#idk how to end a reply

[foxglovefaun]

I love sleepy Ross going ???? Every time. So much. I repeat "me when I'm whuh" under my breath the rest of the day

:D hehe any time I see him in a thumbnail in my files I do the same thing

“im huhh??? Im whuhh”

i got it from this:

(from the Ross-prawn hyperfixation era)

and i say it like this :

anyway i love it when stuff gets added to the daily lexicon. ✨Enrichment✨

​thank u for writing :) ❤️✨

[topaziraphale]

"Stop saying Crowley won't help Aziraphale in S3 he'd go back to him in a HEARTBEAT and nothing would stop him" I get it no one likes the idea of Crowley being bitter after what happened for a long period of time but like can we at least acknowledge that he's currently going through probably the most emotional pain in his life since falling? Can we agree that he's opened his heart entirely - something you couldn't pay him to do unless the world is literally ending and he's desperate - to Aziraphale, and got shot down? Can we understand that he did it AGAIN only to lose Aziraphale again? Not that what Aziraphale did isn't without Crowley's own shortcomings (hiding the truth of Heaven's cruelty from him) but like,,,,

The appeal here isn't Scorned Crowley Doesn't Love Aziraphale Anymore, or Never Wants To Help Him Again, the appeal here is Crowley learning enough self respect to not just walk back right to Aziraphale like nothing happened after Aziraphale has had a pattern of consistently refusing him. Going years ping-ponging between "We're not friends I don't even know him" to "That's what friends are for right?" and "We're friends, why would you even say anything?" and "Friends? We're not friends. We are an angel and a demon!"

Like I get it, Crowley is a heartbreakingly forgiving person. Of course he's gonna forgive Aziraphale, I'll be surprised if he didn't forgive him by the time he walked out the bookshop door, but gdi he could at least grant himself the luxury of being at least a little irritated for longer than however long it takes to make a globe and some books float and angrily cry out to God in his flat. But due to the change of pace and dynamic that is establishing part of the conflict for Season 3, I just really like the idea of him for ONCE prioritizing himself and being like "Okay, fine. We'll get back at it when you're ready, then," instead of just taking Aziraphale back like his words and actions meant nothing to him, when clearly they have an effect on him.

What is Aziraphale going to learn if Crowley just accepts what he did so quickly, like he always has the entire time they've been friends? Idk maybe I'm just projecting too much darkness on their dynamic but I mean, if the pattern of Aziraphale pushing Crowley away/disrespecting him one day and then being fine with his friendship the next + Crowley never stopping to be like "Hey, that's not cool, at least give me a little credit" or smth was fine all along and will continue to be fine in the future, then why, after 6,000 years of being friends and loving this demon, can Aziraphale still not accept that Crowley is just fine the way he is, and instead got excited to promote him to an angel in a heartbeat once the opportunity presented itself? You can't blame all of it on Heaven when Aziraphale has demonstrated his free will/defiance to Heaven so many times. Or, I don't know, I guess maybe we can? Maybe I'm just craving too much angst to the point where I'm letting it cloud my analysis of canon. Idk.

[a-new-nobody]

riveting conversation that was

ik shes probably busy dealing with drones or some shit but man who starts a conversation and then just doesn’t say anything? not a great start to repairing a relationship

[beesorcery]

hello it's part 3 of 3 for my cool fun graphic design adventure!! part 1 and part 2 got too long. to recap i am recreating this t-shirt design but with the magic 8 ball songs instead of city names:

here is the current draft, updated through 3/27 (pittsburgh) (!!!!)

[lavenderjewels]

you fascinate me

[icewindandboringhorror]

I occasionally wish to reach out to old friends/acquaintances I haven't spoken to since high school/some other even earlier time in my life, but I have SOOO little social energy even for required tasks (like making dr phone calls or etc), I never have any leftover for extra ones, and it would be very odd to message someone I haven't spoken to in like 5 years out of the blue but then take 4 entire months to respond back lol.. My natural curiosity with nostalgia/collecting details of the past/etc. (literally if I were born a little earlier I would definitely do scrapbooking or something lol) is very strong, but, alas, not strong enough to beat out the Social Issues Demons apparently

[andorerso]

🌤️for the ask game?

🌤️Share your favorite piece of dialogue from your WIP.

I was working on a somewhat angsty smutty sequel to the Lady Knight Jyn AU that I kinda abandoned after switching gears... should get back to it because I like what I wrote so far!

“Jyn, my sister will be all alone with her children. I’m not planning to return.” Anger rose again, drowning out her pain. “Then bring them here and they’ll have nothing to want for!” Or will they, she wondered. Would Lah’mu survive? Cassian shook his head, his nostrils flaring, his eyes sparking with frustration that leaked into his voice. “And what, live on your charity like beggars?” His words were clipped, but his frustration was tightly-leashed, as always. “No, you’ll remain my knight, and I’m sure we can find your sister something to do as well.” “The children have family there,” Cassian said. A counterpoint to every idea she raised. “Fest is all they know.”

[randomnameless]

Genuine question, not trying to start a fight, why do you get so upset about gods and churches being presented in a negative light in fictional works?

No pbs!

I guess it's a mix of being too common, too forced and having, in general, the cast use common tropish arguments to fight /defeat them.

I rant a lot about this game, but take TS where we have three sort of factions opposing each other, and each are supposed to suck. Who is the faction who never receives any "positive traits" or "pet the dog" moment?

The game force fed us a scene where an Aesfroti soldier - when Aesfrost is depicted as a highly militarised nation with a cult of personality towards their current ruler, that invaded the protag's home and slaughtered several civilians and NPCs in the process - say goodbye to his wife and kids before going to "war" to defend his land against, well, the protags who are invading it to kill their warmongering leader.

As force-fed as this scene was, it, I believe at least, tried to tell us that even the Aesfrosti who pillaged villages and killed their inhabitants are humans, and care about their loved ones, sure it's corny, but it's all about not deshumanising any party.

When we attack Hyzante? Niet, zilch, nothing. No similar scene where random soldiers, or NPCs, worry about what is going on and if they're going to die when their wall has been breached. They just, don't exist in this context.

