#i know it makes no contextual sense but its the one i know

[4plus1313]

numbers n letters

[man-destroyer]

tell us about ancient spanish?

Yeah!

so. In the beginning of my comic (I'm assuming you havent read it, if you have I'm sorry) the main character is getting established as sort of a "master bullshitter" and very lucky. He's not stupid, the reason he's alive is because he reads situations quickly and lies very well... and at this point my editor had been repeatedly treating him with this sort of bumbling idiot trope, so I was already a bit frustrated.

He's caught as a stowaway on a pirate ship, and is bullshitting a treasure hunt so the pirates keep him alive long enough that he could escape. So, he makes a fake treasure map in Spanish, hoping that the pirates won't know any... because if they can just kill him and take the map, they will. And one of them knows Spanish!

So, the joke I put in to resolve the situation (which I kept) was "but can you READ Spanish?" where he's banking on the pirate's illiteracy, and he lucks out because she can't read.

but my editor wanted him to say "but do you know... ancient spanish?" which makes no sense and isnt funny LMAO to me.

There were a lot of instances like this, but this is the one I remember the most because my editor like. argued with me on putting ancient spanish in there... It was a back and forth for a good bit.

[vynegar]

help i have such Opinions on translation now

[koushirouizumi]

{D I G I M O N} Adventure tri. x H o n e y L e m o n S o d a (2015) + T A K E R U & Hikari

{"When are you going to C O N F E S S?"} "K O K U H A K U" {"...When the T I M E is R i g h t--??...."} {"Doesnt it make getting R E J E C T E D

Being A Lot More A W K W A R D Around THEM??"}

"...Your current relationship basically ENDS."

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[vigilskeep]

omg wait what are the gendered differences for lucanis and spite in the recruitment quest? i only ever played as nb rook so far!

this is in the convo back at the lighthouse, after bellara and lucanis say that the usual option to get rid of a demon is to kill the host. if i recall correctly, if you ask if spite can be reasoned with instead (the diplomatic option) spite says “he doesn’t want to hurt you. how rare. everyone else does” for he/him rook and “she doesn’t/they don’t want to hurt you. how sweet” for the other two. and if you say oof that’s awkward (the purple option) spite says “he’s fun. you’re never fun” vs “she’s fun. i like her/they’re fun. i like them.” so overall it avoids hitting men with the one you could call a bit more flirtatious. which is the kind of tactic classically intended so straight man players don’t get uncomfortable

i dont know if there are any differences with the stoic option or even what the stoic option is. im too niceys :(

it strikes me as really startling for veilguard’s usual approach to gender, but very reminiscent of whatever the hell da2 used to do lmao. which makes sense bc lucanis is mary kirby’s, and merrill and varric’s dialogue were riddled with differences like these. this is the REAL mark of having more of an old guard writer jghsjskks

it’s even more baffling to reckon with in-world than usual though bc usually you can be like “well, thedas society is still heteronormative, maybe there’s contextual reasoning why a character responds differently to different genders, blah blah blah”. but spite is a spirit so unused to the mortal world that it has no sense of its own appearance and doesn’t understand why it and lucanis collectively need their skin. where did SPITE get this. lucanis what gender norms have you been inflicting on that creature

[noneorother]

The secret timeline inside of Good Omens season 2 revealed, *part1*

Part 1 l Part 2

If you’ve ever watched a ballet or an opera, you know how the rhythm in the music is used throughout to determine not only the movements of the dancers, but also when lines are sung or spoken. This is almost unheard of in television, but what if I told you it was hidden in season 2 of Good Omens? If one were to, say, meticulously cut together only the scenes set in the present day into one big timeline, you would get one long video that is exactly 2 hours 22 minutes 00 seconds and 00 frames long. An ineffable cut that is so perfect it defies all logic. (I’ve burnt a timecode into this ineffable edit to help pick up the rhythm.)

Even though there are large swathes of the second season with no music, there is a constant tempo weaving its way through the show: What if the seconds ticking by in the runtime itself was the music? Here’s an example of what I found. Behold a supercut of every single time Shax shows up, or Hell is mentioned in series 2 in the ineffable edit. They always arrive on a 6 in the time stamp (ex: 00:XX:X6).

(SOUND ON is an absolute must here, otherwise you won't hear any of the triggers)

Shax rings Crowley on a XX:X6. Shax miracles herself into the car on a XX:X6. Shax knocks on windows on a XX:X6. Shax’s big scary moment at the bookshop happens at 66 minutes exactly (lol). Crowley calls out for Shax on a XX:X6. Beelzebub starts spewing flies on a 6. People mention hell and it’s always on XX:X6 etc. etc…(Bonus: I also left in Maggie flipping the damned the double-bird on a XX:X6) I’ve also left in the only appearance of Shax or hell at all in the whole series that isn’t tied to a six: the park bench scene with Crowley. Shax seems to be off by one line, showing up on a XX:10, then back to XX:X6 on her second reply: “Bills, mostly”. I can only theorise that this scene, while technically in season 2, is not supposed to *be* in season 2 (even just judging by the trees, sun and the overcoats, it’s not summer like in the rest of the season). And it’s not only sixes! Every time I go through I find more and more little beats that line up exactly with ineffable timings. I can only do one video per post, so I’ll have to cut it up into sections, but Gabriel, doors, car horns, bird calls, Aziraphale, food, drinks, Angels, dialogue, Maggie, Nina, jokes, clocks, bells… The list goes on and on. 

Neil called this season “The bridge”

Because we all know how much Neil loves double meanings and wordplay, I just have to ponder the idea that when Neil said this season was “the bridge” between seasons 1 and 3, he meant it double-literally. First, as in the bridge Aziraphale and Crowley have to cross in order to get them into position for the second coming. We even see the physical manifestation of this bridge leading everyone in the background of the opening credits. But this season is also a bridge in the sense that it’s a musical section that introduces new ideas or material in the middle of a song. This whole season is the music that deviates from the familiar, and re-contextualizes the chorus and the verses so we can appreciate them in a new way. 

Let’s not forget that 2:22 is also exactly the same timing as this (and only this) track from the good omens s2 album (read all about the soundtrack here):

Why is this so bonkers? I think GOS2 might be the first ever “Total” series of television.

Having everything in the series timed and choreographed would actually make it a very faithful adaptation of the Powell & Pressburger film The Tales of Hoffmann (read about the movie and it’s effect on all of s2 here). If you watch the tales of Hoffman, you will realize that the entire film is actually done more like animation, with the music and vocals all performed in a studio, mixed and edited first, and then the actors came back to act out their choreographed and lip-synched parts for the cameras afterwards. The result is "Total film": a movie that feels more like a ballet, with every movement, action, and line happening in time with the music. As far as I can tell, very few films have ever attempted this, with The Tales of Hoffmann and Playtime being the only two “complete” films I could find in this style. (The Red shoes has one section, and An American In Paris has a few)

“Why would ambitious filmmakers simply film an opera? Many admirers of the work of Michael Powell and Emeric Pressburger have assumed that their decision to make The Tales of Hoffmann (…) was in some way an admission(…) that they couldn’t go on making their edgy, over-the-top melodramas after the rejection and interference they’d suffered, (but) there’s a case for considering The Tales of Hoffmann as one of the finest and boldest works that Powell and Pressburger produced, so far ahead of its time as a wholly “composed” film... Late in his life, Powell himself said that he thought it was one of the best films that he and Pressburger had made.” - Criterion review, Tales of Hoffmann

Here’s a simple example from An American in Paris

If season 2 *is* scripted and choreographed to line up with specific timings, I’m pretty sure that would make this the first ever “total” or “composed” season of television ever attempted. Not only does this take an ASTOUNDING amount of planning, scripting and editing finesse, not to mention a completely controlled set, it takes a real understanding of how to perform as an actor using rhythm and metre, which would go a long way to explain why all of the main actors coming back for season 2, with the exception of John Hamm, are well regarded theatre performers, (especially of Shakespeare).

