#like i think one of the more compelling themes was trying to find meaning in immortality or like the meaning of immortality and that was

[anastacialy]

y'know, i keep making a habit of swinging my bat at hornets nests, but i have to say i'm getting so, so tired of people complaining about shows not making perfect sense when they aren't even close to done. we're four episodes into this season of doctor who. we're four episodes into this season of bridgerton. and yet in both fandoms i keep seeing people whine that such and such didn't make sense or it wasn't explained all the way and by god you guys i think maybe explanations might come later in the season. this is something most viewers will recognize as being called a 'plot.'

[cockworkangels]

honestly i do have to say i actually was happy with the ending in a way that i wasn't expecting a satisfying ending bc every other supposed ending point of the series i didn't really find satisfying but an actual answer to the central theme of the series for real this time yippee and so on! like lestat actually being able to find meaning in his own immortality and fulfillment in his need for recognition in the community of vampires he was instrumental in creating and actually like yeah sure i'll take that

[hareofhrair]

I wanted to put this one the previous post but it was long and this is a tangent but- In regards to the hypothetical "If House was my doctor I'd just tell him everything. Rip to all his other patients but I'm different."

The whole point of the show is that you wouldn't. Like a major theme of the show is about how the various shames and stigmas and habitual dishonesties that plague our societies both metaphorically and literally kill us. "Everybody lies" isn't just a cynical catchphrase, it's the shows thesis. Because of how we operate as a society, everyone feels compelled to suppress and hide things and that inevitably leads to suffering.

And there are plenty of episodes where this is obvious, ie "I cheated on my partner and gave them an STD." But there's also much more of "This little girl went through early puberty and because of the way our society stigmatizes women's bodies her single father never discussed puberty with her and she was so afraid and ashamed of her new pubic hair that she tried to shave it without telling anyone and mutilated herself, leading everyone to think she'd been abused and throwing off the whole case until House figured out her hormones were going crazy because she'd been exposed to her father's low T medicine, which he hid because of how our society regards masculinity, which he started taking because he began dating a younger woman (because of shame stemming from our society's unrealistic expectations wrt sex in relationships) which he was hiding from his kids, because of shame regarding our societies toxic views on monogamy."

A particular episode stands out as a really good example. S06E15 "Private Lives," which aired in 2010 but was fairly prescient about where social media was heading. The patient was a blogger who documented literally every moment of every day for her followers. She made it very clear she left *nothing* out, from her and her boyfriend's sex life to, eventually, asking for feedback from her followers on whether to get her heart valve replaced with one from a pig or a "vegan" plastic one. She handed the whole blog over to House as soon as he took the case and the team poured through the whole thing. Surely this is proof you're wrong about everybody lying, the team says to House. She's give us her whole life and you still can't find out what's wrong! Spoiler, it turned out the crucial symptom that allowed House to put it all together? Was the one thing she *didn't* include in the blog- Her bowel movements. Shame and stigma around talking about *poop* nearly killed this woman. It was also a detail that should have been picked up immediately by a normal doctor, who would have asked about her bowel movements as part of the standard checklist of diagnostic questions. But this woman was so confident that she'd laid out every relevant detail of her life in her blog, she wouldn't answer those questions, obfuscating what she was actually ashamed of underneath a pile of curated, rationalized, narritivized junk she could pretend was proof of a lack of shame and not simply a skill at creative writing.

When I say "I'd just tell House everything" is ridiculous, I don't just mean "well, because of the way the show works, you HAVE to be hiding SOMETHING." I mean literally, you- because you are a human being- are ashamed of *something.* And because you are a human being, the more info you try to give House the more deeply you will bury whatever it is you're actually ashamed of. And, because of the way the show works, that *will* end up being the key to what's making you sick.

[vashti-lives]

The new Martha Wells book-- Witch King-- is fucking delightful if you like slightly complex fantasy that doesn't hold your hand. This is a book that never ever commits the sin of explaining stuff to a character that should already know about it for the sake of the audience. Exposition only happens in ways that are natural and logical, which sometimes means stuff just isn't explained.

It's not as obviously accessible as The Murderbot Dairies is-- it's plot is a little more opaque, there's more moving pieces, it's less directly comedic-- but man I like it and Kai is in someways a similar protagonist to Murderbot. Powerful but vulnerable and often just a little out of his element. Lonely in the face of a lot of people who are afraid of him.

Its very much a found family story. Like, literally. The book goes back and forth between the past and the present. The parts of the narrative that are set in the past are about Kai meeting the people who become his family, and the parts of the narrative set in the present are about him going to find members of that family that have gone missing. Family is a theme that's always there.

In spite of the swap in narratives there was never a moment where I was listening to one half of these stories wishing I could get back to the other one-- they were woven together very well and I found them equally compelling.

Anyway I am very certain there are people who saw there was a new Martha Wells book, then saw it wasn't Murderbot and decided to peace out. Some people probably won't but I think it's worth trying. Tor released enough excerpts that you can get a feel for what it's like and decide if you'll like it or not. The mystery is fascinating and, like Murderbot, it's casually queer in a really good way. Martha Wells clearly loves her a lesbian power couple.

[ironunderstands]

Dr. Ratios predictions, theories and ideas I have for his lore BECAUSE SO MUCH HAS HAPPENED AND I AM INSANE ABOUT HIM AAAAAAA

‼️INCLUDES DISCUSSION OF LEAKS SO BE WARNED‼️

So, I’m sure if you like Dr. Ratio even a little bit or have kept up with what leakers are doing, you have heard of a little something.

That little something being our new planet in coming in 3.0 is Ancient Greece inspired 

Oh boy.

And oh it gets better, thanks Sparkle for playing genderbend Ratio during Cosmoddesy because 

Yup, this is his planet.

I’m well aware it will be like 7 months before we start getting proper leaks about this place, but for now, let’s do some speculation shall we, because if there’s anywhere we are gonna get his backstory/lore/a story centered around him, it will be here.

So let’s begin 

Whatever the hell I think is gonna happen during 3.0

A) He will serve as a guide for the Astral Express in navigating this planet 

I don’t think he will immediately go to them to help, or they will immediately seek out him, but rather coincidentally or through the connivence of circumstance he will end up helping lead us around, at least partially until we really get roped into a conflict.

Or, it’s the other way around, where we kinda are left to our own devices a bit and then something happens and either by his own decision or something that’s forced upon him, Dr. Ratio now has to supervise from now on.

Personally I find the second option way more interesting and I think it has way more potential for angst so I’m going with that one let Ratio be dragged around by a malicious entity or his own experiences I’m so here for it. 

B) Something happens.

Wow, descriptive. 

Ok, what I really mean is that something bad happens like a prophecy comes true or the express breaks something or a stellaron comes to eat people’s grandmas and Ratio is implicated in it. 

And this is where the fun begins, as the nature of what this something is can completely shift the story in very interesting ways.

Perhaps he was prophesied to doom Amphoreous’s civilization with his presence or something, and was abandoned by his parents on another planet?

Perhaps he has connections to the leaders there who desired for him to be their puppet/tool, so he left to find his own path and now they are trying to force him back.

Perhaps he failed at a test of theirs when he was younger, some universal trait on the planet that he couldn’t live up to and was exiled because of it. Now that he’s back, they blame whatever bad thing happens on Ratio. 

I actually really like these particular theories as Ratio has a lot of themes about creating your own destiny, so seeing him resist one forced upon him would be compelling. Moreover, I feel as though an arc demonstrating how exactly he wanted to become a Genius/where he got all his insecurities and motivations from is not only necessary for his character but would flesh out the way we see the path of Erudition in general, even if I already really like the way they have gone with it so far. 

C) Resolution/Self acceptance 

I doubt they will permanently kill him, it just doesn’t suit his character at all.

However, do I think is he gonna get messed up by whatever that “something” is? Yes. 

If the story centers on this remains to be seen, honestly, I doubt it will considering we have the entire cast of the planet and its own lore to meet and learn about, but I do think Ratio will be a major player and I hope how he feels gets some of the plot’s focus as we have quite literally only have 1 full scene of him where we see who he truly is, and it’s all the way back in 1.6 (Ratio-Screwllum conversation my Roman Empire). 