I think the cherry on the cake is the Golden Route scene, where, apparently, nationalists Aesfrosti decide to turn back against their ultra charismatic leader because, uh, he "lied" when he declared the war and used a false pretense, so the soldiers and people who were butchering babies and invading a city where people were preparing a marriage apparently now have morals and rebel.

There's no similar scene for Hyzante when the cast reveals that the teachings of their Goddess were made up and salt wasn't exclusively given to them by divine intervention, because rock salt exists everywhere. Sure it would be a bit weird and forced that people thinking they're chosen ones and looking down on everyone else suddenly, hm, don't break down when their entire system of belief is shattered, but hey, if the Aesfrostian Gregor can have morals after washing his hands of all this Glenbrookian blood, why shouldn't religious npc #55 not make the same heel face turn?

And then, we have the slavery/human experimentation plot - in general, when TS tries to give nuance, they more or less explain/justify why something that "sucks" is done, it's basically Silvio's character.

Aesfrost' Gustadolph manages to push his "freedom" mentality because his land is a harsh place where people are desperate to survive, salt smuggling is reprehensible, but it's the only way to give some to the ones who cannot afford it. Of course is everyone is free, no one is because, as Gustadolph puts it, they're basically free to die for his ambitions.

Hyzante? Follows a racist creed where Rozellians have to pay for some great sin, and are slaved away in a lake to recover salt until they die. It's, later, justified by Hyzante wanting to keep its salt monopoly else they don't have anything, and wanting to curb down the Rozelle people because they know about the exitence of rock salt (and I guess getting free workers to harvest salt from the lake + having state enemies make his own population docile/not willing to rebel ?).

And then, we have the human experimentations, that are just done for, uhh, Idore's lol. When Hyzante is known for its "advanced medicine" and we could have had the usual dilemna of, idk, having those humans experimentations used to develop this medicine that is reknown in the world (idk, sacrificing a Rozellian to save someone else's life?) - it's not the angle the devs picked. Rozellians are sacrificed to power up an idol, Idore wants to control the world through his idol and soft power (compared to Gustadolph's hard power) and manipulates his people (just like Gustadolph) to do so.

The two are very similar, but who is the final boss? Complete with a transformation in an eldritch monster? The war-mongering imperialist or the jaded old man who is leading de facto a religion?

Hopefully there's the entire "human experimentations for no other purpose than the lols" to settle them apart.

---

I recently watched Dune, and even if I have some issues with the adaptation, the Bene Gesserit isn't portrayed as "comically" evil-er than the Harkonen Empire, I reckon the comparison isn't adequate, because Dune is multi book series when I'm mostly talking about video games.

Symphonia's church of Martel is a font for the Big Bad (tm) to put in motion his nefarious plans, and yet, through the game, we see how random clergymen use their, uh, religious buildings to help people around. Ultimately Martel herself is reincarnated through plot device and tells the big bad to stop being an ass and the story is less about "church and gods evil" but "big bad distorts Martel/church's teachings and role for his plans because he has a tragic backstory"

(but then Symphonia ends with the biggest whitewashing from every Tales I've played for its big bad so I'll stop talking about it because otherwise I'm going to be salty).

Abyss' church is more or less the same thing - the Church is supposed to help people deal with the fact their verse has "predestination stones" where the future is already written, and in the course of the game, we see how it has several factions and one opposes the group (who has the pope as a NPC!) - but it's not a story about "gods bad church BaD".

I remember playing Suikoden Tierkreis a long time ago, and while the game seemed to go through familiar "church bad gods bad" route and we end with defeating a god-like entity... I pretty much loved the twist that, in a game that relied on alternate dimensions/universe, the god-like entity was actually the protag if he made different choices!

In those games, if you fight a religious body and someone pretending to be a God or what not - it's not because people fight against an eldritch creature who wants world domination and to erase puny insects, or is the reason why everything goes wrong, but because, at the end, the conflict/fight is ultimately caused by someone, generally a human or at least a non "god like" entity, wanting to destroy the world.

I don't remember if FE was my first JRPG series or not, but I always liked the idea that if the world is doomed in those games and the heroes must prevent said doom, it's not because a god-like being wants to destroy the world, but because people, humans/randoms are the most shitty ones out there.

---

As for the "tropes" often used to deride fictional churchs and religious people, well, I will again point to TS - which did a splendid job in the Benedict Route where you smash Hyzante after allying with Aesfrost.

There's one battle where out protags diss Hyzantese because they worship a goddess and have no free will, listening to Her teachings and Her says (the traditional "religious people have no free will and listen to their churches who tell them how to think!") - which is immediately countered by one of those Hyzantese characters asking Serenor if he's not the same, but instead of blindly listening to a Goddess, blindly follows Benedict. And it ends with the final chapter title referencing automatons/puppets : who is that title talking about ? The fake "idol" Idore created, or the fake "king" Benedict created?

Anyways, the usual "religions people have no free will because their church/religion tells them how to think" trope reeks of r/atheism and the double standard - bar in this route of TS, but I guess, in TS itself in the Roland route! - is never called out, blindly following a charismatic leader is okay, as long as charismatic leader isn't religious?

Regardless of my IRL thoughts about religion, usually those tropes are presented as a "gotcha!" when they are... not at all, but the games/books leave it at that and we're supposed to roll with it.

I'd say it's lazy writing or, as we saw in Naruto, a quick way to end a story without having to dwelve in characters and their motivations : "you're a god/alien/other being and you're bad, so let us do what we want!" - end of the story.

Hopefully some fillers and to an extent, Boruto gave her more meat bar being the 11 hour villain we had to defeat quick and who manipulated the previous sad'n'lonely antagonists - but it still felt rich from Naruto, known for his famous "talk no jutsu" and trying to understand people he's fighting against, to drop the ball with Kaguya, calling her pure malice and ending with some "let us live the way we want" to wrap up the plot so he can wrestle with his boyfriend later on.

In the end, we often end up with "religion bad bcs the big bad manipulates people through it", as if those mangas/animes/vg never have other examples of charismatic people not using religion to manipulate their randoms/people or "gods bad they should let humans do what they want" when we've read/seen/played through various, uh, really fucked-up shit humans did - but on their own! and ultimately, but it's more in fandom spaces, with have Projection 101.