I’ll leave you with one last surprise I found in the discovery of the ineffable edit: remember Aziraphale’s smile at the very end if the credits? It happens on 02:23:03, as the first step off the bridge, and into season 3.

I will have much more in the next ineffable timeline post. Stay tuned…

__________________________________________

Thanks for reading all the way to the end. It’s taken me a solid month to get this perfect. There are so many hidden cuts and jumps to take into account, and I had a frame rate issue that kept exporting to 29fps instead of 25fps, but I’ve finally nailed the ineffable timeline enough that I am confident sharing in it.

Credits to @thebluestgreen and @embracing-the-ineffable for all the support and help with editing and just general good vibes. 

[archiveofliterature]

that one line about ramy's bangla being rudimentary made me absolutely sob (i'm bengali) and i wanna talk about why

there's so much to it both contextually with ramy's character as well as historically. contextually because ramy is fluent in 6 languages, an insane number of languages for one person but none of which are his mother tongue. he's described as a performer, one who knows he can't blend in so instead he stands out as a means to escape as much of the racism as he can. he gets lost in it that he almost forgets who he is; this is reflected in his language ability too – he gets so lost in his linguistic academics he just barely remembers the native language of his home place that he adores.

and honestly, you can't even really blame ramy for it at all when it was induced. it's the british who saw urdu, arabic and persian as more valuable than bangla, it's the british that make ramy put on this act so he can literally stay alive. and when you know the historical relevancies between urdu and bangla, it hurts so much that ramy was forced to forget bangla

very brief history context: after the partition, where british india was split into india, pakistan and east pakistan (now bangladesh) bangla was seen as inferior to urdu due to its hindu connections. bengalis experienced so much shit because of this (and bengali muslims are still dealing with the internalised cultural racism today honestly). pakistanis tried to make the official language urdu, even though literally everyone in east pakistan were bengali and spoke bangla, so bengalis fought back against it. we still celebrate that day today (feb 21)

so to have ramy be in this position in the 1830s where urdu was seen as superior to bangla, especially when ramy is a bengali muslim, is just extremely accurate?? and maybe it's bc we don't have much western literature where we talk about this but it's just so nice to have it acknowledged

the bangla language movement didn't happen until around the 1950s, over a century after babel's timeline, but the seeds are always there. while i do think it comes with both this islamic superiority tendency a lot of asians have (arabs i'm looking at you) and britian's imperialistic racism, i just love how it all makes sense

[duckiemimi]

this was commented a while ago on my tiktok (it was about this post), but it’s so good, it’s stayed on my mind ever since. i’ve been meaning to talk about this for a while!

on geto & empathy.

let’s address the likely reason why people tend to see geto in this empathic light and through this lens that almost absolves him from blame.

the hidden inventory arc, especially towards the end, was written in a way that humanized geto; we read his mind, we saw his thoughts and how he processed them, we shadowed him as he went through traumatic event after traumatic event. we were placed in his shoes as he ran through a never-ending marathon—essentially, we were him in his moments. we’re supposed to empathize with him.

it’s why at first hand, his defection might’ve seemed like a logical conclusion to us. it made sense. (unlike how it was for every other character in the story, and especially how it was for gojo—geto’s decision came to them all as a shock.) this is what makes him a well-written character and an overall excellent villain.

it’s also probably why geto is such a personal character to many people, but this intimate association doesn’t make him faultless. yes, he was a victim of circumstance, but so was everyone else in the story. geto was also a perpetrator who inflicted harm on other people: a genocidal cult leader who had his eyes set on the greater good, someone who disregarded the means for the end. “well-written,“ in my opinion, also means multifaceted, complex.

now let’s talk about geto pre defection.

geto is gojo’s foil. at first read, he’s supposed to contrast gojo in a way that highlights specific aspects of gojo’s character. (and vice versa, but this arc is also called “gojo’s past arc” for a reason; gojo is our main character in this part of the story, he is our point of reference.) geto serves as a comparison to gojo, but he also stands as his own character. where gojo failed to empathize with the “weak,” geto succeeded. but what was empathy to geto anyway?

empathy, in its colloquial connotation, is seen as a virtue. it’s a community-building tool and it’s inherently human. it’s how we contextualize our place in the world and our connection to other people. in broad construct, it’s a “good” quality to have, to be empathic—but not all forms of empathy are the same.

geto’s empathy towards the “weak” was, in a word, paternalistic—like how a father would interact with his children, or how a deity or a king would interact with their subjects. it stemmed from his arrogance and his “well-meaning” saviorism tendencies: in short, “i am better than you, therefore i know better than you. i know what’s best for you.” this is especially true in regards to his patronizing attitude towards non-sorcerers pre defection (and it extends post defection, too).

geto’s sense of duty as a sorcerer manifested in how he assumed responsibility, and to a lesser extent, authority over non-sorcerers. it’s a type of benevolent prejudice; these people are powerless and weak, therefore inferior to him, and so it’s his job to protect them, it’s his job to care. while he had good intentions, he saw them as “lack,” not as humans who were ultimately just different from him. he saw them as helpless victims of themselves; which, given his occupation at the time, was an apt contextualization, but within the bigger picture, it ironically dehumanized non-sorcerers. it was underhandedly condescending, whether he was conscious of it or not.

the very root of his defection is this: he did not view non-sorcerers as equals to him in the first place. sure, plenty of other sorcerers also have this mindset, especially the very powerful ones, but geto made this the basis of his purpose, taking on the moral high ground by giving it meaning. after toji and after mimiko and nanako, he recontextualized and changed the meaning of what it meant to be powerful—but while his circumstances and his proximity to non-sorcerers changed (him revoking his empathy towards them), the patronizing way he viewed them (“monkeys” now) was constant; it was his pivot foot from charitable pity to resentment and hatred.

some things to consider: i assume geto was fairly new to the jujutsu scene in the hidden inventory arc, given his non-sorcerer family. i also assume he must’ve felt very alone prior to his enrollment, being the only one in his family to see cursed spirits, and possibly the only one in his childhood environment. this grand introduction to a some sort of a secret society must’ve felt special to him; it must’ve made him feel special, especially considering he was put on par with the kid who everyone thought was immensely powerful.

i can see why he thought himself better compared to the non-sorcerer background he grew up in. plus, it would be hard to not let your ego inflate when someone like gojo keeps referring to you as half of “the strongest duo.”

i also think that despite how black and white and consequential his outlook on life was before and after his defection, he probably still had his doubts and moments of wavering throughout his decade-long career as a curse user. i mean, he said it himself—his goal is only possible for one person only, and it’s not him. that could definitely be a factor, and it could also be some lingering sentimentality, too. he burned the bridge between him and his past and he just couldn’t risk the distance, but he probably thought of it sometimes.

i’ll end this post with a quote from him from the anime that made me really think. geto does care, but at such a young age, it was a juvenile and idealistic concept of “care.” had he stayed and grown up a little, worked through the trauma and organized with his fellow sorcerers (instead of assuming responsibility alone like he did, leaving to create a better future for sorcerers without including them in his plans), perhaps he could’ve made this a reality:

“survival of the weakest. that’s how a society should be. the weak help each other and discourage any who are too strong.”

[lurkingshan]

Japanese QL Corner

In which I cling to the last vestiges of two of my favorite shows of the year, write a eulogy for one of the most disappointing, and rejoice over the entry of a new fav. These shows are available for weekly streaming on Gaga unless otherwise noted.

Mr. Mitsuya's Planned Feeding

Farewell to a wonderful show. @isaksbestpillow has posted all seven episodes as of last week, so if you've been waiting for a binge, now is your chance. I already said a lot about why I loved this one, so I'll just use this space to urge you again to watch! This show is a goddamn delight.

