#it's an interesting area to think about

[pynkhues]

You write such great Louis meta that I was curious about your opinion on something. I’m not sure if you’ve written something about this before or not so if you have please disregard!

The show is very clear with us since the first episode that Louis is capable of violence against those he loves most obviously including Paul and Lestat. But I also see a connecting thread with Louis conflating/connecting sex and violence as well. The scene at Antoinette’s is the most obvious but when I started thinking about it, it seems like this is a common thing for him. The murders in the park in Paris, where he’s seeing dreamstat. The 128 boys in SF. Maybe his relationship with Armand, even. Maybe with Jonah, where he was biting his own arm to keep from killing him (probably also because of hunger so I’m less sure about that one, or maybe that’s part of it too).

I started thinking about this reading analyses of the long face lyrics and people’s confusion about Lestat calling himself piano and Louis forte. And on the one hand I’m like *shrug* maybe it’s not that deep or it’s meant to irritate Louis- and on the other I’m like welllll Louis does kind of come at him aggressively sometimes, so maybe this is Lestat’s actual pov.

Thank you for your kind words, anon! And yeah, I definitely see what you mean and agree. I’m not sure if it’s necessarily the conflation of violence and sex themselves, but I do think an enormous part of Louis’ character is about the repression of self until that self explodes violently out of him. To me, it’s ultimately that that feeds into Louis’ complex relationship with power and control which is often reflected in exertions of physical autonomy, both over his own body and the bodies of other people (and not even just sexually – a huge part of his relationship with Claudia is in his platonic dominion over her body, from having Lestat make her for him in the first place, to trying to control what she eats, what she wears and, most significantly, her role within the family unit [her transition to sister is, after all, just a placation. Dreamstat proves that, just as the coven calling her a feminine denouement of his name ‘Baby Lulu’ is. She is always her father’s daughter]).

Louis’ repression vs Louis’ oppression

One of the most interesting changes that the show has made is in changing Louis’ race, and while there has plenty said about that, the shift from the book as a purely repressed character, to one who’s repression is fueled by racial and societal oppression has elevated not just the character, but the show. Louis’ limitations aren’t just the ones he internalizes anymore, they’re externalized – when we meet him, he hasn’t picked a role as he has in the book, it’s been a role forced upon him by the era, the city and the systemic structures in place around him. He has to play the tough pimp down in the Black brothels he himself runs to cement his social power there, but he also has to play subservient, placating, and second-class to white society to gain any social power there.

The result is Louis represses different parts of himself as a result of oppression twice over – he’s repressing the softer, loving parts of himself working the part of Storyville he has power in, while repressing the harder, more ruthless parts of himself working the part of Storyville he doesn’t, to say nothing of having to repress his queerness in a religious household and a homophobic society. I think this makes him a melting pot in more ways than one, because it makes his authentic self hard even for him to identify within himself. He spends so much of his time code switching and repressing different parts of himself, yes, to survive, but also to advance which I think is a less talked about part of his character.

Like, Louis’ not just a survivor of his situation, he’s an ambitious man who seeks to elevate his social position and gain social power. I do think that’s partially borne out of the implied fall from grace his father had, and being pushed into the role of family patriarch at a pretty young age, and his singular rage at being locked out of NOLA’s upper echelons in the 1910s through 40s, but I also think it’s just a vital part of his character. Louis’ a social climber first, and a capitalist second! It’s one of the things that I find most interesting about him, and I love that the show leant into it with Louis actually gaining social power through his relationship with Lestat, even if it doesn’t always look like it (i.e. him having to play Black employee to his white husband at the opera).

Louis leverages that social power (and Lestat’s whiteness) to allow first professional advancement through the acquisition of The Fair Play Saloon – both his biggest competitor and a symbol of the white society he was locked out of, and turning it into The Azaelia, but also I’d argue the perception of personal advancement through having Lestat make him a child, something he also believed that he was locked out of as a gay man. Claudia's not just self-affirmant to Louis, but a symbol of achievement over society in the same way The Azaelia was, and I don’t think it’s a coincidence that she was born out of the death of it.

Okay, but what’s that got to do with body autonomy, sex and violence?

Yes! Right! Get back on track, Sophie, haha. Look, both Louis’ survival and advancement are really determined by his ability to control himself and choose what to be and when. Like I said above, he has to repress different parts of himself to be able to work different parts of society, and I do think there’s a resentment of the fact that he has to do that at all. He can’t float through life authentically because he’s not granted the same privilege of straight, white men, and even when he has someone who passes for that on his arm, he’s still limited in how he’s able to wield Lestat’s social power out of the house in that particular era.

