not a set of dead letters by canonical authors but produced through social life. but if “reading theory” is a way to clarify and assert yourself as a political subject and agent, to claim some intellectual autonomy and acquire some understanding that you can put into practice in your life, then that’s demanding. it’s not impossible, but it does take real effort and a commitment to study and a certain level of resistance to being dogmatic. otherwise you are just letting yourself be rhetorically persuaded by whatever is in front of you or whatever affirms your biases.

as Marx says in the preface to Capital, Volume I, "I am of course assuming that my readers will want to learn something new, and so are ready to think for themselves."

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rafesbowbunny · 1 month ago

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𝜗𝜚 bunny!reader has always had a thing for a regular at her bookstore, older!rafe only comes in to see her

c!w; mdni !! older!rafe, dom!rafe, bunny!reader, age-gap (reader is 18+), size kink, rafe gets called 'daddy' a few times, dirty talk, mutual pining obviously, 'unprotected' sex, p in v, creampie, overstimulation (if you squint), cum play, cum eating, oral (f. receiving)

notes; i had such bad writer's block during the making of this so i apologise if this isn't my best work... also its kinda long before the smut but it needed some plot !!

you'd just gotten a job at a new cozy bookstore in town. it was perfect, had rows and rows of every genre of book a person could think of and a lovely little cafe with a cozy area to read in too. you loved working there, and had recently gotten much more comfortable after finally getting the hang of everything.

there were quite a few regulars that would come in for the coffee and a book, lots were mothers with quiet children that would sit down in the children's corner and read, others were just people of all ages that particularly enjoyed sitting in the bookstore for hours.

you were stacking shelves the first time you saw him; tall, gorgeous and smiling slightly under his cute scruffy moustache. he was flicking through the non-fiction books. though he didn't look like someone that read, adorned in workwear and partially grubby clothing, most likely from his blue collar job.

you could tell he was definitely older, around ten years your senior but still so pretty. after that first minor interaction you started seeing him come in a lot more, every other day basically. you'd worked up the courage to say hi to him after a few more times of seeing him and although your face was probably bright red, he smiled wide and started a conversation with you.

after the ice had been broken you would always talk to him when he came into the bookstore, it got to a point where he wasn't even pretending to be interested in the books around him anymore, he obviously had come in there to see you again.

rafe had also started coming in early before work started, he looked so good in his carhartt jacket and big boots, not yet dirty from a days work. he'd make sure you were the one to make his coffee, always mumbling something about you having a secret gift as he grinned, letting his hand linger over yours when he'd take his cup.

the tension between the two of you was palpable, your friends and co-workers would make jokes about how no one needed to read romance books in there anymore, they had a whole story playing out in front of them.

you would always laugh and smile at their comments, smitten over the idea of being with rafe but there was always the lingering thought that it was just friendly flirting. nothing more. he probably had a girlfriend, or a wife or something. he was too old and too gorgeous, why would he actually want anything to do with little old you.

these thoughts had you spiralling significantly on one particular day; what if you were wasting all your time and feelings on this older guy that would never want you? would you ever get over him? would you be alone forever?

you were zoning out - hard - as you slid the last few books of your shift onto the shelf, you nearly jumped out of your skin when you saw him standing in front of you with a grin.

"sorry, did i give you a fright?" he mumbled, steadying you with his touch, "'thought you'd heard me when i said y'name but there must be s'much goin' on in that head of yours."

you took a breathe and smiled weakly at him, not being able to shake your pessimistic thoughts from seconds before as he stood in front of you, handsome and speaking.

"no, sorry- lots on my mind i guess" you shrugged, fiddling with your fingers. rafe's brow furrowed, he'd seen you stressed and frustrated because of work but never like this, anxious and pensive.

he tilted his head a little, "what's wrong hm?" he softly coaxed, looking deep into your eyes as he reached out and rubbed your arm with his thumb.

you looked up at him through your lashes, "nothing.. nothing really..." you mumbled, chewing your lip a little.

his gaze darkened as he watched you, "something you wanna ask me bunny?"

you shook your head after shuddering at the nickname. a nickname only rafe used with you, it never failed to give you goosebumps down your body and cause your thighs to squeeze together a little, "don't worry.. er, i'm about to close up in a minute - you don't mind walking me to my car do you?"

his pursed lips melted into a smile and he looked up for a second before nodding. you smiled at him before finally putting away the last few things and grabbing the bookstore's keys. rafe followed you out as you left the store and locked the doors from the outside.

"cold tonight hmm" rafe remarked, looking out at the dim parking lot and neighbouring streets as he walked close to you. you hummed in agreement, readjusting the jacket tighter around you.

when you finally reached your car you looked up at him with a longing smile before he tilted his head, grinning at you, "you gonna tell me what you were thinking about earlier?"

you shook your head, nerves chewing at your lip again.

"c'mon, 'm not gonna see you tomorrow, 'ts your day off bunny, can't make me just wonder all this time hm?" he playfully whined, inching his body closer to yours. you were a little stunned by his words.

"you remember my day off's tomorrow?" the nerves were rising in your tummy now, bubbling around and exploding.

he smirked, sliding your hand into his, "course i'd know when the only reason i go into that bookshop isn't there."

"rafe" you gushed, covering your face a little and shaking your head. you couldn't believe your ears, you thought you weren't stupid or anything but here you were, hearing that he wanted you the whole time. "i thought you were just.. i don't know, entertaining the idea of me this whole time..."

his lips parted and brow furrowed as if it was completely incomprehensible that he might've not actually wanted you, "bunny... you must be talking pure shit now because i thought i'd made it obvious i wanted you from the second i'd gotten to know you."

you chewed at your lip, heat pooling in your tummy as he instinctively inched closer to you as he spoke. all you wanted to do now was jump his bones, and you kept glancing down at the bulge in his pants as it became closer and closer to you.

he noticed your wandering eyes and laughed a little, throwing his head back before sliding both hands up your arms carefully, "...so you said you don't have heating huh?"

you nodded, feeling dizzy at the realisation of what he was about to ask you.

he scoffed with a grin, "see, i've got heating at my place that works pretty well, and - bunny, with the way you're looking at me right now, i think we're better off going there."

you smiled, staring up at him through your lashes before nodding and in an instant he'd grabbed your hand, leading you to his truck. the drive was probably fairly quick, but it felt like hours of agony to the both of you as you patiently waited. rafe's hand was possessively gripping your thigh and you felt wetness in your panties thinking about where else his hands would trail to.

it was a blur, stumbling out of his truck and into his house, you barely looked at the place before the two of you, sloppy and all over each other, had made it to his bedroom. your body was on vibrate but he took a second to take his huge jacket and long sleeve shirt off.

you breathed heavily, eyes widening when street light through the window illuminated his toned chest, he was built like a greek god and you nearly moaned at the thought of all that being all over you.

he teasingly peeled your clothes off, article by article, grinning all the way. he could see you twitching and heavily breathing at every movement, it only fuelled him more.

finally you were in nothing but panties and a bra, matching of course, which made rafe's eyes go wild, "jesus, look at you." he breathed, running his hands along the side of your body as you lay under him.

you slid your arms around his neck and tried to pull him in but he grinned at your lack of strength and you frowned playfully, squirming at the lack of action.