Takara's Treasure

The main narrative ended last week, but this week we got a sweet little epilogue and one more visit with Takara and Taishin. I enjoyed the brief glimpse into their near future and getting to see Taishin turn 20 with his very first fuzzy navel, though I was a bit sad we got a repeat of the finale's themes rather than treading new ground for their relationship (I could not have cared less about the fujoshi writing RPF). This was a lovely show and I will miss these characters.

Happy of the End

CWs: Assault, child abandonment, child molestation, childhood sexual slavery, dubcon (including between the main characters), human trafficking, rape, sexual coercion and exploitation, suicidal ideation/possible attempt, unsafe S&M practices, violence

A very rough week for this show in terms of the content--please mind the triggers above because these are explicit depictions and it can be hard to stomach. I am waiting to see where this show is going with its themes before I make a final judgment, but watching the fourth episode in particular, some parts felt like crossing the line into gratuitous trauma porn that provided little additional illumination. We'll see how it shakes out in the end, but please take care with this one. I continue to find the characters and relationship dynamics compelling, and I am invested in Haoren and Chihiro's attempt to have a relationship despite the metric ton of baggage they are shouldering between them. Neither is equipped to even have any idea what a healthy relationship looks like, but they see something in each other and they want to try. That tiny bit of hopeful but likely doomed thinking may be all we have to cling to in this story.

I Hear the Sunspot

Sigh. I am sad about what this show could have been. For me, the finale definitely did not succeed at sticking the landing and making the last six weeks of wheel spinning feel worth it, and this show is going down as one of the big disappointments of the year for me. As you know if you've been keeping up with this weekly post, I loved the first half of this show, and Taichi's original characterization, so much. And I don't understand what happened here. The second half has felt like a completely different, confused, demonstrably worse show. Taichi hasn't felt like himself in weeks, the plots with Maya and the job at Sign were poorly grounded, inconsistently executed, and offered little pay off either thematically or in terms of character development, and the romance writing was a complete failure. It was actually painful to see Kohei run after Taichi and confess to him again, and the directing and editing of that sequence was so muddled that I had no idea what I was supposed to understand about Taichi's emotional journey or why this was the moment he was suddenly able to reciprocate. After all that brooding and his big speech about communication, he did not communicate much of anything to Kohei in the end. And I'm supposed to be content with leaving them here? Deeply unsatisfying on just about every level.

I understand from @twig-tea that while the story followed the beats of the manga's first two volumes at a high level, this production chose to remove many of the contextual details that actually made sense of the characters' behavior. It also seems they didn't understand they were setting up character arcs that did not get resolved until a later volume the show will not cover, thus ensuring the story would end at the wrong place. Just a baffling set of adaptation choices, and so much wasted potential. It's a shame.

Love is Like a Poison

But at least we have a new favorite coming in hot a week sooner than expected! I absolutely loved this first episode, in which we meet Shiba, our cold-hearted lawyer with delusions of grandeur and a sexually charged fixation on his house plants, and Haruto, our flirty scammer who has his number. This show is really well written and packed a ton of story, comedy, and deep characterization into its first episode. It's a promising start! For now it’s only available grey outside of Japan; I am hoping it will get picked up for proper international distribution soon.

Tagging @bengiyo to add this week's anime update.

[isycamor]

i do kind of have mixed feelings about the armand reveal i will not lie. but at the same time, I think we forget that we still do not have all the information (lestat’s pov, and armand’s unfiltered pov of the trial, maybe even sam’s pov loool). also i don’t think this was particularly ooc nor do i think that it flattens armand’s character.

one,i think him doing this is completely in line with what we have seen from his character thus far. at this point (ep4/6 in paris) imo it is clear that he is feeling unloved/rejected on some level by louis [dreamstat haunting their relationship was the proverbial shoe waiting to drop; there was always a lingering feeling of inadequacy armand was feeling in his relationship with louis and considering his history (his trauma) we know how deeply this would affect him]. madeleine semi-confirms that there’s a sort of wall in the vulnerability of the loumand relationship when she asks louis why he doesn’t tell armand he loves him. armand is a character that desperately wants to be wanted, is desperately insecure, and on top of that, like assad said in an interview, very forward thinking. i think he really did not think his relationship with louis would survive — not with the burden of lestat, the burden of claudia/madeleine, and honestly i think it was coupled with a lot of self-hatred. the coven was a far more reliable decision for him. louis, throughout their relationship, was not a very consistent partner if we’re being honest (and i say this as a ldpdl apologist every tongue that rises against louis shall fall unless in defense of claudia). he refused to join the coven, he was constantly haunted by lestat in vital moments of loumand relationship development, he and armand were on verryyy different wavelengths about the labeling of their relationship, madeleine’s turning in itself i think also put a major strain in their relationship, etc. i don’t say this to excuse armand, but to contextualize his feeling of isolation within the relationship.

and thinking about his history, his trauma, i really do think that he would latch onto whatever seems to be the most consistent. he yearns for that commitment, and to feel wanted; and if he was not feeling that with louis, he would make the decision to stay with the coven. years upon years of abuse, and having that abuse be tied with a twisted sense of worship with marius, I believe has stunted armand significantly. armand is cunning, manipulative, whatever, but he really does not like being a leader. he leans into subservient positions constantly, and i think this is a pattern of learned helplessness that would explain why he perhaps may have felt as though he “could not prevent it” wrt the trial. i think him honestly believing he could not prevent it and also directing the whole thing are not really mutually exclusive here.

i don’t think this diminishes his love for louis at all either, he loved louis before during and after the trial, and the trial’s preparation. this was done in response to feeling unloved by him, not in response to not loving him. and i think, at least within the show’s presented narrative thus far, witnessing the actual trial along with lestat’s action versus his own inaction at its conclusion perhaps really put his guilt and regret into perspective which led to him saving louis from the wet room. and after finding a way to be with louis again (claiming to have saved him), and having louis speak to his commitment to him (even if it was done as a way to torture lestat), made armand solely focused on preserving his relationship with louis in any way possible - and unfortunately that meant also preserving this big lie. armand isn’t some supervillain that secretly wants louis dead - he did genuinely spend his life trying to make up for it. he is desperately desperately lonely and he has lived centuries feeling inadequate and unloved. this deep deep insecurity and attachment to preserve feeling loved/wanted drives his actions in paris, in san francisco, and in dubai.

so no! i don’t think it reverses any development of his character at all! honestly, apart from delainey’s claudia, armand was my shining star of season 2. assad played him brilliantly, and i don’t think this finale diminished the complexity assad (and the writers) gave to this character at all.

(i also think having this revealed and what this will do to armand’s psyche (as a character who i think is really really afraid to look inward) is such fun setup for season 3)

[humbledragon669]

S2E1 - The Arrival Write Up P5 - the Present Day from Crowley’s arrival at the coffee shop up to his entry to the book shop

Alright, buckle up, because despite the fact I said I wasn’t going to be so detailed, there is A LOT to cover in these next couple of scenes, and it is ALL about the subtext.

The first thing I picked up on is mere seconds after Crowley gets out of the Bentley, because despite the fact that Aziraphale told him to meet him in the coffee shop (literally 2 minutes previously, if we’re to believe the demon’s time estimates), his reflex is to go straight to the book shop as soon as he’s out of the car:

That is one hard-wired reflex, isn’t it? He’s several steps into his approach before he realises that’s not where he’s supposed to be going. Cute. Not so cute is the foreshadowing that we can see on the board outside the coffee shop:

It’s not easy to make out in this little screenshot, but it reads “Life begins after coffee”. Knowing how intricately designed this series is with the Easter eggs and references, I can’t help but believe this is alludes to what is planned to come in season 3 (after Aziraphale’s coffee). That’s the simple solution. The letters in this simple phrase can actually be rearranged into something else however:

L I F E  B E G I N S  A F T E R  C O F F E E

===============================

I F  C E E  F O R G E T S  I N E F F A B L E

Obviously I would interpret “CEE” as Crowley in this potential Clue, and the reference to “ineffable” being the Ineffable Plan. So expanding the phrase becomes “If Crowley forgets the Ineffable Plan”. But that would mean that the demon either currently knows or has previously known the details of the Ineffable Plan, which is in theory impossible (unless he was also God). And what’s the rest of the sentence? What happens if Crowley’s memory does empty of those details? I don’t have any answers to these questions, all I know is that the ability to rearrange those letters into something that makes incredible contextual sense cannot be coincidental.