That – understandably! – stokes an enormous amount of feeling. Yes, rage is a big one, but I also think grief and hurt and sheer weight, and Louis as a character tends to repress all of that too. He struggles to self-manage his emotions because he’s never been allowed the space to, and even when Lestat tries to give him that space, Lestat has exactly 0% capacity to understand him. Louis and Lestat are very, very different characters from very, very different eras and countries, and I think fundamentally don’t understand each other, despite loving each other deeply, and in a lot of ways, that’s probably part of the appeal for them.

Louis though I think does view managing his emotions as intrinsically linked to controlling himself / his body, which comes to this point that Louis presents himself as a very cerebral character, but he’s not really. He might talk a lot, read a lot, enjoy art a lot, but Louis’ always been both practical and physical. How he handles himself, how he processes trauma, how he hides from himself and others, hell, how he enjoys himself isn’t necessarily something he thinks about, it’s something he does, and usually does with his or somebody else’s body.

He hides his sexuality using Miss Lily's body, he represses his vampirism with an animal diet, he combats feelings of powerlessness, boredom, malaise with exertions of power, pleasure, comfort over and with other people’s bodies, whether that’s making Lestat turn Claudia (an exertion of power not just over Claudia, but Lestat too), the scene at Antoinette’s (significantly being after an enormous loss of power with Lestat’s act of abuse), murdering Lestat at the Mardi Gras Ball (and saving him / grabbing Claudia too), depending on Claudia for his own happiness in Europe, grabbing Santiago’s tongue at the restaurant, his D/s relationship with Armand and using Armand’s body to perform power over the Coven, the murder of the coven and Alderman Fenwick to process trauma and oppression, the 128 boys in San Francisco with Armand waiting at home, the rocks in his ankles, the comfort of the embrace in the reunion with Lestat. Hell, even the interview becomes a physical act given the way he flies Daniel out and then weaponises his Parkinson's against him.

We spend so much time with Louis playing passive as he narrates the events of his life in Dubai that I think it can be easy to overlook how physical he actually is as a character, and the importance bodily autonomy plays in his connection to himself and his connection to others. The fact that that can and does manifest aggressively / violently sometimes (particularly after periods of feeling powerless, traumatised or overwhelmed) is absolutely a part of that, but even beyond that, I think he does have a real physical vocabulary that he often tries to depict as more cerebral because I think it makes him feel more in control of himself.  

So yeah, I think you're right in that Lestat thinking Louis' forte probably is pretty accurate to how Lestat sees him.

[turtleblogatlast]

[ cw: death mention / sibling death mention / isolation / ]

Thinking about how Leo’s portal and teleportation powers have both directly (and in one instance, indirectly) been the cause of him being separated from his brothers at least four times now.

There’s that time in Portal Jacked, where his inexperience leads to his portal being messed with and his brothers ending up in Tahiti.

There’s the Bad Timeline, where Leo’s portaling led to them losing the Key, therefore indirectly leading to the apocalypse and in turn, ending with Leo being the last of his brothers alive (though just for a few minutes.)

There’s him teleporting him and Krang into the Prison Dimension, cutting him off from his family so wholly that the only way to fix this was a literal mystic miracle.

Then there’s the comic, where Leo’s powers act up again and make him lose months of time completely isolated from everyone and everything he knows.

Just, looking at all of this, it’s like the universe gave him the powers of distance on purpose to test him (and his bros), literally seeing if they can overcome unimaginable space and still make it back together. Imagine if it doesn’t stop here, and Leo has to learn to either deal with the occasional complete isolation or deal with time travelers coming back to stop some terrible event his powers (whether directly or indirectly) have caused, events that always lead to separation in some way, shape, or form.

It’s worth noting, too, that his portals often led to accidental separation, but his teleportation was the one power of his that was used to isolate himself on purpose…and was also the one that in any other scenario would have been the most permanent.

[welcometogrouchland]

I understand that literature nerd Jason Todd is kind of overblown in fanon compared to it's actual presence in canon (a few issues during his pre (and post?)crisis Robin tenure that highlight it) BUT consider that I think it's hilarious if the unhinged gun toting criminal has strong opinions on poetry

[revvethasmythh]

So I went and watched all the possible endings, and it confirmed something I had been thinking, which is that the redemption ending choice is, perhaps, the most immediately regretful one--but that they all come with some form of regret. In the redemption ending, Rook has to knowingly deny themselves the catharsis of retribution (should they desire it, which, at least for me it felt difficult not to) in order to offer Solas one last, painful chance to do the right thing. That willful denial of your own catharsis feels like an immediate regret. Giving Solas the opportunity to pursue atonement might very well be the best choice all around, but it is also incredibly painful to offer that to someone who has done so many terrible things (not a small amount to you personally). Why does he deserve another chance? Especially when so many dead (including a beloved mentor) lie in his wake? Which, I suppose, is the point: he doesn't. But you offer it anyway and it SUCKS ASS, because how could it not?

