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chaos0pikachu · 7 months ago

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4 Minutes and the Cinematography of Nipples

I said before that I thought 4 Minutes was pretty instantaneously the best looking BL on the market for 2024 after one episode. Which, not gonna lie, is a pretty big fucking claim. There’s been a lot of BL that’s come out that’s looked good, and I do think there’s been a steady improvement overall in the market in the last few years. Personally I think Japanese and Korean BL have a stronger production quality over a majority of Thai BL but like, if that’s a hot take I guess I prefer my food spicy.

The point being~ if I’m gonna make such a hyperbolic statement, well I better back it up right?

So I’m gonna break down a few scenes from the first episode, what I liked about them, why they worked for me, and why on a technical level I think 4 Minutes has just got it going on.

For better readability you can also check out this essay here.

Sidenote: my google docs kept trying to autocorrect “Bible” to “the Bible” and idk how to teach google I mean the hot Thai actor and not the book of Jesus.

To start, I’m going to break down this scene featuring Great and his nepo baby cat:

I thought starting with this scene would be good because it’s such a low-key scene and honestly making these simplistic scenes visually interesting is very difficult! But if you have the basics down, the foundations of cinematography and film making, these simpler scenes can be really memorable.

Like yeah we’re all gonna remember this scene because shirtless Bible and oh my god Akira!? - I have only recently learned who Akira is; why is this cat getting a bigger bag than me? - but beyond that, what makes it cool to watch? What makes it interesting? What information does it showcase to the audience?

One thing I added to the video was a grid for the rule of thirds.

Rule of thirds is a shot composition technique applied to both film and photography. It’s the grid you see if you film a homevideo and helps a Director and Cinematographer figure out where to place the subject or subjects of the shot. The idea is the gridlines show you where you “should” place the subject(s) of said shot.

Like everything, the rule of thirds is a guideline in filmmaking, not a hard and fast unbreakable rule. Filmmakers like Wes Anderson like to play more with central composition shots, rather than ROT.

Anyway on to the opening shot, right after our credits and we’re moving into the shot.

To start, the first thing I notice is the scene’s color grading. Color grading in film is the manipulation of raw film footage to create specific color tones throughout a project. Sometimes this grading is more pointed and obvious, think The Matrix, while in other films it’s not as obvious but still very prominent, think Killers of the Flower Moon.

It’s not that the before credits scene looks entirely, jarringly different from the opening scene, but the hospital scene is surrounded by whites and blue tones, it’s darker, and only a single source of light exists. It gives the entire scene a much more frantic, uneasy aesthetic but it’s not so far off from the darker muted tones of the next scene that it feels jarring or out of place.

The second big thing I noticed in the episode is the use of aspect ratio. I’m not 100% sure what aspect ratio the production used exactly, but the use of widescreen as opposed to full screen in my opinion, gives the episode a more cinematic feel to it in comparison to other Thai BLs.

Example, if you look at Century of Love (2024) it appears to be filmed in the standard full screen - which I believe is 16:9? - while 4 Minutes is widescreen (thus the black bars at the top and bottom). Widescreen can give a show a more “movie like” quality to it which is part of the vibes I get from 4 Minutes.

(source)

Onto Great’s actual introduction scene.

We’re not starting the shot with static movement, but with a camera panning right. I’ve talked about camera panning and such in BL before and it’s something I’ve found doesn’t happen as often as it should. Which is a shame! It’s such a simple technique but it adds so much.

Imagine if we entered the frame with a static center shot, and then a cut to Great sleeping and turning off his alarm clock, and then another cut to above the bed. Think about how much more boring that could be visually.

Instead, we enter the scene with movement, panning over and creating some interesting visual framing.

So here’s our opening shot, do you notice anything interesting? To start, what I like about this shot other than the panning movement in, is that we don’t see Great’s face yet. In fact we don’t see his face in full until about 30 seconds into the scene. This builds anticipation, yeah we all know what Bible looks like, but for the audience who doesn’t this helps build anticipation.

Who is this character? What does he look like? What’s his deal?

It also engages the audience more, if you notice part of the composition of the shot has Great in the mid-ground slightly blurred out, while the foreground emphasizes the things on his desk. He’s distant from us, the audience, sleeping off his hangover not yet ready to “join” the world yet.

Here’s another two more things I like about this shot:

Lines.