This next scene in the coffee shop is one of my absolute favourites across this show - there’s just so much to it! Before we get into the weeds with the conversation that’s about to ensue, I just want to pick up on the background music being used here: it’s an instrumental version of Bohemian Rhapsody, possibly for a string quartet. In the write up for episode 5 of season 1, I hinted that there might be something to look at about music when it’s used as an “in-universe” element (rather than when it’s used as soundtrack for the audience), and this is a great example of that. We know that pretty much all music that plays in the Bentley (at least when Crowley is driving it) is by Queen, whether that was the original choice of the passengers in the car or not. That combined with Queen’s music being frequently used in the soundtrack to represent Crowley means that we, the audience, have come to associate anything that sounds remotely like Queen with the demon. Likewise, we have been given a lot of information to suggest that the same applies to classical music being associated with Aziraphale. What we have in the background of the coffee shop in this scene is an example of the merging of the two very different styles to produce a rather beautiful result, where both styles can be recognised and heard, whilst also projecting an air of individuality of its own. Here’s why I think this is interesting – this is exactly how we’ve come to think of the relationship between Crowley and Aziraphale. Furthermore, the fact that the music is playing in-universe here would suggest, if my badly formed (and yet to be written up) ideas about Crowley are correct, that its presence is the demon’s (possibly subconscious) doing in the first place.

One last thing before I start looking at the conversation: How gorgeous is that camera one-shot as it passes “through” the coffee shop window? We see quite a few of those types of shots in this show, and they’re always seamless. The benefit they add to the flow of the storyline is undeniable.

OK, I lied. This really is the last thing before I get to the conversation. I am not ignoring the fact that the walls in the coffee shop could be littered with Easter eggs in amongst all the “graffiti” there. I have been collecting screenshots of the walls in the scenes when I can, and will put together a collage of them at some point. I’ve yet to find anything of particular interest, but I also feel like somebody has already done quite a bit of research into this, so I’ll see if I can find that post before I talk about it any further.

Alright, finally – our hero couple are united in the present day for the first time in this season! Here’s our first reminder of the familiarity that exists between them:

Aziraphale looks over his left shoulder to see if Crowley has appeared yet because that’s “Crowley’s side”. He actually seems to get quite the fright when he suddenly detects a presence on the opposite side of him.

I love the insight we get from Crowley reeling off the reasons that Aziraphale calls him: finding out that the angel instinctively calls the demon to satisfy his need for intellectual engagement (when he’s bored), for approval, or for help when he needs it highlights just how intricately woven into one another’s lives they are. I think it’s the middle of those points that strikes the biggest chord with me though; that the only person Aziraphale wants to share his successes with is Crowley speaks volumes, and it’s the only one of the three points he feels any need to defend (which in turn tells us how highly he thinks of Crowley). The familiarity that comes out of this speech just oozes, and I absolutely love how casually the demon delivers it.

Here we have the start of the next part of the case for my “Aziraphale and Crowley are already together” theory. Notice how the angel asks Crowley if this mega-espresso has calming properties:

AZIRAPHALE: Does it calm you down?

Not does it calm people down. Specifically “you”, which in this case is Crowley. Aziraphale knows that what he’s about to tell Crowley is not going to go down well, and wants to make sure the demon is as calm as possible, which he recruits Nina in to help with:

AZIRAPHALE: What do you sell that calms people down?

Again, the words here give the game away; he doesn’t ask what would calm “him” down, but what item would be particularly useful for calming other people down. Those Eccles cakes aren’t for him, they’re for Crowley. And why on earth Nina says that these calm people down, I have no idea – I’ve certainly never heard of them as having particularly restful qualities. You would have thought that maybe a chamomile tea would be a better solution.

If we combine all of this information with THAT look from Crowley and THOSE looks from Aziraphale (you know the ones, but I’m going to GIF them below anyway – I do love it so), I think the case for believing this pair to be secretly romantically involved already looks pretty strong.

There is a LOT going on in that tiny snippet of film so let’s break it down a bit. First we have this look of dread from Aziraphale when Nina drops him in the shit:

That is guilt, embarrassment, fear, desperation, and chagrin all wrapped up in one right there, and there’s really only one thing that tends to bring that complex mix of emotions to the fore in people – getting caught doing something you know very well you shouldn’t have been doing in the first place. And Crowley’s reaction tells us everything we need to know about how he feels about this new and shocking piece of information:

There is one phrase that comes to mind when I see Crowley’s expression here: “EXPLAIN YOURSELF”. That little head tilt at the end says that loud and clear. Most importantly for my case, there is no amusement on his face at all. He’s not entertained by this rather amusing turn of events, he’s fuming, as his expression makes very obvious.

And Aziraphale knows very well how much trouble he’s now in:

The wide eyes, increased breathing, inability to get his words out, and pathetic protestations – he is floundering here, badly. As well he should.

There are two more indicators here that there is something more going on between the two of them that is being overtly stated at this point in the storyline. Firstly, there’s that look he flicks over to Crowley to check in with him and see where the demon is in the emotional journey. Secondly there’s the appropriate look of somebody absolutely cowed by a sequence of events:

Bless his little cotton socks, he’s so ashamed. It’s such a childlike expression, exactly what you’d see if somebody had been reprimanded for something they knew they shouldn’t have done, didn’t have any good explanation for why they’d done it, and can only say how sorry they are in their own defence. Lastly (for this exchange anyway), we can see that Crowley is still awaiting his explanation at this point, even if we (very sadly) don’t get to see his expression:

Out of focus as Crowley’s face is, it’s still clear to see that his gaze is firmly fixed on Aziraphale. His attention is only diverted when Nina asks him a direct question. So, to sum all of this up: Aziraphale’s shame and desperation and Crowley’s indignant expression – that’s really all it took for me. This pair are a couple at the very least, more likely married. End of. Case closed. However, if you’re still on the fence, there’s one other thing that might push you over the edge. Listen, VERY CLOSELY, to the music in the background here:

Just after Nina says the phrase “naked man friend”, you can hear a very high-pitched note in the string arrangement, followed by a small pause. Almost like the music has crashed to a halt with the shock of the information that’s just been given (I’m sure you know what I mean – it’s a pretty common device to use in media). If that’s not a coincidence, that would further strengthen my ideas about Crowley influencing the music around him, and provide some more evidence for how he’s feeling at that particular time.

Right, let’s move on to the next piece of evidence for my case:

This is so lovely to me. How could he possibly sum up what he and Crowley are in one tiny sentence? Not only that, it’s clear he doesn’t know how to describe the situation between them without lying. He could have said they were friends (not entirely a lie, not entirely the truth), or even work colleagues (ditto). Instead, he says the only thing he can think of that is definitely true. And as a quick side note, both he and Crowley are so focussed on the mess that the angel has found himself in here, they miss the quick once over Nina gives the demon as she leaves the table.

There’s something really primal in me that makes me want to pull her hair and scream at her to stay away from him, like a crazed jealous teenager. I have no idea why; we all know Crowley has absolutely no interest in anybody or anything other than Aziraphale. Besides, he’s fair too concerned with reminding Aziraphale that he’s still in trouble.

