#i have a lot of thoughts like this for many chapters

[spookwriter-xo]

Coppélia

Chapter 6 - The Kim Estate

Chapter Summary - A little bit of Y/N's backstory and her family's history. She gets a tour of the Kim Estate from San and Wooyoung and gets a brief glimpse into the boys' private lives.

warnings: San does get a little violent towards the end, and Wooyoung cracks a few sex jokes (MDNI)

Series Masterlist

The house I grew up in was nothing short of a prison. I had all the luxuries of high society, yes, but that didn't mean I felt the same warmth and compassion children should be surrounded with.

My father owned a fashion company, Belluxe, one of the biggest in our part of the world. He had a lot of ties with some dangerous and powerful people, and as I got older I realized how much it had really gotten to his head.

The power. The greed.

I was forbidden to talk to him when I was young, only if we had guests. If I did without permission, he'd get angry. He had only gotten physical with me once, and that was when our family bond broke forever.

I was nine years old, home from boarding school with Christmas like I normally would be. My younger sister was ecstatic to have me home, finally having someone other than our mother to play with. Our older sister, she wasn't around this time. I figured she'd stayed at school for the holidays, but as I got older I found out she had run away.

I went by a different name back then, first and last. I'd changed it once I was disowned at 17, wanting to leave that old life behind. It was a lot easier than it should have been, all things considered.

I remember we were sitting at the dinner table, the only sound coming from our cutlery scraping across the porcelain plates. My mother had asked briefly how school was, and I gave a short but honest answer; "It was alright."

My father leaned back in his chair, staring at the empty seat where my sister should have been. He cleared his throat, causing us all to turn our heads in attention.

"Chariya, you'll be the next heir." He says simply, my old name, it felt weird hearing it even if it was just a memory. "Since Chalita has failed to exceed my expectations."

My family was Thai on my mother's side. She'd named us all after members of her family still in Thailand, bringing a piece of her old life with her.

Mother and Father married after father knocked my mother up with Chalita, the eldest. My mother used to say he was a kind man until she gave him too many daughters and no son. I think she just used it as an excuse to hide the snake he really is.

"My love, she is too young-" My mother states before she is cut off.

"Enough! I told you not to speak against me." He shouts, slamming his fist down on the table. My little sister, Chaluai, begins to cry at the sudden noise. My mother bows her head and stands, taking Chaluai with her as she exits the dining room.

I stare down at my plate, hearing the sound of his chair creaking as he leans back.

"Your mother doesn't understand the ways of this world." He says. "But one day you will."

I was startled awake by a knock on the door, causing my body to jump from my skin.

"Hello?" I call out groggily, sitting up.

"Uhm... Y/N? It's San." A muffled voice from the other side of the door calls out.

"Right..." I murmur, the events from the last few nights creeping their way back into my head. I stretch and swing my legs over the side. My feet hit the wood as I shuffle towards the door, opening it slowly.

San stands there on the other side, wearing a suit a little different from the one he wore last night. His eyes widen as I open the door, quickly looking up.

"Just thought I'd wake you... Wooyoung and I are home whenever you want that tour." He says, finding the ceiling very interesting.

"Oh! Just give me a few minutes and I'll come find you." I say, fingers gripping the door. San nods before hurriedly rushing down the hall and towards the stairs. I watch him go before closing the door. He was a lot shyer than last night. Maybe something was on his mind.

I walk into the walk-in wardrobe and look around at all the luxurious clothes hung up for me. There was a cabinet in the center, inside millions of dollars worth of jewelry for me to choose from. I feel a shiver run up my spine at the sight. It had been so long since I'd seen anything like this, and it felt wrong.

I hadn't worked for it, I didn't buy it myself. These men had only met me last night yet they were already willing to spend millions on me. Why?

I settled on a simple top and skirt, slipping on some fluffy slippers that were positioned neatly beside my bed before making my way out into the hallway.

The eery silence shared with the darkness of the hallway settled a sick feeling in my stomach. It was so quiet, that no chatter or thumping of footsteps could be heard. I figured Wooyoung and San were downstairs somewhere, praying that they weren't the type to jump out and scare me.

I head towards the staircase, the scenery getting brighter as I peek down at the pretty white marble that now glittered in the sunlight. My hand slides down the railing as the stairs take me to the lower floor. I gaze at the paintings on the wall, one of all 8 of them positioned on and around a fancy-looking couch, and another with a younger-looking Hongjoong, who I assumed to be his mother, father, and brother.

I didn't know he had a brother, I wonder what happened to him?

I glanced left and right once I reached the bottom of the stairs, the house felt like a maze, going on forever in both directions.

"San? Wooyoung?" I call out, my hands finding my elbows as I glance around. I decided to go left, entering what seemed to be the main living room based on the three couches and the fireplace with a television situated above it. I reach my hand out and press my fingers into the plush cushions, feeling the soft fabric beneath my skin.

"Y/N?" A voice makes me jump, I turn around to see Wooyoung standing in the doorway I just walked through. He had a grin on his face. "Scared ya?" He says with a light cackle.

I splutter for a moment before crossing my arms tighter. I watch as he scans my figure, admiring my figure.

"Eyes are up here, Wooyoung." I tease, as he stares a little too long at my legs.

"Yeosang picked your wardrobe well." He says, ignoring my words and stepping a little closer. "Would prefer you don't wear it around me though."

I hold my hand up and stop him from coming any closer right as San enters from another door behind me.

"Hongjoong said we should give you a tour." He says gruffly, his hair looking a lot messier than it was when he visited maybe 20 minutes prior. I glanced at his knuckles, noticing the light bruising that had begun to blossom before he quickly hid them in the pockets of his jacket.

"I'm ready to start whenever you are," I say, offering him a smile which he hesitates to return.

"Well, this is the main living room. Pretty obvious since it looks like a living room." Wooyoung chirps, wrapping his arm around my shoulders. "Don't mind if San is a little quiet. He gets grumpy when he has to work early."

I glance back at San as Wooyoung starts to lead me through another archway into a large room. I gasped as the realization hit me that this was a ballroom. A large and grand ballroom, the most beautiful thing I've ever seen. There was a grand piano on a small platform tucked away into a corner, floor-to-ceiling length windows with a matching door that led out to the backyard and a large diamond-clad chandelier dangled from the ceiling.

I could feel Wooyoung's grin as I slowly moved away from him, my jaw hanging slightly as I walked to the center. There were mosaic patterns that formed a lily flower on the floor under my feet which made me smile.

"Seonghwa told us to open the curtains for you, they haven't been opened since Hongjoongs parents were alive. The only person that uses this room is Mingi when he wants to play piano." San says from behind me. "Hongjoong's mother painted the lily flower herself."

"It's a painting?" I ask, turning to look back at both of them in surprise.

"Doesn't look it right? She was extremely talented at making things look different than what they are." Wooyoung says, the same grin on his face.

The tour went on, and every room amazed me more than the last. The kitchen was huge, almost twice the size of my bedroom with a dining room attached to it which was just as big. My mind wandered to all the grand dinners they must have hosted when Hongjoongs parents were still alive. Did they host balls too? It would be foolish not to considering how beautiful the setting was.

There was a pool, a greenhouse, and even a golf course in the backyard. I glanced over the hill and caught a glimpse of a tennis court on the far side of the golf course. I wondered how many acres this house was on. We weren't that from the city, however I couldn't see any other buildings for miles.

Inside on the first floor, there was a two-story library, another 2 smaller seating rooms, and laundry/housekeeping quarters behind the kitchen. The hallways were twisting in all directions, as if intentional. Was the layout meant to confuse people? Maybe intruders?

It would be smart if it was, all things considered. The house was intimidating from the outside just on its own, getting lost on the inside felt like a terrifying idea.

"Do you guys have maids?" I ask my arm now linked with Wooyoungs. I'd hate to be a worker here, having to clean this house would have to take days. Not only that but cooking? Laundry? Maintenance work would be a nightmare too.

"We do, they have Sundays off." Wooyoung answers, leading me back to the main stairwell. "Upstairs is mostly bedrooms and bathrooms. Hongjoong's home office is at the end of the hall on the right." He adds.

I nod, my neck craning to look at the paintings lining the walls once again. There was a painting of a woman, a beautiful woman with long black hair and piercing green eyes with freckles dusting her cheeks. I stared at the painting for a moment, getting a sinking feeling that she was staring back.

"That's Aurora." Wooyoung murmurs, eyes on the painting too. "She was... The one before you." He hesitates to say, glancing down at me before looking back up at the painting. I let go of his arm and climbed a few steps to stand directly in front of her painting.

"She's beautiful... Pretty name too." I say softly, my eyes softening as more details reveal themselves.

"You would have liked her," San says, his arms crossed as he looks at the painting, a sad look in his eyes. "She was like you, not a dancer though... More of a reader."

"If you wanted to find her she'd only ever be in the library," Wooyoung says with a small chuckle. "Most of the books in there were gifts for her, from us." He says.

"What happened to her?" I ask, my voice barely above a whisper as I turn back to them. They're both staring up at the painting, Wooyoung lowers his head and lets out a soft, pained sigh once he registers my question.

"We'll tell you in time. You should get settled first." San answers, his voice low.

Oddly enough, I didn't feel an ounce of jealousy. It was obvious she wasn't in the picture, whether she was alive or not. However, the pained look on Wooyoungs face and the behavior of the other boys when she is mentioned made me think it was the latter. I felt sad for them. It was obvious they loved her, maybe more than I would ever realize or truly know.