"you gonna ask nicely bunny?" his lips were centimetres away from yours, he was really enjoying teasing you now.

"please... please i want you inside me so bad" you whined, pouting and running your hands into his shaggy mullet. he smirked and leaned in, passionately pressing his lips to yours, engulfing you in heat.

your hands pulled at his jeans, ripping down the zipper as you slid a palm across his clothed cock, gasping at his lips over how big you found him to be.

he tugged himself out of his boxers before lowering down to your core, you burned with desire as you watched the greek god looming over you, slowly bully his cock into your weeping hole.

you groaned at the feeling, his cock slowly slipping all the way down, filling you to the hilt. your grip around his neck tightened, along with his hands holding you steady at your hips.

he drilled into you at an unrelenting pace, the sound of his cock diving in and out of your wet pussy causing him to groan gutturally, "uhghh, you like this big cock baby? c'mon, tell me you've been thinking about daddy's cock since you met me hmm"

you eyes were rolling back, the pleasure becoming too much already, "mmmh i think about daddy's cock all the time... oh! fuuuck."

you looked down at your tummy, a clear huge bulge poking everytime rafe drove his dick into you, only making you dizzier. he was just so big.

a creamy line of arousal was thick around the base of rafe's cock, your breath all ragged as he continued to drill into you, toying with your clit to overstimulate you.

you were shaking under him, one hand gripping onto a bicep and the other tugging the sheets beside you. the sheer girth of him was splitting you open, rafe grinned at the yelps escaping your lips with every thrust.

"pussy's swallowing me whole, fuck bunny" he grunted into your lips, launching in for yet another seering kiss while his thrusts became sloppy but deeper. plap-plap-plap filled the room along with your pornographic moans.

"nghh daddy, i'm- oh, g'na cum!" you cried, nails digging into his flesh.

he was panting into your neck, "'know baby, can feel your pussy milking me- fuuuuuck" you felt the rush of your orgasm as rafe's thick white ropes coated your insides. he continued to thrust into you a few more times, watching your pussy swallow all his cum before pulling out.

"such a good bunny, look at that shit.." he mumbled, dragging a finger over your wet whole, playing with and pushing his release back into you. "so wet..."

he dipped his head down, lapping up both your juices that had coated your folds. you twitched from the sensation, still recovering from his cock.

"rafeee- oh god- too sensitive.." you whined, hand laced in his hair. he lifted his head and looked at you with a grin, his moustache gleaming with wetness.

"oh bunny now that i've had you, shit, i'm never letting my little girl go."

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ordinaryschmuck · 3 months ago

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With Gooseworx all but confirming that the Jax being an AI thing is bullshit, I personally want to talk about an interesting part about Jax that a lot of theorists used as "evidence" that validates the theory:

Jax's fourth wall breaks are a common topic brought up amongst the "Jax is an NPC" theory. After all, Caine broke the fourth wall in the pilot, knowing full well that the world of The Amazing Digital Circus isn't real and is talking to some unseen viewer as he introduces the Circus Crew.

There's also this bit of official art surrounding Jax's pin:

Where everyone else is inside their room, Jax is outside as pieces of the circus fall apart around him and all of reality to crash. Certainly lends itself to this idea that Jax knows he's not a real person and that his presence could cause great disruption to this world. And he doesn't care because none of it is real. Might as well have fun and cause chaos in a world that doesn't exist.

And I'll admit, all of this seems like valid claims for how the theory could be true. I saw it all and thought that it surely COULD be possible...but there are some things that stop me from being convinced.

Firstly, Caine breaking the fourth wall in the pilot doesn't really seem like an AI talking to the audience. It looks more like an AI programmed to talk to a player as a game boots up. What we saw in the opening could be more like a morning routine that he has to do at least once a day. Plus, we've yet to see any other NPC talk to the audience like Jax has. He explicitly called out the viewers in episode three, knowing full well he's being watched by SOMEONE. Or, at the very least, acting like he is. What do I mean by that? Well, to explain, I'd like to use one of my favorite fourth wall breakers as an example:

Deadpool, in most adaptations, knows fully well that he's a fictional character. He'll talk to the readers/viewers, move the camera around, and constantly talk shit to the writers/studio for occasionally screwing him over. It's all in good (Sometimes bloody) fun...but there's a canonical reason for this. It's not like She-Hulk where the fourth wall breaks are a way to tell HER stories HER way. You see, Deadpool...is just fucking insane.

No, really, that's the reason. Due to the trauma of gaining his powers, Deadpool's mind breaks and he's led to believe that he MUST be a fictional character. In comics, he actually gets voices in his head that makes him think he must be some comic book superhero, and the movies implied that something similar happened given how he never broke the fourth wall ONCE before getting his powers. This means him breaking the fourth wall could be seen as a coping mechanism. After all, it's better to believe you're a fictional character designed to entertain some invisible audience than believe that all of the shitty things that happened to you and people close to you is just a cruel joke from the universe.

Sound familiar?

Going back to the pilot, remember how Pomni's first instinct was to say that the Circus was all just a dream? To her, it's better to live in a lie that everything around her isn't real than to accept the reality that she's stuck in digital purgatory. Jax very well could be going through something similar, but unlike Pomni who seemed to just accept her reality, Jax never did. The trauma of being stuck in the Circus had led to his mind breaking just like Pomni's, Kinger's, and anyone else's. It's just that, for him, he thinks he's coping with it better because he discovered the secret that no one else did: None of this is real.

They're not actually people trapped in some hellscape while an AI unintentionally tortures them. They're all just fictional characters whose tragedies and silly antics are used to entertain viewers. I mean, it's either that or they're real people forever trapped in the circus with the closest thing to death being a full, psychotic break as they give up their sanity because they no longer want to exist in this hell anymore...But that possibly can't be true. Because if that IS true, then Jax has to face that he's a real person stuck in a real, awful situation that he can't joke his way out of. So, it's best to think nothing is real and nothing they do matter. So, might as well have fun with it.

Going back to the pin...

I don't think this is damning evidence about Jax being an NPC. Actually, it perfectly captures who he is as a character. He knows the circus isn't real. He even thinks HE isn't real. So instead of grappling with that, Jax lets himself believe that if nothing is real than nothing he does matters. He can break things, ruin lives, and assist in torturing the others in the circus. It's what he thinks will make the show more entertaining, even though all he's really entertaining is himself so his mind doesn't break more than it does.