Using lines and shapes can make a scene more visually interesting and invoke different feelings to the viewer. In this shot, I get a sense of symmetry, the camera panning right, lightly drags across the screen alongside the lines below and above Great, almost creating a frame within a frame effect. As if Great is boxed into a clock in and of itself.

You can also see the use of balance in the scene as well, connecting back to that visual theme of symmetry as well as blocking our view of Great’s face. The lava lamb and champagne bottle are almost the same height, which helps create balance in the shot. The champagne bottle informs us Great has been drinking or does drink since it’s positioned so close to his bed, whilst also continuing to hide his face away from the viewer.

I also like that the lava lamp is a bright spot of color. The tone of the scene is mostly muted greens, and gray, but the bright orange lava lamp and even the pink champagne bottle draw our attention but don’t overwhelm us either. It provides the scene with some warmth but doesn’t offset the overall tone of the color grading.

And then, the last bit of this shot:

We have Great knocking over the champagne bottom, and turning off his alarm clock. Notice that the alarm clock and the champagne bottle hit those ROT dots almost exactly. There’s also the use of lines by the length of Great’s arm - I just forgot to add a line I’m a failure, a fake, fml - we see him knock over the bottle, and then we follow the line of his arm directly to the alarm clock which is also a shape, a circle.

I like that they used a clock with a specific notable shape, since by the end of this scene the clock is relevant to the story as a whole. Using a shape makes the clock more visually noticeable and memorable to the audience.

So in the next cut we’re above Great - just like Great’s gonna be above Tyme, fuckin hell I’m corny - in a medium-full shot and there’s a couple things I really like here.

I really like the use of lines here with the bed going in one direction but Great’s body going another. It’s disconcerting, and off kilter a bit.

The use of patterns plus the opposing symmetry, whereas in the previous shot the lava lamp and champagne bottle were providing balance, here one side of the bed is patterned, while the other isn’t. This creates a sense of imbalance and makes the shot more visually interesting.

This medium-full shot at a high angle makes Great smaller, and continues to showcase his dishevelment, keeping him distant from the world itself. Also notice the lack of color here as well.

What could this say about Great as a character? Or his story?

So this next cut is the one that actually inspired me to write this essay to begin with and know what I’ma eat some crow here. I originally said it was a great ROT shot but I was wrooooooong. It’s definitely a center composition shot.

Notice as well, the bed itself is its own shape - rectangle - center in the frame, and yet the shot almost looks unbalanced again because of that singular patterned rug. It’s the only pattern in the entire shot, not even Great’s pillows have noticeable patterns on them.

The above view camera angle in a full shot creates almost an omnipresent feel, as if the audience - or something else? - were looking down upon Great. Whose face we still haven’t seen! It makes him smaller, less powerful, and almost vulnerable. Shots like this are often used in horror films like James Wan’s Malignant (2021) where the horror spector will be looking down above the would-be victim.

Another thing I like about this scene though is we have Great moving. It would be simpler and easier to have his phone just by his alarm clock, or under his pillow, but think about how much more visually interesting it is that he has to move down the bed and reach for his phone. It creates action in an actionless low stakes scene.

And now, 30 whole seconds in and we’ve finally seen Great’s face!

Fun fact, with the ROT grid the gridlines fall right across Bible’s nipples. That’s not a film analysis, just something I noticed entirely intentionally. Thanks Madam Director Ning Bhanbhassa Dhubthien.

The actual shot is in center composition again, as Great rolls over and reveals his face the camera begins to zoom in.

This creates movement in the scene instead of leaving the camera to statically observe it’s now, finally, inviting the audience to meet Great. Pulling us in towards him whereas before we were kept at a distance. Great’s awake and, well as ready to meet the world as somebody with a raging hangover can be.

I also like how Bible is moving constantly in this scene; he rubs his eyes and nose, he twitches his fingers, titles his head back and forth, etc it’s nothing revolutionary but it’s appreciated.

When the scene cuts, we get this shot:

I didn’t put the red dot on his nipple, it just landed there. This is all Madam Director Ning chepie.

But you can see how Great’s body is landing on all those gridlines pretty solidly. Also in the background we see his alarm clock again, a bright blurred circle in the distance. I also like the angle of this shot, as it creates depth in the frame, with Great’s head being in the foreground his lower body in the mid-ground and the background blurred out.

