#i like giving them my own interpretations

[witchthewriter]

𝐁𝐞𝐢𝐧𝐠 𝐢𝐧 𝐚 𝐩𝐨𝐥𝐲 𝐫𝐞𝐥𝐚𝐭𝐢𝐨𝐧𝐬𝐡𝐢𝐩 𝐰𝐢𝐭𝐡 𝐇𝐚𝐥𝐬𝐢𝐧 𝐚𝐧𝐝 𝐀𝐬𝐭𝐚𝐫𝐢𝐨𝐧 𝐰𝐨𝐮𝐥𝐝 𝐢𝐧𝐜𝐥𝐮𝐝𝐞

a/n: thank you anon for requesting this one, I miss the hype!

⤷ gender neutral, ambiguous race, and any size reader. Requests are open, thank you for reading!

ᴹᵃˢᵗᵉʳˡᶤˢᵗ | ᴹᵃˢᵗᵉʳˡᶤˢᵗ ᴵᴵ

𝑺𝑭𝑾🌿

・This relationship is a balance of pure chaos and serenity.

・Astarion brings the mischief, the flirtation, and the decadent indulgences. He thrives on teasing both you and Halsin...

・Halsin is the grounding presence.

・Calm, wise, and deeply affectionate. He counters Astarion’s sharp edges with quiet strength and welcoming warmth.

・And you, well you’re the anchor between them

・Sometimes siding with Astarion in his playful antics and other times melting into Halsin’s steady, nurturing embrace.

・Halsin, as the druid, is deeply in tune with nature, and his personality reflects that harmony.

・He is understanding, compassionate, and protective, with a natural inclination to support and nurture his partners.

・Both you and As know that you can go to him with anything. Halsin is amazing at giving advice. He's wise and forgiving, and the ultimate comforting force.

・Halsin would take you and Astarion on peaceful walks through the woods, showing you the wonders of the natural world. But, you know As just has to complain...about bugs or animals...and yet really, he does enjoy these walks.

・An activity all three of you love doing is reading together. You’d take turns reading passages aloud, each of you offering a different voice, tone, or interpretation.

・These intimate moments would be filled with warmth and understanding, with occasional giggles

・Halsin wakes up at dawn—he’s an early riser

・Astarion stays curled up in bed for as long as possible, pulling you back down when you try to get up.

・Astarion craves devotion; though he won't admit it. He needs reassurance that he’s wanted for more than just his beauty or usefulness.

・Halsin, ever perceptive, makes sure Astarion is cherished with slow, patient affection, something the vampire struggles to accept at first.

・Halsin’s love is vast; just like the wilds he worships. He enjoys physical touch, holding you and Astarion both as though you are his greatest treasures. His touch is healing, protective, and reverent.

・You become their shared sanctuary; a place where Astarion can be vulnerable without fear and where Halsin can express his devotion freely.

・With Halsin’s calming presence and Astarion’s intense passion, your emotional needs would be fully met from different angles

・Despite the differences in their personalities, Halsin and Astarion would share vulnerabilities that would deepen their bond with each other and with you.

𝑹𝒆𝒍𝒂𝒕𝒊𝒐𝒏𝒔𝒉𝒊𝒑 𝑻𝒓𝒐𝒑𝒆𝒔

Soulmates Sometimes Come In Threes

"Shut Up” (You) x “Make Me” (Astarion) x “Just Kiss Already.” (Halsin)

Makes A Mess (You) x Cleans The Mess (Halsin) x Is A Mess (Astarion)

Moon (Astarion) x Eclipse (You) x Sun (Halsin)

Thinks He’s In Charge (Astarion) x Is Actually In Charge (You) x Knows He’s Not In Charge (Halsin)

𝑹𝒐𝒎𝒂𝒏𝒕𝒊𝒄 𝑷𝒍𝒐𝒕 𝑻𝒓𝒐𝒑𝒆 in this order...

Enemies to Lovers

Slow Burn Romance

Forbidden Love

Found Family

𝑻𝒉𝒆𝒎𝒆 𝑺𝒐𝒏𝒈

Sex On Fire by the Midnite String Quartet

Goodnight Sweet Possums by John Powell

The River by Brian Tyler

Cherry by Lana Del Rey

To Bring You My Love by PJ Harvey

Me and the Devil by Soap&Skin

𝑁𝑆𝐹𝑊 🔞 No one under the age of 18 past this point, makes me feel weird if you read it.

・Astarion...well he loves building it up. He goes slow, teasing and pushing both you and Halsin to your limits.

・He thrives on making you beg...with his feather-light touch one moment and then overwhelming grasping and grabbing the next

・On the other hand, Halsin is raw - he's primal. He wants a connection; he needs to feel everything.

・Halsin needs to lose himself in the moment. With skin to skin complete contact, your sweat-slick bodies tangled together.

・Astarion owns the night with his sinful ways. Whispering dirty, teasing words until you're both desperate and at his mercy.

・And, Halsin owns the morning. With lazy, deep thrusts while you're warmed by the sun. His lips whisper sweet words of devotion.

・Astarion has a love for control. He pins you down, biting, leaving marks that only fade because of Halsin's magic. (This annoys As to no end).

・Halsin on the other hand is a force of nature. He lets As have his fun. Lets him play his games...but when he's ready to take over? No more games.

・And when Halsin finally takes control? Gods help Astarion. Pinned down, breath stolen, utterly undone.

・Halsin talks you through it, telling you how good you're doing. How pretty you look underneath him.

・Astarion is a little more mean; making you beg and plead for him.

[freewilllife]

Viktor’s commune always gave off creepy vibes, but for me, the path it was taking became crystal clear at the start of ep6. That first scene basically spells out the extent of Viktor’s corruption and how far his actions and mindset are from any kind of altruism.

@jaybejaybeyes Personally, I interpret this after having some conversations as "Victor´s dream come true".

Indeed, it is a sort of corruption, but it seems Victor is actually well-meaning here.

And look at Viktor's face when it happens. That’s not horror. That’s not astonishment. That’s not grief. It’s… mild annoyance, I'd say?

Why should he grieve Salo´s death? I am just curious. They are neither friends, nor related. Victor "healed" them, but that doesn´t make him Jesus.

He may consider himself responsible in a way, but I doubt, that he became suddenly all-loving.

And that’s the thing about Viktor’s commune — it was never about the people who joined it. It was never about understanding them, helping them, or connecting with them. It was all about Viktor’s desperate need to be in control, about his refusal to confront suffering, pain, and all the messy, complicated parts of being human. From the very beginning, it was about Viktor going, “well, the end justifies the means”, but there’s nothing kind or humanistic about that philosophy, because it always comes at the expense of people’s lives. The end never justifies the means.

Nope, you are definitely wrong. Victor indeed has wished to make the lives of the people better with "hextech" , was even more outspoken, that he did not wish to create weapons and I guess that this commune is literally, how he envishioned it. There is corruption...but it is the arcane at work here. And maybe even in Jayce case.

There can be a conversation to be had, if the people are already dead or are still alive...but what is undoubtly true...The whole commune is dependant on Victor.

People can be both...Yes, Victor wanted to stay alive, but he is not a control-freak...And surely not a guy, who thinks that the "the end justifies the means". I mean, isn´t it funny, that the solution Victor is conviced of, plays in the hands of the arcane, which obviously has a will of its own?

It is literally right there...that the arcane heavily influenced and manipulated Victor, and most likely also Jayce.

The end never justifies the means.

That is an oversimplification. There are cases, where the end literally justifies the means.

And honestly, I was surprised to see how many people were mad at Jayce for blasting Viktor at the end of that episode. In my opinion, by then, it was quite clear that Viktor didn’t care much about his Arcane-modified toys. He wasn’t even pretending he did. Salo wasn’t a person to him. None of them were. They were just tools, stepping stones for his glorious evolution. And all of that was right there in the first scene of ep6.

Oh, that is interesting. Did suddenly "the end justify the means" or becomes murder a great deed, if the right character is killed?

In contrast, Victor tried to be responsible for his commune and tried to protect them, literally dying. I am sorry, but I am not sure, why you suddenly jump to such conclusions?

I still feel like we were ROBBED of that whole arc, watching Viktor descend to this. Because he gives a shit about Vander, so it's not like he's totally unempathetic--like he's still Viktor. It's just that from the start of the commune up to this point, Viktor has been going through a slow descent into madness from not having a single actual person to talk to who isn't completely bound to him in some way. There is nobody to question him and everyone is relying on him constantly.