Now, could the same apply if he's an NPC? Well...maybe. Gumigoo definitely proves how far someone could fall when they're told their world is fake. He was about ready to give up on life because he didn't think he had one. If Jax was an NPC, I could see him having a similar break, but going in the far opposite direction where, instead of giving up on life, he chooses to live the way HE wants it. Instead of being some one-off NPC for a lame adventure, he could go off on adventures of his own and ruin the lives of others now that his is thoroughly ruined.

However, Gooseworx makes a good point: "...a lot of people come up with theories based on how unexpected they'd be, and not because they make sense or align with the show's themes."

If Jax is an NPC, it would harm the overall message of the show. That there's meaning to be found in a stagnant life, and you find that meaning with people close to you who make that life worth living. Jax represents a sort of foil to that idea, with his way of coping with the madness being pure chaos and breaking others. It's his coping mechanism, and it works because it shows how human Jax really is. They're ALL human and they have human desires and wants, with the Circus pretty much stripping that away and leaving them...as they are now. They're emotionally broken, their sanity is decreasing, and some of them are losing all sense of self. By making Jax an NPC, it would definitely be surprising, but it would take away from that idea. It no longer makes him a human facing his own tragedy but instead an AI that's just as broken as Gummigoo. More than that, it gives the others an easy out. All the crew has to do is tell Caine that Jax is an NPC and POOF! No more annoyance. So making him someone who HAS to stay with the others and they're forever forced to deal with him also adds more to THEIR tragedy and torture.

Jax being an NPC is an interesting theory, but I don't think it's one that SHOULD be true. To me, it's more fascinating watching Jax treat the world around him as meaningless knowing he's a human instead of a rogue NPC breaking everything. And Gooseworx made it clear how they feel about it. Now, could it potentially be a mislead to get fans off the trail? Genuinely...I don't think so. That sounded very "I don't like this idea so it's not gonna happen" type of response. Still, we won't know until the show wraps up. Anything can happen, but don't get your hopes up if a character who does bad things to people that don't deserve it is more human than you think.

#the amazing digital circus #tadc #the amazing digital circus analysis #tadc analysis #jax #tadc jax

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bunnwich · 2 months ago

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Why Leona Gave Himself The Bad Ending

Leona Kingscholar Analysis

Usual disclaimer to say that these are just my thoughts and you don’t have to feel pressured to agree. This was my thought process as I played through the parts of Chapter 7 Parts 212-226, featuring Leona’s dream triggered by Malleus’s magic.

I wanna start off by saying that I believe all the dreams are a mixture of Malleus’s magic and the dreamers themselves.

Idia theorized that Malleus is sort of “setting up the parameters” in a way, then each of the dreamers' personalities and imaginations affect the dream in different ways. The emphasis of this has been brought by Idia several times that it’s the strength of imagination that determines how complex dreams are. Which is maybe why in the first years dreams seem so basic? They’re young, their magical abilities are still new, and their magic is no match for Malleus’s magic. That and, to be fair, most of the first years don’t have the same amount of angst and turmoil as some of the other second years and third years have.

With that being said, I believe that because of his high intelligence, magical prowess, and his hyper-vigilance, that is the main reason Leona’s dream was so…different than the others.

But let's get into it!

There are a lot of Lion King references in this dream, and it’s very clear the writers wanted to play around and show this off. I feel like they did a good job of integrating the themes of the movie into Leona's dream. It does give me a little validation as I feel Leona’s struggles and personality are closely linked to his great Seven Counterpart, Scar. More so than any of the other overblotters. When I analyze Leona I sometimes I do use Scar as a starting point to understand his intentions.

This is how I came to the conclusion long ago that being king would never make Leona happy because it's not what he truly wants.

We start with the dream back in the Sunset Savanna. It’s VERY interesting to see that there is hyena prejudice right off the bat as a woman flees from Ruggie while he attempts to buy food.

Right off, everyone can tell something is…off about the city. Especially coming fresh from Ruggie’s dream where everything was idyllic and happy for hyenas BECAUSE of Leona.

Grim hits us with the: “I laugh in the face of danger!” line. We even get the three hyenas referenced and the “love for you to stick around for dinner” line. The once proud lioness-dominated palace guard has been taken over by hyena “ruffians” (interesting choice to portray a disenfranchised group being given jobs as the new guard as a negative thing, but moving on.)

The first interesting thing we get is that the palace is somewhat rundown and empty? The group makes comments of how dark and dreary it is, and how few people are around. Is there an implication that the servants fled at some point after Leona became King or did he replace them? This further shows me that Leona for whatever reason has chosen to isolate himself. To me, it's most likely that he already feels isolated by his country and those in the palace.

From the looks of it “Malleus’s magic” has given Leona the one thing he has always wanted, but has he? Leona seems less than thrilled and genuinely upset by the fact his whole family is...gone. As I mentioned in my Leona relationships post, I think that he holds a complex relationship with his family, and while he resents them, in no way can I see him wanting them to be dead.

It’s now I started to think that Leona’s magic was overriding the simple “let them eat cake” logic of all of the happier dreams. This dream feels TOO real, dark, dreary, and…sad. Could it be Leona’s intelligence or cynicism, ruining what’s supposed to be an idyllic scenario?

Why is even in his WILDEST dreams Leona is still miserable?

Hmm.

A lot of people have talked about Kifaji and their thoughts on his presence. It’s strange to see people praise him as “a loving parental figure” as if he’s really there trying to help Leona. But, Kifaji is not there. This Kifaji is a manifestation of Leona’s mind and I’ll get to why that’s interesting and what I think he represents. Remember, that often in other dreams we’ve seen of loved ones or rivals and they can act normal, out of character, or even cruel. Vil and Neigie come to mind and Neige turned out to be the blot keeping Vil asleep.

Kifaji is a bit different. He actively tries to help the group wake Leona as opposed to encouraging the twisted dream logic. For this reason, to me, Kifaji represents Leona’s conscious and the Dream!Leona we see represents his shadow self, like the dark side of the moon. AKA, the Leona we meet in Chapter 2. In fact, this whole dream feels like a rehash of Chapter 2.

We get the outdated Leona that dumbs himself down and settles for less, cloaking himself in his pride and believing that everyone is below him. An idle king while he lets others do his dirty work. (Scar basically.)

Leona asks Kifaji to sing (another Lion King reference) and it plays out how you would think. Leona tells Kifaji that he is the only competent person in the kingdom. And he argues that the kingdom is in shambles, not because of his choices as King, but because everyone else sucks basically.

Hmm.

Kifaji reminds Leona that while he is clever and his plans are grand, that he can not treat people like human chess pieces. (Can I just say I love when chess is brought up to us because I find that when people analyze Leona or his thoughts they often forget how much he uses chess to process his thoughts. We saw that plenty in the Tamashina Mina event!) I think it helps him sort his thoughts and emotions which he can have a hard time doing.