What follows is Akira appearing in frame. Which was really difficult to capture so I don’t have a screenshot. But what I really like is Akira entering the frame out of focus. They could have just cut to Akira, but instead they opted for Akira to enter the frame which is more interesting.

When we do cut, Akira is firmly on one of those dots so we don’t miss them in the frame. I think it’s also interesting that we’ve pulled out again, into a mid-full shot, hanging above Great, and we see that clear symmetry line again between the patterned rug and the regular carpet.

I also really love that when we got to Great sweet-talking Akira and feeding them we’re not just doing a cut, we’re panning downwards which continues to add movement to the scene. And we get that moneyed sponsor shot!

Durex can’t pay for everything okay?

So in the final bit of this scene we get focus on Great, who’s in focus, before he gets up and leaves the frame where the camera then focuses on the clock behind him.

See how in the first frame the background is all blurred out, but once Great walks out of the frame - again, great that he walks out, movement!! Y’all don’t understand how boring 1000 Stars was for me to watch because of the lack of this stuff okay? - and then the focus shifts to the clock. Which is round.

God I know that sounds so dumb, but imagine the clock without that ring light bit on it, it’s just a tiny little rectangle. Not as fun or interesting to look at right? Or as noticeable especially from a distance?

This shift in focus also tells us “this is important” whatever “this” is. The subject of the shot goes from Great to the alarm clock but they are positioned as equally important. We’re meant to pay attention to this seemingly innocuous item, which we learn later in the episode is time. We’re meant to remember and note that time will be important to the story - I know with a title like 4 Minutes you’d fucking hope time would be important but have y’all ever read Youtube comments? It’s rough out there for visual comprehension okay?

So all in all this scene is only 1 minute and 40 seconds give or take. It’s very short, but I don’t think it was boring at all. I think it’s a really solid introduction to a main character. Think, Korn didn’t get this much time to showcase his introduction, his scene is shorter - though also well done - which showcases which character is more of a story priority.

This scene eases the audience into the story, inviting us to wake up into the world like Great is. It uses techniques like lines, shapes, symmetry, color and focus to make what could be a very boring scene into an interesting one.

There’s so so much I probably and certainly missed, I’m far from an expert, but I hope I was able to articulate what I liked about this scene, and why I think it looks good.

Stay tuned for more if I can manage to focus long enough to breakdown more scenes lol

Also red dots on Bible’s nipples are just funny to me it be what it be.

Further Reading:

Composition in Cinematography / THE LAST OF US

Center-Framing vs Chaos-Cinema: Mad Max vs Transformers

Camera Framing: Shot Composition & Cinematography Techniques Explained [The Shot List, Ep 2]

The Ultimate Guide to Camera Shots (50+ Types of Shots and Angles in Film)

Color Grading 101 - Everything You Need to Know

Mixing Film And Digital Footage: Killers Of The Flower Moon

In Praise of Subtle Cinematography

#4 minutes #4 minutes the series #bible sumettikul #4minutes #jesbib #chaos pikachu speaks #pikachu's bl film series

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the-rebel-archivist · 3 months ago

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Finally finished Veilguard a few days ago and took some time to process and put my thoughts in order. In brief: 8/10 game as a whole, a really fantastic gaming experience, but 5 or even 4/10 as a dragon age game since it does no meaningful exploration of any nuance or moral complexity and seems to have forgotten what made Thedas distinct. My thoughts, critical and positive, coming from a place of love for the series with little to no spoilers:

Thedas has always been special to me because it was a nuanced world. Different groups had different opinions based on their pasts. City elves and the dalish had divergent histories. Injustice against magic was common, but you could understand the justification for it even when you didn’t agree. Now, the worldbuilding is flattened. A mageocracy is fine, it’s only bad apples. Slavery is never addressed. City and dalish elves are basically the same but one lives in the forest. There’s no conflict about what’s best from each individuals’ perception, all groups are monoliths.

“Elves won’t follow the gods just because they’re elves,” yes they would, in past lore. Perhaps not all but some would - these are their Creators. The game refuses to deal with religious belief in any meaningful way, to the point that I don't know if its impact is fully understood. Dalish religion is as much about cultural preservation as religion and it would be CRUSHING to lose that connection to the past when it had been all you could cling to for thousands of years.