@straysparks Yes, the influence of the arcane gets stronger.

Viktor is deeply empathetic but also vulnerable to megalomania, and having a whole group of people worship you for months on end is gonna get to your head eventually even if you really really really hate the idea. Which I think we can be pretty certain he does at first, unless you subscribe to the idea that the Hexcore is really majorly influential to his personality change.

Both, but why should this not be the case? The arcane has a will of its own and can be vicious if challenged. Victor was literally drowned in it and hears a voice the moment he wakes up...Of course, he is being changed/manipulated to a certain degree. When Ekko literally broke the armour, Victor woke up and realized, what he had done...This moment of "waking up" does not make much sense, if the arcane has not played a major role in the corruption process.

Because people being wrong are rarely persuaded by violence alone.

I think his disconnection from his empathy is driven by a need to get away from the closeness of the commune members. He's an extremely private person and he gets virtually no space or time to himself for months on end. Seeing the commune members as cogs in a machine is a coping strategy and I must stress that there is NO ONE to check him on this.

Or he already knows deep down , that they are already dead? He does care for them, but I mean, he is literally not Jesus, has hardly any personal attachment to them. In fact, Victor had always difficulties in that area.

Hexcore influence is convenient to the narrative, but Viktor's character is set up in such a way that his behavior here isn't even out of character given a particular series of events which we KNOW happen, we just don't see them on screen. It's ooc if you assume Viktor doesn't change between the times we see him on screen, but that's the thing, he DOES.

The hexcore influence is not just convenient, it literally explains so much...Look here:1,2

I saw the light after reading those posts. Nope, Victor does not suddenly become mad or cold for no reason, he literally is partly mind-controlled.

Viktor’s commune always gave off creepy vibes, but for me, the path it was taking became crystal clear at the start of ep6. That first scene basically spells out the extent of Viktor’s corruption and how far his actions and mindset are from any kind of altruism.

Think about it: Viktor sees Jayce kill Salo through Salo’s eyes. He’s connected to Salo but doesn’t even try to comfort him, verbally or mentally, or ease his pain with magic in his final moments. He just stands there, watching. Waiting for Salo to die, staring at Jayce. The only time he flinches is when Jayce lunges forward, and Salo dies abruptly — his vision cuts to black.

And look at Viktor's face when it happens. That’s not horror. That’s not astonishment. That’s not grief. It’s… mild annoyance, I'd say?

Like, ugh. Jayce didn’t get it. He didn’t appreciate my work. And now he’s also destroyed one of my puppets. Sounds pretty frustrating, doesn't it, Viktor?

Then Sky says, “poor Salo”, and Viktor? Immediately pivots to, “That’s not Jayce. It’s another will at work within him”. And a moment later, he’s fascinated by the Anomaly. Salo’s gone, and no one spares him an extra thought.

And that’s the thing about Viktor’s commune — it was never about the people who joined it. It was never about understanding them, helping them, or connecting with them. It was all about Viktor’s desperate need to be in control, about his refusal to confront suffering, pain, and all the messy, complicated parts of being human. From the very beginning, it was about Viktor going, “well, the end justifies the means”, but there’s nothing kind or humanistic about that philosophy, because it always comes at the expense of people’s lives. The end never justifies the means.

And honestly, I was surprised to see how many people were mad at Jayce for blasting Viktor at the end of that episode. In my opinion, by then, it was quite clear that Viktor didn’t care much about his Arcane-modified toys. He wasn’t even pretending he did. Salo wasn’t a person to him. None of them were. They were just tools, stepping stones for his glorious evolution.

And all of that was right there in the first scene of ep6.

[pocketsofdaisy]

“Do not speak to me as if we are familiar.”

Hunger flickers across his expression, eyeing her like a nectar-laced blossom, ripe for plucking. He only needs to peel back the petals. “I can be as familiar as you desire, my lady. Just say the word.”

“Give me your name—” she bellows, cheeks burning, “and only your name, serpent!”

At this, he sets his jaw before surging forward in a fluid, gliding motion. Several horses in the stable let out frightened neighs. He leaves no distance between them, till the sheer breadth of him covers her entirety in shadow. He stares down at her haughtily—a look of someone who has lived too long, seen too much.

“Do not shout, child,” he murmurs silkily. A warning. “It’s impolite.”

🐴🗡️🏰

presenting the stunning commission by the amazing, talented, wonderful, lovely @meetingyourmaker for my fic dulce periculum which depicts the scene of Death revealing his human form and name as Kylo Ren before the noblewoman Rey. The elements of horses on his robes and the rose borders are fantastic details that Maia translated from my work and her own interpretation and ideas and suggestions—so yes, my dear friends, i can confirm she is a genius!!!!!!!!

please enjoy and share the artist some love too 💕

—————

fic content warnings: • god of death kylo x mandalorian noblewoman rey • horse!kylo • medieval au • gothic romance vibes • DEATH IN LOVE • death and the maiden • dark fairytale with deities inspired by the Greek's Three Fates • wartime and domesticated animals • oppression of women • dry humping • also inspired by THAT ONE scene from the witch (2015) film 🍎

[lobotomiesatclaires]

Lighter Kink and Psychology Analysis - Zenless Zone Zero

Full disclaimer: I don’t play Zenless Zone Zero, but through my friend’s love of the game and Tumblr osmosis, I’ve learned a great deal about Lighter. I find the differences between his canon and fanon interpretations fascinating, so I thought it would be interesting to break down the psychology of kinks and what I think Lighter’s are. I’m going to focus on the ones I believe he has, and if people want me to go into further detail, let me know! Also if it was clear from the title 18+ content below

Exhibitionism – Subcategories: Semi-Public Sex, Secret Keeping, and Risk Play

Lighter is fascinating because he’s full of contradictions. He doesn’t like having his picture taken and prefers to keep a low profile, yet he wears flashy clothes and takes on high profile work where he cannot NOT be noticed. He wants to be left alone but craves connection with people. Part of this can be attributed to losing so many important people due to his own actions, but I think another part of it is Lighter’s hopeless romantic streak. He wants to die for love, and I think part of that is tied to finding someone worthy of that sacrifice.

He’s not interested in people who praise him or send him gifts because, to him, they don’t truly know him—and if they did, they wouldn’t want anything to do with him, he thinks. This low self-esteem and disorganized attachment style create a loop where he desperately craves connection, has opportunities for it, but never fully lets his walls down to allow a deeper bond. Because of his past and the fear of never being truly understood, Lighter communicates in subtle ways. In-game, he can give the player purple lilacs. In the language of flowers, purple lilacs symbolize one’s first love or the first time one feels love for someone. However he leaves on a job right after, to stop any possibility of asking him more about why he gave them to you.

When it comes to sex, Lighter has experience, but in romantic love, he’s very much a virgin, in my opinion.

In line with this, I think Lighter would be needy as a partner, in constant need of validation but unable to ask for reassurance. He hates when his friends are mad at him—it distresses him significantly, which reinforces my earlier points about his emotional sensitivity. Thus, I think one of his core needs would be for a partner to be very possessive of him. Not only would this push back against his feelings of guilt, but it would bulldoze past his tendency to panic at intimacy and distance himself.

While I agree he’d be into risk/thrill-seeking, I don’t think it would be extreme or involve pain. I believe it would be a form of intimate thrill-seeking—the kind that engages an overactive mind.

Imagine:Lighter and his partner in an elevator, on the way to a party. Four seconds before the elevator reaches the destination, his partner pushes him against the wall, kisses him, and whispers in his ear that they’re not wearing anything under their dress coat. The doors open, and they walk out into the party crowd—no one the wiser. Except Lighter.

For example: They’re at the party. Lighter’s charming, slipping easily into conversations with strangers. But every so often, his partner brushes their fingers lightly over the back of his neck—just once, fleeting. No one notices, but Lighter does. His spine straightens slightly each time, a silent acknowledgment: I know who I belong to.

Or: Club sex on the top floor behind a loud rock band. The balcony overlooking a busy street. Going to dinner with friends with a remote in his hand and a small vibrator in his partner’s underwear.

I think Lighter would enjoy all of these scenarios—not just for the risk, but for the inherent trust required to play and keep these secrets between him and his partner. It’s something completely his, something no one else can encroach upon, yet it’s right there, obvious to anyone observant enough to notice.