A part of me was envious of that fact. To be loved so unconditionally was something I had dreamed of since I was a little girl. But, another part of me was scared. Did their work have something to do with her death? It made sense in a way.

A loud crash made me jump from my thoughts. I look to San and Wooyoung who are suddenly on high alert before San grumbles something and storms off into the direction of the main living room. I glance at Wooyoung as I step down the stairs to follow but the man stops me.

"Don't follow him." He says in a hushed voice, gripping my hips in a tight hold as I glance behind him. My eyes widened, the door San had entered through at the start of the day was wide open with a man stumbling through. San grabs the man by the back of the neck and practically drags him back into the darkness beyond the door.

The man lets out a string of curses and begs as San slams the door shut behind them both, his cries fading into nothing the further they go.

"It's the basement," Wooyoung says, answering my question before I even had to ask. "It's the only place in this house that you are not allowed to go. Understand?" He says, his expression void of any playfulness I had come to associate with his character.

"I understand," I say, staring back up at him with the same wide-eyed expression.

"Good girl." He says with a grin, hand cupping my cheek briefly before moving away, heading towards the staircase. "Come, I'll show you everyone's rooms."

I glance at the door to the basement for a moment before following Wooyoung up the stairs.

I've decided to update the story consistently every Tuesday at 12 am (AEST). A Christmas special is being planned which will be set a few years after the events of this book.

I urge minors to not interact beyond this chapter, for it's going to start getting heavy from this point. I will be checking profiles to make sure so please have something to prove your age on your profile! I don't want to traumatize children <3

Also, I closed the taglist a little early however I'll be going through the comments and the past few posts and making sure I didn't miss anyone. If you aren't on it when this chapter is posted, I'll add you to the next one.

taglist:

@bellaptv @arilevenatz @my-atiny-kookie-rkive @hecateslittlewitchling

@neuviloved @monstacheol @latisthegenderfluidwannabealone

@vtyb23 @bigbabygremlin @professormingiglasses

@pinuspot @astral-trashcan @ateezswonderland

[stillness-in-green]

Some thoughts on The Discourse about the last BNHA cover

(Note: This Discourse was on Twitter. I don’t know how much of this may have been said here on Tumblr, so consider this either my contribution or just me reporting back on drama from other fronts.)

So, I saw a lot of back and forth over there between people who didn’t like the cover and people who did, and I spent a little while mulling it over. It seemed to me that the people who didn’t like it had a good point, but one they were not articulating particularly well, possibly thanks to the character limit and possibly also because the people talking about it tended to phrase their objections in sarcastic, consciously exaggerated terms because that’s the language months and months of dealing with the truly insufferable Horikoshi Defense Squad on Twitter primed them to use.

So what is the point?  Basically this: In going for the lazy/easy callback in both the cover design and Dai (plate-hair kid)'s role in the final chapter more generally, Horikoshi landed on an "everything comes full circle" ending when what the story desperately needed was an indicator of change.

We didn't need to know that a kid with low self-confidence and nothing to speak of in the quirk department can still become a Pro Hero if he[1] wants to.  We already knew that because it's what the whole story of BNHA was about!  Deku passing the torch/paying it forward is nice if all you care about is Deku's personal arc, but it's sheer reductiveness if you care about literally anything else.  If there was going to be a kid getting Deku's encouragement and help at the end, if that's the ending Hori was absolutely set on, it shouldn't have been the Deku Redux kid; it shouldn't have been the weak kid who has already been metaphorically proven capable of becoming a Hero.

1: And of course it would be a boy.

It should have been the troubled kid, the one from the bad family situation, the one who isn't sure whether he even believes in this Hero thing.  It should have been the kid who, if nothing about Hero Society had changed, would’ve been rejected by the whole corrupt system—in so many words, the Tenko Redux kid.  That's the one who we saw could not become a Hero under the previous system.  That's who we needed to demonstrate the system's improvement.

Instead, all we get is Deku helping himself.  And it fits, I guess, because “himself” is the only sort of person Deku ever wanted to save anyway—remember that in the very first chapter, Deku tells All Might that he wants to be a Hero because he was never “saved” as a kid and so he thinks saving is the coolest thing ever.  Implicitly, then, Deku wanted to be the kind of Hero who could have saved the kid he was, and that tendency to reserve his compassion for people he can recognize himself in—the crying children and the Hero wannabes—is consistent throughout the series.  Dai, then, simply becomes the very last of these examples, the chance for Deku to tell his middle school self that he, too, can be a great Hero.

And that’s quite a choice, isn’t it?  Take a second to consider the implications there. The metaphorical parallel Deku helps is his middle school self, not his childhood self—there’s no evidence that Dai was bullied on the same level young Izuku was, and we sure didn’t see anyone telling him to jump off a roof.  So, who does save those children, then, in this grand, improved version of Hero Society?  Does anyone?

Well, not really. Not that we’re shown. Indeed, the child who was the closest analogue to young Izuku—a weak and seemingly quirkless boy who stuck his neck out for other rejected children, who still stubbornly wanted to be a Hero despite a parent's disapproval—was Tenko, and Deku pointedly did not save him.

To be clear, I don’t mean that just in the sense that Deku failed to save the adult Tenko became, but even in the emotional sense that the series clearly wants me to believe Deku succeeded at, the saving of the boy's heart? I don’t think Deku even managed that.  Sure, he might have protected the echo of that child from a few memories, might have held his hands for a few exchanges of dialogue, but then the boy transformed back into the form of the Villain he'd become and was swallowed down the spiritual maw of the man from whom society failed to save Tenko to begin with! And what was Deku doing as this happened? Absolutely nothing but yelling impotently as he got blown backward and out of the mindscape.

Imagine that Deku had found some way to cheer up Izumi Kouta only for Muscular to kill the kid thirty seconds later.  No one would be saying, “I think Deku still saved him—his heart, anyway,” if Deku got Kouta to smile and admit that Heroes were actually pretty cool only to do nothing but scream helplessly as he watched Muscular pulverize Kouta’s ribcage with one gentle squeeze.[2]

2: Mind you, this comparison is flawed!  Unlike AFO’s vestige, Muscular doesn’t turn up to kill a child as a direct result of Deku’s own actions. Also unlike the events of the final battle, Deku doesn't jump up and personally administer the killing blow to the still-screaming victim, either.

It just leaves me thinking about some of the stuff @codenamesazanka has said about how the narrative treats Shigaraki and Deku helping him: not as something Deku has a duty to do, not something Hero Society on the whole owes Shigaraki (and all the other metaphorical expy/future Shigarakis), but rather a bonus, a nice extra, a demonstration to shine up Deku's Hero cred because he's making efforts no one else would bother with and that no one would reasonably expect him to make. It's not Deku’s job to save the Tenkos or the young Izukus of the world; apparently that just falls to society at large.

So then, what was the point of making Tenko/Tomura such an extreme case of someone who started in a similar place to Deku?  Why make him, also, a weak kid who was told he couldn't be a Hero, if you're not going to have Deku save him in the way no one saved Deku himself?

From where I'm sitting, the answer is, "It seemed like a good idea to Horikoshi at the time, but proved to be poorly thought out."  But if Deku failing to save his own closest childhood analogue was where the story was going the whole time, then Shigaraki should never have been used to parallel Deku to begin with.  It's just a damned waste of Shigaraki as a character, an insult to everything he represented, to use him for ~the parallels~ throughout the entirety of the story except the very beginning and the very end.

Anyway, Pro Heroes are bullshit and the ending should have been them being radically reconceived from the ground up with input from all the people they failed to save.  But again, if you have to still have Heroes-qua-Heroes at the end, and you have to have some stupid thematic echo because you as an author think callbacks are the single most compelling storytelling tool of all time, then everything we got on Dai should have been for Scissors-kun instead, and here I am very much including Dai's scene before the first war. An unsettling scene of a strange child with his mouth sewn shut, stuck in a straitjacket in a dark room should have been the last thing we saw before launching into the day of the raids, an apparent element for the future in the same way that so many future Villains were first shown in the wake of Stain's arrest.

See, Shigaraki’s own destructiveness is what ultimately frees Scissors-kun from the basement, “saving” this rejected, abused child in a way no Hero ever managed or even knew to try, just as Shigaraki brought light and a strange sort of hope to the lives of so many others whom Heroes failed.  However, Shigaraki couldn't carry his ambitions through to the end. He was never able to meet the kid he indirectly saved, never able to offer that appallingly abused victim an avenue for his signature brand of rough justice. Heroes stopped him from doing so. So then, who will help Scissors-kun?

If we’re to believe that the story's protagonist has made a real difference, that Deku and his classmates have changed the world for the better, then we don't need to see them helping a kid who we already know is going to turn out fine because “he” aleady did. We need to see them help the people that previously only Villains would have helped, picking up the torch they struck from Shigaraki’s hands.

So sure, keep the scene with Granny Evil and Scissors-kun if you must, to show that it’s not only Heroes but also the broader Hero Society that’s changed. After that, though, show Deku stepping in.  Show him taking an interest in this kid as a way to keep his promises—to Shigaraki, that the rejection and obliviousness that he sought to destroy have indeed been destroyed and will remain so, and to Spinner, that Deku will remember Shigaraki for the rest of his life. 

When Deku is older and in a position to give advice to a kid who’s floundering and uncertain of what to do with his life because of what people around him say about him, make that character echo the characters the old system failed to save, not the character who the entire story proved would do just fine.

For god's sake, ditch Deku Redux.