Whoop, more evidence to add to my case! This is so beautifully done – Crowley changes the subject, thinking to lull the angel into a false sense of security, only to bring it immediately back to the issue that he clearly feels still needs to be resolved (and rightly so), and his expression clearly tells Aziraphale that this conversation is far from over, that he’s still not amused, and that he’s still waiting for an explanation:

Now that Aziraphale hasn’t got someone watching on, he’s become a little bit braver, actually managing to speak some of his defence, but I think it’s pretty obvious he knows there isn’t going to be anything he can say or do in the coffee shop that will resolve this situation. And if there was any doubt about that, Crowley’s gesture after downing his mega-espresso (which I find almost threatening) is clearly meant to be a reminder that he is still pissed about things.

Message received loud and clear:

In another casual display of intimate familiarity, and despite Crowley’s clear displeasure with the situation, he still holds the door open for his angel (ever the romantic). There is something going on in this shot here that I find interesting though:

What is that look going on between Nina and Crowley? This is an odd one, not least because of that once over we saw her giving him earlier on. And unfortunately we can’t see his face in this shot to be any degree of sure. To me it feels almost territorial, in a reverse sort of way – as if Crowley is making sure Nina bears witness to his romantic gesture, delivering a subtle but clear message about his interests. I’d buy into that totally if it didn’t run completely contrary to the need for them to hide their relationship. What I do like about this little interaction, and Aziraphale’s behaviour during it, is that we’re already being shown that this pair are still really bad at picking up on the other’s cues – whilst Crowley is busy pissing on a lamp post, Aziraphale’s face is giving away just how worried he is about what’s about to come:

Alright, final thing of note for this part, because this seems like quite a neat place to stop. Remember way back when I said that those Eccles cakes weren’t really for Aziraphale, but for Crowley? (Side note - way to go, stealing crockery from a local coffee shop Aziraphale, I hope you took it back at some point. Not that Nina seems to give much of a shit. Such odd behaviour.) Well we’re about to see the realisation of that.

Alright, I know, it could just be that Aziraphale hands the plate to him so that he has both hands to find the right key with (another side note – what are all the rest of those keys for?) but there’s a fleeting expression on Crowley’s face that suggests otherwise, as if he’s just now realising that the food is really for him:

He’s really not impressed with the quality of this peace offering, is he? Which is unsurprising, given that he’s not the one of them that has a burning desire to inhale anything that tastes good. At best, he might get to see Aziraphale eat it later I suppose. He’s gracious about his gift at least, because we don’t see him hand the plate back to the angel after the door is opened (in fact we’ll see it placed on the pedestal that the statue he uses to rest his glasses on later).

Right then, I have yet again wittered on quite long enough about this very small piece of film, so let’s wrap this up here. I’m hoping that now we’ve had the reunion of our hero couple in the present day, and the main establishment of the premise of the season, my write ups might get to be a little less picky (with some exceptions for notable scenes), but I guess we’ll find out. For now though, and as always, questions, comments, discussion – always welcome. See you next time 😊

[exhausted-archivist]

Common Fanons That Are Confused As Canon

Through my time of collecting lore and learning things about Thedas I've come across a couple things of fanon that leaked into lists of canon elements. Which was an interesting little thing to follow the rabbit hole of where they even originated. While making this list I did ask others for any that I might have missed or not seen because I wanted to be thorough as I could when even making this list. I haven't been in the fandom long enough to see all the things that have come up.

To be clear, I thought it was neat to see what became so pervasive in the fandom to become easily mistaken as canon or misunderstood. I'm also not discussing whether canon as it stands is "good" or judging the fanon or anything like that.

I just wanted to put it all together in a list, especially as I have had friends who were getting into the series and ask about certain things; as well as Dragon Age Summer hitting us soon and new interest in the series abound.

General

Mages can sense other mages The closest source I can find to this is the fact that Anders states that he can "feel the power in you". No other mage states anything similar and could likely be attributed to the fact that he is possessed. Much like how Cole can sense your magical connection as an Inquisitor. An outlier is how Keiran can sense your magic regardless of if he has the Old God soul; but he is also not confirmed to be a mage as of yet.

All Saarebas always have their lips sewn shut/horns cut off This seems to originate from da2 specifically, with the model of Ketojan having the scarring, the other saarebas missing horns, the concept art, and then boils down to BioWare being inconsistent with their lore/depictions. Most of Thedas fixates on the fact that the Qunari have saarebas with their lips sewn shut, the Seer's yarn tale denotes that tamassrans tell the story of a saarebas with their lips sewn shut, the tarot art for Saarath, and the flippant joke between Sera and Iron Bull. But, the lore specifies that it is in extreme cases or in general that it can occurs but it is not the standard. [WOT p. 103 & 128] Much like tranquility, it is used as a form of punishment - one that we know can and is abused by certain factions. We also see saarebas characters in Inquisition who do not carry either of those traits. Specifically Hissera (multiplayer), Saareth (Trespasser), Heroes of Dragon Age models, and some Qunari in da2.

All Saarebas have their tongues cut out This is seperate from the previous point due to the different source of this fanon. It seems to be an exaggeration of one particulare line from Sten. In dao, Sten will state during the Broken Circle quest that "This is why we cut the tongues from mages, in Par Vollen." He is very general with the statement, but contextually it is reasonable people took this to mean all mages. However, since dao it has been made clear that it is not a universal practice throughout the Qun.

Elves are shorter than humans This one does have a clear point of where this started, though it is never stated in lore, back in Origins elven models were universally shorter than humans. But from DA2 onward, male elves were only shorter than their human counterparts of the same sex while female elves are shorter than both human sexes. Fenris is taller than f!Hawke while both forms of Hawke are taller than Merrill. Solas, Abelas, and a m!Lavellan are taller than female human characters but all human characters are taller than female elves (except Sera who has a female human model).

Dalish are illiterate This is a little less clear to me where its origins started. Perhaps based off of medieval period history (which da isn't necessarily medieval in time period) or due to the fact that most common folk in certain regions in Thedas are illiterate and reliant on pictures over written words. But we know from the Witch Hunt dlc that the Dalish keep tomes of their history and of the ancient elven empire. They also actively translate ancient elven script for their own records. Whether this is role restrictive or not is unclear, but we do know that the Dalish are literate in both Common and semi-literate in ancient elven script.

Dalish and City Elves don't have contact This seemingly comes from a misunderstanding stemming in the city elf origins in dao where some npcs will comment on how Dalish might be myths. However, in dao, da2, dai, the comic Knight Errant, and the novel The Masked Empire, that elves from both sides do semi-regularly trade people with each other if not visit certain alienages, as well have other points of contact with each other. Pol, Zevran, Coran (Vaea's uncle), and potentially Feynriel are all city elves that join Dalish clans. Merrill and Arianni are known Dalish who join alienages.

City elves are genetic/physical differences from the Dalish elves This one I have seen around a lot, most stemming from the idea of the previous one that the elves in the city are generations apart from the Dalish, implying they have no contact with each other. Which could be true for certain alienages. But as far as lore is concerned there isn't any example of this, not even as being a point of reference for the Dalish to consider any of the aspects as to what makes them "less of an elf" in comparison to Dalish.

Elves pass on their elven traits Most seem to know this isn't canon, albeit one of the less popular canon elements; but new fans don't always know this. It is popular fanon to give half-elven children the reflective eyes, smaller stature, more angular features, straighter nose bridge, and/or pointed ears from their elven parent.

Only elves can have mixed kids with other races This seems to come from the fact that elven traits aren't passed on to their kids when mixed parentage is involved. However humans, dwarves, and vashoth can all have mixed kids from the other races. According to Patrick Weekes, this decision was made consciously to avoid very racist and harmful rhetoric. We know of many elf/human mixed kids: Alistair, Eiton, Feynriel, Gestan and Thale (residents of elven area of Halamshiral), Kieran (conditions), Michel de Chevin, Rinnala, "Sabina's Brat" (son of the elven prostitute Sabina at the Blooming Rose), Slim Couldry, Tainsley (Potentially. Is described as a 7'(2.13m) human, though he references a Dalish uncle.) While mixed dwarf children are rare simply due to dwarven fertility issues we do know of two dwarf/human kids: Keiran (conditional) and the child of Tyrdaa Bright-Axe(Avvar) and Hendir (dwarf).