TLDR : church/religion/gods are too often used in those works as the ultimate scapegoat to either wrap up a story in a rushed ending or to pretend to have "nuance" but still have a common enemy where all the "nuanced" characters can grow/be whitewashed and side together against that "common enemy".

Just like in all things I guess, I prefer when something isn't painted as purely negative and all of the positive traits are erased because there is a need for a perfect scapegoat - sure, bring out too much "nuance" and writing/designing a game/manga/anime becomes harder because there's no "clear cut" antagonist, and yet, the one who always gets fucked in this scenario is the religious/church side.

Want a generic stock villain who will destroy the world so the heroes have to fight against them? Just create a "religion" in your setting, and have the big bad either hell bent on resurrecting Chtullu to destroy the world because Chtullu BaD, or have them be the most corrupt piece of shit who manipulate everything in the shadows, so the rest of the world, even the ones who slaughter others bcs they feel like they must start a war, can be whitewashed at the end.

I mean, there's a saying about diverting attention from a fire by starting a bigger one near, or a trope of "aliens made them do it" : who cares if Madara started a continental war and targeted a village full of random civilians he swore to protect because he lost the elections? Did y'know he was manipulated by a woman, I mean, an eldritch thing created by a woman, regarded as a God, who ultimately wanted to get out of her fridge to kill everyone?

Roland must get over his hatred for Aesfrost for barging in his kindgom and killing hundred of his people while they were preparing for a wedding, because hey, Idore is evil and plans on ruling the world through his sham religion!

I'll forever be salty at TS for not giving Kamsell the occasion to rise against Idore, or not even have minor NPCs get the same treatment as Sycras suddenly going all "u lied to me gustadolph so i won't listen to u anymore + sad goodbyes to my wife'n'kids".

Extremism of all kinds can lead to wars/tragedy/fucked up shit - Sure I don't want to get my History lessons in video game medium when I play lol, but what I really don't like is how it feels like depicting "they're extremists because they're religious" feels like the default/easy answer : want a bunch of brainwashed people the heroes must fight against and can't talk no justu their way out of this fight/will fight without looking too BaD? Depict those people as "misguided" members of a corrupt church/believers of a religion, no one will givea fig. If they are instead supporters of a charismatic leader who throws them through the meatgrinder to further their goals? Well, there's no automatic loyalty so either you have to show/depict it on screen, else it can be challenged at key points to demonstrate how those people - who follow the charismatic leader - aren't completely "mindlessly listening to their leader" or how their leader "isn't that bad after all".

[waywardsalt]

rough rough draft of chapter 1 of the bellum x linebeck fic

Though the storm had passed and the sun finally shown upon the sea again, Linebeck felt gloomy. He leaned against his ship’s rope railings and stared at the horizon. The night before, the pounding of the rain had put him at ease. Now, the bright afternoon had brought back that familiar anxiety. After some thinking, Linebeck pushed himself away from the railing and resolved to begin his morning chores.

                As the only person on his ship, it was up to Linebeck to take care of it- and he wouldn’t have wanted it any other way. He knew his beloved steamship like the back of his hand, and he collected a bucket as he blinked the last of the sleep from his eyes. Firstly, he gathered seawater to dump into the engine’s storage tank. The ship was drifting at the moment, but once Linebeck would turn it on, the heat would build up in the engine and the water would boil and evaporate and build up steam to get the wheels moving.

Linebeck knelt at the lowest edge of the deck and dunked the bucket into the water for the ninth- tenth? - time. He’d have to do some extra engine maintenance before he got moving. He’d been traveling during the entire storm, likely pushing the engine to its limits. But after the water gathering, Linebeck checked the hull for barnacles and scratches, checked the railings for damaged rope, checked his food and water supplies, barely giving himself a moment of rest while he went through the familiar motions.

Since he began sailing, Linebeck’s life had been altogether monotonous and unpredictable. His ship was one he had designed himself, and knew better than anyone else how to take care of and operate it. He had no desire to take on a crew, and knew from experience that they’d only hold him back- trying to teach new people how to work his ship was incredibly tedious and often led to them making mistakes and doing more harm than good. The last bastard he’d temporarily hired and bothered to teach about his ship- Linebeck scowled and shook his head. Not even worth thinking about, now.

The storm had replenished his fresh water supply. It had been bad enough to obscure visibility across the sea, so Linebeck had done some fishing. If he cared for gods, he would have thanked one that he made it through without getting sick.

He didn’t need a crew. Linebeck hadn’t had a long-term crew member for what- seven years now? They just made him feel uneasy and he could never muster up the patience to put up with them.

Or maybe he kept finding the wrong people. That had certainly happened before. He was never particularly good with other people. Linebeck was almost certain that he’d made a good few new enemies just in the last month. His eyes scanned the horizon as he walked back out onto the deck. Linebeck tightened his grip on his mop’s handle. He was totally alone. And yet his skin prickled with unease.

“…No point worrying,” he mumbled to himself. He started mopping the deck, forcing himself to keep his eyes trained on the wood. His last chore of the morning was always the most soothing. He moved slowly and rhythmically, beginning at the prow and slowly making his way back to the cabin. His ship was small, though large enough to be comfortable for him. The deck sloped upwards a few feet from the cabin and plateaued, about a foot higher and better to accommodate the rooms and machinery beneath.

The air was warm and humid; Linebeck brushed his hair out of his face and behind his shoulders. He considered removing his coat, but he was nearly done mopping- no point in wasting the time. The heat was never a big issue for him. He was perfectly suited to the sea, and Linebeck felt more than confidant handling every aspect of this life on his own. No problems whatsoever. No good reason for the anxiety that refused to leave his mind.

Maybe there was a good reason, the same reason why he kept scanning the horizon.

Finished mopping the deck, Linebeck turned to admire it. The storm had cleaned it well enough, but now that the sky was clear he wasn’t just going to cut out part of his morning routine.

With everything done for the morning, Linebeck gathered up his mop and the bucket and moved to put them away. The bucket would be dumped out and left with other containers in the storage room, the mop left in the engine room… and then the engine would need to be started up. The nearest inhabited island was two days away (with good conditions), so while Linebeck had no need to get going right that moment, he felt safer with the engine running.