I think Kifaji represents Leona’s mindset post Chapter 2 and because Kifaji in his real life is one of the only people who probably stands up to Leona, he has placed him in this antagonist role in his mind. (but not really) Plus, it’s not far off from Kifaji’s actual treatment of Leona in the Tamashina Mina event.

So yeah, Leona acts more like he does in Chapter 2—he's the player or the king even and everyone else around is just lowly pieces.

Just like the scene from The Lion King, Scar and Leona are not happy. Even though they are supposedly getting their deepest desire, they remain bitter and…alone.

When I first began to read into Leona it was quite obvious to me that the whole “I’ll never be king" thing was just a front for something else. What I think Leona truly craves is approval and acceptance.

Being king, especially of a broken kingdom that despises him, will never make him happy. But, why do the people not love him? This is supposed to be a fantasy right?

There is this interesting layer of how he became king too. Instead of Cheka or Falena simply not existing, like I thought it might be, they are dead. That is…so much more tragic than it needed to be. As if deep down Leona believes the only way he can become king (his dreams to come true) is if tragedy happens. This reminds me of his bitter view/the symbolism of his unique magic. That he can only bring misery wherever he goes—everything he touches turns to sand.

I also think that Leona is afraid of failing and much of this dream is his anxieties and insecurities that linger from all his past failures.

Though interestingly enough, I sense that in the dream, as implied later by Idia, Leona has implemented an “over-exaggeration” of his policies and plans for the kingdom. It was almost like he purposely ran his resources dry and gave up trying to compromise with anyone for the sake of “progress.”

Why, though?

It’s very masochistic in a way. It’s almost like he wanted to prove himself right. Everything he touches will turn to sand eventually and his grand plans will fail even if he claims they are “perfect.”

That’s why this dream is probably the most masochistic and self-deprecating we have seen. I think what initially began to draw me to Leona’s character is because of the hidden pain he holds. He is by far one of the most easygoing, and lackadaisical acting of the cast, but…he cares, he cares so, so much about how he is perceived and his haunted by his hopelessness about his future and the failures of his past.

I think the pain of never feeling good enough, causes his mind to be unable to “play nice” with Malleus’s dream magic to even manifest any sort of positive future. One where he holds a position he wants AND is loved and respected. it’s just impossible that he could ever have that, even in his wildest dreams.

He’s too much of a “realist.”

Side tangent, but a frustrating take is to see was the: “Oh yeah, see? He would have sucked as king.” tinged comments after this came out.

I think it’s more complicated than that.

This isn’t me trying to defend him necessarily, but to be fair, all dreams tend to be over exaggerations by the dreamer. Plus, I think the fact that Ruggie HATES Leona in this dream and is suddenly in favor of Falena, is a sign right there we can not trust Leona’s interpretation of the people he knows in his dream. He is sort of an unreliable narrator that way.

Besides, like in The Lion King, why would all the water dry up, just because the hyenas over-hunted?

A big theme in Lion King and even The Lion Guard TV show is "the balance of nature." The blight upon the Pridelands when Scar takes over feels more like symbolism of the “unbalance of nature” caused by the tragedy of Mufasa’s death. Which makes me again, connect that Leona feels the only way he can succeed is by inflicting misery on others. Like his magic, perhaps a part of him believes he is a curse.

I theorized in my Tamashina Mina review, that maybe Leona feels like an outcast himself, and the separation he feels from his country is showcased in how he blames the citizens for the decline of the kingdom, rather than his plans. He feels isolated from them.

By this point, I was having flashbacks to Chapter 2, where he got a whiff of his plan failing and he still pushed through even though he knew it would fail. At first, he may have started doing okay as king, but maybe when he came upon too many obstacles or pushback, He just gave up. Because he was not instantly loved by the people, who probably already feared him, he’d rather not even try. Suddenly, they are “not worth his time”, and he can’t help them because they suck.

Leona’s problem has always been his pride. I think he has to put it aside to genuinely help people reach their potential and learn to collaborate with others more. Part of how this dream plays out, is him realizing that maybe some criticisms Kifaji had about his pride all along may be true. Leona refuses to play nice with others.

That’s why I think Kifaji represents a more sensible and lucid Leona. He is in a sense, talking to his past self, and trying to shake himself from the dream and his outdated ideals.

Ortho even points out that Ruggie is not really the Ruggie we know but rather a part of Leona’s imagination. Again, which puts emphasis on how the characters in his dream are more indicative of his mindset as opposed to being “in character”. Maybe Ruggie hating him in his dream is his inner anxieties about him and Ruggie post Chapter 2 fallout. He feels like Ruggie could never forgive him for what he did. He let him down. And Leona being bad with people and feelings, doesn’t know the proper way to apologize.

Kifaji (woke Leona) says that the state of the kingdom is a result of him “pursuing efficiency over all things and disregarding other people's feelings.” It really feels like he is calling himself out here. Does he REALLY wanna help people? Or is it just Leona’s selfish pride who wants attention for just being smart?

Dream!Leona complains about the protesters interrupting his nap which is another sign for me of the exaggeration of the scenario of Leona being the king. Like...did he not criticize Falena for having the same carefree and laid-back attitude? And yet here he is...complacent in the same behavior he once criticized Falena of.

Interesting.

Ortho mentions that Leona’s dream is clearly a more complex situation than the other dreams.

I think there is a key implication we are missing here too, that I haven’t seen many mention. There is a throwaway line that Jack mentions that Leona has not attended school and is king instead. And he doesn't seem to know Dream!Ruggie either. Nor Ruggie him.

There is no doubt his time at NRC has shaped him to be the Leona we know now. Someone who has at least somewhat benefited with the connections he made at school. It does seem like this Dream!Leona is regressed. And because he never attended school, he is a much colder person who has no regard for others' feelings at all. He is even more socially inept.

I feel like this is a common theme to show us that despite the independent nature of most of the students at NRC, that it can still be “the friends we made along the way.” trope. These connections do matter and especially to Leona. He mentions this in his post-overblot monologue in the light novel. He found his pack at NRC. This time with his dorm members affected his personality for the better. It's kinda sweet when you think about it!

Ortho mentions Dream!Leona appears DEEPLY absorbed in the delusions of his dream. This means that even though he has the lucid failsafe of Kifaji, Leona’s self-deprecation, despair, and pain are still overtaking his logic. That's what's crafted this nightmare. (And he later references it as such.)

Everyone acknowledges that he can’t possibly be happy and looks EVEN MORE miserable than at school. It can't be a silly happy fantasy, but a grim dark reality of what he thinks of himself.

That's why he gave himself the bad ending.

I love the double entendre of Idia saying Leona is building his dream like a “sandbox” game. Lots of Minecraft references. (Leona Minecrafter confirmed? Or hear me out…Leona playing King Crusaders or Civilization V FGHJ)

Anyways, Idia or Ortho, (I forget) suggests that perhaps he has run out of ”simulations” for his dream playthrough. And being an intelligent person his mind tends to overthink naturally and this caused his dream to have a more realistic tone. Plus, I theorize that because Leona is powerful and his intelligent, his magic and imagination was almost able to overwrite Malleus's, a standard happy dream formula.