And no, seeking out relics of Arlathan would not make up for the foundation of your society shattering and what that would mean to the dalish. Bellara being guilty that her gods are evil is not the takeaway I expected when I thought the dalish would explore that everything they believed was a lie. I'd also like to briefly comment on how an elf can comment that they weren’t raised dalish but adopted their tattoos. Their closed practice tattoos. Closed even to city elves unless they fully joined a clan. Removing cultural boundaries didn’t make the material less 'problematic', it just created a new blind spot.

“They’d never sanitize the Crows” I said before release. Assassins who walked the line between murderer and hero depending on perspective. But in this game they give you absolute truth: they’re freedom fighters. Responsible government who, the mob is benevolent and that is never subverted. They see themselves as the 'good guys' and so they are.

“They wouldn’t put powerful mages in charge of the shadow dragons” I said. “Surely they will explore the nuance of Neve having the privilege of magic in a mageocracy even when she comes from a lower class beyond ‘everyone is welcome in the shadow dragons’.” “Surely if Maevaris is connected her intersectionality as a magister and altus and trans woman will come up - not what Tevinter expects, helping with change, but still privileged and upper class. Surely low class non mages and slaves would be leading the Shadow Dragons, not the powerful being benevolent.”

But no. All factions in the game are black and white, good and evil, no moral complexity. The bad people want power and collect bad people who want power and only bad people do bad things. The antagonists I liked most were the ones with a motivation beyond simply power and they were few.

And that’s setting aside the fact that all of the mystery and fantasy was removed from the setting by the end. The things that mattered before, the religious conflicts, the approaches to history? All false or meaningless now that we know absolute truth. Everything that set Dragon Age apart from generic fantasy was flattened. All of the lore for the world that I had spent hours, days, years in and creating fanfic for became simple groups of good and bad, subjectivity replaced by objective truth. It’s not a world I want to unravel and explore anymore.

That hurts more than the slap in the face that was every cameo and past reference. If they wanted a soft reboot, why include them at all? Every time I saw or heard about a past character or event I felt hurt and angry and it actively harmed my experience of the game. When the choices are pared down to only do something "meaningful" with them and then that meaningful thing is a codex that had been so disdained in dev comments? I do feel pretty let down. Especially when that codex isn’t even personalized.

They never use Rook or the inquisitor’s first name in text once. Vocal I get, but no codex? The Inquisitor, a person depersonalized into a symbol, signing off “Yrs. The Inquisitor” when we input their name in CC was a twist of the knife I didn’t expect. It’s like every time I lower my expectations to grant grace they need to be lowered yet again.

Similarly, the romances in the “most romantic game yet” are paper thin throughout the game depending on your choice, with few chances to truly connect on an emotional level and have deep conversations in some routes. It’s not all about kissing but having the chance to say how you feel, or try to.

But that’s part of a larger problem, that this is a “found family” but Rook is the outsider in it. Rook isn’t asked how they’re handling things or about who they are or what they want except by Solas. The team needs them to fix problems but has little interest in giving back. The companions are lovely, but I can’t help wishing they were friends with me and not just each other. Or wanted to romance me and not just each other, as they begin to flirt before I can and have more banter comments than the player romance. At least if no one got me I know Davrin got me.

These last comments are the reason it’s 8/10 as a game rather than 10/10 for me - the lore I care about but others won’t. The lack of connection is a genuine issue, along with how unbalanced it is depending on romance. I just feel sad at the lost potential to reflect and gain support from companions.

On a positive note, this is the most fun Dragon Age game I’ve ever played. The gameplay is top notch and combat is so fluid and fun. I felt excited to fight rather than dreading the next battle. Really getting into the roleplay of a slippery rogue

The environments are so gorgeous. Lighting, animation, level design, sound design, all spectacular. I’m bad with maps and yet I never got lost and always managed to find my way around. Secret passages to treasure were just the right length to be satisfying. The puzzles were exactly the right amount of investment for the reward. I never felt frustrated by them but also not disappointed by the simple ones, there was a good balance. I had a lot of fun uncovering them. So many areas looked like a perfect representation of thedosian places I had never been to and wanted to visit.

Every time I was in the necropolis it felt like coming home. Maybe it’s because the lore was the most similar to past lore, maybe it’s just because it was cool, but I loved being there. I loved the wisps most of all. And I loved Emmrich’s journey and sympathetic exploration of death. The Hossberg Wetlands were also a standout area. Absolutely horrible (complimentary). Evka and Antoine my beloveds and the environment storytelling was fantastic. Like a hideous combination of the Fallow Mire and Chateau d’Onterre and I was so there for it. Davrin’s story broke my last flight loving heart.