Now, I know the obvious rejoinder here: We can’t use Deku’s story to say that BNHA already showed us that Dai would be fine because Dai has a quirk where Deku did not, therefore Deku’s path would not be open to Dai.  To this, I would reply that neither Deku nor Dai specify that Dai wants/is able to be a top Hero, merely that he be the kind of Hero people can admire—which the story has also already proven true!

Ojiro got into UA with nothing but one (1) extra limb.

Manual has a perfectly middling quirk that turned out to be absolutely crucial in two different wars because it was the right quirk at the right time.

Wash’s quirk makes strong bubbles. 

Like, this list is not short.  Manifest Plates might or might not make Dai Hero Billboard material, but one of the major points of the endgame was the sublime and noble value of helping when you can, in the way that you can.  So to reiterate, we didn’t need that to be proven again in the epilogue.

If anything, going the route of retreading the same story makes the epilogue much worse! Not only do we not get to see how this society is helping the people the old society most profoundly failed—victims who fall through the cracks and become Villains—but in seeing yet another a weak kid being mocked for his heroic aspirations, we find that we’ve barely moved a step beyond the exact same place we started.

That’s the message Horikoshi chose to go with, for both the closing chapters of the story and the story’s final volume cover.  Truly, as art that summarizes the story goes, it’s a masterful choice!  And that's the whole problem. The cover of Volume 42 is a perfect illustration of the self-absorbed, cynical, cyclical nature of BNHA's endgame. Little wonder, then, that it's hated by the same people who hated said endgame.

[dakota1435]

Moonlight – Vampire!Sylus X Reader ✩₊˚.☪︎ ⁺₊✧

word count: 2K (short)

tags: mention of violence

previous chapters here! x

Chapter 8

You don’t dare to draw a single breath. Those who were originally looking now turned away, knowing this was Sylus’ business now. For a second, it felt like time was frozen. Nobody moves, even Sylus. Caleb was going to get himself killed, all because he came to ‘save’ you. You still didn’t understand how he knew you’d be here, with Sylus. How he even knew somebody like Sylus in the first place. You exhale shakily, trying to calm your nerves. Your lips part, about to speak, before Caleb inserts himself. Not good!

“What have you done to her?” There’s emphasis on each word, through gritted teeth. Never in your life have you seen this side of Caleb. Despite Sylus’ overwhelming presence, Caleb doesn’t back down on his death glare.

“To think someone like you came all the way here…You must have quite the confidence to take what’s mine?” Sylus said, his voice calm and collected. You could feel the pressure of his hand on you tighten a bit. Internally, he must be seething. 

“She’s not yours!” Caleb yelled back, uncaring for the situation unfolding. You had to say something, you had to get him out of here. Out of every possible outcome, it would be the best course of action. Caleb looks at you, hesitant. 

“Um…Caleb…Please. You should leave,” you beckoned, your hands shaking by your side. Your voice doesn’t feel as strong as theirs. Clearing your throat, you speak again. “Caleb. I’ve been safe. I promise.” You hope he takes you seriously. He looks at you, astonished, before returning to the same angered expression. 

“He’s brainwashed you! He’s bit you, hasn't he? After all these years of protecting you, I am not going to give up. He’s been trying to find you this whole time.” Caleb doesn’t give you a chance to react before he speaks again. “He’s a monster. He’s trying to turn you into a monster, too. Listen, there’s so much you don’t know. So much I haven’t told you. But trust me when I say–”

“You have a lot of nerve to stand in front of me. The only reason you’re still breathing is because of her. I suggest you leave, now, before I do something about it,” Sylus warned Caleb, his grasp feeling tighter on you. Oh, he was definitely angry now. Caleb’s words ring in your head, making you question too many things. But no matter how it made you dizzy, you had to do damage control now before there was bloodshed. Seeing how Caleb is now, you knew he wouldn’t hesitate to fight Sylus. Worst of all, you knew Sylus would win against a human within the blink of an eye. 

“Stop!” You called out, the first thing you could think of. You turn to look back at Sylus. His eyes glared and his expression troubled. “Let’s leave,” you muttered to him. Your face pleaded you didn’t want to experience another moment of this. Even if it meant leaving Caleb, again. Forever, this time you’re sure. It broke your heart, but there was nothing else that could be done. Caleb heard your words, his mouth open with shock. He doesn’t say anything. Sylus calms himself at your words, removing his hand on you. 

“Very well,” he said, his voice rather curt. He leans down close to your ear, his eyes still burning onto Caleb. “Hold tight.” He wraps his hand around your waist. You spare Caleb another look before Sylus takes you, vanishing within a second. 

For a moment, you thought you saw Caleb reach out. It was too late. 

As quick as disappearing, you and Sylus arrive back at his estate with ease. But the event, the entirety of tonight, made you feel sick. You hunch over, for fear of actually getting sick. Your mind and everything around you spins uncontrollably. How? Why? Why?

“Sylus…” You began speaking. A part of you was afraid to meet his eyes. Was he angry? Did he think you knew about Caleb coming? Your mind suddenly recalled Caleb’s words; he’s been looking for you. 

He rests his heavy hand onto your back. It felt…supportive. “It seems I can’t let this kitten out of my sight,” he said, his tone amused. You were relieved he didn’t sound angry anymore, but it still didn’t put you at ease. Your dress was uncomfortable now, your jewelry feeling heavy. The choker around your neck felt suffocating. When you didn't respond immediately, Sylus spoke again. “Are you hurt?” 

“No…I just…I don’t understand anything right now,” you said quietly. Your face flushes with heat and suddenly you feel like you could cry. You couldn’t recognize your own emotions and it made you feel like a foreigner in your own body. You still don’t look at Sylus, hesitant to show him such raw emotion. You begin to walk away, expecting Sylus to stop you. But he doesn’t, instead he watches you go to your room. You change, the weight of tonight’s clothes bearing the turmoil of what happened. Slipping into something more loose and comfortable, you decide you will ask Sylus your questions. You leave the room and expect Sylus to be in his dining room. As you walk, you try to gather the questions in your head. You won’t let him be vague this time, because there’s something definitely going on. 

You push open the heavy doors of the room, finding Sylus gazing out of his massive window. He couldn’t be more beautiful in the moonlight, but he doesn’t turn at your arrival.

“We need to talk,” you said with newfound confidence. You needed answers. Your heart raced, never speaking to Sylus in this way before. 

“Oh? What about?” He still stared at the window. You figured he was still irritated over Caleb. You sigh, walking over to him as he sits in his large leather chair. He glances up at you, something playful in his face flickers for a moment. He liked seeing you stand before him. 

“I need answers. Caleb said you have been looking for me forever. I asked you if you were the reason I was put up at auction and you said no!” Your voice raises, frustration bubbling inside of you. Whatever feelings you had that you buried were now coming alive. You didn’t like it, you didn’t feel like yourself. Sylus cocks an eyebrow, surprised at your energy. 

“I don’t lie like mortals do,” he sneered, “I have been looking for you, yes. I only found you because of the auction. I had no part in any of it.” He still stares at you from his chair, watching you unfold. That familiar feeling of pressure forms in your face again, tears urging in your eyes. It was almost equally embarrassing and frustrating. 

“How does Caleb know you?” You clenched your fists, trying to control your emotions. 

“I don’t know him personally. I know he’s been with you since you were a child. My name is everywhere, though. It does not surprise me,” he said, matter-of-fact. He was starting to be vague again, the one thing you were not going to let him do. He notices your hand tightly closed and gently touches your hand with the back of his fingers. You started to question everything, you backed away from his touch. He didn’t like that. “I was going to ease you into things, but it looks like that man ruined it,” he said, sounding disgusted. He waits for your reaction for a second, then grabs your wrist. “Sit. You will want to sit for this.” You don’t protest as he pulls you into his lap. You adjust, sitting comfortably. He strokes your cheek, tenderly, as if to prepare for what’s to come. 

“He is right; I have been looking for you. He’s done a very good job at hiding you, until recently.” Sylus hold on you is possessive. He speaks slowly, letting each word sink into your mind. “That man was against your former profession, wasn’t he? He could no longer keep you away. You’ve wanted to know the unknown, haven’t you?” Sylus was right. Caleb was like your brother, but easily overbearing. When you took on your new job, going on missions, he was unsupportive. Little did you know that Caleb knew Sylus would get 

you. 

“Why…” is all you could mutter out. Your life from the start felt like a lie, and you weren’t sure what to believe. Your eyes said it all. 

Sylus wears a troubled expression. “I don’t expect you to believe me. Trust me when I say I do not lie.” He takes a breath, making you nervous. “Long ago, there was an experimental research factory. They discovered aether cores and used human subjects, as young as five.” 

          He pauses, his words slow and concise. Your stomach churns, as your brain tries to fill in the gaps.

        “I was one of their subjects. They were cruel, and inhumane. They wanted to create a human with power, strength. Countless humans died and I happened to be the one to survive. I came out, exceeding their expectations. They made me an artificial vampire, whether that was their only goal or not, I survived.” The silence after his words were heavy, almost deafening. You continued to listen as hearing Sylus speak of himself was rare. “I was unstable, uncontrollable. I escaped, leaving myself to the horrors of the new world. The organization of vampires knew about these experiments—them being heavily against it. They found me and made me who I am today.”

“What about the research facility?” You questioned. Your mind thought about all of the possible pain and torture Sylus went through, at such a young age too. 