I don't know how this plays with other story choices (a sacrificed Davrin or a Harding who embraced her anger, for example), but within the context of my own choices, I can imagine an immediate satisfaction to either tricking or fighting him--especially the trick ending, where you can actively name drop Varric--but it feels like the sort of thing that would feel worse as more time passes. Once you've calmed down and are able to ask yourself if that's what the people you've lost really wanted. Varric, in Regret Superhell, didn't want vengeance. He just wanted his friend to walk a better path. And Harding always believed there was another chance for anyone, so long as you kept reaching a hand out for them--even when it sucked ass. So the redemption ending feels like a sort of indignance, an instant regret for not doing worse, for not getting comeuppance, for being forced to eschew satisfaction (related: I wonder if the Inquisitor feels those things as well coming out of this ending, considering how long they've lived under the shadow of Solas' actions). Conversely, the other two endings feel like an immediate satisfaction, because you got to trick the trickster with all the wits Varric taught you, or because you finally got to punch him in the face and it felt really good. But I feel like those endings would come with a creeping regret, something that sneaks up on you later, especially when remembering the fallen and what they would have wanted you to do. Ultimately, because of that, it feels like no ending is devoid of regret. Which I suppose, is rather thematic.

[gummi-ships]

Kingdom Hearts 2 - Twilight Town - Mansion Basement

[hananono]

ive always felt that serizawa actually doesnt know a whole lot when it comes to spirits and curses. in claw, he mostly dealt with other psychics, and before that he was completely isolated. the supernatural has always been present in his life, but he has no real knowledge about it aside from educated guesses mid-exorcism and stuff he picked up from video games—he was actually surprised that psychic powers worked on ghosts at all, since in pokémon psychic types are weak to ghosts and not the other way around.

[advisortotheadvisor]

yes obviously the worst part of AYA is all the weird, heteronormative ooc shit but also. I honestly don't think Phineas "laws of physics are despotism" Flynn would willingly go to college

[good--merits-accumulated]

everyone shut up i'm experiencing the joys of institutional access for the first time

[variksel]

dungeons and daddies areas tour dublin live show highlights bcs i Can Not believe i forgot to post this before now:

-anthony going "hold on, i forgot something", going off stage, and bringing out his steam deck

-them doing the pledge of allegiance because "customs told them to" and eeeevery irish person in the crowd booing them

-a grenade got thrown on board of their boat and glenn IMMIDEATLY kicked it towards the nearest npc (he exploded. RIP evan dungeonsanddaddiesareastourdublin)

-anthonys dad fact: "i hate the english" got the most applause ive ever heard in my life

-NPC: "say sorry to me in irish. heres the google translate version of the phrase" ron: "this language is so easy guys!" "ahem. skibidi toilet"

-glenn did a rap break in the middle of the irish national anthem, he went "the socioeconomic factors behind the english fucking you guys over" and then did airhorn sounds. again the most applause i have heard since the anthony dad fact

-matt running a darryl vs. dolphin combat by himself for himself when anthony dissappeared behind the scenes again

-darryl accidentally killing a mermaid that was stuck in the motor of their boat and not telling the other dads. then later, when the mermaid army attacked them (by throwing a grenade on board, of course,) trying to fib that he isnt darryl wilson

-glenn, the boat owner/boat captain 🫡 (oh captain MY captain)

-anthony eating real life sushi off of real life william f. campos' dick

-will constantly going behind the scenes and coming out in different shirts, trying to convince different NPCs that he was a different person

personal ones because I Loved These ngl:

-anthony doing the sign of the cross when, during stuff signing, i told him i was cosplaying tony collette "in memoriam"

-i told freddie tony is my favourite character, then course corrected and said "oh well, WAS" and he said pretty much "oh yeah lmao"

-will fistbumping me after my partner gave him the fanart prints i made for the show (i was toooooooo fuckin nervous and they knew i prolly wouldnt have done it unless they had LMAO it was so cute of them)

-every cast member signing my partners trudy cosplays apron (an apron they had made for the show themselves!!! by hand!!! my partners so mf cool wtf u guys)

-anthony being. ngl so short that he had to do the biggest neck move in history to fit into most pictures and he did it even when he didnt have to lmao (he wouldve fit. just fine into ours without straining his neck but i dont think he saw our phone screen and he was used to it so 😭🫡 thank u king)

-literally everything from the show its been almost a week i cant believe it mfs we saw The Guys in real life!!

[kyriathanatos]

Been thinking about the idea that playing a game extends outside of the game itself recently.

When I get on forums dedicated to the game, explain its mechanics to others using videos or pictures, engage with discussion and community around the game, devising strategies or learning more in depth means by reading wikis and such, could it still be said that I am actively” playing” the game?