The set pieces and narrative flow in the major battles and main story missions is really wonderful. I also did enjoy the faction reactivity, even if there were few chances to explore the intersectionality of being a particular lineage with a particular faction. I’ll make our House proud Viago!

It’s such a fun game that when I play I can almost forget all of the things that I dislike until a codex or cameo punches me in the face. It has such great gameplay that I can finally discuss DA with my partner who refused to play the other games in the series. But what a monkey’s paw. I know from their previous work that they can foster nuance. From the art book that their instincts were there from the beginning. But somewhere after multiple reboots they made a world with contradiction and complexity removed, more reactive to fan discourse than to telling a complex narrative.

It kills me because if the nuance and subjectivity and moral complexity had been there, I would have considered this the best Dragon Age game ever made. It will always be the most fun. But it is legitimately more fun for people who don’t know lore than people who do, and that is soul-crushing. It's the most beautiful Thedas has ever been, and the least like Thedas it has ever felt.

I’ve played it once. I already started a replay. I enjoy the game a lot when I am playing it, overall. But I miss Thedas, and I miss that the “world worth saving” that I cared for is a slate wiped clean and this new world is a more simplistic place.

#datv critical #bioware critical

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spacerockfloater · 8 months ago

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hi! i noticed you learnt about what ryan condal said regarding blood and cheese. it was…something. i would like to know your thoughts on the matter. though it would be completely understandable if you need sometime to gather them together or if you would rather not at all! thank you and bye!

Hello beloved, thank you so much for asking me! I’d love to share my opinion!

If anyone’s wondering, @rhaenelle is referring to this interview where Ryan Condal essentially says he believes that Blood & Cheese’s brutality and heinousness was exaggerated by the Greens in a propagandistic attempt to convince their subjects that Rhaenyra and Daemon are the worst villains ever born, hence why he toned the event down; to show us what he thinks is the accurate version of Jaehaerys’ murder.

Now, I am aware that Condal had already warned us that HOTD was going to be a feminist retelling of the events of F&B, which practically means that his plan has always been to whitewash the everlasting fuck out of Rhaenyra. So what do I think about this?

Well, for starters, I think that Ryan Condal is an excellent businessman. He knows what kind of tropes are going to make the audience engage with his show. He understands that people need a hero to cheer for and a villain to hate, therefore he removed the moral ambiguity from all of the characters and divided them into two categories: the Blacks, enlightened revolutionaries full of passion, deserving of admiration and correct in everything they do, and the Greens, pious fools with a moral superiority complex who are stack in the ways of the past and commit despicable crimes. The average viewer does not possess the intelligence to comprehend that both parties have their good and bad moments, and that they’re both correct in fighting for what each believes is rightfully theirs. Simultaneously, he benefits from the modern trends that want women in media to take revenge when they are wronged and emerge as triumphant girlbosses, because of course a white upper class woman’s suffering in a western world (or Westeros) society has everything to do with her gender and nothing to do with her personality or decisions (even if this works solely for Rhaenyra, because Alicent seems to be held accountable for every single one of her actions). Finally, it is obvious that Condal is trying to appease disgruntled Daenerys fans, so he has rebuilt Rhaenyra into this tortured martyr that wishes to change the world for the better in an attempt to make her resemble her great granddaughter six times removed.

For all of these reasons, I find it very logical that he is going out of his way to minimise the tragedy the Greens experience. It just doesn’t make Rhaenyra look good and honestly, who wants that? The producers saw how unhappy Danny’s stans were when they made her lose her shit; they’re not going to make the same mistake twice. They don’t want their show to tank like the last season of GOT did, so they’ll do everything in their power to keep the audience happy. And it’s working! What’s the last thing Condal says in this clip? “You kinda start rooting for [Blood and Cheese]!” and boy oh boy, the TB stans sure do! Literally hundreds of memes that rejoiced at Jaehaerys’ death were posted on X this week, with tens of thousands of likes. But when Lucerys died, it was presented as the most foul thing to ever happen in the ASOIAF universe. It is the TB supporters that dictate which child murder is good and which is bad, and that decision usually depends on which child came out Rhaenyra’s womb, not let’s say, the fact that one kid was a toddler that could barely walk, while the other was a teenager that laughed at the disabled person he mutilated himself.