“Nobody, including myself, would predict my capabilities. I was stronger than a human, yes, but found myself to be more powerful than a pureblooded vampire. I took that power and ascended. I returned to the facility, knowing they still continued with their research. I single handedly killed every member of that facility and burned their notes.” Sylus stares at his fingertips, as if reminiscing the blood stains. “There were only a few human subjects this time. Two of them were beyond saving, but there was one human left; you.” He gently touches your side, his comfort minimal but it kept you in reality. 

Upon hearing this, you couldn’t believe it but deep down in your gut you knew Sylus was telling the truth. If you were standing, your knees would’ve fallen weak. You run your hands through your face and hair, making sure you are still real. That, all of your entire life, was real. When Sylus stopped speaking, you could hear your heartbeat drum in your ears. You could tell Sylus was still trying to ease you into it all, trying not to overwhelm you, but you were already at that point. 

“…Tell me everything,” you said, voice muffled as you lay your face in your hands. 

“You were the youngest subject they ever had; you were born with an aethor core inside of you. You grew up in the lab healthy, alive. It seemed that you weren’t displaying any change but before I did anything, the lab was raided by government officials. I withdrew, immediately knowing you would be taken somewhere better,” he explained. He clenches his jaw as his eyes burn into yours. 

Your world was cracking around you and you felt heavy with confusion. Your brain tried remembering a shred of anything, any form of memory or feeling of being at a lab. You were raised by your grandmother until she passed, and your older childhood friend Caleb was around after that. How could it be possible? The same thing that created Sylus was buried in you, somewhere. The same thing that made him desire blood and crush anything in his way. The thought of all of it made you tremble out of fear and anxiety. 

“...You have been monitored by government officials your whole life. They feared I would come back to finish you off, but I have been searching for you because we are the same. I want to show you the potential you have, not those selfish fools.” Sylus strokes his hand down your hair tenderly and his actions ground you to reality.

Everything is falling out from your feet, your brain scattered with anxious thoughts– answers you’ll never know. It’s too much, too much, too much.

We are the same.

[alexanderwales]

I finished the rest of Save the Cat almost in a single sitting, not because it was particularly riveting, but because I had time to kill, so this pseudo-liveblog is at an end.

Chapter 6 and 7 are basically the same, collections of small tricks and tips. Neither of them are terribly helpful, and all the tricks have terrible shorthand names like "Pope in a Pool". There's very little in the way of any thematic cohesion to these bits of advice, and no grand theory of the Laws of Storytelling emerges, in spite of the laws being invoked a number of times.

The advice itself is, I think, generally good:

give the reader something to root for early on to kickstart investment

spice up exposition with something entertaining

only one kind of magic per plot

don't tell a story that requires too much setup

don't tell a story with too many moving parts

include a ticking clock

have character arcs

keep the scope limited to the characters we care about

make the hero proactive

show, don't tell

make the bad guy very bad

the plot should go faster the further in it goes

use the whole spectrum of emotion

make sure each character has a distinct voice

make sure desires are "primal"

give characters something that makes them stand out

I don't endorse this whole list, and I especially don't endorse the way that Blake Snyder talks about them or the examples that he gives. And if I endorsed the list, then I would include a lot of caveats, and some general principles of storytelling that should be followed, rather than these specific pieces of advice, which are all conditional. Like ... okay, here's an example:

Exposition is a broccoli that the audience doesn't want to eat. There are very different ways of dealing with this, but we can start with "minimize exposition" as the first "law" of storytelling, and from there, we have different strategies:

Spruce up the exposition, making it into a mini-story, delivered in an entertaining way, so that people aren't bored.

Run something alongside the exposition so that people aren't bored, like sight gags in a comedy or an action scene in a thriller.

Have the exposition delivered through implication and clues, rather than stated outright, like having a character limp rather than explaining to the audience that they were wounded in the war. This is show, don't tell, and it's harder than it seems.

But while Snyder lays out some of this advice, it's all in different sections even though it's dealing with the same fundamental problem, and I'm not sure that he really understands that. If he does understand it, then he's not making that clear for the reader.

My thesis is that to understand storytelling, you want to understand root issues and classes of solutions. I have not written a book on writing, nor do I think there's a market for that, nor do I think I'm qualified, but it's the kind of thing that I would strive to deliver. There are a lot of writing problems that are parallel to each other, and there are a lot of structural elements that are mirrors of each other, so why not try to put it all together that way?

But Snyder makes basically no attempt to put even very related problems together, it's just little bits of advice to gnaw at the most common problems, and ... maybe that's fine, but it felt lazy to me.

Chapter 8 was the final chapter, and was mostly about trying to sell screenplays. This was irrelevant to me, but kind of interesting, and also made me feel like Blake Snyder is a better marketer and salesman than a screenwriter, and also maybe just got lucky to be working at a time when scripts were getting huge bidding wars for no good reason. The efficient market hypothesis gets clowned on again, I guess.

I'll probably write up some overall thoughts, a short review: I think I am unsuited to liveblogging because I go long. But the even shorter version is that I think I picked up a few things that were interesting to think about, and while Blake Snyder is a hack, he's an entertaining writer.

[xxxdragonfucker69xxx]

hi folks. its been a long week. but its time for HOUR IN BRASS

for those just joining us, a new exalted splat is being released; when this happens, i usually lose my shit and liveread through the charms; this time it's the alchemical exalted, golem-robot-communists inside the belly of the machine god autochthon. if you wish to avoid this, you will blacklist #hour in brass

first third of charms:

Howdy Mother Fuckers. its time for HOUR IN BRASS

starting with: the horniest chapter fiction so far

the alchemical paradigm is that you have only so many charm slots for active charms at a time, but that most charms have submodules that add on without taking more slots. they have to swap charms in and out with the rite of reconfiguration. their dice limit is Ess+Attribute BUT one of their biggest charms is going to make their math oh whatever here it comes

TRANSPUISSANT ATTRIBUTE UPGRADE aka transpussy assribute ultima. which raises your resting attribute by 1, starts to stack at higher essences, and comes with a load of submodules to let you swap what attributes are used for what. god im fucking excited to have these around. unwavering sniper calibration to snipe with perception, for example

actually they have a lot of wacky universal charms about integrating with hearthstones, artifacts, stuff like that. robots be customizing bodies. i do want to point out vat surrogate reweaving system, which lets you speed-swap charms once between reconfigurations. i read it and immediately thought camilla hect Go Loud and started cackling

yes alchemicals can still go colossus and eventually turn into cities. though metropolis play is not mechanically supported

ok appearance. starting with radiant iconography array: anima holograms, but they do stuff like become realistic illusions or huge legendary size stuff

emotive aesthetics of the body electric naturally bangs

patriotism-provoking display has many-is-one node and one-is-many node as submodules, whihc are fun

universal advisor comportment is fun, makes you feel sagacious and advisorly

beguiling aestheic perfection is fun, when you socially affect someone they suffer trying to beat your guile for the rest of the scene. i have suffered this irl many times

pheromone regulation system… i cannot make any jokes about this that arent crass. i once knew someone who was turned on by the smell of xbox exhaust

man the submodule tech is really realyl nice. this is a great fucking way for charms to work. you can flashbang people with blinding strobe projector and then on top of that you can choose to enter stealth, steal more initiative, or make it rainbow

its really interesting to me that appearance is getting so many teacherly charms. with illuminating inspiration beacon "The Alchemical’s faith in her students shines through in every aspect of her neon-limned visage"

damn, and from there is psyche-stabilizing beacon, where you radiate such comfort that it helps people resist brain curses

theotropic veneration mantle rocks. project a principle to the exclsuion of others, and those who share the principle see you as a holy figure

i sort of hate glistering obsession nodes. i dont want to glister. it makes people obsessed with me if they can't figure me out

ooh, disguises in appearance subterfuge. including stuff to appear human, or as a dfferent exalted

optical shroud, a classic, predator invisibility

apocryphal operative halo is really interesting, MIB neuralyzer

semiotic flare projector is a really cute concept. almost as cute as supreme icon of battlefield glory. when you kick ass on the battlefield your troops love it, and you can make your enemies hate it, and at e4 you can project it over the entire battlefield

alright, charisma. starting with effective leadership algorithm, both a great example of alchie flavor and of submodule tech bc its just a menu of submodules that let you decide what kinda rolls you use it on, whether youre using faction-building unity or overriding authority mode

oh synergy promoting upgrade is interesting. helps with bureaucracy if youre leadering, gets better if your group likes you, SPU: communal supremacy makes it better if its for a community, SPU: lifestyle cooperation paradigm makes your group like each other

hdkfghdfjsg universal authorization chevron. the cool s. intuitively recognized as a symbol of authority. UAC: axiomatic emblem means even gremlins/fae/undead recognize you with wary deference. UAC: perfected delegation emblem lets you hand out copies to deputies

heresy declaration beacon, lets fucking go

radiant emblem of integrity is interesting… if you speak the complete truth everyone knows that its the complete truth, and it can also authenticate replays of events projected with radiant iconography array. also if you tell the truth and it sucks, gain wp. fantastically built charm. oh the submodule lets you make it permanent and mandatory

electric fervor inspiration is a set of orichalcum electrodes implanted behind the alchemical's jaw. thats fucked up. oh it lets you reset social rolls thats differently fucked up

battle anthem of the alchemical exalted! made it in! oh this is just a menu of songs thats super neat. including thousand work shifts ballad… and double music

similarly with programming language eloquence "A breaker between the Alchemical’s frontal and temporal lobes filters unnecessary emotion from her communications…" im really having fun with this

damn propaganda interdiction signal: void-quelling chastisement means that gribblies can't call on principles to resist your influence to hangout with mortals

something about vox populi broadcast really compels me. its just a charm to speak loudly but you can submodule it to communicate only with allies or to cut through magical silence.. and its speakers implanted in your throat

ideological override circuitry…

FEAR OVERRIDE DEVICE in warfare

homeguard reinforcement clarion… whip up that militia

dexterityyyy okay we're getting into the combat charms now

omg magnetic subdual coils to steal weapons. including a pulse blaster submodule, field projector, magnetron…

protosynthetic ammunition replicator, as expected, but thankully it is reloaded with "an articulated metal tendril". & btw dispersive flash-chaff cluster to make it a flashbang arrow, fulminating conduction charge to make it a stun arrow, concussive overpressure warhead to make it a knockdown, airburst grenade

being able to group all the "fast attack" charms in one place is fun, the submodules have a cute menu of extra ways to use it

damn, blinding velocity actuator upgrades you to a surprise attack if youre fast enough?