Like guys I needed this man bleeding out screaming dying crying throwing up clutching his wounds looking up at the screen like a kicked puppy losing all hope in himself and others YESTERDAY 

I NEED SOMETHING BAD TO HAPPEN TO HIM FOR CHARACTER DEVELOPMENT AND BECAUSE RATIO IS SO HIGH STRUNG THAT ANY AMOUNT OF PRESSURE WILL CAUSE HIM TO SNAP SO PLEASE HOYO LET HIM BREAK!!!

He needs another scene where he’s being sincere, he needs a scene where he’s being vulnerable, Ratio’s marble facade needs to crumble to reveal the man underneath and I need that man to pick himself back up again knowing he can allow himself to be human as well AAAAAAAAAA

His connections to Acheron 

If you have seen my other posts I have already talked about this at length, however the brainrot for this particular detail is all consuming so let me just demonstrate:

Dr. Ratio has the same philosophy as Acheron, an emanator of Nihility.

Look.

Essentially, they both believe that only in desperate situations will humans reach their full potential and begin to truly live for themselves. Moreover, they also both try and offer the tools to help people save themselves, Ratio with knowledge and Acheron with destroying the dreamscape, and that even if people can only become their true selves through struggle, it is the guidance and love of other people that will allow them to pick themselves up. 

Interestingly, pre-2.2 I also believed Ratio was walking the path of Nihility, due to how he engages with knowledge. That very viewpoint spawned from the 1.6 conversation I just showed you, as Ratio demonstrates to the audience that he does not care about knowledge in of itself, but rather the value it can bring to people.

Now, this sets him apart from the Genius Society members, who believe knowledge is inherently valuable and that it is what brings the universe meaning to them. Every person Nous has acknowledged has expressed this belief, which is why they were acknowledged and Ratio isn’t.

Before you say it, no, it’s not that he isn’t smart enough, quite the opposite actually.

Screwllum himself acknowledges his genius and time and time again are Ratios myriad of accomplishments brought up. In universe plenty of people believe he should have been instated into the society by now as well:

These are just the ones that implicate the society directly, as so many of Ratio’s character stories also mention just how accomplished he is.

Moreover, in 2.3 we are getting a new Sim Uni update made by Ratio himself, centered on humanity because of course it is, therefore he’s even smart enough to do the same things the GS members do, even collaborating with Screwllum to work on their favorite pet project.

So, what does this have to do with his lack of acknowledgment, and the path of Nihility?

I have established Ratio is smart enough and that he doesn’t view knowledge in the same way the other member’s do. Therefore, this difference in mindset is why Nous has never acknowledged him, because as much as Ratio thinks he is walking the path of Erudition, his personal philosophy and behaviors have never aligned with that, even if he thinks they do.

I mean, the man says it himself, even if he doesn’t realize the implications of it:

“The Path of Erudition has neither reason nor logic. While geniuses wander among the stars, the ordinary can’t even trace their footsteps.”

That is the path the Genius Society members walk, the path Ratio is criticizing in this sentence, the path he refuses to travel along himself, because what defines Ratio is that he will never leave the ordinary behind to stumble alone.

That is the path of Erudition.

And Veritas Ratio does not follow it. 

So what does he believe in?

Finding your own path. Forging your own future, in the face of a meaningless universe, that is the only thing we should do, the only thing we CAN do. 

“even a life marked by failure is a life worth living”

That’s what Ratio believes.

It doesn’t matter if the masses cannot escape their mediocrity, if they will never be geniuses, if their efforts will go unacknowledged, because the universe doesn’t care, therefore they shouldn’t either. There is no grand test, no final destination, no perfect goal people must attain.

Destiny is uncertain, and people’s fates are theirs to choose. 

Dr. Ratio believes people can still improve themselves, and that it doesn’t matter if people cannot reach the ceiling of knowledge, as they should still push themselves off the floor and stand up. 

He doesn’t think anything confines people from bettering themselves, and that it’s pointless to deliberate over whether one can achieve perfection or not, they should strive to improve themselves regardless and live their best lives because why not? Sure there’s nothing saying they can, but there’s also nothing saying they can’t, and in the face of a meaningless universe, devoid of purpose, one must create their own, and he dedicates his life to aiding others in realizing this.

Ironically, Ratio does not take his own advice. He can recognize the merits of the masses, but he cannot appreciate his own. Ratio is forever walking forward, but he cannot see the path ahead of him, or appreciate the lengths he has gone, the distance he has traveled, and the lives he has improved. 

Ratio spreads knowledge across the universe, believing that is what Nous desires, what the Erudition means, or rather should be, which is partly why he views himself as mundane, as a failure. 

Not just because he is as ordinary as any other person, but because Ratio thinks he hasn’t succeeded in his goal without Nous’s acknowledgement. I think he believes that he hasn’t done enough, that he isn’t smart enough, that he will never be good enough, therefore no matter what has happened, Ratio is doomed do be as mundane as everyone else, and his accomplishments will never be worth the gaze of the entity who inspired him to help others in the first place, as that’s what Ratio believes they would want.

However, helping others is not something Nous cares about, it’s something Dr. Ratio cares about. Even if he doesn’t understand or acknowledge it, Ratio’s accomplishments are meaningful, and he has walked his path further than most ever have. 

However, that path just isn’t the path of Erudition, it’s the path of Existence. 

Initially I believed it to be the Nihility, and in a way I’m not wrong, considering one must cross underneath the shadow of the Nihility to find the Existence, so in a way he is still approaching them.

However, as always, Acheron clarifies everything.

The Nihility envelops all, therefore it is meaningless. And before our final ending, our predetermined destiny (death), we have so many choices to make, therefore we should make them, as it makes both our life and death develop a completely different meaning.

As I have stated, this is what Ratio believes in, even if he attributes it to the Erudition, rather than the Nihility.

Ratio’s entire goal in life is to help others bring meaning to their lives and guide them in the right direction so they can begin to choose for themselves, using knowledge as his means to do so.

Which is exactly what Acheron does, “on the still waters of oblivion, I guide the wandering souls,” isn’t just a line she says because it sounds cool, rather, that is her goal as well. An emanator of Nihility, whose goal is to help others find their meaning in the universe. 

But Acheron doesn’t just want that. She is looking for the Existence, and to kill the Nihility (meaningless) forever.

Which is significant, because if Ratio believes the same exact thing she does, and is walking the same path as she is, then like Acheron, he is heading towards the Existence, not the Erudition.

And Nous will never acknowledge him, not because he isn’t smart enough, but because he never followed them to begin with.

In fact, we know what Ratio is, or rather, what he might end up becoming.

So far no Doctors of Chaos have succeeded in their goals, but perhaps Dr. Ratio, Dr VERITAS Ratio, will be the one to do so. After all, who else could it be but him?

How fitting that the man named after truth would be the one to find it.

That fuckass owl 

Glaux I want to throw you into a blender 

This is Professor Glaux, one of the figures from the Hanunue-Clockie Era of Penacony who did some things like bring the stellaron there, was a scholar of the Intellgenica Guild, became the first dreamweaver, inspired the paper birds, did some shit with the Nightingale Family and presumably died.

I know, horrible explanation, especially considering I haven’t even done the quest this guy is from, but hopefully that’s all the information you need for now so I can introduce you to this theory (which I did not create, sadly I don’t remember who did but it was someone on twitter somewhere so shoutout to them)

That being… Dr. Ratio is Glaux

I hate it I’m sorry. But I will attempt to explain where it’s coming from.

A) Glaux has very similar references to Ratio, aka they are both associated with Greek culture, wisdom and owls 

Glaux is the Greek word for owl and they are heavily associated with Athena, the god of wisdom.

Now Ratio has extremely obvious owl, Greek and wisdom association if you have looked at him for any longer than 2 seconds so I’m not gonna bother to demonstrate it, they have similar references, moving on.

B) The Intelligencia Guild + their titles 

They are from the same faction, and both are referred to as Professors (ratio gets called that more in the CN version I think), and at least Ratio dedicates his time to spreading knowledge, which I think is something Glaux shared.  