Elfroot leaves get you high/is Thedosian marijuana This is another Origins era thing, due to an easter egg that made a play on the American "This is your brain on drugs" anti-drug campaign using elfroot. This was then repeated in 2015 when Patrick Weekes said that its medicinal properties were rediscovered in 4:20. [Source] Elfroot hasn't been shown to get anyone high in canon, it is the roots that are primarily used as medicinal. In World of Thedas (WoT) vol. 2 the recipe for Dalish Deep Forest Comfort says you can substitute elfroot for spinach making the leaves more vegetable in quality. That said, marijuana leaves are edible and rather nutritious. They just don't have the chemical make up to induce a high. Those lie strictly in the buds. According to Origins, elfroot does flower though.

Red lyrium is completely different and more dangerous from blue lyrium This one is all on BioWare in regards to this misconception. Because while yes, it is more dangerous than the blue lyrium, they aren't two seperate substances. More that red lyrium is a branch off. To cover the generals of the written lore of lyrium it breaks down like this: Blue lyrium in it's raw form innately toxic to just be around to all but dwarves, however it will kill a mage who gets too close in proximity. That proximity being within the same room while non-mages would have to touch the stuff. It also has a pension of self-combustion without warning or a clear cause. When it is refined down for templar use it is "safe" for non-mages to come in contact with and consume. Whether this level of refinement is the same level as what is used to make various cocktails and liqueur is unclear. But we do know that getting too close, being in same room as lyrium refined to this level, is enough to make a mage sick. Finally, we have the most refined and diluted stage of lyrium, this is used by mages to make potions, certain alchemical work, and other things. This isn't enough to kill a mage, make them sick (without extreme over use), and infact can result in positive outcomes for a mage. Red lyrium overlaps with most of that, with a couple key differences. First off is that red lyrium doesn't seem to self-combust. There is some contradiction on whether or not non-dwarves can mine it as due to game mechanics you can destroy it, but the only ones we see mining wild nodes are dwarves. But if the red lyrium is grown from a living creature it seems accessible to all races? In codices about the various types of red templars, we learn that a small vial around a templar's neck is enough to make all the mages in the area around him sick.

Character Specific

Alistair

Alistair is a dog person I couldn't track any clear origins for this, it seems to be a case of overlap with the stereotype that "all Fereldan's love dogs" and a mix of building off of a line of dialogue about him being raised by the hounds and them being his family. However, he doesn't seem overly one way or the other. He mocks dog at times, talks down in not such a playful way, and at times seems to treat dog with the same attitude he does Morrigan though not as blatantly. This could be chalked up to his joking nature though.

Alistair's obsession with cheese While he does admit to an obsession to cheese, it is often cited that Alistair makes a ton of cheese jokes in dao. When in truth he only makes four through out the entire game. Given his joking nature it is up to personal interpretation of how much he actually loves cheese.

Alistair and Cullen knew each other before Origins This is more specifically that the two went to the same monastery for their templar training. There is no canon evidence for this though. That said, there is a possibility due to not knowing much of anything about how the Templar Order trains its recruits nor the amount of monasteries they have in Ferelden for training.

Alistair collects toy soldiers This seems to come from the gifts he can be given during the Feastday dlc. Canonically he is given runestones and carved statuettes of various types stone. These statuettes are described in a manner closer to effigies than toy soldiers.

Alistair's mother is not Fiona This one is a bit funny as it has multiple origins and is dependent on the player's experience with the series. From what I have gathered there seems to be one of three sources: - People who never read the Dragon Age novel The Calling - People who read The Calling after playing dao and feels like it is a retcon (though The Calling was released prior to the release of dao, same with the novel The Stolen Throne) - People who take a "chuck the baby with the bathwater" approach to the lore The funny thing about this is that the cover story in dao for Alistair's mom is based off a combo of things; the hypothetical scenario Fiona told Maric and answers she gave Maric when he asked what to tell Alistair if he asked about his mother. The hypothetical was that Fiona would not return to the Circle and would hide from the templars and pretend to be a washer woman. When Maric asked what to tell Alistair of his mother, Fiona said to tell him his mother was human as she did not want him to deal with being half elven and all the stigma that comes with that as well as to tell Alistair that she was dead.

Avaline

Aveline is straight She will kiss Hawke regardless of gender and ask them if they ever considered her and them. Though it is clear she never had romantic interest in Hawke in particular. An easily missed aspect I think given the general opinion of Aveline as well as most people seeming to not choose the flirtatious option with her.

Blackwall

Blackwall doesn't have a sense of humor This one genuinely surprised me considering he jokes with Sera, The Iron Bull, and Solas. His banter shows as much that he does have a sense of humor and tells jokes. But it does seem pretty common of a fanon characterization for him.

Dorian

Dorian paints his nails His model doesn't have painted nails in game, but it is a popular fanon. There is nail polish in Thedas though. It's mentioned in the novel Masked Empire as well as the novel Last Flight. It seems to be of Anderfles origins, but given the Last Flight is post Orlesian occupation, it could originate in Orlais.

Lady Mantillon said, tapping an elegantly lacquered fingernail on the polished wooden arm of her chair, “we will fail, or we will be killed. Neither is acceptable.” - Masked Empire, Chapter 17 p. 362 Every one of her fingers glimmered with a jeweled ring, and her nails had been freshly lacquered. - Last Flight, Chapter 13 p. 144

Fenris

Lyrium can be drawn from Fenris' tattoos There is no mention of this being possible in da2 or any of the subsequent media. There isn't even mention of others being able to sense the lyrium in his tattoos or even mages getting sick around him as they sometimes will dependent on the concentrations and/or purity of lyrium.

Fiona

How Fiona was cured of the taint This comes from The Calling novel, where it isn't ever clarified what actually removed the taint from Fiona. The common fanon is that it was either the mentioned brooch, or that by having Alistair. That it was by having Maric's son who has Great Dragon blood due to being of the Theirin bloodline that cured her. However, in the novel she is very clear that the mages at Weisshaupt aren't sure what cured her. She only offers one explanation that the Grey Wardens theorized and trails off before saying what the second one was.

“It’s gone,” she said flatly. “The mages at Weisshaupt weren’t sure if it was because the First Enchanter’s brooch sped things up artificially, or... at any rate, all the corruption vanished. They don’t think it’s going to come back, either. There was test after test, but they think I may be the first Grey Warden that never has to endure the Calling again.”

Hawke

Hawke is stabbed by the Arishok This fanon likely came into being due to one of the moves the Arishok has where it will leave you almost dead. So a bit of canon as it is in his move set, but fanon in the idea it is something that always happens in canon.

Unable to confirm if Fanon, Canon, or a mix of both

Teagan marries Bella, the barmaid from Redcliffe This one goes back really far and is hard to tell if it is a case of mistaken identity and association, or a really buggy option for the epilogue, or isn't actually a possibility. What I can confirm is that Teagan does have a woman he can marry given certain conditions are met in dao, but it is actually Kaitlyn, the sister who's brother goes missing in Redcliffe. If you properly compensate her for her grandfather's sword she'll open up a foundry in Denerim and will marry Teagan after having known him for a few months. According to this thread, you have to get Kaitlyn to move to Denerim with her brother, make Bella the maid to Teagan and in the ending slide Teagan and Bella will get married. Though I haven't been able to confirm that this is possible. (If you have a screenshot/video of this slide and know how to trigger this please let me know) This is also not an option mentioned in the Keep, however neither is Kaitlyn's. Which isn't surprising given some of the ending slides that were not direct player choice (ex) choosing Orzammar's king) are mostly cut from canon.

[tumblingxelian]

I went and did a lil reviewing and its very interesting to look at Lila's situation regarding Catalyst and there's some fun observations to make in a vacuum.