i like that gear-driven reflex automation is, past all the prereqs and flavor lines and stuff, exactly one line of charm. and then some fun submodules. wait damn withering counterattck at e3, with tactical reaction matrix

hacking multistrike accelerator to "enact pre-programmed motions" in pursuit of… erm… well… ok wait forget that this is a really cool charm. doesnt use all your initiative on the decisive, this feels like itd be real fun to fuck with espcially with the submodules

dsjksdks subluminous onslaught: kinetic launch catapult lets you like launch a fucking sword to short range. or your fists

ESSENCE PULSE CANNON. lets fucking go. again the submodules are really cool: concussive, focused, precision, de hey. Sieve Devastator Mode. its sheer heft provides her with heavy cover

skjfdsf autonomous assault processors makes (Dex-2) attacks, but dont forget you could be augmened enough for that to be 4 attacks at e2 anyways, 5 at e3 (if i remember the TAU rules right).

oh shitt transmodal rapid targeting system, bend that bullet. psychokinetic vectors. sdhksdfs this damage calculation is really funny. damn this is fully just children of the sun or whatever that game was. epic

TRANSFINITE ULTRAVIOLENCE DRIVE. time stands still. and then you bank attacks, which seems really fun. shjdskf and TUD: omnitactical processing core lets you add more withering attacks on top

oh huh accelerated response system: unwavering precision lets you not take onslaught if you successfully defend against lower init enemies. thats probably not that strong but it feels strong

casualty-minimizing equations is a damn good name

perfectly parallel defensive geometry…

oh light-etched interceptor barrier is fun. roll parry instead of static. and essence absorption screen lets you eat energy attacks with it

autonomous defensive drones AERIAL! actually theyre more like murderbot drones, they orbit and defend you. … damn, they cant be withered and theyve got almost as many hls as a starting character, theyre a pain to take out. their DO Parry is (Dex+1) so they're like fantastic for ranged fighters who dont parry or dodge

precalculated evasion system lets you bank dodge successes… kind of like light-etched interceptor but not. really interesting. hey what its simple?

omnisituational evasive equation is a fantastic name. ts the perfect dodge. OEE: hyperspatial geometry is really fun

cyclical velocity treads! heelies!!!

and then theres… oil slick dispenser nozzles… in your calves. i love wacky races

momentum-charged overdrive engine is a bangin name… a preprogrammed sequence of combat acrobatics

inclding jet boosters in optimized pursuit accelerator… ts really funny that al these red jade rush charms are also like "ugh fine you can also use these to run away if you have to"

transphase engine… walk through fucking walls

sjdflskdf digital precision effectors splits open your fingertips

covert telemetry mode…

counterharmonic scatter system is just like a really fun charm name. im having a lot of fun with charm names. displaces the sound of you

sdjlfsdf flicker-flare launchers are a flashbang to just immediately enter concealment

ooh matchless assassin protocols… reflexively stealth after a disengage or distract

hyperdextrous tentacle apparatus. can someone get astrakiseki on the phone

total perception negation field. if you see me no you didnt. ending, of course, in unseen deathblow calibration

and thats the first third. im like getting really alchemicalpilled rn. its hot

[maramarabum]

I can't sleep so it's tbhk theory time

Okay so this is something i have posted before, but now i'm gonna lay more examples supporting my theory

The theory being that everything (or most of) what Tsukasa does is based on Hanako's wishes, based mostly on old chapters

So situation one: Chapter 19, The one where Mitsuba dies

So in this chapter we find out that Tsukasa grants wishes of supernaturals, and we also see that he does it in very unconventional and grotesque ways, as we see him granting Mitsuba's wish of having many friends by turning him into this weird ass monster. And I think in this chapter, we also see him granting Hanako's wish for the first time in the series, but we will get to that later.

Chapter 21, The Tea Party and the door dimension

Yashiro gets kidnapped by Tsukasa and the rest broadcasting room gang to a tea party, the reason being, apparently, to kill her by drowning her in the room, but even as Yashiro herself points out, it doesn't really seem like they actually want to kill her

The weird water that they drowned her in instead transported her to the door dimension that can lead her anywhere, and this is where she goes through the door that leads her to the dimension where Hanako is a living student at her school (and then she gets transported to the current year. oh well).

I know it's a lot of talk and no explenation but bear with me we will get there soon

Chapter 32, Then Mitsuba becomes a school mystery

So 11 chapter later we get direct confirmation that Tsukasa in fact does not want Yashiro to die

And most importantly, we find out Tsukasa actually remade Mitsuba

And this is where it gets to the connection point of the chapters discussed

Kou asks why did Tsukasa remake Mitsuba if he was the one to kill him, to which he answers:

""Just because?" "There was a movie I watched with Amane with an artificial human, I wanted to make one" "But, I dunno... pretty cool, right?"

A hell of an unsatisfactory answer, and he sounds really unpassionate and not really sure, forming the answer more like a question, almost like he's thinking about the reason at the spot, which is exactly what i think hes doing, and it's not the first time.

Chapter 21, the reason he wants to kill Yashiro. We know for a fact that's not how he views his relationship with Hanako, and he literally ends the sentence with "Well, whatever. Anyway."

Chapter 19, asked by Hanako why he turn Mitsuba into that weird ass monster, similiar to chapter 32, he starts with a "hmm..." and thinks for a minute, before actually answering (except this time, his actual answer seems more honest, in a way)

It's really easy to tell when he's hiding his actual motives. And the actual motives, what were they?

To get an answer to that, we don't exactly look for direct quotes for Hanako saying what he wishes for, we more start to speculate what he might be wishing for inside, what he doesn't say.

It's really not that hard, take for example, Hanako wishing he could have somehow met Yashiro when he was still alive, which is exactly what Tsukasa caused in chapter 21

This would be his true intentions behind sending Yashiro to the door dimension.

So how about the whole Mitsuba thing? Well, Hanako was never really happy about Kou having a crush on Yashiro. He has probably thought something like "I wish he would stick to someone else" at least once, right?

And then Kou brings over a ghost student his age to the bathroom stall, asking him how can he deal with him instead of exorcism

Hanako looks like hes getting a bad feeling about him (is he... you know...)

"I want friends. I want to stay with my friends..." Here we have the exact wish that allowed him to "kill" Mitsuba, while also granting his and Hanako's wish. If Tsukasa didn't do anything, Mitsuba would be free to go. He found a friend, and his unfinished business is done. But then, Kou wouldn't stick around with him anymore, so Hanako's wish wouldn't be granted, and also Tsukasa would have taken no part in granting Mitsuba's wish.

The actual way Tsukasa wanted to grant these wishes is by letting Mitsuba turn Kou into a supernatural similar to him, quote "If you make him just like you... you could be together forever, huh?" (THE PARALLELS THE PARALLELS UNRELATED TO THIS THEORY OHHH THE MITSUKOU PARALLELS GOD DESTROY ME SMITE MY BEING)

Directing Mitsuba, guiding him what to do, while also making it seem like it's his own choice, like it's what he wants.

But then Hanako comes over and kills him before that can happen. And he doesn't even look like his confused about whats happening, but he still asks Tsukasa, asks why is he doing this, like he want's a conformation.

Because he knows it was because of him.

Since Tsukasa could tell what Mitsuba wished for because Mitsuba already made a deal with him, it would mean Hanako made a deal with Tsukasa too, all these years ago, a wish that might have been "a little vauge". And also, Hanako doesn't know which one of his thoughts made Tsukasa do this, considering his ways of granting anything are very off the wall, and also, as we discussed before, Tsukasa won't tell him.

(Hanako touching his seal after Kou asks Yako about Mitsuba. His face looking sorrowful, like he's thinking about something)

All he knows is that this happened is because he met Yashiro. He hasn't seen his brother for 20-50 years, and he showed up right after Yashiro became his assistant.

His ghost "life" was boring, nothing really happened, and he stopped wishing for anything. He accepted that he had no future, he needed to take care of the school so he could gain god's forgiveness. But then Yashiro showed up, and his life suddenly was more eventful, he now had a girl to protect. Then after her Kou showed up, and now he had two friends who still had young hope in them.

And it rubbed off on him, it had awakened some hope in him too, made him start wishing again. And now his friends are paying the price of that.

And also it's almost 4 A.M. now as I'm writng this.

So yeah if you have any thoughts on this, other examples or something that contraries my theory please reblog and let me know, i would really like to hear it

(me right now)

[brf-rumortrackinganon]

Have you seen Impeachment: American Crime Story? The show about Bill Clinton’s affair with Monica Lewinsky. Well, I was young in 1998 so I didn’t know a lot of details about Bill Clinton’s affair with Monica Lewinsky until I watched the show.