C) This occurrence in Gold and Gears

You know, the one where a student kills themself because Ratio thinks they are an idiot.

Well, it’s complicated because apparently the story told in Gold in Gears takes place a long time ago?? 

How long I don’t know as my brain melted in my skull when trying to piece it together, so please do correct me if I’m wrong, I’ll try to make sense of it later.

Moreover, this is also complicated by the fact that this particular occurrence was used by Herta to teach the trailblazer some mechanics of the sim uni, which makes me thing it’s not a part of the lore/timeline in it in general, and just something funny she added in anyways. Continually, there are also occurrences from characters like Argenti and of the Genius Society members themselves, so I don’t think every event is set in the distant past.

However, I think this idea comes from the other person in that occurrence, Dr. No5, but he also kills himself in it, and I can’t find anymore information on it, so I doubt it. (also apparently in the Chinese version the Ratio they refer to isn’t in the way they refer to Dr. Ratio/the one we know so idk)

Either way, what this means is that if this occurrence did take place a while ago, then Ratio must be super fucking old and he must have been part of the Intellegencia Guild during that time, like a certain owl aka Glaux, who was part of it.

D) Ratio’s weird origins

By weird origins I mean we know jack shit about his past (although we finally know the planet he’s from!) and for all we know the man could have spawned in one day, with some other theories even coming to that conclusion, like the infamous worm theory.

Essentially, if you put this all together, Ratio was once an owl-humanoid named Glaux who was from the Amphoreous, and then became part of the Intelligencia Guild a while back, which is when that occurrence happened. He then went to Penacony, did some stuff, faked his death and like came back as Dr. Ratio on that planet again, which is why we don’t know anything about his origins.

Can you tell why I hate this theory as a concept.

I find it to be dumb, nonsensical, a waste of potential and just straight up random as hell. However it is also objectively valid and could have happened within the plot of the game which is why I hate it so much because please hoyoverse do not go in this direction I will skin you.

However, I do not think Ratio has nothing to do with Glaux.

Rather,

A) The stuff Glaux did on Penacony is meant to parallel how Ratio acted there, as both served as a guiding figure for people on their respective timelines 

B) Ratio is the same species as Glaux/ they are from the same planet (Amphoreous).

Now this I fuck with heavily. Yes, Glaux is way more owl looking than Ratio is, however more human versions of his species could exist, and Ratio could just have the ability to like shift forms or something.

He also looks extremely similar to the owls on Ratios design, which I now deem it appropriate to show to you the metric fuck ton of owls in Ratios design.

(there’s a few more btw I just couldn’t fit them due to the image limit LMAOO)

Why do you have so many, and why is it the same fucking owl, same culture, same goddess referenced, same symbolism???? 

Like even if I hate the 1 : 1 Glaux-Ratio theory, they are clearly connected, and this is no accident on behalf of the developers. 

Therefore, I would keep an eye out for Glaux mentions in the future, especially on the planet coming in 3.0, as I 100% believe that they are from the same planet. There’s no way they can’t be connected in some manner, and if I am right about this I will be annoying about it for the rest of time. 

I can’t believe owl Ratio might actually be a reality. 

So uh, let’s put this all together.

We go to Ratio’s planet in 3.0, problems happen and we learn both his past and his connections to that owl species Glaux is from which likely causes even more problems. Bbg probably gets his ass handed to him in 3.0 and 3.1 and gets to make up for it in 3.2, ending the arc off more fulfilled as a person, and perhaps making some realizations about himself including that he isn’t actually following the path of Erudition. Then we skip all the way to endgame when the trailblazers are fighting Nanook and him and Acheron come in with the steel chair hopped up on Existence juice to give the trailblazer enough of a will to live as to not succumb to the Nihility because oh my god how can you defeat the embodiment of Destruction. We somehow win and Dr. Ratio gets married to Aventurine and they ride off into the sunset roll credits we all cheered. 

So, yeah.

If I’m even a little bit right about this I will be the most insufferable person on this planet. Anyways I hope you enjoyed reading this, and even if these theories don’t end up being true I do still think the speculation gives a lot of insight into his character.

[bonefall]

do you have any tips for writing a low empathy character who isn't evil? Or how to make an interesting apathetic character who's a thoughtless sort of evil? These are two different chatacters btw-

I tried looking up examples and stuff but uh. It's been a bit fruitless.

Honestly it's not too hard! Having low empathy just means we're bad at automatically "connecting" to the feelings of other people. You can come to understand it's not even a character flaw once you uncouple the idea that Empathy = Kindness. And apathy, well, that one's a bit more complicated imo.

Low Empathy

In English, it's just unfortunately super common to conflate Empathy and Compassion. To have compassion is to be aware of the suffering of another person, and ergo, want to help stop it. To be empathetic is to identify with and understand the feelings of another person. These are different things.

For an example in action; imagine a medic with a patient whose shoulder is dislocated, and xey'll need to pop that arm back in place in order for the patient to feel better.

A medic feeling EMPATHY for that patient is having an emotional response to what xey're seeing. Xey might have a tingly "ghost pain" thinking about the injury, and xey might feel guilty xey're going to put them in more agony, but also joy because this patient is going to feel much better in just a moment.

A medic feeling COMPASSION for that patient is thinking about how the shoulder must be causing a lot of pain, and knows xey have the skill to fix it. Xey know from xeir own experience that pain sucks and so it is a bad thing that needs to go away. It will hurt a little more for a moment, but then there will be immediate relief.

This is imo, why a lot of low empathy people are "bad at" comforting people without going to Autism College where they give you the scripts of Shit Neurotypicals Say. We're not trying to be selfish when we end up making "comfort sessions" about ourselves-- that's what we think empathy is, because we don't have a lot of it to really know what you want.

Like, doesn't it make sense to you? "I don't know what you're feeling. Here's a similar situation I've been though. I must know what you're feeling-- does that make you feel better? That you aren't alone? I think that's what empathy is, am I right?"

A LOT of low empathy people go into medical fields, the funeral industry, and disaster relief. We often really do want to help people so seek these fields out, or when we get there, just end up not getting burnt out like our high-empathy peers!

Apathy

As for the apathetic character, honestly, I'd suggest thinking about your story's themes. Villains are very special to me and I always try to handle them with care. What are you trying to say is bad to not care about in your work? How does their apathy play into the story you're trying to tell?

A Captain Planet villain is completely selfish, and exists only to benefit itself by exploiting nature in some way. Then the Planeteers show up and punch it in the face. Boiled down to its barest, most simple essentials; "We have conflicting goals and so I will stop you."

Personally I find total apathy to be something not especially compelling in villains, for that reason. Like, if you really don't care about anything, why bother with the trouble of going against the protag? Motivation is meant to be MOTIVATING.

(also ngl I'm on the Shadow As A Hero sort of bandwagon where I find it much funnier for the simple apathetic cool edgy guy to be the funniest person on your tennis team)

Dungeon Meshi has TWO characters who struggle with apathy, and are both antagonists at some points in the story, but never villains. Shuro and Mithrun. The theme of Dungeon Meshi is the beauty and complexity of life, the value of living, and how our connections to others changes the people we are. Food is a metaphor for bonding, self-care, and understanding.

For Shuro, he begins the story as someone who's both been encouraged to bottle up his emotions for the sake of other people, as well as to not actually consider the emotions of those lower-born than him. He's from a very different place than the other members of his party, and this causes friction as class, culture, and sophisticated, refined, weapons-grade autism clashes.

When the woman he loves is eaten by a dragon, he doesn't stop to tell her brother and """childhood friend""" what he's planning, as if they both wouldn't run in and get hurt. He owns demi-humans. He doesn't consider his own needs or the needs of his rescue team of loyal vassals. As a result, he's too weak to continue, losing a fistfight with one of the main characters, Laios.

After this, he connects with him for the very first time, and reaches out to him by giving him an important magic item. There's even a MASSIVE moment where he outright tells Laios that his ability to be so open (read: not have to mask his autism) is something he envies, breaking through that veil of apathy he wears.

The story Dungeon Meshi is telling here is that it is important to value the needs of yourself and of others. Shuro's apathy towards his own needs in a bid to prove his love weakened him. In acting like he was above his old teammates, he never spoke to them like people to smooth out his issues. He's never even noticed how much his vassals love and care for him.