Ortho suggests Leona chose a more “realistic mode “on purpose.” Perhaps like I theorized earlier, it is almost a masochistic test to see if he could have everything he wanted? Leona is a very analytical person who enjoys games. It makes sense, the way he often plays chess alone to practice “strategies.” But as I mentioned before, I think he just genuinely believes it's not possible. Ortho mentions he thinks Leona’s the type to understand that an “aggressive urban development” would come with risks.

Jack asks “If Leona knew this was a bad plan then why would he make the citizens suffer and be hated?” (Sheesh, now we know Leona really is the type to play pretend and get a lil too real with it.)

Ruggie adds that Leona may be “doing something he knows he shouldn't be on purpose.” Like maybe he did it to be dastardly and maybe he just wanted to “feel the rush” of being a ruthless and hated king.

When Azul asks Ruggie if he thinks Leona takes pleasure in immoral things he says that he can't say for sure, only that he is a prince that no doubt can take pleasure in “bad things”.

To me, however, it feels like a masochistic move to prove to himself his happiness is unattainable.

Then Sebek chimes in: “How could he go so far to kill his family only to abandon his responsibilities as a king and become a horrible one?"

No one seems to know for sure. Everyone in the group has their theories but the consensus in the group is that - nobody fuckin’ knows why this guy intricately carved himself such a miserable fantasy for himself. Very masochistic for a guy who appears to be so proud huh?

Idia continues to mention that Leona’s imagination is so vast compared to everyone else's. It fills out a whole “world” completely and the mechanics of this world must make sense. He's playing on hard mode. In Leona’s brain this seemed to manifest as if he is to “get what he wants” it can't be serendipitous or through triumph, IT MUST be through tragedy.

Can we lighten up a little?

Again, he may have started to do “good work” but quickly realized that keeping up with all to create a perfect kingdom was waaaay over his head. Maybe he was afraid to give it his all, because he knew everyone would still hate him anyway.

Another reason I think Leona thrives better as a “big fish in a small pond” so to speak. Like his dorm leader role where he can interact directly with his cute (this man used this word a lot for some reason) froshes, make tangible make things better for a small group or community.

But as we saw, even with his dorm Leona began to feel overwhelmed with the pretty promises he made to his underclassmen in Chapter 2 about the Spelldrive tournament. He like…wants to be wanted but he’s terrified of people actually relying on him, because trying your best and then failing anyways is the most painful thing to him. His instinct when he gets too frustrated with something is to act like he never cared about it in the first place or anyone. AKA “I did everything right and it's THE REST OF YOU who are incompetent.”

That’s why I personally think that in the future Leona working within a small community might be a better fit for him, using his skills to see potential in others as a way to connect with them and teach them how to thrive.

So yeah, needless to say the group is stumped on analyzing Leona’s intentions and Azul hilariously notes that Leona is just…a complicated person.

What an understatement.

The group hatches a silly plan to have Ruggie puppet a Cheka hologram and yeah obviously it didn’t work.

This is where it started to get interesting again.

Dream!Kifaji said he’s been “waiting for the day Leona would wake up from his bad dream” and joins the fight against him to wake him. It’s like Leona telling himself that it's time to let his original dream go.

Ortho is surprised Kifaji is on their side, that he should be the darkness pulling Leona back in, but like I mentioned I think Kifaji is actually a “fail safe” Leona created to stay lucid or...maybe the little bit of hope he has fostered now that he has grown from Chapters 2’s events.

Since Kifaji is the one to normally call him out, maybe he's Leona’s way of processing his relationship with him. And that maybe…sometimes as annoying as Kifaji is, he has a point. Kifaji is the one who is implied to have raised him after all, so it's no surprise Leona sees him in a father-like role more than his own father.

“No one understands me, it's not my fault.” Leona laments running away, running away from himself.

Reminds me a lot of Chapter 2 Leona where he began to feel sorry for himself instead of actually trying to fix things. It's clear that no matter how smart and mature Leona is…is that he still has a lot of growing to do. And that his relationship with his family and country are complex. There is not a black and white or good and bad with this situation and I feel like this is important when talking about him and his relationships with his family.

He was very much ostracized and probably neglected to some extent by his real parents but at a certain point, Leona decided to give up on improving himself just because he didn't achieve the results he wanted to. It's one of his biggest flaw.

His complacency is what drags him further into the darkness. Not Kifaji.

Sitting and stewing in his despair and how unfair his life has been instead of reaching out. Rehashing all thise chess strategies alone on his chess board until his brain hurts. Making grandiose plans instead of actually working hard toward a realistic goal.

The idle king. A king with naught. (Nothing.)

I am now realizing that in a way (because Ruggie and Leona are so similar) Jack is Leona’s foil; he is the determined and earnest one who admires Leona at his best. He still holds the innocence and the idealism of working hard.

The group jumped through the darkness with Leona and we are replaying the events of Chapter 2 once again.

Ruggie and Jack watch it go down in dismay. Ruggie addresses that he once did think Leona’s way of thinking/plan was good and it’s cool to see he clearly regrets it now too.

They watch the drama play out as if Leona’s plan in Chapter 2 actually succeeded and see that he craves more. More ways for Savanaclaw to get ahead by unsavory means.

Jack says even if Leona becomes king there will be no end to his dissatisfaction. BOOM, there it is.

That is why Chapter 2 is so mind boggling. Leona’s whole speech was about being king and second. But it’s clear now, it's not what he truly wants. I think Leona is afraid to admit what he really wants. Because that takes vulnerability and then comes the possibility of being rejected.

Jack also notes that, despite Leona getting “everything he wanted” he seems more grumpier and dissatisfied than usual.

“Leona is not your King, hes’ our Dorm Leader,” Jack growls. They fight and we get a nice callback to Lion King here. “Remember who you are.”

As Leona wakes up from his dreams he straight up says, yeah the scheme from Chapter 2 was…stupid. (Nice.)

Oh and we finally get some acknowledgement that Ruggie feels like Leona abandoned him in Chapter 2 which SHEEEEEEEESH. This is a deep cut for me, considering Ruggie’s real dad abandoned him. And it really confirms the fact he sees Leona as a father/big brother figure.

But, Leona doesn't, he sacrifices himself for Ruggie as the whole group tries to escape the crumbling dream. And while Ruggie cries out for Leona, Leona goes down smirking not knowing what will happen to him.

It’s time for him to face himself, his blot monster.

Blot!Leona wants them dead, all of them. Cheka, Falena, everyone. The real Leona finds it kind of pathetic. Because, in reality, I don't think Leona hates Cheka or Falena and he doesn't want to be alone anymore.