To go off of the wonderful folding ideas video about WoW, I am at the very minimum certainly generating patatext for it that affects myself and the play of the game, either through myself or others.

It’s just kinda interesting to think about. There are a lot of games I feel like I have spent hours in, hundreds or even thousands, only to find I had spent maybe only a hundred in total but consumed or created this paratext for.

A good example of this for me is Dark Souls. I know that game like the back of my hand and have played it to completion at least 8 times. Yet, I only have just at 100 hours in it. But it feels like I have more, as I’ve easily watched quadruple that amount of hours in Dark Souls content on YouTube, as well as even more in discussions about the game and the genre. So do I only have my stated 100 hours in dark souls, or do I have much, much more through this “play” without physical play

[uncanny-tranny]

I've been thinking about modesty from a specifically trans lense lately. I was taught that modesty indicates shame, that modesty means you're simultaneously ashamed of being human and having a human body, but also that you are "purer" because you adhere to a hegemonic idea of modesty. Frankly, I just don't agree with this, and it was very much steeped in the idea of specifically christian ideas of modesty.

Before I transitioned, I felt very unprotective of my body because it never felt like mine to begin with. I didn't really care what happened to it, and while I was modest by other people's standards, I certainly didn't feel it. Once I actually started transitioning (and especially on testosterone), I've found that I'm so much more "modest" because I've become protective of my body. There's this stereotype that trans people start "showing themselves off" after transitioning, but I honestly feel the opposite. I'm possessive over my body and exactly how it acts and appears because I actually like my body, and it finally feels like mine. I'm honestly kind of selfish about it, and I think I've earned the right to be.

I made this post because I think this is an interesting topic, and I think it's interesting the ways in which we internalize the influences that be. It's also a reminder that no matter how you feel about things like modesty, you should adhere to what makes the most sense to you and what you are most comfortable with. There are pressures to be modest in this way or that way, but what truly matters is what you decide with your body and yourself.

[corvid-language-library]

Today's listening practice included eavesdropping on office gossip 👀

[squuote]

With the idea of Stanley having a life outside or before the parable, the idea that he is a character within a game built in with past memories feels almost if not entirely terrifying in nature. To have a whole set of memories that really mean nothing because they aren’t real and they have no deeper context than being a past narrative to be used to tell this new looping one. That you will always remember people and past moments despite them never existing out of your own head. Stanley’s agency to escape and/or return to a past life despite there being nothing beyond an ending of an open landscape that leads nowhere. A way to make freedom as appetizing as possible so he’ll actually reach for it.

[triangle-strategy-notes]

Glenbrook's Crown City Concept Art

Some concept art for Glenbrook's crown city! Translation notes and id under the cut. Here's a link as well to some of the Whiteholm Castle translations I did a while back, since a lot of these pages sort of bleed together subject-wise.

Translation notes:

I couldn't tell exactly what the label on the fish/meat stall was saying. It was definitely "______ shop", but I couldn't make out the characters well enough to say what the first word was. I went with "fish" mostly because of the context of the image beside it.

"Router" appears to be literally the phonemes "Ru Ta", which the dictionary I use translates as "router." However, it could also be interpreted as something more like "Luther" or "Luta". I'm not really sure what the intention here was. Maybe "router" is being used as a synonym for "hub"? Or "Luther" was an early name for the city? I left it as router but there's probably a better translation.

ID:

[image id: Several pieces of art from the Triangle Strategy artbook, primarily of Glenbrook's crown city. The first image is of a distant overhead view of Whiteholm Castle, Whiteholm Bridge, and the main plaza area of the crown city. On the same page, there is an up-close look of the plaza during some sort of festival, with people in the streets. The English translation of the caption for both images reads, "This is a shot of each of Glenbrook's visitable sites. I wanted to include an ordinary medieval European cityscape in one of the three countries, so Glenbrook ended up playing that part. (Tatsuaki Urushibara)". On the next page, there are three images of a street in the city labeled "Normal" (with no decorations), "Ceremony" (with banners and performers), and "After being taken over by Country B" (with a gray sky and a visibly damaged bridge/boats). There are also many labeled objects, such as a statue of an unspecified goddess, a horse drawn cart, a cart of wine, Glenbrook's banner, and some food stalls. There is also a drawing of decorative plates hung on a wall that is shown to turn into swords after the invasion of Country B. The last page is a very distant overhead of the crown city and the castle, showing the flow of the river from the top left to the bottom right, with the castle situated on an island in the middle. There are labels for a floodgate to the top left, a "black market trader" on the northern shore of the river, a moat around the crown city, and fields that surround the city.]

[the-river-rix]

Everytime Booth (or someone close to him) mentions his dad or his childhood I go a little more insane

[gummi-ships]

Kingdom Hearts Birth by Sleep - Realm of Darkness