To get the engine started, Linebeck pulled a lever by the wheel up and waited a moment as he heard the hissing of steam start, and then stop. He knelt down in front of the storage tank. Enough water for the day, that was for sure. He withdrew his matchbox from a pocket in his coat and struck a match, humming idly to himself as he tossed it in the space below the water. It would only be a few minutes before the ship could get going; over the years, Linebeck had gone back and forth on the design of the engine, and managed to make it especially efficient with different materials and methods, and was quite proud of it. While the water heated up, he shut the tank door and sat back, resting a moment.

He’d gotten… some sleep last night. He’d dreamed briefly, and didn’t feel as terrible as he usually did. Some sleep. Better than no sleep at all. Linebeck laid down on the floor and stared up at the ceiling. He stared at the winding pipes at the tops of the walls and then shut his eyes. If he was lucky, he could perhaps find a few minutes to nap. Just a few minutes…

The ticking of the machinery around him slowly faded in as the engine properly started up. The sound melted into with the noise of the ocean outside, and Linebeck felt his anxieties ease. The familiarity of his daily routine eased his mind like nothing else.

The next island was north of his position… Linebeck let out a long breath. He’d have to at least position his ship facing north, and get started within the hour. He sat up and stretched. If he got started now, he could reach the island by late tomorrow. The engine was ready to go, and Linebeck smiled to himself as he fiddled with some of the smaller levers and switches, listening to the subtle changes in the ticking and clicking around him.

He paused when he heard up an unfamiliar noise. Linebeck stilled his hands, suddenly feeling cold.

Without thinking, Linebeck kicked the engine into proper operation and after a moment, the wheels on either side of the ship started turning and he quickly steered the ship in the opposite direction of that odd sound. He heard it again, from outside his ship- the unmistakable sound of cannon fire, and Linebeck was not brave enough to stop and check to see if it was aimed at him.

It was usually aimed at him, anyways.

Linebeck steered his ship away and locked the wheel in place; he felt his heart pounding in his chest as more muffled canon fire reached his ears. One sounded closer than the rest, and he managed to tear himself away from the wheel and run up to deck. Running away was nice, but he needed to know where to run away to.

It seemed like he was getting chased more and more. Linebeck figured he ought to start a list of the crews that had it out for him; that was something to do once he was safe. He stumbled out onto the deck and leaned over the rope railing, staring at the southern horizon. Sure enough, he could see a pirate ship in the distance heading his way, and the wind was in their favor.

Linebeck gripped the railings until the rope started to dig into his skin. The hell did he do to them? He recognized the decorated sails as the sails of the ship that’d been pursuing him before the storm. Their captain was one he’d cheated out of several hundred rupees in poker- or was that a different crew? No time to think it over while they got closer and closer. More cannon fire rang out, and Linebeck jumped back as the cannonball splashed into the water dangerously close to his ship.

Sailing in a straight line was a terrible idea. Better to leverage his steamship’s advantages and focus on disrupting their aim. Linebeck wildly looked around. No rocks or islands in sight. His best hope was to run for it and hope that either they’d run out of cannonballs or the wind would die down. He raced back inside.

He was just one man; why did all of these pirates decide that being slighted by him once marked him as the biggest threat to them on the entire Great Sea? Pirates were so petty. He flinched when he heard a muffled splash and felt the ship rock. Linebeck gripped the wheel tightly and started turning the ship west, his sweaty hands almost slipping off. He gritted his teeth as the cannon fire sounded closer and the ship rocked again.

The last time he’d been pursued like this, a cannonball had burnt his hull and cost him several days of sleep. Linebeck turned the ship far enough around to spy the pursuing pirates again; the moment he heard the cannon fire again, he spun the wheel to sail in the opposite direction. Turning was slow, but his ship never stopped moving. He’d had nightmares about one of the wheels being damage, and Linebeck felt weak in the knees just thinking about it.

As the pirate ship slipped out of view, the waters around his ship were more violently disrupted, and Linebeck yelped as his ship was more violently rocked by the waves. There was no cannon fire, no sound of a cannonball hitting the waves- and the water was clearly churning too violently for it to have been a cannonball. He clung to the steering wheel for dear life, his knees nearly buckling underneath him, and the cacophonous sound of an especially large wave made him wince. The ship rocked again, but still no cannon fire. Instead, Linebeck picked up a new muffled noise.

…Splintering wood?

The wood of his own ship was fine, there was no motion asides from the violent waves rocking his ship, but the distant splintering continued, and with it, faraway screams. For the second time in barely five minutes, Linebeck’s curiosity prevailed over his fear. On shaky legs he stumbled up onto his deck- slick with water that had poured onboard, and nearly fell over the railings when he reached them.

The pursuing pirate ship was being torn apart by something. Something had pulled the main mast down and split it in half, tearing through the sails and ripping the vessel in half. Linebeck squinted, hardly seeing anything that could be causing it, then caught a glimpse of what looked like a thick black rope curled around the prow, tearing it clean off and dragging it into the sea. The way those ‘ropes’ moved; Linebeck slowly slid down into a crouch as he realized that a sea monster was what was attacking that ship.

One pirate jumped from where the prow had been, likely trying to escape and swim away, but a black tentacle shot out of the water and grabbed them midair and yanked them below the water. Linebeck felt frozen to the spot, more than grateful that he wasn’t the creature’s target, but he feared that if he took advantage of the chaos and sailed away, he would be attacked next.

The pursuing ship began to sink, and the sharp cracking of wood was piercing as it reached Linebeck’s ears. The hull was torn in two, more tentacles appearing to crush them into unsalvageable wreckages. The fear that shot through Linebeck urged him to straighten back up. He started to hurry back into the engine room, but stopped in his tracks as the tentacles withdrew back into the water.

The pirate ship’s remains slowly sank, survivors clinging to any floating pieces. Linebeck stared at the water around his ship. That… thing had stopped. That sea monster that he and those pirates had the misfortune to disturb.

That sea monster- Linebeck had researched every possible hostile creature that had been seen on the Great Sea, and that certainly had to have been one of them. He grabbed onto his railing again, feeling too sick to move his gaze from the sinking ship down to the waters just below him. He stood at the end of the railing, steady on the sloping deck despite the way his limbs shook and his heart hammered in his chest.