Leona admits to his blot that yeah, no he can’t do the job. He can’t be king. And instead of it being a negative it’s more a relief? Maybe he is incompetent too. He is addressing himself and his previous grandiose illusions. He hasn’t done anything worthy of being king.

However, he will not give up. He’s finally living up to Savanaclaw’s motto of perseverance (which he sorta laughed off in Chapter 2?)

This next part is what struck me the most because. He just lays it out so simply, finally saying it out loud.

Self awareness!! Like he finally said it!! (And I felt very vindicated in this moment, NGL)

What he desires most is the approval of others.

Ah, and Blot!Leona responds with the fact he can't earnestly try, it's too painful to think of failing. Props for Leona acknowledging his flaws! Just like with the other overblotters. But I'm especially floored here because of how PRIDEFUL he is all the time.

In order to have better relationships with people, he has to leave that whole “they all hated me” shit behind. Because in reality, there are people who care for him despite his flaws. There are those who look up to him and admire him, for him.

But, the idea of that I think is so…crazy to him that he tends to deny its very existence. Then when he is genuinely complimented on his leadership or whatever skills he brushes it off.

He calls himself disgusting which feels kinda sad but it’s proof he has moved on from his previous way of things. What did I say earlier? Leona is afraid of failure.

Giving being a king a earnest optimistic go is too painful for him because ultimately he is afraid of failing. Like he was happier to play the role of tyrannical king than to bother to build relations with the citizens of his kingdom.

As his blot self withers away it’s almost…sad compared to the previous blot monster showdowns we’ve seen. It mentions something about “his friends” (A reference to Scar’s final words.) like he’s reaching out for Leona so it's not alone anymore. And Leona almost embraces his monster? It’s clear he feels pity for this thing…him. His pain, his depression, his loneliness. Maybe a step in the way of self-love? He acknowledges (almost as to soothe it) that it will always be with him, clawing from inside. Except now, he won’t give up.

He vows that he will get what he wants one day, for both of them. He’ll have his “own throne and pride” instead of wanting for someone else’s. He’ll find his place to belong through his own merit.

It reminds me of that expression “find your own tribe” which is an expression that those who are not close to heirt families understand all too well. He wants to find satisfaction outside his desire to rule and maybe because we know he prefers NRC to home, this confirms his fondness for his dorm life. (Savanaclaw found a family dorm.)

When he returns to his original dream of being king Kifaji is there as they look on at Pride Rock. The fact that it is raining is telling that hope has returned. (Just like at the end of Lion King) and that by accepting that “being king” is not what he really wants now “all things are balanced again”.

They have a nice moment here. Leona acknowledging that he has been given the tools to do good things by Kifaji’s training is a big mature moment for him. (Especially how they acted toward one another in the Tamashina Mina event) And Kifaji praising him, since this a dream, could be a testament to what he wishes would happen between them.

AKA Leona finally feels more, “at peace” with himself.

As Leona destroys this false kingdom with his sand he seems reserved, it’s almost bittersweet as it all settles over him, his new found aspirations, letting the old ones go. He's letting the past go. A big theme in Lion King. (I really feel the writers must be fans of the movies.)

Kifaji says: “Go to the place you really belong.”

This line kinda got me. Because the implication is that Night Raven College and his dorm is where he really belongs. Leona is confirming that his experiences at NRC have shaped who he is SO MUCH.

For years he accepted his life as it was, a cage, and now he is acknowledging that he has the power to break that cage and do whatever he wants. It’s a great callback to the advice he gave Jamil in Chapter 6.

This is quite refreshing as he mentioned before that it was too “late for him”. Now, he realizes it isn’t.

Back with the gang, Ruggie admits his fear that Leona will abandon him again. Leona denies it, and says somewhat casually that he is in fact a true friend of his. This feels like a clever inversion of the line that Scar says to the hyenas about being his “friends.”

But, we know now that Leona does mean it now. And this shows Leona’s desire to finally stray from the “path” of his Great Seven counterpart and actually like…have friends?

The reunion of the Savanaclaw trio is actually really sweet. For a dorm full of cocky jocks with strong personalities they seem to be so genuinely happy to be reunited.

Jack bursting out into tears and crying got me tearing up. Like Ruggie and Leona clearly are bit more reserved in their emotions but we see Savanaclaw really are close, despite their disagreements. They care for one another as a dysfunctional little family.

As a dorm that doesn't get much mainstream attention compared to others it was so nice to have this little moment. It's hard to tell, but I’m 99% sure there was a group hug based on how the sprites moved and the sound effects. At least a nice back pat from Leona. (Thanks, dad.)

All in all, I really...enjoyed his dream section. As someone who is pretty hyper-critical, for the most part, it satisfied most of the things I wanted to feel. I even got emotional at a few points! Yes, it would have been nicer to spend more time with “king” Leona and dive into it more. Or get more lore about his family. But, he admitted it FINALLY, everything I have clocked about him all those years ago. It’s very satisfying to see his growth in a tangible straightforward way, instead of just me reading between the lines.

I hope we will continue to see even more growth with his character (Like we did in the Halloween event) and I’m excited to see the role he will play in the rest of Chapter 7, even if it’s just him being a cranky old man. (What do you expect he was raised by one?)

I'd like to end this with some positivity. As someone who deep dives into character stuff a lot I know it's really comforting to see part of yourself reflected back in your favorite characters.

To anyone reading who feels they have things in common with Leona or his despair, the truth is that you should keep going, even if it's just to spite the world itself.

Your vision and presence in this world are valid all on their own and that failing is not indicative of your value as a person. It never will be.

Keep fighting to find your place, your pack and never forget who you are.💚

Thanks for reading!! This one took quite a bit to edit and think through so if you like my Leona analyses, I’d appreciate a reblog or even just if you wanna share it with your friends! Shoutout to the youtuber ガスマスクゲーマー whose video I pulled these screenshots from. Thank you!

#twst #leona kingscholar #twst chapter 7 #leona twst #charcter analysis #twst leona #disney twisted wonderland #twisted wonderland #ruggie bucchi #jack howl #savanaclaw #twst analysis #bunnwich writes📝

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nebulousmoon3990 · 3 months ago

Text

GHOSTS OF THE PAST (Batfam x neglected hero reader)

I 𓂃› GHOSTS

Warning: neglect (unintentional), Damian being Damian, violence, blood, swearing, sensitive topics, writing errors (English is not my first language) and reader has black hair and blue eyes (sorry),Fem reader!, I accept criticism but please don't be rude, everything is fictional!

You consider yourself a good son

I mean, you were never a saint, there were times when you did stupid things and got into trouble with her, but you always managed to solve them. But apparently the universe decided that you weren't good enough.

Not for your family at least.

You were just another product of your father's affair, the only difference is that you were born (something that wasn't supposed to happen) but that's okay! Your mother still loved you and took care of you with all the love she had to offer.