Marking – Physical and Psychological

Marking, both physical and psychological, would lean into Lighter’s desire for connection. Think: visible signs of his partner’s presence—like a hickey or a faint lipstick smudge on his collarbone.

While traditional marking overlaps with the possessiveness I imagine he’d enjoy, psychological marking might be even more appealing to him. This could involve embedding someone’s presence in his mind through habits, sensory triggers, or routines.

Lighter’s fear of being forgotten or unimportant could be countered by the constant reassurance that he’s always present in his partner’s thoughts. Non-sexually, his partner might leave voice notes for him to listen to during missions or spritz their perfume on his scarf. They might even snap a risky picture and set it as his lock screen so the next time he checks his phone on the job he’s left with a surprise.

Lighter is haunted by the dead, but I think what he truly craves is being haunted by someone living. He would adore his partner’s presence lingering in his personal space, feeding his need for connection without direct confrontation.

Domination – Receiving, Direction Taking

I firmly believe Lighter likes to be dominated. In terms of desire, I don’t think Lighter experiences much spontaneous desire; rather, he’s more connected to responsive desire (see the paper “Sexual Arousal and Desire: Interrelations and Responses to Three Modalities of Sexual Stimuli” by Katherine Goldey and Sari Anders). That man is too tired to be dominant, and as seen in-game, he prefers to take orders. He would definitely call his partner “Boss” in the bedroom.

Beyond the bedroom, I feel Lighter would continue this relinquishment of power through authority transfer dynamics as a coping mechanism for emotional instability, much like he does for the Sons of Calydon. This could manifest in routines or rituals where his partner makes decisions for him, offering a sense of control without the burden of autonomy. It’s both a reaffirmation of care and a release from the pressure of decision-making.

Given his tendency to overthink, delegating power outside of sex could ease his mental load and reinforce security in his relationships. I think Lighter would enjoy having his partner pick out his clothes, jewelry, ect, decide small daily routines, or even manage his finances in a consensual dynamic. This creates a structure where emotional care is embedded in everyday life, not just during intimacy.

Additionally, given Lighter’s need for emotional grounding and his craving to feel “claimed,” collaring—whether in a literal BDSM context or as an everyday symbolic gesture—would be something he could secretly obsess over. If Lighter were given a necklace, choker, or even a collar (especially since he loves jewelry), he’d never take it off. He’d wear it under his clothes, hidden from everyone else but always present. On rough days or when away from his partner, just feeling it against his skin would serve as silent reassurance, grounding him.

It would satisfy both his exhibitionist streak (a hidden “secret” between him and his partner) and act as a reminder: I’m not lost. I belong somewhere. To someone.

For example: if before a mission his partner was to kiss him goodbye, place a necklace around his neck and say “Come back wearing this” he would tug at the small chain subconsciously the entire time he’s gone. He would sleep with it on, shower with it, and when he returned, the metal would be warm and oxidised from his skin, his skin stained from the metal.

Praise Play

An extension of his need for domination and grounding, I see praise play as a huge turn-on for Lighter. While some believe degradation is one of his kinks, I think it’s the opposite. While he might engage in degradation play if his partner wanted it (and part of him might believe he deserves it due to his low self-esteem), I think he would emotionally shut down if it became a consistent dynamic. To me it would be a similar dynamic to the start of the Astarion romance, fulfilling a role as a tool rather than as a person.

Kinks often reflect core emotional needs. Non-consensual fantasies, for example, are about being desired so intensely that someone is willing to break laws and social norms. Degradation kinks often involve a need for others to see the worst parts of us and want us regardless. However, for sensitive individuals, this negative reinforcement doesn’t bring solace—it simply reaffirms their worst fears and destroys their fragile attempts at building a better self image. I also don't think Lighter would find any attraction in demeaning his partner, I think he would feel unworthy of their attention and trust, especially in the beginning.

Lighter is consistently wracked with guilt and desperately wants to know whether he’s doing the right thing, whether it’s in his job or in a relationship. For someone like Lighter, praise isn’t just arousing—it’s reparative in a way nothing else matches. Each compliment is a stone in the foundation of a self-worth he can’t build alone. When his partner says, “You’re doing so well,” or “You feel like home, like safety,” it’s not just about sex. It’s about rewriting the narrative he’s been telling himself for years.

Domestic Play

You cannot convince me that the image of Lighter’s partner cooking or doing general domestic chores wouldn’t awaken something deep within him, even though he might not admit it at first. In-game, he respects and surrounds himself with women who embody dominant, traditionally masculine qualities. He’s more than happy to take orders from them, but in terms of romantic or sexual attraction, he seems to have little interest in those traits. I suspect this is because these qualities mirror his old self, and that’s not something he finds much solace in, either romantically or sexually.

I think Lighter would be attracted to someone fundamentally different from those around him—someone softer and more considerate, yet still strong in a more traditionally feminine sense. Given his history of loss, trauma, and the absence of a stable family, I believe he harbors a profound urge for a family-like relationship. His partner would create an environment that feels like home, a concept Lighter likely yearns for but doesn’t fully understand.

Home-cooked meals, small domestic gestures of affection—these would make him unbearably needy, though he’d only show it when alone with his partner.

For example: During mundane moments—making coffee, fixing his jacket—his partner casually murmurs, “You belong to me.” It’s subtle, not always sexual, but it lights up the part of Lighter’s brain that craves validation without having to ask for it.

Things like his partner knowing how he likes his coffee without needing to ask, or grabbing the salt shaker from him because it’s bad for his cholesterol would make him unbearably turned on you cannot convince me otherwise. These small acts of care would hit him hard, far more than overt declarations of love.

For Lighter, being told what to do isn’t about submission—it’s about relief. In a life where his choices have often led to heartbreak, the absence of choice feels like safety.

Sensation Play – Both Sensory Deprivation and Service

Lighter is an overthinker. According to Emily Nagoski’s Come As You Are, overthinking is one of the primary reasons people struggle to achieve climax or engage fully with emotional and sexual vulnerability. When you place too much pressure on external factors—self-image, internal worries, even things as small as ‘the dishes need to be done’—it inhibits your ability to ground yourself in the present and truly experience pleasure. This is why many people, particularly women, struggle with partnered sex and climax.

For Lighter, orgasm denial or delayed gratification would likely be a huge turn-on, especially in situations where he’s restrained or unable to interact directly with his partner—think handcuffs or shibari. The removal of senses, such as blindfolding, helps heighten arousal by redirecting the energy normally spent on processing visual stimuli toward pure sensation. It doesn’t stop the overthinking; it realigns it, forcing it to focus on the present moment.

For example: His partner lightly places a hand over his mouth while he’s blindfolded—not fully cutting off air, but creating a soft restraint. It’s not about danger; it’s about trust. The lack of visual and verbal control pushes him into a space where he can’t overanalyze—he can only feel.

Considering Lighter’s past—especially his time in the fighting pits, where he described himself as feeling like a zombie—I don’t think he’d enjoy pain or impact play. His physical existence outside the bedroom has already been filled with similar kinds of suffering. Instead, sensation play becomes a refuge—a way to experience his body without violence, without pain. There's a running joke that he fears the sight of blood in game, which is another reason why I believe centering pleasure rather than pain would be more attractive to him.

Emotional Edgeplay

I believe Lighter craves not just physical intensity but emotional vulnerability pushed to its limits—scenarios where trust is tested, intimacy feels dangerous, and attachment triggers are explored in consensual, negotiated ways. Emotional edgeplay isn’t about causing harm; it’s about walking the razor-thin edge of emotional exposure, where the potential for catharsis is as powerful as the risk.

Overstimulation is an aspect of emotional edgeplay, often resulting in emotional release—like crying during or after sex—as the body lets go of trauma it’s been holding onto for too long. Lighter, who is profoundly dissociated from his needs due to guilt and a deep-seated dismissal of his own worth, would find this both terrifying and necessary.

We see hints of this in-game. For example, there’s an interaction with a guide dog—trained to seek out the most vulnerable person in the room—that ignores everyone else and goes straight to Lighter. This detail speaks volumes about how disconnected he is from his own emotional fragility; the desensitization runs so deep that he doesn’t even recognize it anymore.

In these moments, speech and affirmation would be crucial, especially during heightened emotional states or low points.