There was a sea monster in these waters. It had just wiped out an entire pirate crew in hardly a minute. From what Linebeck could recall, that pirate crew was rather prepared and experienced, and their ship certainly wasn’t some glorified piece of driftwood. This wasn’t just an overgrown gyorg or some other typical sea monster- he was at the mercy of the kind of sea monster that had stories passed around. The kinds that endured for decades or even centuries and were either worshipped or feared. He’d never seen a regular sea monster that had those kinds of tentacles and was that quick and deadly.

One of the stranded pirates was suddenly and violently pulled under water. Linebeck lowered himself back down to a crouch, staring at the now-empty patch of water. After a few moments, a faint red hue bloomed from deep under the surface.

I’m going to die.

The thought seemed to echo in Linebeck’s head. It wasn’t a thought he was unfamiliar with, but it was much, much more frantic now than ever. He was going to drown or be eaten. Even if he got out unscathed, his ship likely wouldn’t, and that sounded just as bad as if he got injured. Linebeck shakily stared down at the water mere feet from him. Every tiny wave and ripple in the water heightened his anxiety, and his mind raced. Another pirate was pulled under the water, eaten, and the waters were still for a moment. Then, there was a subtle ripple further away from the wreckage and closer to Linebeck’s ship.

How do I get out of this?

Linebeck’s terror forced him to his feet, and he raced into his ship’s cabin. That monster was more than capable of catching up with that pirate ship, and Linebeck stumbled on his way down the stairs as his ship rocked slightly.

This monster was capable of killing and catching him with ease, and it tore apart that pirate ship with ease, and it was eating the survivors, and Linebeck was up next if he didn’t think fast. His feet brought him into his ship’s cramped kitchen, and he stood still in the doorway for a moment. His fear and quick-thinking seemed to crash into each other, and his mind went blank as he stared around. Linebeck switched his attention from his utensils to the fish he’d recently caught and had yet to clean to the cupboards. Why the hell had he run here?

The sea monster killed all of the pirates. It was probably chasing after him now. It tore apart the ship, and… ate the pirates. Ate the pirates. Linebeck stared at his recently-caught fish. There were a pair of smaller amberjacks he’d picked up during the storm, a seabass he had a few different plans for, and then a large loovar he’d been planning to sell. He suddenly felt itchy looking at that loovar. He was going to sell it. It was a large, pristine loovar, with sleek, undamaged scales and was over five feet long and took up the entire counter that fit in the narrow kitchen. It was valuable and would net him a good sum of rupees at the next island he docked at.

Linebeck’s ship rocked again, violently enough to knock him off balance. The terror finally mixed with his quick thinking and he grabbed and yanked the loovar off the counter, stumbling a moment under its weight. He slung it over his shoulder and hauled it up the stairs, his shoulder aching before he was even in the engine room. Goddesses, his coat was going to reek if he made it out of this alive.

He paused to grab his mop and tuck it into the crook of his elbow and stumbled a bit, stubbornly keeping the fish from touching the floor. The ship rocked under his feet again, and Linebeck shuddered and hurried out onto the deck. The water around his ship’s hull ripped every few moments, and Linebeck didn’t hesitate in letting the loovar drop onto the wood. He kicked it off the deck, and it fell unceremoniously into the water and floated barely a few inches from the hull- too close.

With the mop he prodded at it and sent it floating slowly away from his ship. And so, Linebeck huddled at the edge of his deck, leaning against his mop for support. For just a moment, the waters were still. The loovar bobbed on the water’s surface and the sunlight glinted off its scales. Linebeck exhaled slowly. For all he knew, the monster could have already left. He could probably grab the loovar if he was careful.

Linebeck started to reach back out with the mop, but drew it back as the water around the loovar suddenly started to ripple. The rippling grew more furious, and the water began to bubble and small waves started rushing out from around the fish- a dark shape was just barely visible deep in the water. The shape rushed to the surface, and Linebeck only got the quickest glimpse before falling backwards onto the deck as the largest waves yet set his ship violently rocking.

It was huge, easily half the size of his ship, and a stunning yellow. For the split second he saw it, Linebeck couldn’t discern any detail, but he didn’t miss the mouth full of sharp teeth that engulfed the loovar. Linebeck had fallen onto his back and didn’t dare move as the sea calmed down, the blurry image of the beast burnt into his mind. He stared up at the sky and realized that the fear in his chest had eased. Had he appeased the creature? The rocking of his ship slowly stopped, and he felt he was in no hurry to get up.

There was a slight splashing, and Linebeck jolted upright. He stared off the edge of the deck, at where the loovar had been floating. It stared back at him. The sunlight glinted off its yellow body, greenish in some spots, and golden in others. Under the water, the rest of it was just a murky shadow. In its mouth, encircled by those teeth, was an eye that stared back at him, the tiny pupil within a burning yellow and orange, surrounded by deep black. A monstrous eye, and one that Linebeck could’ve sworn he’d seen somewhere. Something about the thing’s unblinking gaze made a sense of visceral horror return to Linebeck, and before he could think it through, he scrambled to his feet.

The creature didn’t move in the water, but its eye followed his movements. Despite the hammering of his heart, Linebeck couldn’t tear his gaze away from that eye. His limbs felt locked in place, and his breathing came in in ragged gasps and he realized just how bad his situation had gotten. There was no way that loovar was enough to save him. He’d seen the way the creature had torn apart that pirate ship. He’d seen the way it had grabbed and killed those pirates. There was nothing keeping it from killing him next.

Then, without any sound but the sounds of the water, the creature sank down into the ocean and out of sight.

Linebeck immediately hurried back into his cabin, just barely remembering to snatch up his mop.

He wasted no time in getting his ship up and running again, and set a course for the island before even thinking of relaxing. Linebeck anxiously surveyed the sea as he steered the ship away, but spotted nothing out of the ordinary.

…Maybe the loovar had satisfied that… thing. Linebeck tried not to think much about it. But his nerves were still shot by the encounter, and he stiffly steered until the sun began to set.

He didn’t anchor the ship until stars glittered in the sky. Linebeck moved gingerly around his ship, half expecting that monster to return. But the evening was quiet, and Linebeck eventually felt relaxed enough after doing his rounds. He collected every book he had that mentioned sea monsters and went out on deck to read and rest.