Honestly, while watching the show I was reminded of reporting in the royal world as there many parts of the show about journalists getting scoops, sources, catching someone in an affair, men’s bad behavior, etc. Andrew Morton even helped write Monica’s book, same as Diana.

My realizations:

1.) the people who worked to catch Bill Clinton dis jr because they thought they were doing it for the greater good. i think in some ways they thought it was their form of activism. It made me realize that a lot of journalists in the royal watching world probably feel like this as well and that’s why they go after William and Kate

2.) the scandal was so scandalous omg. It certainly made tampongate look tame. It makes me wonder why Charles and Camilla still get made fun of a lot these days and I hardly see anyone go after Bill Clinton anymore (might just be my algorithm)

3.) the journalists or the royal rota are so weak now. I wish if William was cheating, someone would commit a crime like secretly recording his conversations with the mistresses where he admits to the affair to get evidence. This, plus tampongate, shows me that the best way to expose an affair is by secretly recording lol.

It’s actually funny that anon said they became further convinced an affair is possible because Kate went home from the hospital unseen. That’s funny because it’s actually obvious. We don’t see them everyday. Of course they can move without being seen. Like obviously we wouldn’t catch William in the many many rooms of Houghton Hall where his secret rendezvous with the Marchioness probably is. ( Jk, don’t actually think this is what happens. Tbh I just said that to make that anon even more paranoid lol). Obviously their friends won’t talk. The rota said they searched for evidence but tbh theh probably didn’t work hard enough lol.

1 - Makes sense. I disagree slightly that they thought it was for the greater good - my political leaning and some additional reading I've done makes me see it more for the political activisim. On the one hand, yes, if Clinton (and any president) was abusing the privileges of his office, then absolutely, it should be investigated and it should be properly dealt with - as it was with the impeachment trial. But the investigation also did become a bit of a witch hunt by some of the people involved in the investigations, which made it feel more like partisan activism and ultimately hurt the actual impeachment.

I won't go much further because then we start getting into politics, but if you're interested, some things to check out:

Burning Down the House by Julian Zelizer

The Clinton Affair (2018 docuseries - available on Apple TV and most other streaming platforms)

the Monica Lewinsky chapter in The Rulebreaker by Susan Page (Barbara Walters' biography)

2 - No one goes after Bill Clinton anymore because he's not in the news anymore. He's a US statesman elder now so he gets trotted out every 4 years for the election and the inauguration, then he goes back into semi-retirement.

Also, Monica herself doesn't talk about the affair very much anymore either, which has helped "cancel" the story from the public consciousness when Bill Clinton makes a public appearance.

3- It's not that the journalists or the rota are weak now; it's that privacy and security standards have changed so much that it's harder for them to have that kind of access to infiltrate the inner royal circle. William especially is aware that all kinds of people are interested in his private conversations and would leap at the chance to hack his phone or his email (look no further than the hacking of Kate's medical records) so he absolutely safeguards everything as much as possible, with unlisted numbers, multi-factor authentication, strict password protocols, and a strict vetting of everyone they give their contact info to. If they even give their real contact information out in the first place.

Also, another anon - I think it was on another site entirely - said that the only reason the rota had that kind of access back in the '90s to hack the royal circle's phones was because Diana gave them the phone numbers in the first place. No idea if it's true or not, I'm just passing on what I read.

Edit: Diana giving the press the phone numbers has been confirmed true. Here’s the link: https://www.reuters.com/article/business/princess-diana-leaked-royal-directories-to-murdoch-tabloid-court-hears-idUSL6N0MA43E/

Thanks, @and-the-void-looked-back!

It’s actually funny that anon said they became further convinced an affair is possible because Kate went home from the hospital unseen.

That's not what the anon said. They said that because Kate went home from the hospital unseen, they're more convinced that William's cheating/affairs could be kept entirely private/out of public attention if he ever did cheat.

[lorirwritesfanfic]

Thank you! By the time KLAW was announced, my plan was to write this and the coffee fic, but writing his character profile brought me so many ideas that I wrote Fallen Petals, two other WIPs related to my series and revamped a few old chapters 🤩

I wanted to write more about his relationship with Eleanor, but I didn't play TRF and I feel like I'm probably missing out on a lot of info about her. I was more eager to write about his relationship with Leo (that was so poorly written in canon) because I already knew what to write about them.

The air force headcanon is someone else's headcanon actually lol (I think it's yours ���). Because he was the spare, it made sense to me that he would try to serve the kingdom somehow until he found something that he'd be truly passionate about. Btw if he wasn't king, I think he could've been a highly qualified professor/historian that history students would kill to have as their mentor and he would write the textbooks recommended to anyone researching Cornodian history.

Thank you so much for reading and reblogging with your thoughts about it ❤️

Chris Hemsworth as King Liam Rys

Disclaimers:

This character profile was created specifically to fit King Liam on Liam and Jade's Love Story universe. I unfortunately don't own the character, I don't assume to know everything about him and I have no intention to affirm this is exactly who he is and how other people should write him. I'm merely a hardcore enthusiast of this lovely character and I do my best to keep his essence while adding a few headcanons of my own;

Though I mostly write canon compliant fics in L&JLS, Lena isn't included in this character profile because I haven't played TRF and I personally don't know how relevant she would be for the series.

Name: Liam Rys

Nationality: Cordonian

Birthdate: January 10, 1990

Hometown: Cordonian capital

Current Residence: Cordonian capital / Duchy of Valtoria, Cordonia

Occupation: Politician, Head of State of Cordonia

Titles: His Royal Majesty of Cordonia, Colonel-in-Chief of Cordonian Army, Duke of Valtoria, Patron of the University of Cordonia, Patron of the National Museum of Cordonia, Patron of the National Library of Cordonia

Talents/Skills: Combat training, empathy, leadership, musicality, negotiation, perceptiviness, public speaking, self-defense, strategic thinking, survival skills, sword fighting, teaching, writing.

Parents: Constantine Rys and Eleanor Rys (both deceased)

Siblings: Leo Rys

Spouse: Jade Isabel Bourbon-Rys

Children: Elise Valentina Bourbon-Rys, Louis Philipe Bourbon-Rys, Sophie Eleanor Bourbon-Rys

Closest relatives: Regina Rys (stepmother), Ava Mei Tsui-Rys (niece), Emma Zhen Tsui-Rys (niece), Daphne Wang-Foredale (fourth cousin)

Background: Second son of King Constantine Rys and Queen Eleanor Rys, Liam is a kind-hearted, polite and sophisticated man with impressive diplomatic skills. Though he wasn't raised to be king, he was prepared from a very young age to serve the Cordonian Crown taking etiquette lessons, politics, philosophy, learning different languages (aside from English, he's fluent in Greek, Spanish, French and Italian) and even dancing and survival skills. While growing up, he was a free-spirited kid and had more opportunities to enjoy his childhood with his friends and the Walker family than his older brother.

After his mother's tragic passing, Liam became a reserved person, taking his role in the Royal family more seriously. With time, Liam grew apart from Drake (who left to the US to go to college) and joined the Royal Air Force to please his father. A few months after, the Royal family suffered an assassination attempt. Liam developed signs of Post Traumatic Stress Disorder, avoiding social interactions, having trouble sleeping, being easily frightened/startled and showing some physical symptoms of panick (sweating, nausea, trembling). Leo asked Drake to return to the palace to help Liam, both encouraging the young prince to seek therapy.

As he got better, Liam enrolled in the University of Cordonia to study History and returned to the Royal Air Force. Liam had plans to follow an academic career when Leo abdicated the throne. After Liam got his major degree, he was formally introduced as the Crown Prince and officially prepared to rule the Kingdom. Though it was a drastic change of path in his life that required many sacrifices, Liam adjusted to the life of future monarch quite fast, undeniably enjoying the perks of using the many skills he had developed over the years to make a difference as a politician.

What's his family like?

Constantine wasn't a present parent, nor a father who easily showed affection towards his sons. Liam was mostly raised by his mother and a few nanies and tutors. Eleanor constantly talked about the importance of Constantine's role as king and father not just for their family but for the entire country, which is why Liam always looked up to his father.

Eleanor was a loving mother to him and his brother, but also disciplined them when necessary. She shared her love for reading, writing and History with Liam. Her passing had an enormous impact on Liam's life and personality. He still misses her dearly and visits her whenever he can. He always takes a bouquet of jasmines to her grave on Mother's day and on her birthday.

Being six years younger than Leo, the brothers always had divergences, often teasing each other, Leo and Liam played pranks that usually led to getting both of the. in trouble while growing up. Yet, Leo always knew Liam was a better fit for the Crown and has always been a protective of his baby brother, taking the blame for himself whenever Liam did something wrong, defending his brother from malicious comments and insults, helping him during his first months as Crown Prince and teaching him self-defense and mixed martial arts. Liam looks up to his brother and fully supports the lifepath and choices his older brother makes.

Regina entered the Royal family a few years after Eleanor's passing. Despite her usual commanding presence towards her stepsons, she cares for them deeply. Liam has great respect and fondness towards Regina.

Liam doesn't have a long list of relatives he's truly close to. The only exception are the Foredales, specially Lady Daphne.

Favourite childhood memory: Playing with Drake and Maxwell around the palace, trips to the Walkers ranch and summers at Applewood Manor.