For example: During edging, when he’s trembling with frustration—not just sexually, but emotionally—his partner gently cradles his face and whispers, “Do you see how wonderful you are when you’re not pretending?”

It’s not just arousing—it’s disarming. Because in that vulnerable space, Lighter isn’t the cool, edgy pit fighter turned bodyguard. He’s just him, stripped of all pretense. No walls, no bravado. Flaws and all. It also provides acceptance by omission, that his partner sees all and accepts all.

Caretaker Dynamics (Reversed Aftercare)

I also believe Lighter would prefer to be the primary aftercare provider, despite this traditionally being the role of the dominant partner. According to Dominatrix Eva Oh, aftercare is a service role, and for Lighter, providing that service would be deeply fulfilling. (It’s a common misconception the Sub role in BDSM is the harder or serving role, because truly Dom’s are required to be very emotionally stable, beholden to their sub and can turn out to be a very stress inducing role for the wrong people). This is why high flying jobs such as CEO’s actually prefer to be submissive because it is the only place in their life they get to be minded.

While aftercare is essential after most sexual interactions—especially those involving intense scenes—reversed caretaker dynamics, where the more emotionally fragile partner provides aftercare, would align perfectly with Lighter’s psychology. Despite his vulnerabilities, he has an overwhelming desire to feel needed, to prove his worth in relationships even when he feels broken.

Being allowed to “take care” of his partner post-sex, even when he’s emotionally raw, satisfies this need. It’s not about dominance or submission—it’s about anchoring himself through acts of care.

For example: After an intense session, when his partner is spent and emotionally vulnerable, Lighter insists on making tea, carefully bandaging small marks, or physically holding them—even if he’s the one shaking. He tucks the blanket around them, brushes sweat-damp hair from their forehead, and whispers, “I’ve got you.”

In those moments, his value isn’t measured by strength or stoicism. This role reversal reinforces his sense of purpose without undermining his vulnerabilities. He doesn't always have to be the strong one here, in this moment.

Closing Thoughts

Ultimately, Lighter’s kinks aren’t just about physical pleasure—they’re reflections of his deepest fears, needs, and desires. They’re coping mechanisms woven into intimacy, helping him navigate a world where connection feels both a gift and a threat. Whether through domination, praise, or emotional edgeplay, his kinks allow him to confront the parts of himself he hides from the world.

At the heart of it all, Lighter wants to be known.

References

Disclaimer I have dyslexia and English is my second language so I apologize for mistakes.

Theswaddle.com. (2019). The Psychology of Sexual Kink. [online] Available at: https://www.theswaddle.com/what-is-kink-the-psychology-behind-sexual-behavior [Accessed 9 Feb. 2025].

admin@blossmcart (2023). A dive into the definition of Lilac Flower and its Significance. [online] Blossmcart Flowers. Available at: https://blossmcart.com/blog/definition-and-significance-of-lilac-flower/#:~:text=The%20Lilac%20is%20a%20flower,purple%20Lilac%20signifies%20first%20love. 

‌Li, S. (2024). The Psychology of Kink: A Cross‐Sectional Survey Investigating the Association Between Adult Attachment Style and BDSM-Related Identity Choice in China. Archives of Sexual Behavior, [online] 53(6), pp.2269–2276. doi:https://doi.org/10.1007/s10508-024-02829-1.

When Kinks Come to Life: An Exploration of Paraphilic Behaviors and Underlying Predictors. (2024). The Journal of Sex Research. [online] doi:https://doi.org/10.1080//00224499.2024.2319242.

The Kink Orientation Scale: Developing and Validating a Measure of Kink Desire, Practice, and Identity. (2024). The Journal of Sex Research. [online] doi:https://doi.org/10.1080//00224499.2024.2387769.‌

Oh, E. (2020). I Was a Corporate Slave Until I Became a Professional Dominatrix. [online] VICE. Available at: https://www.vice.com/en/article/eva-oh-dominatrix-sex-kink/ [Accessed 9 Feb. 2025].

Youtube.com. (2025). Available at: https://www.youtube.com/watch?v=t_Ng_b28uxM [Accessed 9 Feb. 2025].

‌Youtube.com. (2025). Available at: https://www.youtube.com/watch?v=G2_aCw-DMq0 [Accessed 9 Feb. 2025].

‌

[asnowperson]

Takemiya Keiko interview about Kazeki OVA (1987)

Here's another short interview from platypus's stack of old magazines with cool interviews: Takemiya Keiko talks about Kaze to Ki no Uta Sanctus: Sei Naru Kana in the 1987 December issue of Puff.

Translation is under the cut, and please let me know if you spot my mistakes.

Kaze to Ki no Uta – OVA is finally on sale!

Takemiya Keiko Interview

“It will not ruin your image of the work, so please watch it!”

Let us first hear your thoughts on finishing this project.

Mr. Yoshikazu was sitting at the director’s chair. That alone assured me that everything would go smoothly, and I left everything to him. He read the manga thoroughly and gave the work his own interpretation. I had nothing to worry about. I didn’t have to ask him not to do a certain part in a certain way, or to avoid including too many “risqué” scenes. I can feel that he gave the work the treatment it deserves. Even the animation style was not too flashy and anime-like. The movements were more orthodox. Everything worked out perfectly, so I have nothing to say.

The background art was amazing. Did you ask them to draw them that way?

Both Mr. Yoshikazu and I thought that she’d be a  good fit, and suggested having the same person who was the art director for “Natsu e no Tobira”, but we couldn’t get a hold of her. We found out the reason later: The producer thought she was too slow, and we should give up on working with her (laughs). But when we said that she was the only person who could draw the backgrounds, she was hired to work in the project. However, she was too late to turn in the drafts. We really were in a tight spot. She might have been slow, but she really is an artist. When she can’t draw something, she just can’t. She gave it her all… Even though it was something that’d only be on screen for two seconds… If we couldn’t ask them to do something, I said I should go ahead and do it myself.

So, I gather that you drew some key animation yourself. Are manga and anime too different to draw for?

Both mediums are used basically to capture “movement,” so I think they are the same. You go with the flow, trying to capture “movement”… You think about how original you can express it. That’s a really fun undertaking. For example, even if it’s just a scene of a character turning to look back, if you strive to give it a little touch, you can really bring out an erotic feeling. That’s the stuff I’m talking about. If I had a lot of money, I would dabble more in in-between animation. I now understand why Otomo Katsuhiro-san was so obsessed with it (laughs).

I’ve seen the OVA. It felt like reading one of your works.

Do you think so? I didn’t ask him to do it, but to keep close to the atmosphere of the original work, Mr. Yoshikazu outlined the key points. He put the same things as my drawings in those scenes. But if you looked closely, you could tell that they were different. When I saw the whole thing, I thought “wow, it’s the same!” However, upon closer inspection, I found out that such scenes did not exist in the original. I even thought maybe something was wrong with me. The same also goes for the lines. “Did he ever say that? He might have said that…” But when I re-read, I see that no such line was uttered. I had so many moments like that.

What was the fans’ reaction to this OVA adaptation?

When I said it was happening, I received an equal amount of positive and negative reactions. Well, that’s only to be expected. So, like I thought, only when I said that Mr. Yoshikazu was the one directing it, I saw the real opposition. The animation director was decided on, but the VAs weren’t cast yet. When news of the production got out, I received letters saying “it’s too late, I give up!” (laughs) They said stuff like, “Here we are, so against this idea, but you still say that you’ll do it! I don’t care anymore!” I can say that there are people who definitely won’t watch it. It makes me happy to see the work being loved that much, but when people are that obsessed with it… It’s kind of scary. I sometimes go as far not seeing it as something I myself created. But well, there are still a lot of people who say “I might cry and whine, but I’ll still watch it.”

Can we have Ms.Takemiya, the creator herself, do some advertisement for the OVA?

The OVA didn’t embarrass me, so I’ll keep promoting it. I don’t think it’ll ruin your image of the work. But I know that there are people who are too nitpicky and say stuff like the lines of a character’s profile is kind of off and they hate it, or that their legs are too thin  or that their feet look weird (laughs). In that sense, we paid extra attention to the movement itself and tried to animate the characters in a natural manner. “The Poem of the Wind and the Trees” makes you think of subtle movements, right? We can’t have them move too briskly, and even the fight scene is nothing too serious. Because Mr. Yoshikazu didn’t want to create too vivid of a scene. Rather, he didn’t want it to stink of “masculinity” that much. And people who’ve only seen the character designs might think that they look nothing like the manga, but when they are in motion, they do look like their manga counterparts. As for the voice of the characters, I don’t know the actress of Gilbert, but we have Nobita-kun for Serge (laughs)! People who are into anime will recognize her voice, so they might be a little bit of put off by that, but she doesn’t sound like Nobita-kun here. Not at all! The more you listen to her acting, the more you enjoy it! There are parts that reflect Serge’s character, so I’m really content with the result.