She never spoke openly about your father, but you saw on TV the news about your mother, the great writer from Gotham, with the businessman Bruce Wayne. You were always smart and quickly connected the dots but you didn't question your mother because she was clearly uncomfortable, so you kept quiet and let it go, because you didn't need him. You already had your mother, you already had your uncles, even your little friends from school! You don't need your father.

That is until she died.

It was when you were four years old, you had gone to the market to buy things for dinner and on the way a criminal tried to steal them, your mother trying to protect you ended up with a bullet in the chest, you remember little, but you remember that he ran away while your mother died in front of you. After that you thought you were going to be sent to an orphanage, believe your surprise when your father came to take you home. The first time you saw him you were surprised by how much alike you were: same hair, same eyes, your face was really your mother's, but your skin was his, you were a perfect mix of your mother and your father, at the time you loved it but now... you are not so sure.

When you arrived at the mansion, you met your half-siblings. You were so excited. You always wanted a sibling, since you spent a lot of time alone. The possibility of having siblings made you very happy. The first was Dick: a bright smile and the sunshine of the family. Dick was friendly with you and at least bothered to ask a little about you, like your age or when your birthday was. But the next day, he completely forgot about you. Even though he lived in Bludhaven, he visited the mansion often. Of all your siblings, you felt the most excluded by him. While he said that family was the most important thing, he ignored you. Maybe it wasn't intentional, but what's the point of apologizing for not being there if you don't change anything?

The second was Tim: the Robin of the time. Tim was just... Tim, he was never that neglectful with you, but he didn't try to get closer either. He had no opinion for you. You would say that Tim was observant, quiet, and cold. He would help you if he saw that you needed help, the problem was that he was never there, so he never had time for you (like everyone else).

The third was Jason: in your opinion he was your favorite, Jason was the one in the house who gave you some attention. It wasn't always, but when he came to the mansion he really cared about asking about you.

"Why are you so skinny?" "Are you doing well in your studies?" "Is someone bothering you, brat?" and things like that. Jason wasn't that close but he was never distant either, that's why he was your favorite, but just like Tim he was never there when you needed him, since he couldn't stay at the mansion much (you believe that part of the blame is Bruce).

Then came the rest of your siblings, Barbara was always busy like Bruce and Dick, Cassandra and Stephanie weren't interested in you, and Duke never exchanged more than two or three words with you.

And then to top it all off came Damian: your younger brother. You thought that even though Damian was Al Grul's (trained to kill and all) maybe, just maybe, you two could have a good relationship.

Oh, how terribly wrong you were.

And you realized it the moment Damian almost cut your throat with his sword. That day Damian was reprimanded by Bruce while Dick was taking care of his neck, from what you understood Damian thought he needed to kill you to become Robin.

You, a civilian, almost wanted to laugh at his presumption that you could be a vigilante when you couldn't even lift your backpack properly. After that day you didn't get close to Damian again, the fear of him doing something to you terrified you to the core. Damian realized it, you knew it by the looks he gave you, but whether it was pride or shame he never apologized to you.

Bruce never had time for you, wrapped up in work and as Batman his time was precious and he had to spend it on what was necessary, and you understood that.

You understood all of them.

But...it still hurt.

It hurt your soul a lot.

That's why you stopped trying to impress them, stopped enrolling in classes they liked just to get their attention, stopped bothering them to get some family time. You gave up, simple as that, the family didn't care, probably not even knowing about it.

There was Alfred, who probably spent the most time with you, acting like a grandfather. But Alfred is also Bruce's butler and the sidekick to Gotham's heroes, he couldn't spend all his time with you either (you accepted that, it was okay).

But sometimes there were rare moments that happened, moments when they cared, when you saw a little bit of love from them towards you.

Like when Jason gave you one of his sweatshirts for your birthday, one that you really liked (you still wear it to this day, it's still too big on you).Or when you didn't have a partner for your history project since no one was your friend, so Dick and Tim spent half the night helping you with it. Or when school bullies beat you up, you went back to the mansion (which was empty) with a black eye, just so Damian could see you. By some miracle, you convinced him not to tell Bruce, thinking that the matter had died there, you went back to your room only for Damian to knock on your door in the middle of the night and give you a pair of brass knuckles for you to use next time (you never used them, but knowing that he cared was comforting).

I think the most important of these moments was when Bruce showed up at your elementary school graduation. Thanks to your mother, you were more gifted than the others, advancing a few years in school, making you finish school before your age. Imagine: a pre-teen in the middle of almost adults with other adults looking at you (it's desperate) but you saw him, Bruce Wayne together with Alfred looking at you for the first time. He didn't stay until the end, but he was still there, he was there for you.

That's why you hated them.

How dare they? Play with your heart like that, giving you hope that maybe you could be a normal family, a happy family. You hated that, you hated having hope, you hated that they cared and then left you aside.

And what you hate the most is that every time you fall for their talk.

That's why you're taking some time for yourself, far away from them at your aunt's house. In two weeks it will be your fourteenth birthday and you decided this time to spend it with your aunt, to try to forget about your life in Gotham with your family (besides, it had been years since you saw her, it was time to get over the longing).

You told her well in advance, already planning it since the beginning of the month, so now at the train station you didn't feel any worries as you got on the bus.

You didn't tell your family, they wouldn't even care, you just told Alfred so that the poor man wouldn't have a heart attack if he didn't see you in the room.

Maybe if you had told them, this wouldn't have happened.

Dick loves his family.

No matter how many problems they have, he will always love them, family is everything to him.

So why these days has he felt like he's forgetting something?

Was it training with Damian? No, that was for tomorrow, maybe patrol with Bruce? That was impossible to forget, could there have been something with Tim? He doesn't remember his brother asking him for something, maybe Cass? She said a friend was going to have his birthday-

birthday.

(Name's) birthday.

The realization hit him like a train, that was it! His birthday, he had completely forgotten about it, when will it be? If he remembers, will it be in two weeks? You're going to be-

How old are you again?

No, that's absurd, he knows how old you are, he would be stupid not to. You must be twelve? No! Thirteen? But he doesn't remember your thirteenth birthday.

In fact, he doesn't remember any of your birthdays.

Okay, maybe he doesn't remember now, but he was definitely there for your birthday, he's your big brother! Why wouldn't he be?

Okay, he decided that as soon as he finished patrolling with the rest of the family he would talk to everyone about it.

As he jumped between the rooftops his phone vibrated loudly, but he didn't bother to look at it, he would check it later.

Hurry up Dick, before it's too late.

Tim was monitoring the batcave today, helping with location and crimes remotely. Today would be a normal patrol, too calm. Tim hated these patrols, too calm and preparing for the storm.

This time a hurricane would come and no one would be prepared.

The first to arrive was Jason, who came just to help with the investigation of a particular case. He leaned on the table next to Tim and watched the cameras and sensors on the television he controlled. The second was Bruce and Damian. Bruce went to talk to Alfred and Damian went to the table in the center where Tim's phone was. Tim, listening to Dick's message, who was near the mansion, almost didn't hear the youngest Wayne talking.