(and the incredible irony is not lost on me, that Shuro's name is because Laios mispronounced it and was never corrected... while Shuro never noticed that Izutsumi had the unwanted name "Asebi" forced onto her when she was "taken in" and made his slave.)

See how that comes back to the theme? Shuro doesn't exist to just "be some asshole" or act like a villain. He has a full character arc that contributes to the narrative.

For Mithrun? I won't even spoil it. Go read Dungeon Meshi. Watch elf depression. We love a king with strabismus.

Anyway,

If you ever need good personal resources on any stigmatized mental condition, I've found it's usually productive to go into the #Actually (Thing) tag here on Tumblr. You can find people posting about basically anything. I found a lot of really good resources on NPD that way.

[idanit]

ok now i need to know about your niche country-specific jeeves AU

"Every valet takes great pride / in cooking what his husband likes" an edit of a makatka by @maidblues

(You've probably forgotten about sending this ask. I almost forgot I had a reply sitting in my drafts.)

This is incredibly niche and very hard to do for numerous reasons, but I've been thinking about a Polish Jeeves AU for a good while now. I'm not the best person to come up with the best way to cut almost all politics out from a story set in the 1920s in a country that has just become sovereign and is about to go through some further enormous transformations, so I'm not going to try very hard. Wodehouse's stories already take place in an idyllic sort of fantasy on the theme of interwar and postwar Britain, so I suppose a Polish AU would have to just lean into that even harder.

(Polish aristocracts lost their legal protections in 1921, but let's not think about it too much. Don't think about how you could possibly make "Comrade Bingo" work in a post-1920 Poland either. Etc., etc.)

So we've established that this would have to be some sort of barely recognisable fairytale Poland. But something in me is compelled by the idea of trying this out anyway because there are not a lot of wodehousian stories in Polish literature of the time. Not a lot of comedy without other genres mixed in in general. And one does wonder what it would look like.

Names are tricky. I want Bertram to be Bartłomiej or Bartosz (Bartek in the diminutive). @maidblues likes to give him the surname of Kogucik (rooster) and I toyed with the idea of giving him the Kur (another word for rooster) crest.

As for Jeeves's name, his case is more complicated because as far as I know servants in Poland were usually called by their masters by their first name, and the most common servant (as well as Polish in general) name would probably be Jan. So I'm tempted to make Reginald Jeeves a Jan Regulski or a Jan Reguła (reguła means "a rule").

This choice has the advantage of turning the "Jeeves?" / "Yes, sir?" exchange into "Janie?" / "Tak, jaśnie panie?". It rhymes. I find this amusing.

Servants at the time were overwhelmingly female, especially those who worked alone and for a single person/household, but we're going to ignore that.

Bertie is an aristocrat living in Warsaw, since it's the capital city, but his family is from some Mazovian dworek (manor house).

Aristocracy was not quite as much of an exclusive club as it was in Britain (some historians say it made up 10% of Polish society). Bertie probably says his ancestors fought at Grunwald, but he would likely bring up the Romanticism and the XVII century a lot as well, because they were as alive in the Polish public consciousness of the time as Middle Ages were in the mind of a certain kind of Englishman. Bertie could lean into something commonly called "the pride of the Sarmatians" (duma sarmacka).

Bertie's school is important. Everything depends on this, I think — Bertie's language, his friends, his club. Wealthy aristocrats did send their children abroad sometimes, so he could even have a typical British public school education even if he'd be unlikely to attend Eton and Oxford, specifically, but this feels like a cop-out, so I'm going to assume he was a student at some Polish university and not think about it too much lest I get caught up in the timelines of what university in what partition of Poland it would make sense for him to attend.

Bertie's way of speaking. My heart wants to make Bertie use some elements from the Warsaw subdialect because it's very fun and it would fit him, but regrettably, I think it's too working-class for him. I am fascinated by the idea of Bertie borrowing words from German and Russian in addition to French, though. He'd probably make use of some form of gwara uczniowska (student slang), too.

And Jeeves could know the Warsaw subdialect well, even if he would probably not use it while speaking to the members of the aristocracy (I'm pretty sure an early version of canon Jeeves spoke with a subtle Cockney accent, calling Bertie "guv’nor"). I wanted to make him a Warsaw local, perhaps with some family in the countryside, perhaps in the former Prussian partition, since I think the level of literacy was higher there and I need a way for Jeeves to have a chance of getting some education.

The Drones. There were no gentlemen's clubs, so I think the Drones would have to be a coffeehouse, a restaurant, or a szynk / pub called "Truteń"/"U Trutnia"/"Pod Trutniem". It's a significant change because they were not exclusive places, but it's the best I can think of. Coffeehouses in particular had a rich tradition as cultural places where people spent hours and hours on discussions. I think a Polish equivalent of a Drones Club could even serve as a tongue-in-cheek satire on artistic groups like Skamandryci. The Polish Drones would just have to take their gambling elsewhere. (@maidblues came up with another name for a Drones-like place that served food: Darmozjad. I love the pun — the word means someone useless, lit. someone who eats for free.)

As for the Junior Ganymede (Ganimedes), I think it would be a stowarzyszenie (club/society) without its own venue. Its members would probably meet at regular conventions. Here, I see an opportunity of some comedic nods to the tradition of "zjazdy", which in the centuries past were politically significant meetings of the aristocracy.

Bertie sings Mieczysław Fogg's songs.

Jeeves knows quotes from Mickiewicz and Słowacki (Polish Romantic poets) by heart.

Bertie is bi/multillingual enough to run off to Paris instead of New York City every now and then. Not quite putting an ocean between you and your aunt, but far enough for Ciotka Agata not to follow him.

I'm unlikely to ever finish writing anything for Jeeves in Polish, so, to finish things off, have this contextless excerpt from some draft of mine:

Mam na myśli tyle tylko, że podczas półtygodniowego pobytu, w którym jaśnie panowi udało się wpaść do sadzawki, zaręczyć, zostać pogryzionym, rozsierdzić Spodkowskiego i obrazić trzy stateczne matrony, choć nie dokładnie w tej kolejności, Jan ocalił mój ulubiony garnitur (bez krawata), zgrabnie mnie odręczył, opatrzył i odwiózł do Warszawy, a skroni jego nie zrosiła nawet mgiełka potu. Wspaniały człowiek. Obsypałem go, rzecz jasna, pewną ilością marek, ale wydawało mi się to zgoła niewystarczające. Dusza moja śpiewała, wolna jak ptak bez obrączki, a mój wybawca miał z tego tylko trochę świstków papieru, które i tak natychmiast wyśle rodzinie spoza stolicy — znałem go doskonale.

[kelocitta]

In honor of the @rw-ship-showdown I wanted to write about Artihunter as someone who jokingly slapped them together pre-downpour and still thinks they are actually very compelling. Just not in the super soft love wins kinda way (Although I get why people like that more) And the only way I know how to do that is talking too much so heres a far too long slug essay-

Obviously the slugcats don't offer a ton of characterization but theres not nothing to work with. Their stories, whether by their roles in it or the overarching themes do provide a backbone to work with. Even gameplay itself can provide a bit. (for some more than others) Hunter, to me, is ultimately a story about selflessness. The goal is to revive Moon, which is very much an act of kindness from both Hunter and NSH. But the weight of that action is much more significant for Hunter- Hunter is deeply sick. They're on the clock, and for all their skill in combat none of that will ultimately help them to survive longer than their body can hold out. Moon is a close friend of NSH but that means little Hunter- Hunter really gets next to nothing out of helping them, and ultimately pays quiet a bit spending their limited time alive fighting to deliver that neuron so that someone else can live.

To spend ones limited days on helping another, in a game that very much stresses the unwavering cruelty of the world and nature- is pretty notable. (And you could even say that Hunter being the Hardmode of Rain World adds another layer to this)

And then we have Artificer. A storyline that very much stands out to people as more… villainous (so to speak) than the other slugcats. Artificer's story covers a lot of things. Trauma, violence, revenge, etc. Revenge is a bit of a selfish desire- That need to see someone hurt as they have hurt you. A punishment that ultimately does not fix whatever harm was done- but feels good to see because you were hurt and now those responsible share that pain.