Can we consider this as “episode 1” of a series? Do you have plans for a continuation?

If this OVA sells, it might happen. If this one gets a positive reaction, I think we can make another one. The producer said that’s what he thought would happen. If you ask Mr. Yoshikazu, he says it’ll be at least 6 episodes long, but I doubt that. I can’t bring myself to believe that we can make that many episodes. Anyway, to think that we won’t be working with the staff who brought it to life with such resemblance feels so sad. But I also think that if we ask them to do it again, they’ll simply run away (laughs). We’ve already done Yoshikazu-san’s favorite part right off the bat, so what remains is the hard part. He says he can’t decipher a character like Augu (laughs). Maybe another director might do better.

And what about the future of the story in manga?

There’s the stuff about marriage and children problems, how to reach enlightenment, and everything in-between until Serge’s death. But even if I drew that, that would have no meaning for people who are only here for what Gilbert and Serge had (laughs). I don’t have any plans to draw any continuation for the moment, but one day, if I ever get the chance… If the are conditions right, I think I’d like to draw it.

Can we have your final message for Puff readers?

Watch the OVA. Please do it. I believe that if you watch it once, all of your worries will be washed away.

[tonystarkisadouchebag]

one thing that I am tired of is the effect that MCU tying Tony to Peter has had on ppls interpretations of Spider-Man. Specifically with his identity. I’m sorry, ppl can write what they want, and I’m not even a big comics person, but the amount of fics where Peter intentionally reveals his identity so he can be an avenger is *exhausting*. Like, even with my basic knowledge I know that this contradicts core elements of Spidey’s character and WHY he wears that mask. If there’s evidence to the contrary in comics or other official media I’d love to see it, genuinely! But I personally just cannot be convinced rn that Peter would just broadcast his identity like that, bc that’s not Spider-Man. Not to me at least. It just takes me out of the story immediately, literally I exit out idc how good the writing is😭

The real kicker is comic Tony isn't great either and before the Iron Man movie no one cared about him or kind of hated him anyway, so the thought of tying the identity of one of the most recognizable and beloved superheroes of all time to your b tier Elon Musk rip off is insane. I'm so glad comic synergy hasn't affected that in the comics as far as I'm aware but, come on.

Far From Home being bogged down with constant mentions of his death, makes it unwatchable. When it comes down to it, their relationship consisted of Tony coercing Peter into fighting Captain America without giving him a chance to form his own opinion on the accords and then was "sassy" (rude) to him until he died.

MCU Peter may as well be someone's self insert OC with how well he represents the mythos of Spiderman. These movies do this a lot but usually with characters the general public would not care about like The Mandarin or Shatterstar (still upset about this one), so it's interesting to see them do this with arguably their most important character. Imagine the new Superman movie came out, and he was suddenly closely tied to Aquaman and considered him his mentor and father figure, and the Kent's are barely mentioned, and John Kent died off screen.

[pynkhues]

Most people in That corner of fandom make a mockery of Lestat being three for three on RAINN, so it would be ironic if they decided he wasn't their favourite masculine Daddy any more after he gets raped in Season 3. Most of their head-canons are based on archaic gender roles and they think Louis is more of a woman because he was abused, so they might decide Lestat isn't man enough for them after they see how he was abused and raped. They already act like Lestat initiated the incest and tried to force Gabrielle to be more feminine. Among other ridiculous things.

I honestly think that there's a portion of this fandom who wants this ship to be Christian Grey and Anastasia Steele. I was actually even talking to someone a week or two ago about a post that got flicked up on my dash which was about the idea that Louis didn't know how beautiful / desired he was before Armand, and like - - a) he can literally read minds?? but b) even before he was turned, one of the first scenes we see of him in the show is him cruising outside the Fair Play Saloon (that he'll later buy!). Sorry, Louis knows he's beautiful, his repression issues are around race and sexuality, not his desirability. He's not a YA heroine. He's not a Bella Swan, who's biggest flaw is being clumsy, not knowing her own beauty and stumbling into Locations. It's what makes it good. Louis' 33/34, he's Lived, he's a man with baggage, which is what makes him interesting, and - - look.

If this existed on its own as a subet of the fandom, I probably wouldn't talk about it. Like I said in the last post, there is, and should be, room for everything. It's not my interpretation, no, but I honestly do love that people have found comfort and a space in those interpretations of the character, that's great, but look. This sect of the fandom brought my sister and her children, who are exiting a real domestic violence situation right now, into all of this, so now gloves are off a bit, y'know?

So yeah, I hope they don't blame me, but rather the person within their own community when I say that while they purport to be the champions of the fictional character (in more ways than one, some might argue), the 'battered housewife' Louis de Pointe du Lac, their arguments fall a little flat when they dox, harass, bully, and abuse other people in the fandom. Real people with real lives There is a subsection of this fandom who has seen my sister's abuse, curently in court, as only an avenue to cause myself and her, by proxy of that, further abuse, and the fact that nobody on that side of the fandom, felt the need to say a thing, while obviously, nakedly, stalking my blog, told me everything I need to know.

Because these bad actors within these spaces don't care about abuse. They don't give a shit about victim-survirors. They don't care about gender. They're sycophants and they're hypocrites. What they care about is that their fetish might become normal enough to become canon, and it won't be, so now they're lashing out at everyone who has ever exhibited an alternative. It's an ugly approach to fandom, particularly a fandom that carved them a heady, dominating space, adnd their now approach is one with what I interpet as a fascist outlook, as I said in the last post, but their flagrant disregard for real life, particularly the real life of a real abuse victim in my sister, reveals their hand in full.

As long as people in the fandom, especially those with shared interests, are silent about these people, as long as they enable people who literally act as child predators, as long as they enable the doxxers, the harassers, the suppressers - they are complicit in enforcing a culture of fascism in this fandom.

I'm going to try and get a bit louder about it, I hope some of you might too.

[avatarofthearchives]

My interpretation of Jon regarding the Not! Sasha situation is that, on some level, he knew the entire time something had happened, but he purposefully looked away from it because didn't want to face the truth.

While it's said in canon that Jon trusts Sasha more than Tim and Martin and that's why he's willing to give her more passes, it's also worth noting that Jon's bar of trust is in hell. He says that he can't trust anyone multiple times, and the quote "I may not entirely trust my assistants but I won’t lose them," comes from a time frame where Jon is under the impression that Sasha is alive. By his own admission he doesn't entirely trust her, and yet he's willing to overlook things he'd try to exorcise Tim and Martin for.

And I don't think that's because Jon just randomly swings between being overly trusting and overly paranoid. Rather, I think he knew something had happened when Sasha came back without the tape recorder. Because think about it: Jon's character could be summed up by his thirst for knowledge. Yet, when Sasha tells him that information about Prentiss's attack was lost...he just accepts it. He doesn't question it. He doesn't look for the lost tapes. He doesn't even keep an eye on her.

Overall it seems like he acts really out of character, and I think that's because he is. For the first time in the series he doesn't WANT to see something. He doesn't want to know if something happened to Sasha in the evidence room, because if it did, it means he might have lost one of his assistants. And it's as Jon says himself: He won't lose them. Even if that means turning a blind eye.

So, yeah, I think Jon's attitude in Season 2 of "Sasha threw a knife at me today. I'm sure it's just because she's practicing her aim" was out of subconscious denial of the truth instead of blind trust. Especially because it would be consistent with one other knowledge Jon turns away from...which is Gerry's page. He burns it because he cares for the people around him more than knowledge itself when push comes to shove. And unfortunately in his case that's a great motivator of ignoring a monster.

[inamindfarfaraway]

why do you ship poppy and sparrow from eah?thoughts on duchess swan and sparrow?