Linebeck rested against the prow. He set the books in his lap and started flipping through each one, quickly skipping through what turned out to be a catalogue of common seafaring enemies, and finding a short collection of short stories based on powerful creatures around the world. As the sun dipped further below the horizon, Linebeck finally reached a much more informative book- one that had been gathering dust at the edge of the shelf- and flipped through more slowly, inspecting each illustration. Dragons, sentient plants, fish creatures, and Linebeck slowed down upon reaching the chapter reserved for deities. It didn’t take long for him to turn a page and find a familiar illustration.

It was little more than a collection of sketches, but that eye was unmistakable. Linebeck leaned over the book with a small spark of triumph in his heart. He was right- it was one he’d heard of before, a creature named ‘Bellum’. Apparently a powerful, demonic sea monster.

Linebeck felt a faint shiver down his spine and he sat up and stared off across the sea. He shut the book and gathered up the rest. Back in the cabin, he locked the door out, and hesitated with his hand on the knob. That nearby island was his destination, a small island with a small town that he’d been for. He needed supplies, needed to restock on food and parts and whatever else eluded him at the moment.

He double-checked the lock and silently headed down into the storage room. Linebeck left the volume with the information on Bellum on the table, and put the rest back on the bookshelf behind the thin bar that kept them from falling out.

Bellum.

Linebeck turned and stared at the book on the table. In the dim light of the few lit lanterns in the room, the book seemed almost ominous with its dark cover and elaborate spine. Where had he picked this one up? Was it one from home, or something he’d bought on a whim a while ago? Either way, it was worth reading through and taking notes on- even if the information he wanted seemed to only take up two pages.

Linebeck idly rubbed his hands together. The only indication of his lingering anxiety was the thin layer of sweat on his palms. Most sea monsters were known through shared stories and rumored sightings. Once he got all he could from the book, he could start asking around at islands. With any luck, though, he wouldn’t have to see that thing again.

[yukipri]

I love Fordo's shriek hawk tattoo. It's honestly such an amazing representation of Jango's relationship with the Alphas and how much he cares about them even if he can't show it at times. Also it's a niche way to show their Mandalorian influence and culture and all.

Thanks so much for liking my design for Fordo, with jaig eye tattoos!

As you say, narratively, it's supposed to show a lot about Fordo's (and the Alphas') relationship with Jango.

BUT, I also gave Fordo those tattoos because he's one of only 3 official clones who have jaig eyes on their buckets!

Given that Fordo is from Clone Wars 2003, and the other two, Rex and Blackout, are from the 2008~ The Clone Wars, that makes Fordo actually the first clone to appear in media with jaig eyes.

So, my in-narrative setup of him being the first clone to receive jaig eyes (from Jango), who then goes on to bestow them on other clones, is meant to reflect actual SW media too!

(And then of course, there's the fact that the jaig eyes only appear on Fordo's Phase II bucket, shown above, whereas his arguably more iconic Phase I bucket doesn't have them (and then I included world-building in Override to explain why that is, aka Early War doesn't allow as much clone self-customization). So, I had them tattooed on his face, so he has the jaig eyes on him irregardless of whether they're painted on his bucket lol)

❀ ❀ Send YukiPri an Ask! ❀ ❀

[hayaku14]

hello why is kaishin more popular than shinkai or what i mean is why bottom shinichi is like the most widely believed one? lol not really in the fandom just vaguely familiar with the anime from childhood it's just my mutuals likes this ship. i'd thought shinichi being the top would be more popular given his personality.

anon sorry for the late answer!!

imma be real honest with you, anon, i've loved the kidco dynamic since i was conan-sized but i only realized kaishin should be making out around 2021 so i don't know if i'm the best person to answer this question LOL BUT, i'll give you an answer!

tbh, i think for fandom shipping in general, the main character more often than not is the chosen bottom and whoever else is the other party is topping them. in japanese media especially, the ship names are mostly born from putting the kanji of their names together wherein the order of which indicates the seme and uke. since this happens early on, we kinda get stuck with that as the popular ship name whether you prefer the other way later on.

perhaps kaishin is more popular but not entirely by a lot compared to other ships where it's completely skewed to one side. i see a lot of shinkai too. ofc there are people who prefer one way over the other exclusively and that's completely fine!

personally, i think confining them into seme and uke or top and bottom does a great disservice to the kaishin dynamic because to me we should be looking at their sub-dom dynamic more and why they're actually peak switch sub and dom!!!!

that's fucking right kaishin is actually peak switch and i will die on this fucking hill!!!!!!!!!!

when you say shinichi would be the "obvious top," i'd like to assume in your heart you actually meant "the obvious dom" (LOL) but i think that could also apply to kaito.

i think the appeal of kaishin is the push and pull between them. the give and take. they're always trying to one-up each other. sometimes one pushes and the other gives way, sometimes it's the other way around.

i will be honest, perhaps switch pairings might just be my preference but I have never encountered a pairing that felt this completely equal in the switch department more than kaishin. like for other ships i'd sometimes be like, "yeah they switch but A is 70% more dom than B." But for kaishin I'm like, "oKAY THEY'RE 50/50 THEY'RE EQUALS THEY'RE PERFECT HALVES RAAAAAHHHH"

now how does this answer your question? well, i have no proof and im going off of vibes and like i said im no veteran in this ship fandom but, i think a lot of people do enjoy the other way around as you think it would've been. it's just that...it's something that can just be filed under the kaishin tag too. because it's basically the same sometimes. the only different thing is who's topping and bottoming. like sometimes i'm scrolling through twitter and i'd see art that's giving shinkai but it's tagged as kaishin and vice versa lol.

also personally i prefer calling them kaishin because i love the letter k and i associate the name shinkai more with makoto shinkai so every time i see people refer to kaishin as shinkai, my mind just conjures up an image of kaito, shinichi, and makoto shinkai together and i know that's fucking hilariously weird but it sometimes happens!!!! LMAO so even if i'm thinking about shinkai stuff, i still prefer using the name kaishin lol.