Artificer's actions are founded in that need for revenge, their pups killed for overstepping boundaries they didn't know existed. Is it not fair for them to be angry at that, to punish the scavengers for their violence with their own? Why should the scavengers ever be forgiven when they and their pups were not? And that's how you get that loop- Harm for harm over and over.

The original action has been lost in a spiral of violence for violence. And here stands Artificer- their very spirit scarred. Not just because they sought revenge, but because they never ceased trying to scratch that itch for violence as an answer. Artificer only has two paths for their story- killing the scavenger king (Someone who, really, has little to do with the original 'crime' of the scavengers, but represents an important individual to them- as did the slugpups to Artificer), locking themselves as karma one for good and spending the rest of their life chasing creatures that no longer even fight back in a warped sense of closure- or to dissolve themselves in the acids of the void sea because they're too far gone to find any real peace.

They can't meaningfully recover from that state, not alone, twisting in on themselves. Even if they halt their actions, they've been using violence as a feeble defense against their own pain- violence that no longer has any real direction or basis. Artificer gets no real closure from killing the scavenger king. All they can do is continue the cycle, or try to scrub it away. No real peace in a prison of their own making. So you have a creature, who even with a strict timer on their life- a body that will crumble to disease, spends its last bit of time on saving another. And another who was so caught up in the pain of loss that were eaten alive by their own anger, poisoned their own soul on such a deep level even self-proclaimed gods have no solution for them. What peace can they offer each other? For Hunter, its only a fleeting moment of happiness- of selfish love, before their own body fails them. A bit of indulgence in something for themself. For Artificer, its a single, comforting thread to ground them again, something tangible to protect and care about again. But thats a thread that will ultimately be snapped under the cruel indifference of the world. Hunters timer will tick down regardless of if it takes another with it. Its a tragedy- its doomed to end badly. Whatever good it offers to either of them to find each other will only provide the fleeting comfort of a band-aid that will be ripped away too early. But all that can be worth indulging in anyway, if only for the moment. It doesn't change the ending, but the ending was never going to be happy. Its can so yuri

[briefhottubcoffee]

Hey so I love spyxfamily, yet I have some issues with the pacing lately. I miss The Forgers like crazy and I am desperate for more Yor content. I suppose that’s what I’m most worried about, she’s not getting fleshed out enough and being used to her full potential. She’s such an amazing character!

That said, I do have complete faith in Endos storytelling capabilities. He’s created a truly amazing story with compelling characters (side characters included) awesome world building, and both light and dark themes. I think, in pointing out the slow pacing and lack of the Forgers recently, we’ve forgotten all the awesome directions the story can take with all the different plot points Endo has set up at this juncture of the story.

I feel like, based on the narrative, the story is about to reach a big climax, a change in the status quo for the Forgers. Exciting things have happened, but nothing has truly changed the status quo, or the relationship dynamics between the main characters. Since we have reached 100 chapters, and the way the narrative is propelling upward, I think we are due for a big shift. Not the biggest, but a change for sure. Just remember all that’s been set up! Here are a few things I’m fairly confident is gonna happen soon to the Forger’s in the story:

Manga spoilers obviously!

- Twilight is going to continue to try to distance himself from the family, because of the Wheeler stuff, but he will be challenged on that and face a work vs family thing. This is a big theme of the series obviously, and it will take a lot to break down his walls. But it will happen.

- Twilight will learn something about Anya’s past. Most likely related to her knowledge of classical language. Perhaps her history with other families or where she is from. I doubt he’ll learn about her mind reading, that would be huge, but I’m honestly kinda hopeful he does because I don’t want Anya to have to hide anymore. Whatever he learns will affect him and hopefully bring him and his daughter closer in the end.

- This means we will finally get the Anya backstory Endo’s been hinting at for a while! Again, I expect this to lead up to a sweet family moment that brings them closer.

- A new Yor arc. We are truly due for one and I don’t think Endo is ignoring her purposefully. It just may take a while to set up because it will be a big climax of the story. Perhaps Garden lore. A big assassination that affects her character or the plot.

- Yor will get closer with Melinda and maybe find out what the heck is going on concerning her relationship with the other Desmond’s.

- As this happens I think Garden will come into play. I don’t think they like the Desmond pro war agenda. Yor may report her findings from Melinda to them or something. This would be a continuation into that one panel of the Shopkeeper when Yor brought up that Loid was interested in their politics. They will start questioning Yor’s husband as well.

- Damian will confirm Anya can read minds, but will keep her secret. Maybe Becky finds out as well. Dimitri will come into play somehow. I would love to see Damian stop bullying Anya so severely and truly start treating her like a friend, while still struggling with his crush.

- Some Authen’s chapters with some information on their backstory. Are they related to Anya’s mind reading stuff?

- We were recently introduced to Chloe! Yuri’s co-worker and potential romantic interest. I think we will see more of Yuri x Chloe. This will hopefully help him in his crazy obsession with Yor lol.

- Yuri maaay become more suspicious Loid is Twilight (a reach I think). He may also start to like Loid more! (an even bigger reach lol).

- BUT I do think Endo is setting up a funny chapter where Yuri has to stay over and Loid and Yor will have to share a bed! That’s been hinted at several times!

- I also think we are leading up to a big moment between Twilight and Yor. Some type of physical affection. (I’d love a hug, but I’ll take some erotic hand holding once they’re forced to share a bed or something) It’s not a reach, the setup is there for a shift in their physical relationship. This will obviously change things between them. Again, Twilight will be confronted with his feelings after the Wheeler arc and struggle with his feelings for Yor.

- Yor is definitely going to realize she is in love with Loid.

- Finally, after the Wheeler arc, Handler gave Fiona some important patient files for Twilight. I think this will lead to a big break for Strix. He may also meet Melinda as Loid Forger in this capacity.

So yeah, based on basic narrative storytelling, we are due for a climax and change in status quo in sxf! I’m excited to see which way the story goes, there are so many different directions. I’m confident some of these points will happen sooner rather than later. Of course Endo could throw us for a huge loop. But he has setup all of these points and it’s bad storytelling to leave them open ended with no closure or shift in the story.

We have to remember Endo is setting up a truly big story! We should be excited about that. I think it’s fine to criticize the slow pacing (and lack of Yor) but I can only hope it is just building to something big!

[myargalargan]

A musical Polinalysis part 2

So I spent hours yesterday writing an analysis on the music we hear when Colin and Penelope first kiss, only to realize a couple hours later that...the kiss isn't the first time we hear that theme!! So of course I had to keep writing about it, because I just think this is so cool...

Alright, check this out... The very first time we hear the theme is the very first time Penelope sees Colin at the beginning of the season. We've just seen Colin flirting with that gaggle of ladies; he approaches his family, and as soon as Pen catches sight of him, we hear this:

But wait. I'm going to back up a sec, because in my last post, I said this was Polin's theme:

Pretty different, huh? So what's going on here?

Well, in the first transcription above, I have us in G Major, starting our theme with the familiar intervals of the fifth note of the key going up to the tonic, or first, note of the key, and then up to the second note (in this case, from D to G to A) and so on for the next few notes. Everything sounds normal here except that we're in a different key (G Major for the first sound clip, D-flat Major for the second one).

But then what happens halfway through with all those # marks? These accidentals are called sharps, and they indicate chromaticisms in the key, or notes that don't naturally occur in the key that we're in. Another way to write this so that the notes do naturally occur in the key (it sounds the same as the first transcription above, it's just expressed with a different key signature) is this...

The part I've circled in red indicates a key change. At the beginning, we're in G Major. Halfway through, we move into g minor. These keys are related in that their scales start on the same note—the tonic of both keys is the note G. However, the scales themselves do not sound the same—these keys do not contain the same notes. Here is a G Major scale:

And here is a g minor scale:

Notice that the g minor scale sounds a little darker, spookier, maybe more intense. This is the typical quality of minor scales in general—they tend to have a sadder sound.