I have nothing against shipping Duchess and Sparrow! I just slightly prefer to think of them as best friends. Honestly, considering how she’s lived in the shadow of tragic doomed romance her whole life, I think it would be really nice for Duchess to find her happiness without any long-term romantic partner. I feel like she’d have anxiety about romance ending badly for her. Yeah, it turns out destiny is fake, but fifteen or so years of having the inevitable narrative of your future drilled into you and knowing that you are meant, you exist, to be hurt and betrayed and doomed by your romantic partner? That’s gonna mess your attitude to dating up. And since destiny is fake, non-doomed lovers are just one bad day away doom. There is no permanent happily ever after. Anyone could hurt her for any reason; and as she hopefully matures to be nicer and more moral, she could be afraid of hurting her lover too based on her past actions. But to learn that she doesn’t need to be anyone’s love interest could be empowering and liberating. She and Sparrow are definitely each other’s true loves in some way. I personally enjoy the platonic sense better, but the romantic option is just as valid an interpretation.

Okay. Duchess tangent over. Now, as for what I like about Poppy/Sparrow.

Poppy says in her bio that she finds Sparrow cute, but would like him more if he weren’t so arrogant. That’s a good foundation on her part. She sees worth in him, but also his flaws. If he ever wanted to play around with her, her standards and boundaries (and Holly) would force him to get his act together at least a little, which could be a catalyst for his character development.

They both have themes of freedom and rebellion. Sparrow is a Rebel more because he values his personal freedom than because he’s invested in human rights, refusing to conform to the law by stealing, his story by keeping the gains for himself and social norms by being an ass. Poppy loves not having a predetermined future and officially becomes a Rebel to avoid being the next Rapunzel and queen. Her least favourite class is Princessology, where you learn to be a responsible, respectable princess. Sparrow gets that. But she can show him how to express himself and defy social mores without being obnoxious about it.

They’re both creative types with unconventional styles and adventurous spirits, Poppy’s medium being hair and fashion while Sparrow’s is music. However, Poppy is a great, popular hairdresser. She’s good at listening to her clients’ input and giving them what they want, without sacrificing her own integrity. Sparrow is technically a skilled guitarist, but he hasn’t bothered to become as that good a singer, only cares about what he wants and is terrible at responding to criticism. He could learn from her to be a better artist. And I think their alternative aesthetics (I know Poppy’s is still pretty tame and feminine, but that feels more like Mattel being Mattel than the ultimate expression of her alleged personality; fanart that depicts Poppy with a wilder fashion sense my beloved) could complement each other really well.

Conversely, Poppy has sometimes been known to be unsure of new situations or herself, like that whole time she was on the fence between the Royal and Rebel ideologies or when she was nervous about ice-skating for the first time. It’s easy to extrapolate that being raised as the spare to Holly’s heir with the glaring lack of a destiny could have given her some identity issues in general. (Canon doesn’t really show that, but canon shows us so little depth that we have to fill in the blanks.) Sparrow does not have that problem. Ever. He knows who is and what he wants in life, and he’s gonna take it. Maybe he could influence her to be more confident.

It’s less much less obvious because Poppy is genuinely kind and morally principled and socially competent to balance it out, but she has a selfish streak too. She regularly cuts off her magically strong, long and fast-growing hair and sells it. Why sell it? Why not just donate it? Because despite having all the money she could ever need, she wants a little more for herself. She makes a steady profit by selling something she doesn’t have to work for and doesn’t want. That’s a shrewdness and initiative Sparrow can appreciate. I think her choosing centrism wasn’t as callous or stupid as some fans have made out; the Royals have a lot of understandable, sympathetic arguments, the Rebels at this time can’t prove that the other shoe won’t drop and with a Royal sister who’s probably afraid of her going poof, it would realistically be an emotionally fraught political debate for a teenager. But her “Roybel” identity is still a safe position where she tries to have the best of both worlds and can feel vindicated no matter which side wins. And it’s interesting that for as good a person she is and as many friends she has with Rebel stances and/or tragic fates, what drives her from “The face-eating leopards have pros and cons, let’s see how things go” to “Face-eating leopards are bad and need to be fought” is literally “Wait, the leopards want to eat my face?” If anything, I think her selfishness is wiser and more effective than Sparrow’s - she stays inside the law and benefits others enough to have strong friendships and a glowing reputation.

We also see in the ice-skating webisode that Duchess develops respect for Poppy and her courage after initially viewing her as a rival, setting up a friendship and a fun dynamic as Sparrow’s two true loves. Especially if, as I suspect, Poppy wouldn’t make a half-bad partner in crime herself. And on the other hand… Sparrow and Holly. Sweet, gentle, polite Holly who finds nothing more exciting than reading. And Sparrow Hood. Needing to coexist and learn to get along. That’s hilarious. Imagine the wedding speeches.

In the original Rapunzel tale, she was born to poor farmers and married into royalty, so an O’Hair falling for a commoner is at once a reversal and a return to form. It feels fitting.

Likewise, the original Robin Hood was in some versions a nobleman who abandoned his decadent lifestyle to serve the lower classes. (They weren’t always comfortable having a true peasant hero.) So I like the idea of Sparrow inverting that with his journey, being a greedy, selfish scoundrel as a poor kid and then only gaining riches after becoming equally rich in compassion and generosity. Only once he’s ready to share the wealth does he get access to a royal treasury. Legally, even!

Thanks for the ask! It was very fun articulating my thoughts and feelings about these characters, I’d never done that before and I thought of a few new arguments while I was writing this. I love all of them even more now.

[bylerlipglances]

my byler world came crashing down yesterday thanks to you @greenfiend & @strange-anni😅 i wish you were wrong! just this time! But, objectively speaking, I know you’re right. now that you've explained it a bit, I can see why it makes sense.

David :

S1: Killed by some other queer.

S2: Focus on Ragen-Bush (mishandling of the aids crisis), Will's hospital visits and doctors offering superficial care without real treatment, paralleling the AIDS crisis, homosexual, bisexuals as HOST of virus, Infection. Mike sleeping by Will’s side mirrors how gay partners would care for each other during the epidemic until one passed away. Imagery like transfusion drips, the mention of a virus, the Mindflayer as a metaphor for AIDS, and hazmat suits.

s3: The SPREAD continues, with mice symbolizing the so-called "gay plague" and more hospital references.

s4: unnamed hero agent could perhaps symbolized individuals who died during the AIDS epidemic and were buried without their bodies being claimed or given proper funeral services. Eddie, the "freak," and Reefer Rick, the outcast, reflect societal alienation.

s5: Lettergate: letters to willy(tombstone) The Imitation Game letter tragic scene, Will's Alan turing project, as well as the recurring theme of letters. Churchgate: religious and political conservatives harshly condemning gay people and those affected by AIDS.

*************************************************************

I completely agree, it’s the Duffer’s story, and they havent really spoon-fed the audience so far, which is part of what makes them great. It’s their narrative, and I expect nothing less than honesty from them, staying true to the vision they’ve always had.

However, the thought of two best characters of ST meeting a tragic fate is really going to hit me hard. Mike, fighting every battle to save his beloved Will and doing absolutely anything to bring him back from death, will ultimately lose his own battle next season, no matter how bravely he fights. And Will, that resilient, sensitive soul who always put others first, even giving his toy to a crying girl because she deserved it more, his acts of kindness ending as he succumbs to the virus.

But just for today, I'll choose delusion and optimism because I can't handle such a devastating ending. I want our zombie boy, the chosen one, our Harry Potter, to return and triumph ONE LAST TIME, to become a little selfish and fight for himself. I want Mike’s bravery to carry more weight than just tragedy, I want him to evade the virus like he did when he escaped that fall from the quarry cliff. How about a Magic Johnson miracle? Something unbelievable? yes please!

Perhaps in another dimension, Fairyland where they can live happily ever after.

Hugh Everett’s Many-Worlds Interpretation : Instead of one reality, where things happen in a single way, many realities exist at once.

The splitting of worlds in Many-Worlds Interpretation : the universe "splits" into multiple versions, These parallel worlds exist simultaneously, but they don’t interact with each other, meaning we can never "see" the other versions. To us, it just looks like a random outcome, but in reality, all possibilities happen, just in separate worlds.

Mr. Clarke: where none of this tragic stuff ever happened

It’s very much overlooked just how pretty much the entire cast were crying A LOT while reading the final script. And how the executives at Netflix apparently did the same as well when they were pitched the ending…

Yeah I’m sure Byler is “endgame” this isn’t about Mlvn vs. Byler. That whole “love triangle” is a distraction.