"Someone's calling you." Tim looked at Damian, who turned on his phone. Without worrying, he went back to the computer. "I can answer later." Damian apparently wasn't satisfied and turned on the phone only to see that the flames were his, his name engraved on the screen. "It's our sister's." "Cass's?"

"(Name's)" Now that caught Jason's attention. He looked at the youngest Wayne. For some reason, a bad feeling took over him, the same feeling that something bad was going to happen. "Oh, that's it. I'm kind of busy here. Can you see what she wants for me?"

Grimacing, Damian would have put the phone down, but something inside him told him to check, to check, so he picked up the phone and unlocked it to find over twenty missed calls from him “oh my”

“What’s wrong?” Bruce approached the boys, having vaguely heard the conversation. “There are over twenty calls and at least fifteen messages” now that really caught everyone’s attention.

“What?” Jason answered for everyone, breaking the silence that settled in the room, but Damian didn’t bother to answer, instead going to the messages, he was going to go through them when a word caught his attention.

Help

Just with that the bad feeling inside Damian grew, his behavior changing and showing the others that the matter was serious “Oh shit."

“What’s going on” Dick finally arrived, only to find the tense atmosphere in the room, as he walked Damian went through the messages finding words like “help” “help” “invaded” and “bus”

“Damian what happened” he opened the voicemail, seeing many of them only in the last hour, he put it on maximum volume for him and the others to hear.

"T-Tim please pick up" your voice came out shaky, low almost in a whisper and desolate, full of fear "I-I... I tried calling Dick a-and even Bruce" the sobs of your voice were restricted by your mouth, sighing heavily a bang was heard on the other end startling you "I-I need help... p-please" and so the voicemail ended

“The mansion was invaded?!” Jason didn’t ask anyone in particular, but Tim went to see the footage of the mansion for the last few hours anyway. “No, no one came into the house.”

“Where is she?” Dick was quick to pick up the phone, just like Damian, he came across at least twenty voicemails for him. To get attention, Alfred coughed lightly and automatically everyone’s heads turned in his direction. “Master (Name) went out to spend her birthday with her aunt who lives in New York.”

And that’s how chaos exploded.

The next minute, everyone’s voices echoed through the cave. “What?!” “What do you mean?!” “When did she tell you that!?” Bruce replied as he walked towards Tim’s computer. “She didn’t tell you anything, Alfred, why didn’t you tell me?”

Alfred looked at his master, almost exploding at such stupidity, he knew Bruce didn't have time for you but he also made it clear that he didn't care about you, it was no surprise that you hadn't even warned him before, but respecting you (and master Bruce) he answered. "Master (Name) thought it wasn't necessary, he told me only if you gentlemen asked for her." Tim went back to the computer, now not scanning the streets of Gotham, but looking for you, Dick scrolled through the voicemail and clicked on the most recent one, made 15 minutes ago, his voice once again filled the air making everyone hear you.

This time the line started in silence, only your agitated breathing being heard, it is possible to hear a whisper much quieter than before on the line "Dick please, I-I... I beg p-please, please, p-please, p-please, please-" you were silenced by the noise of something near you, your breathing was weak, footsteps echoed wherever you were, you approached the phone and whispered into the cell phone "save me" when you finished speaking voices approached and then a scream came from you, your phone fell somewhere far from you but even so it was possible to hear your screams and your fight for the cell phone until the line finally ended

“Holy shit…” tension built up in the room, the family was completely stunned by the line, Jason was the first to go looking for him, Dick tried to stop him but he went looking for him too, Damian and Bruce left soon after and Tim went back to his computer at full speed.

They need to find you, Now!

But it was too late

“Tim tell me you found her” Jason shouted on the line as he moved with Dick, the two of them as well as the rest were moving at each of the bus stops to look for their route, the result was nothing.

Tim huffed on the line, irritated with his brother. “If you stopped asking me every two minutes maybe I would find her”

“Your-”

“Enough fighting! That’s not the focus right now” Dick said to Jason and Tim, although his harsh tone gave him away showing how exasperated he was. “Our focus is to find (Name)” Jason looked ahead accepting his brother, they had to find her, he needed to.

Jason wouldn’t forgive himself if his sister died.

“I found her!” Tim shouted excitedly, the spark of hope on his face until he saw the bus where he was “oh no” his heart started beating faster, fear started to settle in his body, but he remained paralyzed without being able to move.

“Tim? Tim, what happened? Tim saw on the computer the image of his bus fallen to the ground, with fire gathering around it. The red robin could only move when he heard Bruce's voice. With his fingers shaking, Tim sent the image of the accident to each person's cell phone.

Bruce could feel his heart beating out of his chest, the sight of the bus lying on the ground, burned and destroyed was enough to make his heart stop, Damian was in no different situation, all he could think about was your face, scared and afraid of him.

He wanted to see you.

Everyone wanted to see you, but it was too late.

The hurricane passed and destroyed everything

“This morning, news shook all of Gotham, a bus destined for New York was intentionally unloaded in the middle of the road. In total, of the twenty-two passengers, five were injured and seven were kidnapped, among those kidnapped was the second youngest daughter of the great businessman Bruce Wayne, (Name) Wayne, the police are investigating the case-” the television was turned off by Jason, who threw the remote control hard on the couch, now with all the brothers gathered (Barbara, Cass, Stephanie and Duke there too) they were waiting for news from Bruce, who went to a press conference to speak at home with Alfred. Dick, trying to calm his brother, approached him and put his hand on his shoulder “Jason, we're going to find her-”

“Are we going to find her? She might be dead now!” Jason said without thinking, but the mood in the room dropped even more than it already was. Both the guilt and the despair of losing you were what terrified not only Jason, but everyone in that room.

“She’s not dead.” Damian was the one who calmed the situation, approaching the two of them. “You saw it yourself, she was taken, but she’s alive.”

“And who can guarantee that she’s not dead, huh, demon?” The youngest Wayne narrowed his eyes. Jason was right too. Who can guarantee that she’s not already dead? Who can guarantee that she’s not already six feet under, buried?

“(Name) isn’t dead.” Bruce and Alfred entered the mansion. Wayne’s suit was all wrinkled, but he didn’t care. Maybe it was because he had more important things to worry about. “She isn’t dead, and we’re going to find her.”

“Even if it’s just her corpse.”

Oh, okay that was a lot of work to do, enjoy.

@bunbunboysworld - @h-ib - @sheep-from-rad - @tatsuri-zomushiki - @the-holy-pigeon - @geminis93

Tchau.

#batfam x reader #batfamily x reader #dc x reader #alfred pennyworth #batfam #batfamily #bruce wayne #damian wayne #dick grayson #jason todd #batfam x neglected reader #Batfam

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