So, okay, that was a lot of music theory, but what does this all mean for our Polin theme? I think it's so compelling that the first time we hear this theme, we have a key change halfway through from major to minor—from a relatively bright, happy sound to a more intense, morose sound. This is the first time we see Colin and Penelope occupying the same space this season, the first time Penelope sees Colin after his return (and it's honestly unclear to me whether Colin sees Penelope, as well...he looks in her direction but doesn't seem to recognize that she's there?). And the first statement we get of the music that is going to represent them throughout the next few episodes has a dramatic twist halfway through! Much like their relationship? Much like season 3 itself?? I think this speaks of conflict and intrigue to come—for these first four episodes and the season overall.

But that's not all! At the end of this episode, we have Colin and Penelope making their arrangement for Colin to help Penelope find a husband. And as they shake hands and share meaningful looks, just before Lady Whistledown's narration starts the close-out of the episode, this is what plays in the background:

Unlike the very first statement of the theme, this one does not start in a major key and then modulate to a minor key—it is fully minor from the beginning (the key of f-sharp minor is my guess).

Knowing what we know about minor keys having a sadder, more intense sound, this statement of the theme is clearly meant to convey conflict. There are two big conflicts being set up in this moment between Colin and Penelope: 1) the arc for the first half of the season, of Colin trying to help Penelope find a husband and oops falling in love with her instead, and 2) the arc that we'll be seeing in the second half of the season, of Penelope's secret identity and what that means for her and Colin's relationship. The music is telling us, as Colin and Penelope grasp hands, that we need to be wary.

There is one more iteration of this theme that I want to talk about, and it occurs during the scene when Penelope meets Colin at Bridgerton house for one of their lessons (the scene that is infamous for Colin putting his hand on Pen's back Colin what are you doiiiiiing we are so scandalized!! *gasp*).

The moment Colin greets Penelope in the entryway, we hear this very softly in the background:

This abbreviated theme repeats several time throughout the above scene, and it builds as it's repeated. First there's a couple measures of the theme, then a couple measures without, then the theme is stated again, followed by another couple measures without, and then we get three statements of the theme one right after another in different instruments, until Colin and Penelope make it to the drawing room.

In sharp contrast to the intense, doomsday-foretelling version of the theme we got at the end of ep1, this version is light and playful. We're back in a major key—and in fact, we seem to be in A Major, which is the relative major of f-sharp minor (the key we were in at the end of ep1). That is to say, f-sharp minor and A Major share a key signature—they contain the same notes—but since the A Major scale starts on an A rather than an F-sharp, it has a brighter, cheerier sound.

So here's what I think is happening with all this musical storytelling. In the beginning of the first episode, we get our first statement of Polin's theme, starting in a pleasant major key sound and turning sharply into a darker minor key sound halfway through. This foreshadows Polin's narrative arc, and the idea of more drama to come in the second half of the season, just as Colin and Penelope think they've found their happiness.

Then at the end of the first episode, we get a statement of Polin's theme entirely in a minor key—a callback to the second half of the first instance of their theme at the beginning of the episode, and another moment of foreshadowing which sets us up for the main conflicts we will see this season and in Polin's relationship. Episode one is all about setting the stage for the rest of what's to come.

Then at the beginning of ep2, when we hear the theme again, it's like we're being oriented back towards the first half of the iteration that we heard at the beginning of ep1. It's saying, "Okay, the music in ep1 told you to expect both joy and danger, and now here we are at the joy part." We're having fun right now. The romantic tension is still fairly breezy at this point. We haven't yet gotten into the gut-wrenching angst of watching the best friend we accidentally fell in love with about to get engaged to another man.

At the same time, the build-up of the theme the way we hear it in the scene at Bridgerton house—the way we get multiple statements of only the first couple measures—also creates some tension. The theme keeps getting cut off partway through, so naturally we want to hear more; we want to hear it keep going all the way to resolution. Keep in mind, up to this point, we have not yet (I don't think, anyway...) heard the theme all the way to resolution in a major key. So far, we've heard the theme: 1) start in a major key and end in a minor key, 2) start and end in a minor key, and 3) start in a major key but not end at all. And when do we finally, finally get to hear the theme all the way through in a major key, without all the twists and interruptions that we've experienced previously?

Polin's first kiss.

And it's beautiful, and soaring, and feels something like catharsis...

But of course, even hearing their theme all the way through leaves us wanting more, because at that moment, their arc is still just beginning.

analysis part 1 | analysis part 3

[oneslimybastard]

Another underutilized aspect of N, Natural Harmonia Gropius himself, is that he's conceptualized as not just a Math Guy, but a Math Genius if we go by some interview trivia notated on Bulbapedia.

It clearly shows in the way he speaks since his (translated) dialogue (idk about the original japanese one) is full of hamfisted references to formulas and frustration expressed when the chaos of the world does not align with them — which to me is like, the core of his character, something that makes him both An Asshole to deal with but also a very intellectually curios and creative individual. It's just a brand of creativity not a lot of people can keep up with nor understand.

N likes math because a lot of math is about clearly defined variables and their relationship to one another. If you come across an inconsistency that doesn't fit any prior definitions, you iron out a new definition and suddenly the field has expanded upon itself tenfold. It aligns with how his Very Autistic Brain functions, x + y = z, if I do x to y then z will happen. If z doesn't happen, then that just means I have to identify the hidden variables within the exchange and rewrite the formula to be more accurate.

Black and White's quality of writing is. Like pokémon often is. Questionable at best. The foundations are there but the execution is dumbed down and corny because it's still aimed at kids, BW in specific really cutting the theme of pokémon trainer ethics short in favor of just "dang u beat me in the pogiebattle guess ur right!". How-ev-er. In my head, and the reason why I still find the plot of those games compelling (aside for my unhinged thirst for goth man-milf Ghetsis) is that to me they're about local cult-raised autist Normal Henry Gropus bashing his head against the world over and over to desperately try and make the formulas make sense, to distill it into variables he can understand and predict on a consistent basis, and failing miserably at it. Because even if the world is Technically made up of a bunch of chemistry that you could, in theory, predict, there's just a lot of random noise in there from microscopic complexities that fuck everything up.

Pokémon are simpler creatures (discounting the eerily intelligent ones) who will be nice enough to behave like math problems most of the time. Humans rarely extend that grace, the more N studies them like a science project the more contradictory variables pop up. They have a million thoughts in their head he doesn't have access to, that brew into feelings he doesn't understand, which leads to actions he can't do a proper traceback through. Which is frustrating, devastatingly frustrating. At least at first.

Due to how BW2 pans out and my own yearning for thematic mirroring, whereas Ghetsis gives in to the Autistic Bitterness over all these NTs he doesn't fuckign understand, I like to think N develops a sort of joy in studying people like the impossibly complex math problems we are. Because he likes math, he likes figuring shit out, he likes buying a nightmare rubik's cube and charting the squares out on a nightmare variable graph (listen i am not a math guy. i respect the hustle but my skill level is too low to accurately attempt to simulate the process in writing. im sorry math guys) so he has a home-made flexible cheat code on how to solve any possible mix-up of it. It's fun for him, it stimulates his brain and he is so stupid good at it that he can only share that joy with like a stray alakazam or metagross because he's a bit of a tarzan just hanging out in the wilderness, he doesn't know any high end mathematicians he can casually geek out about combinatorial game theory with, and the normies just do not get it .

I think this math enjoying is kind of a big part of his ~Innocence~ as well, since there's a lot of childlike glee to being a Math Guy. It's the love of problem solving as a process rather than a means to an end, it's playful, but severely misunderstood to the point where people kinda might assume things about you if you are a math guy.

N's love of math helps him love the world but it also isolates him. He's a genius, but since he can't communicate it in a palatable way it'll get overlooked in favor of him just being a loomy weirdo on the street chatting up the local patrats.

If introduced to DnD though he'd spend so much time on forging ridiculously optimized multiclass builds, then migrate to digging through old obscure sci-fi ttrpgs from the 80s with hellishly complex systems just for the funsies of learning how the presented variables behave within a variety of frameworks, but then if you actually invited him to play with your group he'd look at you like you'd just called his mom a llama.