Are you guys sure though that it’ll be a truly “happy” ending? Or will it be a lot sadder than you think?

[asnowperson]

Tanbi to Heroine - Literary classics adapted into shoujo manga

I want to talk about the book of my dreams: Mangaka! Sekai Bungaku - Tanbi to Heroine (マンガ化! 世界文学 耽美とヒロイン). It's a compilation of shoujo manga from the 1970s and 1980s which are adaptations of classics from world literature. Each manga has a little introduction about its artist, and the work it was adapted from. Thank you, our Tosho no Ie overlords.

It came out in 2022, and I'm so happy to own this book. After watching Aoi Bungaku and falling in love with what they did with Kokoro there, I've always wanted to see more anime/manga adaptations of literature. Seeing how authors/directors give the works their own interpretations while still staying faithful to the original work, and not trying to do a 1:1 adaptation can be great, as long as they don't jump the shark. Speaking of which, I even liked Gankutsuou despite the bizarre 3D space mecha fights because Edmond Dantès was still there. I can't get mad at it when the director gets the core of the work right.

Anyway, I want to present this awesome book and the manga collected in this volume!

Hagio Moto – Shiroi Tori ni Natta Shoujo (白い鳥になった少女)

Adapted from Andersen's The Girl Who Trod on A Loaf, and first published in Bessatsu Shoujo Comic 1972/12.

Hagio tells the story from the point of view of the girl who becomes a bird at the end of the tale, which is a very nice touch.

2. Mizuno Hideko – Cendrillon (サンドリヨン)

Adapted from Grimm Brothers' Cinderella, and first published in LaLa 1977/9 & 11.

With Mizuno's exquisite art, this Cinderella adaptation is the perfect fairy tale. On the first and last pages Hideko-tan breaks the fourth wall to give us information about the original work, and going "bruh, these are supposed to be tales for kids but some brutal stuff goes on in them. What's with all the mutilations and eye-gouging?!" It's adorable!

3. Maki Miyako – Hanakagerou (花陽炎)

Adapted from Murasaki Shikibu's The Tale of Genji, and first published in Big Comic for Lady 1987/2.

This excerpt is taken from vol. 2 of Maki's Genji Monogatari adaptation, and depicts a scene that doesn't exist in the original work: Hikaru meeting Lady Fujitsubo for the first time. I must say that all that Genji Monogatari Japanese went over my head ;_;

4. Miuchi Suzue – Takekurabe (たけくらべ)

Adapted From Higuchi Ichiyou's Takekurabe, and first published in Hana to Yume 1977/1 & 2. This story is actually part of Miuchi's Glass Mask. In the manga, it was acted in the third act, “Kaze no Naka wo Iku.” Compiled in vol.s 3-4 Hana to Yume comics version, vol.s 2-3 of Hakusensha Bunko, and vol.s 3-4 of the digital ebook.

Conveying the subtleties of the character through the way Ayumi and Maya acts is quite ingenious. We get adaptation-ception with this one, and I loved it. It really made me want to read the book to get to know Midori better.

5. Sakata Keiko – Okisaki to Nemuri Hime (お妃と眠り姫)

Adapted from Charles Perrault's Sleeping Beauty, and first published in Comic Tom 1989/1.

I haven't read Sakata's works, but she always strikes me as being the odd one in the shoujo scene. And this manga just strengthened my conviction. Her adaptation of Sleeping Beauty focuses on the ogre mother of the Prince, and her loneliness. Which is another ingenious way of going about adapting a fairy tale from a completely point of view. Her funny-looking art and humor adds to it.

6. Fumizuki Kyouko – Shiroki Mori no Chi ni (白き森の地に)

You get this color image I found online, because scanning this gorgeous double spread was impossible. And it's in grayscale in the book.

Adapted from Louis Hémon's Maria Chapdelaine, and first published in Bessatsu Shoujo Friend 1977/3.

I had no idea about this story, but wow, Hémon sure lived a life... This story that takes place in Canada feels really comforting. I'm surprised this didn't get an anime adaptation. Sure, it's not long enough for one, but it'd make a perfect comfort shoujo. "Comfort shoujo" as in people dying and the protagonist growing up after being hit by misery and having to make life-altering choices. I can see why this was popular in Japan.

7. Yamagishi Ryouko – Rapunzel Rapunzel (ラプンツェル・ラプンツェル)

Feast your eyes on this color Rapunzel illustration from the Yamagishi artbook I have.

Adapted from Grimm Brothers's Rapunzel, and first published in Bessatsu Shoujo Friend 1974/6.

Queen Yamagishi does not disappoint: We go full psychological and read about how parents ruin childrens' lives by projecting their shortcomings in life onto them, and their twisted sense of "love" can be worse than a sorceress's curse. Prince charming therapy time, baby!

8. Sato Shio – Bijo to Yajuu (美女と野獣)

Adapted from Madame de Beumont's Beauty and the Beast, and first published in Papermoon Shoujo Manga Fantasy Shoujo Manga – 1001 Nights (5.11.1980).

This short yet poignant adaptation really brings out the love in the story. She distilled the tale, and left what touches your heart the most in these 8 pages.

This work was also originally published in full color, and it's so gorgeous that I bought the book it was first published in. I hope to have it within the month.

So yeah, if you need to gift something to your old-shoujo loving friend, you now know what to get :)

[gaymakima]

I have a headcanon that 'Branwen' is not Raven and Qrow's surname from birth, nor was the name of their tribe at the time. When the tribe got their hands on the documents and decided to send the twins to Beacon, they needed to give themselves a surname. The one they were born with was long forgotten by that point (hell, they were too young to remember what their given names were before the tribe took them).

Qrow, who already rebelled against the tribe by idolising The Reaper, suggested to Raven they take a name from a story. Raven agreed, and the two began searching through what few books they owned for inspiration. Eventually they settled on 'Branwen', the name of a warrior with a close association to corvids.

Ozpin knew from the moment he saw them that their surname was made-up. It came from a story he wrote, after all (and he already figured out they were from a bandit tribe because, well, they weren't exactly discreet enough to fool him).

But the name 'Branwen' is still theirs now, regardless of its origin. Qrow was named so because of his misfortune. Raven's name was given after Qrow's, because she was an afterthought. Their abusers gave them those names. But 'Branwen'? That was all the twins. That was their first taste of freedom.

Giving themselves a name.

[kagoutiss]

din’s champion

[queerfables]

I found this super interesting, and I hope you don't mind, I have some notes of my own. Similar spoiler warning as above.

Thoughts:

If the elemental names are connected to the four tempers, could conflicts between elements of first and last name suggest conflict of nature? I'm specifically thinking of the MDR workers here. Dylan George, in particular, reflects a water/earth conflict. Helena Eagan, on the other hand, reflects a fire- light/fire-light harmony. Peter Kilmer is a little more complicated, because as @peopleareaproblem notes, kilns have a connection to multiple elements. I'd eliminate water, because by the time you fire clay in a kiln, you want it to be completely dry (clay that is not completely dry tends to explode). I'd therefore describe Peter's name as earth/earth-fire, not completely in conflict but not entirely harmonious either. I'm not totally sure what to make of Irving Bailiff, his surname is not obviously elemental, so I'm currently marking him down as water/??? but I feel as though Bailiff could relate to one of the tempers (dread? malice?) without going through an elemental link. Similarly for Mark Scout, neither name is obviously elemental, but there is still an interesting harmony to his name nonetheless. Mars is associated with war (and interestingly also with agriculture). Specifically though, he is not associated with destruction so much as with war as a path to peace. This harmonises nicely with Scout, which is a military role that prioritises gathering of information over direct violence. I'm not exactly sure what to make of this, but I think it's potentially worth thinking on further.

The R in Helly R. I don't recall this ever being said on the show, but apparently her fake surname is Riggs? The name means "ridge" which I think interestingly creates a fire/earth conflict in her innie name. But since she's mainly just referred to as "Helly R", I have two additional theories on this. The first is that the R could be an alternative first initial to Helena's real surname, turning Eagan into Reagan, and shifting the meaning of "little fire" to "little king". The only thing that gives me pause on this interpretation is that the shift towards royalty makes more sense applied to Helena rather than Helly. The second possibility is that the R is supposed to attach to Helly's first name, turning it into Hellier, an archaic English term for a slater, thatcher or tiler. Relevantly, the word derives from "hele" meaning to cover or conceal. I think there could be something to this; I'm interested in it along three axes. First, it matches the other MDR workers' surnames, which all describe professions or roles, and positions Helly as firmly working class. Second, the connection to concealment obviously relates to the way Helly conceals Helena's true role in the company. Third, and perhaps more abstractly, I find it interesting to conceive of Helly/Helena as a roof builder, when all the severed workers at Helena's company are trapped underground, separated from freedom by the ceiling above them, intended to never see the sky. Additionally, I think that like in the shift from Eagan to Reagan, there's a blurring here of the way "hellier" might relate to Helly vs Helena, and perhaps that blurring of identity is not an accident.