Nicknames: He didn't use to have nicknames while growing up, but he loves all the petnames Jade has given him.

Astrology sign: Capricorn sun, Libra rising, Scorpio moon

Hobbies: reading, horse riding, sailing, playing guitar, singing, writing

Top 5 songs:

The Seasons, op. 37a: VI. June "Barcarolle" - Piotr Ilitch Tchaikovski

Requiem: Lacrimosa - Wolfgang Amadeus Mozart

Bachianas Brasileiras n°1 - Heitor Villa Lobos

And I Love Her - Beatles

Wonderful Tonight - Eric Clapton

Favorite books:

The Metamorphosis - Franz Kafka

Dubliners - James Joyce

Hamlet - William Shakespeare

Charneca em Flor - Florbela Espanca

Jane Eyre - Emily Brontë

Favorite movies:

Star Trek (1979)

Matrix (1999)

The Lord of Rings: The Fellowship of the Ring (2011) [he likes all the LOTR saga, but the first one is his favorite]

Black Swan (2010)

Lion (2016)

Favorite TV shows: Liam enjoys watching anything that gets his mind out of his life. He grew up watching The X-Files and Firefly with Drake and Maxwell. A friend introduced him to Death Note during his teenhood and it blew him away. Nowadays, he likes watching Stranger Things and Arcane by himself, but he often watches comedies like Friends and Parks and Recreation with Jade.

Biggest guilty pleasure: he's getting addicted to watching videos of people building things from scratch like furniture, houses or doing crafts. In any spare time he has, he will watch people building furniture out of bamboo, small cabins in the woods and intricate craftsmanship like jewelry design, intarsia and pastry sculpture.

Sweet or savoury? Sweet.

Favorite food: Baklava, chicken tagine, apple pie, any sort of pasta.

Favourite drinks: coffee (the stronger, the better), vanilla milkshake, wine, scotch.

Most treasured possessions:

A Lion Cross Royal Crown designed for his thirtieth birthday;

A small double bladed dagger that belonged to his ancestor Queen Kenna Rys;

Photo albums with many pictures of his family and friends

A Statue of Liberty keychain given by his wife on his coronation night;

Jade cufflinks given by his wife during the trip to China;

His wedding band;

His children's baby teeth (the kids find it gross, but Jade and him proudly keep them in the family safe).

Close Friends: Drake Walker, Maxwell Beaumont, Hana Lee, Bertrand Beaumont, Leo Rys

Goals for the future: Liam has many goals for Cordonia such as bringing back economic stability to the country, hosting big events that will increase tourism, supporting projects involving environmental sustainability, arts, culture and philanthropy, etc. But in his personal life, he simply wants to travel around the world with Jade, watch his children grow and spend as much time as he can with his loved ones.

Dog lover or cat lover?

Dog lover. He loves strolling with the family corgis. But he also likes Jade's cats and encourages his kids to have any domestic animals as long as they actually take care of them.

Early bird or night owl?

Early bird. But he can't deny he loves late nights with his wife.

How does he relax after a bad day?

It depends gon how bad the day was. On a not so bad day, half an hour listening to music (he has a soothing playlist on Spotify) when he needs to slow down will do. He goes horse riding or walking when he needs to clear his head. But on really tough days, he'll go to the gym to practice any sort of martial arts. Muay Thai and Krav Maga are his favorites.

Personality: INFJ-T (Turbulent Advocate)

Idealistic and principled, people with the INFJ personality type (Advocates) aren’t content to coast through life – they want to stand up and make a difference. For these compassionate personalities, success doesn’t come from money or status but from seeking fulfillment, helping others, and being a force for good in the world.

Thoughtful and often selfless, INFJ personalities pour a great deal of energy and care into their relationships, but this doesn’t mean that they always feel appreciated in return. People with this personality type tend to slow down and really evaluate how what they do might impact others before they take action. Consequently, it can frustrate them when other people don’t recognize their good intentions. INFJs are very sensitive to criticism of any kind and can take things very personally. A few close relationships, provided that they’re genuine, can fill INFJs’ hearts to the brim.

One random headcanon: Liam joined the Cordonian Royal Air Force when he was nineteen. He was progressively rising on RAF ranks (he reached Flight Lieutenant rank) and was in his third year studying History when Leo abdicated the throne. He still pilots helicopters and small planes from time to time, but since he doesn't fly often, he has never piloted any aircraft with his children in it. He took Jade a few times when they were newlyweds (it involved a lot of begging and persuasion on her part), but there was always an aircraft pilot team on board just in case.

[lunarcloak]

Blue Lock Chapter 262: Visual Storytelling

Can we talk about the visual imagery this chapter?? Kaneshiro is always cooking but Nomura cooked extra hard this time with his own illustrative storytelling

An almost entirely white panel. Except for the black spot of Kaiser's hunched figure. Almost as if he's the stain on an otherwise perfect game from BM right now. (He's thrown off balance.)

Here, in the first picture, this is Isagi's view of where Kaiser is right now. On top of a puzzle piece— a symbol of Isagi's power, and also a symbol of how off kilter he is. The second picture is part of a larger paneling of how he's being left on the ground as Isagi runs past him in a flurry of puzzle pieces. Almost as if Isagi's kicking the pieces of his perfect puzzle astray, leaving him to rebuild them from scratch. (The theme of this chapter.)

You can tell he's only barely listening. Eyes are always a huge indicator of visual storytelling— i picked this up from looking at BSD panels for too long. Here there's virtually no pupils, smaller, wider eyeballs because he's not listening to Ness's words. They're going in one ear out the other. Because Ness's words are superficial— He's trying to help, he is, but that is desperately NOT what Kaiser needs right now. He needs to figure out how to FIX this. Not to retreat back into the safety of his cocoon so that he can pretend he's still the star on the field.

NOTICE HOW EVERYTHING IN THE SECOND PANEL CAN DIRECTLY BE RELATED TO ISAGI. The offer from Reale— what if Yoichi gets it instead of me? The throne in this team— what if Isagi takes that, too? Am I about to lose everything I worked to get myself? The whole world is watching my worst performance in years. I can't lose here. I can't be defeated here. Not here, of all places, in Blue Lock.

Negative colouring. The previous, prominent memory I have of this is when Rin went to his "flow" state. It's specifically to emphasise the "HUMAN" wording. It's usually used to showcase a very prominent moment, in this case it's Kaiser realising exactly what the core of his worry is right now. It isn't the defeat, not beating Isagi, not anything. At the moment, he's afraid of losing the very humanity he had thought he clawed himself into. To emphasise this, the black and white being reversed are to indicate that time almost freezes, completely changing his perspective and line of thought at that moment.

Less dramatic, still negatively scaled panel. Emphasising how he's really digging into his psyche here and going "Oh, I'm scared. I'm afraid of losing everything I've got for myself." The last time this happened was when his secret money stash was found— he didn't care as much then, because there was nothing to lose that he hadn't already lost. But now? Now, it matters a lot more. Because he's built himself up on an entirely shaky foundation. Note how he's also sliding below here, losing his footing, like he's lost the stable ground he thought he had.

The angle of this panel makes it look like he's climbing upwards, and he's just lost his grip on the wall before him, and is in the process of falling. It's extremely well done.

Plenty people have already pointed this one out— yeah Isagi's just reached a height that's similar to Noa's. The position Kaiser thought he used to have, but now he's not even on the staircase to victory and the treasure he thought he would attain soon is now inching towards his most challenging rival to date.

You will never see him this tired, this defeated, or this melancholic ever again. At this point, his eyes are no longer that wide, shocked stare of not seeing. Now he's comprehended his stance, and he's come back into himself.

Each petal is a memory, a visual representation of the crumbling of the rose he once held. It's gone now, there's no rose in his hand anymore (nothing for him to hold onto anymore). When you have no roses in hand, you grow a new bouquet. When you have nothing, there's nothing to lose if you go reaching for something to hold onto again.

But HERE, the petals can be interpreted in two ways— either he's being reformed from the petals of a new rose (blank petals, not representative ones). OR, you can interpret it as those very petals dissipating from his being, leaving him as this black, blank slate to rebuild himself. Zero— as in no colour, no petals, no gardens to flourish anymore. Only way to move now is up.

Also I'd like to draw your attention to the negative paneling again— inverted this time, the exact opposite of the previously conveyed emotion. Now he's the one in the black, working to redefine himself. He's already redefined the external aspects.

Your Zero— Your Beginning. I LOVE this page, even if it's a repeat. It conveys so much. Kaneshiro and Nomura are such a GOOD TEAM

A black hand clasps around the core memory— the memory of when he truly had only his football. He can't let that petal float away, that's one he wants to keep. That's the idea he wants to hold onto. He crushes the petal into his hand, assimilating it into his new beginning. That's the one he'll hold onto, to recraft the person that is Michael Kaiser.

[ningadudexx]

see you next year...

other comic below🐒

here is a messy comic i made a few weeks back that i dont like very much but i figured i should include it

TW: VIOLENCE

[lilybug-02]

Wait so how do you know for sure the sprite is Ralsei? No hate, I do believe you haha, but I too am a lore scientist and I wanna know your evidence. Does it show up in-game? I could definitely believe that I saw it in-game and forgot about it :P

YES. Finding legitimate sprites directly from Toby Fox games can be surprisingly difficult. There are so many fan-made character sprites, that it can be hard to differentiate from the real ones!

Guess how many are NOT fan-made? .....only one 🗿

...(please don't question why google is in italian)

Official Websites like Spriters Resource (Ralsei's Offical Sprite Sheet) are very helpful in this regard :)

They may even include unused file graphics. Like this unused face of Ralsei.