It’s all just marketing

That being said, I want to clarify that I understand why Condal and the HOTD producers do what they do, but being a good entrepreneur does not necessarily make you a literary genius. Now, I’m not gonna explain why stripping Rhaenyra off of every character trait that made her interesting is a bad decision and that in their attempt to remove the blame from her so that they can elevate her as this righteous patron of feminism, they’re accidentally removing all of her agency and turning her simply into a victim, because I have a whole blog dedicated to that. But let’s just say that presenting Rhaenyra as this sexually liberated idol that’s incapable of evil, when in fact she’s an entitled aristocrat who’s completely at the mercy of men around her, from her father to her husbuncle, is the most performative activism move ever pulled in recent TV history, as well as pushing the narrative that Alicent suffers from internalised misogyny because duh, a woman can only be good and a feminist if she supports Rhaenyra, not when she pursues her own interests.

Ultimately, I think we just have to accept that this show is not meant for TG fans. We are not going to find any satisfaction in it. Everything that was unique and admirable about the Greens in the book has vanished. Their family dynamic is fucked up, Alicent’s children hate her, Aegon and Halaena cannot stand one another, Alicent is constantly a victim and never someone that chases her own ambitions, Halaena is very vague, Aemond appears to be more angsty than angry, Aegon is a stupid rapist, Jaehaerys’ death was turned into a mockery, Alicole was weaponised in order to make us shit on Alicent and Criston even more and so on. This show barely caters to us because we’re not making them any money.

The reason that there are more TB than TG stans is because (I’m gonna get so much fucking hate for this) most people who watch TV are fucking morons. I swear, when F&B came out 6 years ago, no one gave a flying fuck about Rhaenyra, because we all understood that everyone involved in the Dance of the Dragons was fucked up in their own way and that the message of this story, just like the general message of ASOIAF, is that nobody deserves to sit on that fucking throne. We were all in agreement about that. But then this fucking show came along and all the oblivious simpletons that swallowed whatever the producers shoved down their throats, grabbed the book and decided that “Woah, this book is obviously a critique on patriarchy and Rhaenyra is obviously the victim of the story”! As if GRRM, the man who said that he doesn’t sit down and think “Oh, I’m going to write a woman now” but instead he believes women to be people just like men, with complex personalities, would ever do that. And they just can’t believe that it is possible for book!Rhaenyra to be an evil racist classist full of entitlement! Surely it must be because the Greens are rewriting history! There’s no way GRRM, the man that created Cersei fucking Lannister, would ever make a female character that’s vicious and crazy just because she feels like it! Y’all need to sit down for a moment. I say this as a radical feminist that supports the 4B movement: you’re projecting your own ideas onto George’s work. Not all the media we consume has to reflect our ideologies, but if you think that it has to, then this book isn’t the anti misogynistic masterpiece you wish it was.

Like, when it comes to F&B, I am firmly anti Targaryen and did not wish for any side to win. I wanted them all wiped out to be honest. But when it comes to HOTD, I’m TG basically out of spite at this point.

All in all, I just think that things are going to go downhill for us from this point on. They’ll just keep glorifying the Blacks until the very end.

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silenzahra · 4 months ago

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🌜 Super Mario Odyssey: post-ending headcanons 🌛

Today marks seven years since the release of my FAVORITE 3D Mario game:

🌜 Super Mario Odyssey 🌛

This game really means EVERYTHING to me, so I wanted to make a little something to commemorate this date. I have to admit I didn't have any ideas at first, but then I remembered what @pepperycar commented on this post... and was suddenly inspired 🤭 Thank you so much, my friend! I owe you this one 💖

So, here I bring you a few ideas that I had on what could have happened after the end of Super Mario Odyssey. There will be Mareach, brotherly love, and SPOILERS, so if you haven't finished this game yet: beware!! ⚠

(And please go play it because it's AWESOME.)