1: This girls room has tons of masks.

I know that isn't a major thing but given what we know of her its like, "So you just wanna shout that you have a complicated relationship with identity is that it?!"

2: Her mom does work at the embassy

On the surface she seems nice enough if maybe very busy given she says she'll "Try" and be back before dinner. One can take Lila growling once she's gone as directed at Ladybug or her mother, or both.

But the dynamic also feels 'weird' & Lila's clearly used to instantly masking whatever she's actually feeling around her.

Assuming a "No child is born super evil" read, I'd say that either she is like Andre in that she can performatively show affection. But is not actually there for their child when they need it. In this case likely having failed Lila at some major interval that left a deep divide.

Or that she's one of those parents who can seem very nice and reasonable but if angered or offended or disgusted react very, very badly. I'd actually say this one feels the most likely given it would contextualize Lila's deceptive habits very neatly.

3: How much did she know?

The question of if Lila was "In on it" or a willing participant in the scheme is interesting. Cos its obvious she didn't know Gabriel's identity. But more to the point, thats he clearly wasn't even expecting Hawk Moth to come for her given she was surprised.

Like there is no one to be performing for here, that is genuine shock.

However, we all see her smirking after Hawk Moth has the Akuma leave her. But its worth noting she wasn't purified, the Butterfly just left. So while its obviously a headcanon I do feel the shift from shock and panic to stoic confidence is weird enough to thin it could mean more than just Lila is the devil.

Also is it just me or do her eyes seem more lifeless?

We do have Gabriel's dialogue to go off:

Hawk Moth: Fly away, my little akuma and evilize the one who's been waiting your return for so long.

But we've also seen him call Chloe his favorite "Victim" and its not exactly uncommon for people taking advantage of others to frame their victim as a willing participant.

With that in mind!

4: Oh they were 100% grooming Lila, yikes

So, we know from season 3 that Gabriel & Nathalie were fine undermining Chloe's mental health to the point of sabotage, gaslighting and hostage taking.

Thus it is perhaps no surprise they were doing the same with Lila.

Don't believe me? They have literal cameras on a fourteen year old and have clearly been keeping her under observation in their own words, for months!

Nathalie: (Hands Gabriel her tablet) Lila has been harboring her rage against Ladybug for months, and today wherever she looks, she'll see the object of her hatred, and as predicted, her anger will reach devastating heights. Your plan is perfect, sir.

But more pointedly is what is not said, or more, what is talked around, see this exchange:

Lila: (scrolls through laptop) Liar! Traitor! Coward! (comes across an interview with Gabriel Agreste and Nadja Chamack) Gabriel: (on the laptop) In honor of the wonderful Ladybug who has saved my son Adrien and myself, and who relentlessly protects all of us everyday, I have financed this tribute to Ladybug. Because Ladybug is the only true hero unlike her mediocre imitations, such as Volpina. Lila: (screams with rage and throws her laptop against a wall) I hate you, Ladybug!

Cue laptop against wall and then crying on the floor, again there is no one to perform for here, this has to be a genuine reaction.

What stands out to me is Lila's choice of words: Liar! Traitor! Coward!

If she was just angry he praised Ladybug & insulted Volpina these words don't make any sense. But they make a ton of sense if Gabriel or someone representing her contacted Lila about her time as Volpina.

(It does not seem Paris is aware she was an Akuma)

Likely telling her about Heroes' Day or otherwise framing themselves as very interested and impressed with Volpina saving Paris from that meteor. Only so they could have Gabriel twist the knife in on an interview.

Conclusion:

That's just an assumption but if not, why not call Gabriel a jerk and a fool or something, traitor and coward have very specific connotations that don't make sense unless she'd been led to believe Gabriel thought highly of Volpina,

Hell, how would they even know she'd find the interview unless she knew to look for it?

Yes yes, story contrivances, but if we want to base out logic in universe, Nathalie & Gabriel preyed again on an isolated and to one degree or another neglected as well as troubled child. Fed into her many issues, likely helping foster her isolation & resentments, just to betray and humiliate her for the purpose of using her as a weapon.

That is deeply fucked up, especially when you consider that they were spying on her and she has no idea any of this is happening!

All in all, I think its quite reasonable to read Lila as a fourteen year old taken advantage of and steadily warped by adults' who were using her for their own gain as opposed to someone just born evil.

[max1461]

Honestly as much as I'm like "I appreciate media that is unabashedly horny", which is true, anime fan service is often a bit too much for me just on the level of like, my own taste. Uh it just comes across as crass and tacky a lot, it makes the work more difficult for me to enjoy.

I also think the argument that it's like, often problematic objectification is not wrong. Maybe that's obvious. But like, well, there's something subtle (or sometimes, not so subtle) which makes the difference for me between "media that feels horny in a 'fair' way" and "media which feels horny in 'gross' or 'gawking' way". Those are both poor terms but like, sexualized in a way that feels...

Well there's no easy line for me to draw here. There's nothing specifically that you can't do in work, IMO, there's basically no line that I'm like "categorically you can't cross that". But I do think you should be at least somewhat aware of the ideas your work is conveying about sexuality and society and so on.

Uh maybe what I mean is just "have tact". Like I don't mean "never try to titillate the audience", and I don't mean "all your titillation must sufficiently be subversive of social norms to be allowed", or whatever. Lots of people who say the thing I said in the last paragraph mean one of those things. But I don't. I just mean don't be a dumbass, maybe? I mean something. I mean be aware that like, while I don't a priori object to a work in which every female character's boobs flap around simply because the creator finds it hot, there are certain works where you really should not do that. You see? Things have to be... contextually appropriate, and I mean both the work's internal context but also its context in society as a whole. Right, because of social conditions, and you know, the way that women are treated, and shit, well you're all smart you all know, there's certain contexts in which it is not appropriate to have all the female characters have their boobs flop around. And many more contexts where it's sort of fine it just makes the work a bit worse.

Idk.

Cause like. There's some anime, actually a lot of it, that's just ridiculously straight-guy-horny and I'm just like "you know what, this is fine actually, this is great. I have zero problem with this." And then there's a lot that has all the same shit in it and I'm like "oof, that feels really inappropriate. That feels like a shitty portrayal, an insensitive thing to include, that's bad."

And the different is not the nature of the panty shots themselves it's everything around the panty shots, right. Does that make sense?

I feel like the is kind of the sensible synthesis of recent (and IMO correct) trends around like, idk, pro-horniness? Like sex positivity already means a specific thing but like, pro-horniness, you know, pro-desire (many people on this website are talking about such thing, and again I think correctly), with the IMO also true and important fact that like, objectification of women and so on is a real thing in media and it is actually problematic (I mean "problematic" in the naive sense, not as SJ jargon). Like maybe it's not problematic in the exact set of ways 2014 pop-feminism or anti-porn radfems or whatever say it is, but it's like. There are contexts in which I think you really probably should not be zooming in on the boobs and so on. Like, you feel me?

[fadelbison]

obsessed how it was the whole "overprotective big brother" thing that had Bison invested in Kant

oh boy i am obsessed with how i was totally wrong with how the brother's dynamic would turn out! episode one really turned out to be a smokescreen of false impressions of all the characters I think that gets overturned pretty quickly.

But on the topic of Bison and Fadel, I was sure that it was Fadel with the festering devotion (which he does have) and Bison projecting the resentments of his cage onto Fadel (which he also does do) but I think after ep4, we can do some recontextualizing especially for Fadel and I find that those emotions are much stronger in reverse.