Sprite legitimacy is a big rabbit hole that I personally don't have enough knowlege on :( ((BUT OH MY GOSH The internet is notorious for reposting fan-spriteworks without sourcing. It can be really hard to find the original artist.))

It's also HILARIOUS how many people have redone Ralsei's sprite. It is quite obvious from my Ralsei poll and through his mass of fan-redesigns, that many people in the Deltarune community REALLY LOVE his Chapter 1 sprite more.

Ralsei sprite fan-art is amazing and I personally want to mod it into my game bc it looks so good. Below I have some really cool fan-sprites I found and the artists who made them!

Left (Ralsei Ch 2 redesign- metr0nix727), Middle (Ralsei based off Ch 1- larituca), Left (Full Ralsei Chapter 2 Sprite sheet with Hat- artist unknown**)

**this sprite sheet was submitted through Sprites Resource but I traced it back to TaxeisNotOkay, who I presume to be the original artist. I could not find any other information regarding the full sprite sheet, so feel free to correct or inform me if you find anything!

Looking back at Ralsei's Chapter 2 head sprites..... they just don't look as good as they could in my opinion. I dont like them :(...uhhh NO HATE OF COURSE!!..ahklasdkflansdf I'll go jump in this hole now.

[moeblob]

What if I straight up didn't explain myself? What if I just said trust me on this? Would you?

[mishy-mashy]

I said this in a whole reblog, but just copy-pasting to a separate post because I think it'll give some reading comprehension and reblogs don't show up in the search feature.. again, I'm reiterating what I said in another post.

Go check out @demidokuriya 's post for this; OP's post made me put this all down in like. 20 minutes. Mind went vroom vroom cuz HEY THEY'RE ONTO SOMETHING.

(They also reblogged the post with some hint to some behind the scenes of what led to the ideas if you wanna check that out)

Look below at how, when Mineta told AFO to spare Tokoyami, AFO specifically went "..."

He remembers Jirou and thinks, The braying howls of the weak...

He was going to take Tokoyami's Quirk. He took Hawks'. But after Mineta pleaded with him, AFO just straight-up left and didn't take anyone else's Quirk.

AFO saw Yoichi in Mineta.

These scenes are near-identical to each other.

Mineta and Yoichi (at that time) are both much smaller than the normal person at their age

They're both hurt, yet dragged themselves up from the ground to throw something at AFO, to get his attention and make their voice

Both are considered weak, even if they have a Quirk (Mineta's Pop-Off and Yoichi's undeveloped Factor)

The fact that Yoichi got AFO's attention here by throwing a can at him, while Mineta got his attention by throwing a Pop-Off ball; and it stuck.

Mineta's call for his attention landed and actually stuck to AFO. This is unlike when Yoichi and his can bounced off, and AFO kicked him, not listening to him; AFO listened to Mineta and left Tokoyami alone, technically doing what Mineta wanted—to not hurt this person.

AFO just went on to hurt more people away from Mineta's [Yoichi's] eyes so the small weakling wouldn't see.

Yoichi and Mineta both cried to AFO to not hurt in his ways, when AFO was intent on stealing people's Quirks

AFO even stole Hawks' Quirk during this time.

He had time to steal Hawks' Quirk, and though he could've tossed him to the side, he let Hawks stand in his way.

He had the energy. Right after this event, he flew off and left the scene. But he didn't go for Tokoyami immediately.

And this let Mineta play his part, and remind AFO of Yoichi.

"A putrid, festering Quirk Factor."

That sounds like Yoichi, AFO.

".. such garbage."

Hey hey hey, what did Yoichi throw at him when they were kids?

A discarded can. Garbage.

This chapter (385) where AFO listens to Mineta is literally called [A Youthful Urge].

Mineta told AFO to take his Pop-Off (hurt him) instead. But last time, AFO hurt Yoichi by kicking him; this time, AFO not only listened to Mineta to not hurt Tokoyami, but didn't touch Mineta at all.

Even though this time, Mineta [Yoichi] offered to take that place of suffering.

Yoichi didn't do that back then. AFO just turned on little Yoichi anyway.

Yoichi through his whole existence is literally [the braying howls of the weak]. AFO acknowledges he's weak and idealistic, yet he still loves him.

Side note about this panel, I think it's interesting that in this vision, this was the first time we saw Yoichi's eyes: when he was being defiant, despite being pushed down by someone much stronger than him.

Really characteristic of him, honestly. Yoichi's soft-spoken and frail, but it's always reiterated that Yoichi had a powerful will against his stronger big brother.

Mineta at this moment reminded him too much of Yoichi, because the two scenes are near-identical to each other. Parallels, really.

Reiterating something from OP's post that I reblogged this from;

"The reminder of his brother made him uncomfortable, so he hurried away."

AFO didn't want to hurt Yoichi again.

[alexanderwales]

Chapter three of Save the Cat is about figuring out who your "hero" is. This is the money quote:

Tell me a story about a guy who ... I can identify with. I can learn from. I have compelling reason to follow. I believe deserves to win and ... Has stakes that are primal and ring true to me.

And of course this is fine for mass market stuff, which is good given the book is written with mass market movie-goers in mind. But I'm (as Blake Snyder says) a bullheaded writer, and I don't want to write a story like that, or not all the time.

I want a hero who is grappling with purpose, who is facing existential dread, who worries about his legacy or what his life will end up meaning, who cares about the nature of personhood and reality. I want a guy whose stakes are "oh god, is this all predestined" or "are clones people" or "what does it ethically mean to steer a culture". I don't want this all the time, but I do want it a lot of the time. And according to Blake Snyder, this is the sort of story that you can practically hear audiences and producers walking away from.

My next web serial will be Doomsday Pivot!, and the logline is in flux, because the first book is written but unedited, and there's still time to make changes. The short version is, the world has broken apart and everyone gets to choose a character class, so a small startup pivots to becoming their city's first expeditionary force. Something like that, anyway. The stakes are survival, which is primal enough by Blake Snyder's metrics, but that leaves the question of who the protagonist is.

It's not what's in the book, but my sense is that you can give a few of the directives from the money quote a miss and still be fine, and your main character doesn't need to be a complete prototype of the main demographic (or who that demographic sees themselves in, or wants to be).

But it does leave me thinking about my protagonist, and how he's framed, and how to frontload what the audience wants so I can earn some slack later on. There's a particular bit about age there, how going younger is usually the right call, and some of this is outdated market advice given that the book was written in 2005, but I'm approaching 40, and I think I do tend to think of characters as being my same age just by default. My market is a lot different from Snyder's market, mostly in the sense that it skews much younger, mostly teenagers, even if the median patron is older.

So I am left asking myself some questions, which I think is good, and one of the reasons I'm reading this book. Should my protagonist be 34? Or 26? What's the one single adjective that I would use to describe him? What's the one single adjective I would use to describe the antagonists? Snyder suggests that being a slave to the logline is a good thing, and makes for a better story, and I have my own thoughts on that, but one of the pieces of advice that I've been giving in the last few years is "find a singular guiding star for your story and make sure that you don't point yourself too far away from it". I suppose that guiding star could be a logline, though I have my own disagreements with the "logline first" practice.

There are also some parts I found interesting if irrelevant to me about writing with casting in mind, and making sure it's a part that many people can play, but I think it's industry insider stuff that won't become relevant unless I spontaneously decide to start writing scripts with intent to sell, which seems unlikely.

[purpleshadow-star]

Here's a reminder that Frank does not have adhd or dyslexia like most demigods, so he was stuck on the Argo II with at least five to six other teenagers with adhd at all times. I wonder what that was like for him...

[rking200]

I can't believe it's Sunday again already! We've got a new chapter of The Red Room for you all to enjoy. Please give @connor-sent-by-cyberlife some love for the wonderful render in this chapter (as well as all the hard work they've put in on all the renders thus far!!)

The Red Room (45158 words) by rking200 Chapters: 7/? Fandom: Detroit: Become Human (Video Game) Rating: Explicit Warnings: No Archive Warnings Apply Relationships: Hank Anderson/Connor Characters: Hank Anderson, Connor (Detroit: Become Human), Original Chloe | RT600, Markus (Detroit: Become Human), Elijah Kamski Additional Tags: Alternate Universe - Human, Stalking, Vomiting, Suicidal Thoughts, Top Hank Anderson, Bottom Connor (Detroit: Become Human), Connor is a Mess (Detroit: Become Human), Hank Anderson is Bad at Feelings, Alcohol Abuse/Alcoholism, Missing Persons, Abduction, Manipulation, Death Threats, Mental Health Issues, Zlatko didn't do it, POV Alternating, Slow Burn, Sex at some point Summary: Connor Stern is a law school dropout who dreams of making it big in the music industry. He manages to get into a special apprenticeship program with the musical genius Elijah Kamski and, despite working two jobs and struggling to stay afloat, feels like his dream is finally within his grasp. When Hank Anderson stumbles into the lounge Connor performs at, The Red Room, he becomes entranced with him. As Hank falls in love with Connor's voice, he ends up entangled with conflicting emotions and delicate situations. Slowly, his nights are filled with Connor's songs and his closeness, even if he feels he doesn't deserve it. They reach several roadblocks along the way of getting closer, some more dangerous than others. A collaboration written alongside Connor-sent-by-Cyberlife for the Reverse Big Bang 2024, told with a POV alternating between Hank and Connor. Chapters added weekly.