(but having the kaishin/shinkai distinction is definitely still useful especially for people who want to filter through one way or the other so fuck yeah to the ship name shinkai you're here to stay!!!)

anyway in conclusion, top shinichi is popular too dw lol, or maybe i should say bottom kaito is popular too lol i see yalls

also sorry that this answer is not only late but also a whole essay that doesn't even straightforwardly answer your question lol my bad anon

[lilbittymonster]

What important relationships changed or developed throughout Dawntrail?

:3c mostly snooping on their vacation but tbh there were other characters in Dawntrail who weren't Kitali and husbands so I GUESS if you want to talk about them hehehe

Well, the vacation has mostly just been the three of them (two once Estinien dips to head north) being Regular Guys. Most of their relationship mending happened during the 6.x patches when Estinien finally brought himself to return to Ishgard and to Borel manor specifically.

I think the most significant development there is Aymeric getting to see a new side of his wife that he only has so far heard about from her recounting. For the past several [UNITS OF TIME] he's been actually living the adventurer life with her and it's new and exciting and dangerous and refreshing for him. He hasn't seen this much sun in his entire life! This is great! He only got heat stroke twice!

As for non-husband NPCs, I think the biggest change would be between Kitali and Erenville. As the straight man of the group she would be gravitating towards him bc he tends to hang back and not get Involved(tm) in the proceedings as much as the twins and Krile are. She appreciates that he doesn't seem to be very impressed with her status as world hero and he is surprised at just how shrewd and pragmatic she can be when the situation calls for it. Congrats, Erenville, you have also fallen for the facade! The boat ride would have taken some time and I like to think they would have exchanged stories about adventuring and gleaning. They take you weird places and you get to see some cool stuff!

I was genuinely so excited when he offered (offered!! Initiated!!!) to travel with Kitali and Aymeric to Xak Tural. They were originally planning to go with Estinien, and the the kidnapping happened and so they decided to stay with the group as backup while Estinien went ahead. So they were glad to have a guide and someone who was. Well. An adultier adult sorry Krile to spend time with and to show them around.

Kitali was very concerned for him the entire Yyasulani/Heritage Found/Living Memory arc. She has her own baggage with family and mothers and neglect and the way that Iyaate spoke about his mother really did not do Cahciua any favours. Also the whole deadnaming thing absolutely did Not fly with her. She would have gotten in people's faces about it.

I'm still trying to sort out if she is a good person to try and offer him support in Living Memory. She has the fact that she won't offer platitudes like the rest of the group does going for her, but I don't think "hey your mom sounds like she kinda sucked, going off and leaving you like that" is exactly what Erenville needs to hear. On the other hand, Kitali also has "I lost a parent too early" to also offer so. Idk. She's very concerned for him especially when he goes off on his own for the third terminal shut down and then has his big blowout confrontation. He is in the soup. I hope she can be normal about all this.

In less tense developments, she is weaning the twins off of her support bit by bit by letting them handle the rites by themselves. Especially the Hanuhanu chain (which I am glad I did first) since that was where I felt the most redundant. Urqopacha left room to be a little more worldwise and lead by example. But Alisaie and Alphinaud have really come into their own since Endwalker so it's been nice letting them be confident in their own abilities as the story progresses and she is so so so so SOOO proud of them.

And you know what, even I was surprised at how chill Kitali was with G'raha being around. I wouldn't call their "relationship" important, they are Coworkers At Best, but they were actually really just mellow with each other the whole time. That entire canal town arc was probably meant to be for the shippers, and I can totally see how it could be construed as such, but I didn't feel any overt ~romance~ tones to it. It was two coworkers doing normal(?) Scion(?) business. So I think, while I am still holding out for a possible Y'shtola redemption arc, Kitali and G'raha have finally reached an understanding with each other.

Thanks so much for the ask @elizabethrobertajones this got very rambly.

22 Dawntrail Asks

[xmoonlitxdreamx]

How do you say worcesteershsire sauce

Idk why ur asking this but unfortunately i studied linguistics in college so im gonna send a pointlessly specific answer.

I speak general american english & i usually say it like one of these (rough IPA transcription in brackets; closest word approximation in parentheses, but this may only work to read if u also speak gen american english):

[wʊs.tr.ʃɑɪr] (wuss-ter-shire)

[wʊs.tr.ʃir] (wuss-ter-sheer)

sometimes [wɔr.tʃɛs.tr] (war-chess-ter), but I think I mainly said that as a kid? I don't think it's an uncommon pronunciation in america tho. idk i might b wrong.

I think [wɔr.tʃɛs.tr.ʃɑɪr] (war-chess-ter-shire) and [wɔr.tʃɛs.tr.ʃir] (war-chess-ter-sheer) are possible pronunciations ive heard here too

None of these are how it's pronounced in the UK, i think. iirc I think it's [wʊs.tə] (wuss-tuh). I dont know much abt british eng tho so idk.

Sauce is [sɑs] (the "a" sound in "father").

Tbh i dont eat worcestershire sauce (i dont like most condiments) so i dont really say this word often LMAO;;

[chrisbangs]

hello... (and bye ig 👋)

[marrissacooper]

daxton girlies... how do we feel??

[longagoitwastuesday]

So so indebted to u for posting those lovely illustrations from Cyrano <333 & even more so for yr tags!! I'm completely in love w yr analysis, please feel free to ramble as long as u wish! Browsing through yr Cyrano de Bergerac tag has given me glimpses of so many adaptations & translations I'd never heard of before! I'll be watching the Solès version next, which I have only discovered today through u ^_^ As for translations, have u read many/all of them? I've only encountered the Renauld & Burgess translations in the wild, & I was curious to hear yr translation thoughts that they might guide my decision on which one I buy first (not necessarily Renauld or Burgess ofc). Have a splendid day & sorry for the likespam! 💙

Sorry for the delay. Don't mind the likespam, I'm glad you enjoyed my tags about Cyrano, and that they could contribute a bit to a further appreciation of the play. I loved it a lot, I got obsessed with it for months. It's always nice to know other people deeply love too that which is loved haha I hope you enjoy the Solès version, it may well be my favourite one!

About translations, I'm touched you're asking me, but I don't really know whether mine is the best opinion to ask. I have read... four or five English translations iirc, the ones I could find online, and I do (and especially did, back when I was reading them) have a lot of opinions about them. However, nor English nor French are my first languages (they are third and fourth respectively, so not even close). I just read and compare translations because that's one of my favourite things to do.