You have to understand why I thought Bison was the one harboring most of the resentment because he expresses it in ep1

And again in ep2 and frankly a lot of it feels directed at Fadel. And there's a third even more exasperated one in episode 3! Part of the re-contextualizing post ep4 is that Bison thinks Fadel has a lot more power than he actually does (because he doesn't know that Fadel has tried and already failed to do exactly the thing that Bison is asking for)

But then its Fadel that has the outburst over it in ep4!!! And to Style!!! An outsider!!!! Bison had the decency to wait till he's home. And this outburst is neither manly nor repressed. Joong spends a lot of time as Fadel just trying to be sexy while doing regular things but certainly not here!!! I don't know if Fadel was half hoping that Style would see he is inflicted with those gross things called Feelings and be like Nope! That's a Dealbreaker, right there!

He's terrified and he is so so angry, like he got a little twitchy there by the end, about the fact that he had feelings for Style, he's simply not in denial over them is he? Fadel overall, surprisingly doesn't actually seem all that repressed. Yes, he's a very traumatized character and the range of his facial expressions is locked within some realm of grump BUT he's very aware of his damage and he's being more practical - because he is fully aware of the very steep consequences - than he is afraid of having An Emotion. Like his primary struggles are not a simple Man's Locked Feelings Vault the way they appear to be at first.

I think Fadel shutting Bison out of his life actually does make so much sense and the narrative is so sympathetic towards Fadel that it's easy to miss that it's damaged Bison a lot. It really pains me that the only real attempt at vulnerability with Bison comes like this:

I think Bison aches for some vulnerability from Fadel. And he gets it when Fadel is at his last straws to protect Bison and for him to take seriously the dangers that Kant in particular poses. It's just so obvious to me now why Bison made acting out and standing out his personality. And it damages my psyche even further that Fadel didn't even have to, just him insisting that Kant was suspicious is enough for Bison to get suspicious.

It's not like I think Fadel hates Bison or anything [gosh quite the opposite, isn't it?] but Bison is just part of this dinky life package he's had no choice in receiving. Given that Bison doesn't even know about this first love, Fadel was probably trying to leave alone without Bison [if Bison were even in his life at that point]. Gosh, Fadel just really hates his life and his lack of agency in it and poor Bison is just an unfortunate part of that mess. When Fadel grits his teeth and says he's fine with everything and he's always so clearly lying I just want to be like: and what about Bison, would you keep him if you had a choice?

BUT this ask is about Bison, isn't it? Bison loves Fadel so unironically and with such reverence. I don't have to wonder if Bison would keep Fadel. It's beyond a shadow of doubt for me. And one really has to wonder why exactly has their relationship turned out this way. Ep.4 not only gave me foster brothers confirmation [so ppl can stop acting insane about my url] but it showed that they were fairly old when these incidents happened as in they are fully capable of retaining a rich memory of their previous life at that age. They also seemed to be similar in age, so Fadel's incident seemed to have happened first [but the boy playing Fadel was half hidden so I can't actually tell his age]. They didn't know each other before this life (they didn't recognize each other's parents) so this infinite well of trust that Bison has towards Fadel; Bison truly trusts him as though they share blood - oh I think about it all the time - how did it come to be?

Anyhow, I don't think the show is going to give me any of that. But it has given me the infinite well. From the very first moment, it comes back to Fadel for Bison.

And the choice to tie up his and Fadel's love lives together seemed completely his own. Yes, Fadel has the no dating rule. But he doesn't fucking check, does he? He really doesn't come after Bison or ask after his business until he stops responding to texts. Which honestly seems like a very reasonable precaution in the Very High Probability of Death or Imprisonment profession.

Bison needs Fadel's approval before he can fuck Kant again, god fucking knows why? that's not even a siblings thing??? In fact, I'm pretty sure Bianca was extremely against letting Kat know anything about her love life in 10 things but Kat just knew cause they're in the same school lol. But Bison honest to god doesn't even kiss Kant again until Fadel said it was okay for them to hang out. [everyone talks about bison edging kant nobody talks about fadel edging bi-*gunshot*]

The way Bison immediately grows suspicious when Fadel brings up that Kant had perhaps poisoned him. Even though Bison already knows what being roofied feels like, he trusts Fadel's instincts even above his own (which as the audience knows is the right call)

The scene in their secret room helped me understand better why Bison has this self imposed Fadel chastity belt. In many ways, it's not actually safe to date Kant even if he wasn't a police informant. Bison actually does know this. Bison knows there are risks and his solution for mitigating risk is to push the responsibility of assessing the risk onto Fadel.

So, if Fadel who's always right on time, who always has a solution, a way out says it's okay...then its okay. Then Bison can relax and fall in love. If Fadel isn't on board with Kant then that little Fadel that lives in his head, that made him ghost Kant the first night even if he didn't really want to, would never fucking shut up about it.

He doesn't even trust that Kant is actually pursuing him, even though Kant had literally just said so, until Fadel points out that nobody would eat his burnt burger if they weren't interested in him. Like I'm willing to bet that Fadel wasn't just assigned to be his brother, Fadel was also likely his mentor.

So it's just not surprising to me - other than that the show has actually leaned into it - and clearly i'm obsessing over the fact that Bison is at his horniest for Kant when he's at his responsible older brother best. Not only does the good brother parallel with Fadel immediately up Kant's trustworthiness in his eyes, Kant is also a version of a good older brother that needs Bison; his advice, guidance and protection in a way that Fadel never seems to need at all and definitely not from him.

[chillinglikeashilling]

Michael and Kit: Making New Choices

This is a continuation of this post where I was talking about my thoughts about Kit and Jentry's dynamic in the show. (I finally finished the season) I need to re-watch the series again sometime soon because I'm so fascinated by the Episode 5.

The show sets up Michael and Kit as parallels from the start of the episode which is such a fun choice because they ended the episode before with this legitimately creepy scene of Kit pulling his skin back on. There was a chance for the tone of the show to really change there but the show immediately contextualizes how it wants us to view Kit by showing him in parallel with Michael.

Both of them are teenagers (or young at the very least) waking up to go to school, getting closer to Jentry but also trying to establish some sense of self identity and sufficiency. Michael is trying to balance meeting his parents expectations, against a desire to try something new and possibly divert from a path that he's been on for a long time. There's a sort of conservatism (not politically necessarily but in the way parents will often uphold traditional values and institutions) that we can see in some of the adult characters in the show like Michael's parents and Gugu, and it really pushes back on the teenage characters when they try to change.

Kit is somewhat different in that his deal with Mr. Cheng seems much more recent and his "parents" are just puppets for Mr. Cheng, but what is Mr. Cheng if not the oldest, most controlling adult on this show. A man so caught up in what he believes is good for his child that he attempted to kill a teenage girl several times just to drag his daughter kicking and screaming out of an afterlife she was at peace with.

It's so interesting to me that both Kit and Michael are struggling with asserting themselves and taking control of their decisions and basically all of the people in their lives except for Jentry are advising them to basically stick to what is easiest (i.e. the path that has been decided for them). It's a big part of Jentry's personal journey as well after all.

I mean, a lunch lady basically talks to both Kit and Michael about the importance of making their own choices and how other people will keep making choices for them if they don't. However that scene starts with the lunch lady explicitly refusing Michael's attempt to make a new choice.

There's a consistent pressure that we see pushing back on Michael when he attempts to change- his parents, Stella, the lunch lady. Everyone around him is so used to him following the script that it's genuinely baffling to them when he doesn't. Jentry, who is a person Michael has known a long time but who has been away long enough that they're still getting used to each other again, is the one relationship pushing him to change. In the episode its Jentry's text that tells us Michael was even considering trying out for band! Meanwhile for Kit there's a pressure there from Mr. Cheng but its actually easier for him to make the specific choice not to hurt Jentry. Mr. Cheng (or more specifically the Mogui) don't give up on having Kit do what they want but they only step back because they have enough knowledge about the systems in place to know that things will work out badly for Kit. Mr. Cheng knows that Kit and Jentry won't work because Kit has been lying to Jentry the entire time, and because Kit is making a decision not to hurt Jentry specifically (instead of say a choice to not hand over the powers) eventually Kit finds himself in a situation where giving the powers to Mr. Cheng feels like the easiest choice, the only choice.