He's a neat guy to me, STEM guy who's also one of those animal rights activists who's a little too PETA-coded, I like him :)

[anodymalion]

ok I am in fact using this as an excuse to make a long post about this thank you thank you asjksdjfaljdf

---

Interpreting Yuri as asexual is my very very favorite type of headcanon, which is one that 1. is compellingly coded in the source material (even if that wasn't the creator's intent), 2. is thematically relevant to what the piece of media is Trying To Do as a whole, and 3. just means a lot to me, personally, because I said so.

Coded in the source material

Yuri’s short program is “eros”, aka desire (you can interpret what “eros” means in various ways, but YOI itself explicitly refers to sexual love, at least in the English translations). Yuri struggles with this. Hard. He can’t come up with an answer when asked what eros means to him. His big revelatory moment about desire is that it’s how he feels about wanting to eat his favorite food (omg… boy). Even as the season goes on and the way he views the Eros program changes, the program doesn’t ever really embody the idea of eros as sexuality or romance (which was how the other characters expect him to interpret it) but rather as a desire to keep Victor in his life.

Like look. I’m obviously not going to say that the creator intended any kind of ace subtext to be there. I kind of doubt it was her intent. But goddamn is the subtext there.

2. Thematic relevance

The central theme throughout YOI is “love”, and especially loving people in a way that inspires you both to be your best selves: Yuri learning that the people in his life truly love and support him; Victor finding someone who makes him feel joy about skating again.

Like, Yuri’s whole skating theme for the Grand Prix is literally about him exploring what love looks like to him, even when it takes a form that other people don’t totally understand. Viewing all this through a lens of him being ace is really compelling. It adds depth to the idea of learning how to express the way you feel love even when it looks different than what other people expect. I think it’s a really delicious layer that adds even more nuance to what the show is getting at.

Besides, it’s an interesting way of viewing the criticism of the show that occurred for it not being 100% explicit about them being a couple (aka people getting mad because the kiss in ep 7 is blocked by Victor’s arm lmaooo). Like, ok, did you see the ending scene of ep 9? Did you see ep 10??? They definitely, definitely love each other, in whatever way that means for them. Their relationship takes a form that’s pretty different than the other way people in the show are going about romantic relationships, but that doesn’t mean it isn’t real for them. That is very much in line with the main themes of the show.

3. Means a lot to me

In the final scene of the penultimate episode, Yuri tells Victor that they should end their coaching relationship after the Grand Prix ends. This is because he thinks he’s holding Victor back, that Victor would be happier being free to go back to skating on his own instead of being Yuri’s coach. When I watched this (and, I’ll be honest, this is completely me projecting here) I REALLY interpreted this as an ace thing. I think it’s pretty easy to internalize the idea when you’re asexual that you just won’t be… enough, for other people. In my case I ended up a strong impulse to self-sabotage relationships because I would rather be the one to end things than to let someone else tell me that who I am as a person is fundamentally lacking. Yuri destroying a connection he desperately wants because he thinks there’s something about him that is holding Victor back from a life he’d be truly happy with? Oh yeah. I can fucking relate to that.

Also: YOI came out in 2016, which was the absolute peak of hostility to ace people I was seeing on this site. It was bad here. At the same time Tumblr was going wild over this show. Everyone was watching it. Seeing a whole site of people absolutely adore a character I very deeply in my heart believed to be ace? Extremely vindicating.

---

In conclusion Yuri is asexual because it is fun and interesting that way, and also because of this:

[lurkingshan]

Hii, hope you're doing well!! I've been meaning to check out more c-dramas. I've never really watched any, but I keep seeing them on my dash and want to start giving some a shot since I watch every other type of drama (BL or otherwise lol). I saw you post often about c-dramas, so I wanted to ask if you had any other recs besides Tender Light (which I'm planning on watching when it's done)? I'm more curious about c-dramas in general rather than any specific genre, since I'm so new to them

Hello, thank you for the ask! I'm glad my obsessive Tender Light posting has got you curious about cdramas. Some of my all time favorite dramas are from Mainland China, and I would be happy to share some recs! Since you are looking for a general sense, I am just going to give you a sampling of some of my personal favs.

Tender Light

Obviously I will be taking this opportunity to talk up this drama some more, which will be ending its run this weekend. This is, hands down, my favorite drama of the year and easily going on my top 10 dramas of all time list. It's one of the most gorgeous and precise and unflinching pieces of media I have ever seen. This is definitely one for people who love smart mystery writing, dark themes (I mean this for real, if you have a lot of triggers ask for CWs), and explorations of the human condition. It will be staying with me for a long time.

Go Ahead

Another of my all time favs (and with cast crossover from Tender Light), this is a family drama that digs deep on the meaning of family, finding your people, and resilience through intergenerational trauma. I love it so so much (I am actually rewatching it right now).

Lighter & Princess

A fantastic romance and owner of a coveted spot on the ride or die drama couples list. In this story you get to watch these two fall in love twice, first in college and then as adults, and both times it's epic.

Reset

How about a time loop thriller? This is one of the best I have ever seen, and its relatively short run keeps it tight and tense all the way through. There's a romance in this one, too, but kissing is definitely secondary to finding their way out of this death trap.

The Rebel Princess

Let's dip our toe into historicals! Granted, I still have plenty of gaps in my historical cdrama watch list (there are just so many and they're so long, I am doing my best people!) but this remains my all time favorite to date. It's epic, it's shockingly well written and paced for its length, the characters are excellent and compelling all around, and it has one of my all time favorite male leads and drama couples (another from the ride or die list!). Don't let the episode number intimidate you, it will fly by much faster than you think.

The Untamed

You watch bl so I am assuming you already know about Wei Wuxian and Lan Wangji, but just in case I will also include this drama as a much watch. It's likely the best live action danmei we will ever get.

Love Between Fairy and Devil

Have you ever wondered what it would be like if a show put all your favorite fanfic tropes in a blender, cast beautiful people to act them out, and put them in lavish costumes? Well, here is your answer.

Love and Redemption

This one's for us angst with a happy ending girlies. An epic love story with lots of pining and struggle and strife, and it's so worth it.

Falling Into You

Back to the modern era, this is a classic sports drama with a noona romance. Very unassuming but full of charm and very well executed.

Fake It Till You Make It

An unusually mature take on adult romance from a cdrama, this one is about two career focused permasingle love skeptics who meet, realize they actually like each other, and try to figure out what the hell to do with that. I love it a lot.

That should be enough to get you started! There are many many more recs to be had, so once you give some of these a try and figure out what you like, feel free to hit me up for more!

[spacedlexi]

So I was rewatching berleezy's twd s4 and someone in the comments said it was interesting that Clementine (determinately) can believe there's no life inside of walkers when her parents were found together and they were assumably walkers for those 6 months she and lee were together. Meaning they could've wandered off and separated but they were found together after all that time. (It's more than likely for plot but it's still an interesting point) Thoughts on that? Also any headcanons on her parents? (Or art 🥺👉🏾👈🏾) have you watched berleezy's playthrough???

well walker tenn still does the hand thing. and you could apply that idea to clems parents still standing together after all that time. maybe some deep part of them compels them to move that way, to stay close to those people. what made them Them is still in there somewhere even if theyre gone. its something S4 Wants you to think about. is there really Nothing left of who they were once theyve turned? i think there is. on some level. the person may be gone, but some part of them still remains

i like that since they do the "humans are the real monsters" thing that every zombie thing does (which ultimately i feel is what zombie media is About (plus our capacity for love and community. great love and great evil)) they leaned into that idea of well if the zombies arent the real monsters then what are they? theyre just their own thing. any creature just trying to survive, even if theyre dangerous. once they were a person who lived a life and had people who loved them. and now theyre This. i joke when i call james the neighborhood cat lady but like... yeah. S4 is very explicitly about what makes someone a "monster". willing to do evil things (or willing to stop doing them) and at what point there is no return, and when you have to let go of them. but does that not also apply to the walkers? there is no return for them either, and you still have to let go (or die with them), no matter how much of who they were is still in there somewhere

S4 is very philosophical about its themes and wants You to come to a conclusion on the ideas its presenting to you. it Is a choice game after all. i do believe walkers are walkers. but that doesnt mean there isnt still a part of who they were in there somewhere. both can be true

and yes i watched berleezy cuz he was the only one i could find who actually liked vi and her romance 😭 (and who didnt not save her/get her killed). so many people were so apathetic or weird with her while still choosing to romance her i couldnt take it anymore WHERE IS THE ENERGY?? his reaction to vi shooting minnie is the reaction you Should be having in that scene. thats how i get every time i see it 😩

[canmom]

reading Brainwyrms by Alison Rumfitt. it's interesting. clearly part of the post-Topside wave of trans lit, with the same 'plugged in to twitter' energy, but way more British about it. which means most of the allusions are very transparent to me. it's a combo of... hardcore kink driven romance as the main arc, in a near-future setting in which TERFism goes further to the point of outright bombings, and a scifi element with alien brain parasites that it's gradually building towards.

compellingly written, I'll give it that for sure - I lay down to read for a bit and before I knew it I'd read like a third of the book. the main character's disaffected, traumatised air is well observed, and the kink doesn't hold back.