Dieter is usually short for Dietrich, meaning "ruler of the people", but also either "keeper of the keys" or "lockpick". Dieter is also homophonic with the name Diether, meaning "the people's army". Given all of the emphasis on twinhood and rhyme during 2x04, I don't think we can easily rule that irrelevant. I'm completely obsessed with the ambiguity and conflict of this name. Is Dieter a ruler or a soldier? Does he guard a locked door or steal through it? I share the general consensus that Dieter is likely not a literal twin but I do think he's important. There is something interesting to me in the way that Kier hid in the water at Woe's Hollow to protect himself while Dieter melted away, compared to Helena being forced into the water and Helly emerging from it. There's elements of baptism to this I think, but the significance of baptism is that you are symbolically reborn without sin, almost a new person. And so I wonder, is Dieter really Kier's imaginary brother? Or is he perhaps the original consciousness that Kier emerged from?

Milchik doesn't just refer to the prohibition against cooking meat with dairy but specifically means something that contains or was prepared with dairy and therefore cannot be cooked with meat. My take on this is that the severed workers are metaphorically the "meat", and his name indicates the ways in which he is separate from them and cannot be subject to the same abuses that they are. But dairy is still for consumption, just as he is still subject to exploitation. His name therefore also reflects that his separation from the severed workers will not save him.

Hale means healthy, but also whole. I think this could point to the significance of Ricken's unsevered status, although I'm curious as to why it is so significant for him in particular. It could also relate to Devon, who is both a Scout and a Hale.

Names in Severance

Studies show that first names tend to be particular to individuals, whereas surnames are tied to the family.

- The You You Are, Dr. Ricken Lazlo Hale, PhD

I went on a deep dive on researching name meanings on Severance, as I'm sure many others have. For those of you not insane enough to do this, my findings are below the cut.

Spoilers up to and including episode four of season two.

Why am I doing this? Well, names play a massive role in this show.

Gabby chooses the name William for her baby but Gabrielle names him Declan, which clues Devon in to something being up with her. The first chapter of The You You Are is about names, and after Ricken's reading Rebeck says she'll have to change her name again.

But most notably: the innies have no last names of their own and don't know the first names of their superiors. This divide is a huge aspect of the power dynamics of the severed floor and seemingly the rest of Lumon, as Cobel is referred to casually as Harmony by Natalie and other superiors but only ever as Ms. Cobel by the MDR department. Helena knowing Milchick's first name and casually calling him by it is what finally confirms Irving's suspicions, and he immediately weaponizes it against him. "Yes, do it, SETH."

I'm listing the full known name at the top (except for repeats like last names being the same) and then the meaning of each name in a subsequent line. So for example "Ricken Lazlo Hale" gets three lines: the first one for Ricken, then Lazlo, then Hale. If it's in the same line it's a different possible meaning for the same name. My own notes are in brackets.

MDR

Mark Scout of Mars (the god) - warlike, indicator, sign someone who goes ahead to gather information about enemies

Peter Kilmer stone kiln worker, famous sacrifice

Helly R. / Helena Eagan torch (Helen of Troy's kidnapping started the Trojan War) little fire

Irving Bailiff green water, river Irvine law enforcement officer

Dylan George toward the tide (going with the flow?) farmer, earthworker

ADMIN

Judd a river, descending, flowing down (the river where Jesus was baptized by John)

Harmony Cobel / Selvig agreement, calm, music (harmonizing two different tones) fishing boat bay of seals (nordic place name, I thought this was meaningless until episode four and now I'm like ???)

Seth Milchick appointed, placed (the third son of adam and eve sent to heal the family after cain killed abel) a jewish dietary law forbidding "boiling a (goat) kid in its mother's milk" (this has got to be on purpose, but what does it mean??)

Natalie Kalen christmas day, birth of the lord slender, fair, blessed, pure, keeper of keys

Ms. Casey watchful, vigilant (this one really convinces me some of these names are chosen with great care)

Doug Graner dark river manager, german place name

Ms. Huang phoenix (literally coming back to life in a blaze of fire)

MARK'S LIFE

Gemma gem, precious stone, "a small cellular body or bud that can separate to form a new organism"

Devon cattle, divine, poet

Ricken Lazlo Hale powerful, wealthy ruler healthy

Eleanor shining light

Patton Thune nobleman money

Rebeck Gulk instrument, tie, snare friend/servant (sometimes: of Christ)

Danise devoted to bacchus / dionysus

Alexa defender of man

THE EAGANS

Kier (CEO 1865-1939) a vat where fabrics are boiled/bleached/dyed

Imogene maiden, innocent

Ambrose (CEO 1939-1941) immortal

Myrtle (CEO 1941-1959) evergreen shrub (evergreen = never dies)

Baird (CEO 1959-1976) poet

Gerhardt (CEO 1976-1987) hard spear

Phillip "Pip" (CEO 1987-1999) friend of horses seed, excellent

Leonora (CEO 1999-2003) light

Jame (CEO 2003-) follower, supplanter, protector

Helena torch

OTHERS

O&D

Burt Goodman fortified town good man

Felicia lucky, successful

DYLAN'S FAMILY

Gretchen pearl

Jim protected/protector

Merrick fame, power, ruler of the sea, dark

Ruth friend, pity, compassion

PETEY'S FAMILY

June young

Nina little girl / shortened form of any name ending in -nina

THE ARTETAS

Angelo Arteta angel evergreen oak

Gabrielle / Gabby woman of god / talkative

Bradley (NOT William) broad meadow (NOT will helmet / desire to protect)

Declan good man / man of prayer

Kai keeper of keys, the sea, king

MISC.

Asal Reghabi honey again stupid? (ghabi = stupid)

Cecil Fields (Burt's partner) blind / sixth pasture

Charlotte (Cobel, name on breathing tube) free

—

And what does all this mean? WELL, some themes I'm picking up on are the water, fire and earth, as well as light and living forever. It's of interest to me that both Gemma and Peter refer to a sort of stone, which is a plus for Mark/Petey shippers. There's a lot of water imagery connected with Lumon, but Eagan means fire. Then there's Huang meaning phoenix, which is rebirth through fire. I'm not sure how to take this yet but it's percolating.

The double meaning of Gemma is also really giving some big clone energy, I'm sorry to say. I know the makers of the show have stated that there's not a clone thing going on, but there's something happening here. I hope Ms. Huang isn't her clone, mostly because they're wildly different looking people whose only real commonality is being asian women.

I've also been looking into alchemy and the Philosopher's Stone as it relates to the themes of Severance, and all of this really rhymes with a lot of that. (I might make a seperate post about it tbh.)

Kilmer meaning kiln worker also really fucks with me, what with the water/fire/earth thing. You need water to mold clay, but firing it in a kiln turns it solid. In the Perpetuity Wing Irving tells Helly: "It’s an unnatural state for a person to have no history. History makes us someone. Gives us a context. A shape. But waking up on that table, I was shapeless." And Mark was a professor of history, and Casey made him sculpt his feelings out of clay, and he sculpted the tree that Gemma hit with her car, which neither of them remember... there's something here, I think.

I think Ricken and his friends, especially Patton, are descended from old money and may even be distantly related to the Eagans.

And then there's Reghabi, which doesn't seem to exist as a name/word outside of this show, but "ghabi" literally only returns results about the Urdu word meaning "idiot". I might be way off base but it makes me worried Reghabi isn't trustworthy. It's giving "the surest way to tame a prisoner is to let him believe he's free".

[autisticandroids]

FAMINE: That's one deep, dark nothing you've got there, Dean.

[youtube with closed captions]

dean and his father. dean and his family. dean and how bad it is.

(via @closetoyou1970)

[ninjasmudge]

feeds your narilamb yuri juice

dude i have great news about my regular narilamb