The fact is that no translation is perfect, of course. I barely remember Renauld's, but I think it was quite literal; that's good for understanding the basics of the text, concepts and characters, but form is subject, and there's always something that escapes too literal translations. Thomas and Guillemard's if I recall correctly is similar to Hooker's in cadence. It had some beautiful fragments, some I preferred over Hooker's, but overall I think to recall I liked Hooker's more. If memory serves, Hooker's was the most traditionally poetic and beautiful in my opinion. Burgess' is a whole different thing, with its perks and drawbacks.

Something noticeable in the other translations is that they are too... "epic". They do well the poetic, sorrowful, grief stricken, crushed by regrets aspects of Cyrano and the play in general, but they fall quite short in the funny and even pathetic aspects, and that too is key in Cyrano, both character and play. Given the characteristics of both languages, following the cadence of the French too literally, with those long verses, makes an English version sound far too solemn at times when the French text isn't. Thus Burgess changes the very cadence of the text, adapting it more to the English language. This translation is the one that best sets the different moods in the play, and as I said before form is subject, and that too is key: after all, the poetic aspect of Cyrano is as much true as his angry facet and his goofy one. If Cyrano isn't funny he isn't Cyrano, just as he wouldn't be Cyrano without his devotion to Roxane or his insecurities; Cyrano is who he is precisely because he has all these facets, because one side covers the other, because one trait is born from another, because one facet is used as weapon to protect the others, like a game of mirrors and smoke. We see them at different points through the play, often converging. Burgess' enhances that. He plays with the language itself in form and musicality, with words and absences, with truths masking other truths, with things stated but untold, much like Cyrano does. And the stage directions, poetic and with literary value in their own right in a way that reminded me of Valle Inclán and Oscar Wilde, interact with the text at times in an almost metatextual dimension that enhances that bond Cyrano has with words, giving them a sort of liminal air and strengthening that constant in the play: that words both conceal and unveil Cyrano, that in words he hides and words give him away.

But not all is good, at all. Unlike Hooker, Burgess reads to me as not entirely understanding every facet of the characters, and as if he didn't even like the play all that much, as if he had a bit of a disdainful attitude towards it, and found it too mushy. Which I can understand, but then why do you translate it? In my opinion the Burgess' translation does well bending English to transmit the different moods the French text does, and does pretty well understanding the more solemn, cool, funny, angry, poetic aspects of Cyrano, but less so his devotion, vulnerability, insecurities and his pathetism. It doesn't seem to get Roxane at all, how similar she is to Cyrano, nor why she has so many admirers. It does a very poor job at understanding Christian and his value, and writes him off as stupid imo. While I enjoyed the language aspect of the Burgess translation, I remember being quite angry at certain points reading it because of what it did to the characters and some changes he introduces. I think he did something very questionable with Le Bret and Castel-Jaloux, and I remember being incensed because of Roxane at times (for instance, she doesn't go to Arras in his version, which is a key scene to show just how much fire Roxane has, and that establishes several parallels with Cyrano, in attitude and words, but even in act since she does a bit what Cyrano later does with the nuns in the last act), and being very angry at several choices about Christian too. While not explicitly stated, I think the McAvoy production and the musical both follow this translation, because they too introduce these changes, and they make Christian as a character, and to an extent the entire play, not make sense.

For instance, once such change is that Christian is afraid that Roxane will be cultured (McAvoy's version has that infamous "shit"/"fuck" that I detest), when in the original French it's literally the opposite. He is not afraid she will be cultured, he is afraid she won't, because he does love and appreciate and admires those aspects of her, as he appreciates and admires them in Cyrano. That's key! Just as Cyrano longs to have what Christian has, Christian wants the same! That words escape him doesn't mean he doesn't understand or appreciate them. The dynamics make no sense without this aspect, and Burgess (and the productions that directly or indirectly follow him) constantly erases this core trait of Christian.

Another key moment of Christian Burgess butchers is the scene in Arras in which Christian discovers the truth. Burgess writes their discussion masterfully in form, it's both funny and poignant, but it falls short in concept: when Cyrano tells him the whole discussion about who does Roxane love and what will happen, what they'll do, is academic because they're both going to die, Christian states that dying is his role now. This destroys entirely the thing with Christian wanting Roxane to have the right to know, and the freedom to choose, or to refuse them both. As much as Cyrano proclaims his love for truth and not mincing words even in the face of authority, Cyrano is constantly drunk on lies and mirages, masks and metaphors. It's Christian who wants it all to end, the one who wants real things, the one who wants to risk his own happiness for the chance of his friend's, as well as for the woman he loves to stop living in a lie. That is a very interesting aspect of Christian, and another aspect in which he is written as both paralleling and contrasting Cyrano. It's interesting from a moral perspective and how that works with the characters, but it's also interesting from a conceptual point of view, both in text and metatextually: what they hold most dear, what they most want, what most fulfills them, what they most fear, their different approaches to life, but also metatextually another instance of that tears/blood motif and its ramifications constant through the whole text. Erasing that climatic decision and making him just simply suicidal erases those aspects of Christian and his place in the Christian/Cyrano/Roxane dynamic, all for plain superficial angst, that perhaps hits more in the moment, but holds less meaning.

Being more literal, and more solemn, Hooker's translation (or any of the others, but Hooker's seems to love the characters and understand them) doesn't make these conceptual mistakes. Now, would I not recommend reading Burgess' translation? I can't also say that. I had a lot of fun reading it, despite the occasional anger and indignation haha Would I recommend buying it? I recommend you give an eye to it first, if you're tempted and can initially only buy one.

You can read Burgess' translation entirely in archive.com. You can also find online the complete translations of Renauld, Hooker and Thomas and Guillemard. I also found a fifth one, iirc, but I can't recall it right now (I could give a look). You could read them before choosing, or read your favourite scenes and fragments in the different translations, and choose the one in which you like them better. That's often what I do.

Edit: I've checked to make sure and Roxane does appear in Arras in the translation. It's in the introduction in which it is stated that she doesn't appear in the production for which the translation was made. The conceptualisation of Roxane I criticise and that in my opinion is constant through the text does stay, though.