I think my reservation with it so far is that it feels a little too much like a polemic blog post about the way things are going. the MC Frankie is a trans woman with a pregnancy kink who survived a bombing at a GIC and now works in social media moderation - it's all stuff that is blatantly Relevant To The Argument, as it were. it's tricky to criticise it for that because it's like, what you're saying is that it's tightly constructed and thematically consistent and that's bad somehow? but I think I've come to feel that I like fiction to bring me something a little new and unfamiliar.

the chapter I most enjoyed so far was actually a more metaphorical, abstract interlude, in which resistance to fascism is cast as becoming 'one mass of queer flesh, which now grabbed and clawed...'; 'faces locked in kisses until they became one face. the cops would try to pull at this mass, but to no avail'. very 'faggots and their friends between revolutions' stuff.

the chapters which are presented directly as social media posts and articles are also sharply observed. i think a lot of fiction in which the internet features heavily suffers from not understanding the internet very well (Hosoda's Belle for example), but for example the chapter 'Curious Cat' where an anonymous person (blatantly Vanya) is sending messages asking for help with a parasite, and getting rebuffed or misunderstood, and the chapter where Frankie relates a murder of an instagram model by a stalker who posts about it to a reddit community devoted to her, read as very real.

a lot of the story is about responding to a terrifying political situation in sexual terms - a flashback chapter depicting Frankie having sex with some terf's pretentious brother ("with each thrust from him, she thought to herself, I am a traitor, I am a traitor to the cause"), or the preface which jokes about how in another world the author would be writing 'cool horror stories about vampires raping werewolves, ones with no subtext at all'. I prevaricate a little on whether this is a compelling examination of a theme that I do find interesting (the mysterious origins of sexual desire) or just edgy for its own sake.

this is an odd novel for me in some ways because while on one level, this is about people who I could very easily be a single degree of separation from were they real, it's also about a facet of life that is still quite alien to me and in many ways I only know about second hand. I've never been to a kink club (that wasn't in an MMO anyway lol), I'm way too much of a nerdy autist shut-in to know what it's like to be someone who would feel put out if she hadn't had sex in a week. so even before the parasite stuff, it's hard to know how much of Frankie and Vanya's stuff is real, and how much is fantasy. is this really how things go between people? it sounds kinda fun, but unlocking the door this far has already taken years.

when I've read books about the crazy lives that American trans girls supposedly live and interesting sex they're apparently having, they've been at a certain remove, the other side of the Atlantic. and this book feels sort of similar, even though I know it's set right on my doorstep. idk, I've never been good at this.

anyway I don't think I want to write fantasy novels so directly about The Discourse of the day, but it's probably good that someone is. that said, it's hard to parse like... ok, it's titled brainwyrms, and 'brain worms' is a common way of describing an obsessive, cultish idea you receive from the internet.

and like if you look at the newspapers, or twitter trans discourse, you certainly could believe that this country is on a rapid slide to putting us in camps. however, my day to day life has been... it's not without hostility, but the average street harasser isn't doing it because of a Guardian or even Mail article. this country has a subculture of deranged weirdos who hate our guts, and a political class who will happily stoke culture war shit to score points, but most normies I've met don't care one way or another that I'm trans - they might mention a family member or friend they know who's also trans. the day to day conflicts are over way more prosaic shit, the landlord vs tenant forever war, or how the kitchen should be cleaned. which of these windows is more informative of the 'overall' state of affairs? not that a more violent terf cult is a bad premise to write a novel around, but a sense of impending doom is a pretty powerful mechanism to keep you scrolling, right?

like in 20, 40 years - will the terfs really be bombing the Tavistock and banning transness, as Rumfitt imagines in her near-future setting preface? or will they go the way of those newspapers in Thatcher's time who smeared the gay movement, just as they smear us today? of passing political obsessions like 'new atheism'? I don't know the half-life of cult shit.

anyway, time to read the rest of the novel, and see how it handles this brew that it's concocted.

[flower-boi16]

Helluva Boss: A Show For "Mature" Audiences That Isn't Very Mature

Something that's very funny to me is how Helluva Boss is an adult show, meaning that its supposed to be mature, and more mature than a kids show. However, the show really isn't that mature when you really think about it; sure, it's supposed to be viewed for mature audiences, and It by no means is for kids at all but...HB is really just the superficial version of mature. The show constantly crams in gore, swears and sex jokes all the damn time as a way to just appear edgy. It's not mature as in "it has mature and deep messages and themes" its the superficial version of mature, the type of mature that's just "let's shove in a bunch of swears and sex jokes into this show so people can KNOW its for adults!".

The show feels like its trying so damn hard to be edgy and crams swears and sex jokes into its dialogue because its an "adult" show. 70% of the dialogue in this show is awful because of the amount times it feels the need to shove in swears and sex jokes into every single line the characters say. It feels like the show is just..trying to be edgy with no substance to it. The only really mature theme HB has is Stolas's sexual desires for Blitz...but now its just completely dropped as Stolitz is suppoused to be seen as a healthy reletionship for some reason.

A majority of the villains are very one-dimensional Saturday morning cartoon villains too. HB feels like a show that's just overly obsessed with being edgy so it can come across as "mature". And while you can technically say that HB is mature as the show isn't exactly for kids and is aimed towards adults, again, its only the superficial version of mature, the show isn't really that mature in terms of its actual writing.

But here's the REAL kicker here; the shows I primarily enjoy watching are kids shows on Disney Channel, and...well, lets take a look at the themes and messages of these shows aimed towards kids that I've seen, shall we?

Gravity Falls: Tells a story about growing up, and how, while growing up may seem hard, you don't have to grow up alone, and that even when you grow up, that doesn't mean you have to let go

Amphibia: Tells a story about three girls who are all heavily flawed people in a toxic friendship. Ends with a message about change and how while it may be hard, sometimes; things change, and you need to accept that.

The Owl House: Tells a story about a girl who was ostracized for her whole life who was able to make real connections with others and find a place where she truely belongs.

Ducktales: Has an old man rediscover the value of family after pushing away his loved ones after losing his niece

Moon Girl and Devil Dinosaur: Has an episode where the main message is that you should stand up for your community, and how you can make your voice be heard no matter what.

The Ghost and Molly Mcgee (SPOILERS FOR THE FINALE): Final episode has a beautiful and mature message about how you should spend your life to the fullest, take risks and not be afraid or play it safe, and has a character go and spend his life to the fullest when he becomes human again

These "kids shows" have more mature and thoughtful messages and themes as well as better writing than this "adult" show. Helluva Boss has me groaning and getting frustrated at all the bad writing and wasted potential in its second season. Meanwhile, Amphibia's second season almost gets me to cry not once, but twice. These shows have more compelling and nuanced characters than HB, they don't constantly try to coddle them and absolve them of their mistakes, rather for some of them, they make the characters actually grow as people, something HB has NOT done at all.

Helluva Boss is an adult show, yet these kids' shows not only have more nuanced characters than it, but they are also unironically more mature than HB despite being shows targeted towards a younger audience. Its extremely funny to me how Viv said that HB is "Bojack Horseman with demons" when HB is less mature than kids' shows that aired on the Disney Channel.

Helluva Boss isn't a mature show, it's just an overly edgy one.