@vulpixfairy1985 @bberetd @megamagimugi @peaches2217 @keakruiser

@itsavee4117 @roscolate @smokszyvverstar @wahooitsamee @kelbreyworshipper I thought perhaps you might be interested, so I hope it's okay that I tag you 🥰 Of course, no worries if you're not! Feel free to ignore this post and please forgive me for bothering you 😅

Also, I took a bit of inspo from this adorable post that I remember reblogging from my old account. Please have a look if you haven't yet because it's absolutely CUTE 🥹

Without further ado... Let's-a go! ❤️

👑 Peach's wardrobe 👑

Princess Peach has a large and varied wardrobe. So far, Mario only remembers seeing her wearing her signature pink dresses, her favorite. She has several that are very similar to each other, with only a few small differences between them, such as puffed sleeves that her summer dress does not have, or an older design in which almost the entire skirt is a darker shade of pink. Peach always appears before him and his subjects wearing one of these outfits as pink is her favorite color, and one that, in Mario's opinion, suits her very well.

Recently, however, Mario has found that his beloved princess has a wide variety of outfits and has decided to start wearing them to visit the various kingdoms that Bowser has taken her to during her kidnapping, now that she finally has the freedom to choose where, when, and with whom to go.

And Mario loves to dress to match her.

The first time they did it, Mario ran into Peach and her friend Tiara almost by accident as she, as brave as ever, explored the lonely Forgotten Isle in an outfit worthy of Indiana Jones himself. Shorts, a backpack on her back, boots prepared for the earthy soil of the place... and her hair in a bun that was hidden under her explorer's cap.

Mario didn't take half a second to run back to his Odyssey ship and put on his own explorer's outfit to join her and continue exploring the island together.

When he met her in New Donk City, Peach was wearing one of Mario's favorite outfits of all the ones he had seen her in so far: a long pink flying skirt that, unlike her dresses, left her feet exposed; a gorgeous white blouse with a scarf around her neck, in a pastel pink shade that matched her pristine skin; and a wide hat over her abundant blonde hair. She looked beautiful and very comfortable, and the best part: she loved the black suit with matching fedora that Mario put on to go with Peach’s outfit. She told him he looked very elegant, and Mario thought his smile would overflow on both sides of his face since his cheeks hurt so much.

To him, on the other hand, the one who looked tremendously stylish and graceful was Peach when he met her in Bonneton. Her attire was dark, composed of a grayish coat, black stockings and gloves of the same color, which she combined with a beret that adorned her long hair. Mario kept watching her for a while, unable to help it, and he did the same thing when he met her in Shiveria, since the black and gold of her figure stood out among so much blinding white.

On that occasion, Mario felt that he’d never measure up to her with his orange, quilted coat, as opposed to Bonneton, where he was able to look at least a bit elegant with his black tuxedo, his red bow tie and a top hat that gave him the look of a magician. Or, at least, that's what she told him, while letting out a giggle that made Mario think of the softest and sweetest crystal bells.

Another one of his favorite outfits for the princess was her farmer attire, which was the one she chose to wear to visit the Luncheon Kingdom. Mario wasn’t surprised to find her picking turnips to help the locals prepare their famous soup, as it wasn’t the first time he’d seen her pulling vegetables from the ground. When she saw him dressed in his chef's outfit, she immediately applauded him and prepared to hand over the vegetables to him, thus naming him the official in charge of preparing the delicious best dish of the kingdom.

As for the last three outfits the princess has worn, Mario is unable to choose, as all three have provoked various sensations in him that made him wish he could stare at her forever, without having any other worries or mission to carry out. The Yukata with the fire flower pattern was, without a shadow of a doubt, one of them, a beautiful and lovely vision that gave him back some vitality and joy when he ran into Peach in Bowser's Kingdom. He, as bold as brass, put on his samurai outfit, ready to defend her from any evil, and she, always so demure, covered her face with her hand-held fan to hide a soft giggle. Still, watching her hair pulled back in a ponytail and the Boo-shaped buckle adorning her head, Mario knew he’d never measure up to her.

And he felt the same way when, while strolling along Bubblaine Beach and enjoying the coolness of the water with his doggy friend, he found her there, wearing that pretty white sarong adorned with pink power moons, the sunglasses on her blonde head... and that bikini that exposed more porcelain skin than Mario had ever seen. He felt completely ridiculous in his red swimsuit with white polka dots and wanted to sink to the depths of the crystal-clear waters of the kingdom just to prevent her from seeing him like that.

However, that couldn't overcome how stupid and embarrassed Mario felt when, just after rescuing her from Bowser's clutches, he got caught up in an absurd competition with the king of the Koopas to try to get Peach to agree to marry him. They may have both been wearing the perfect outfits, Peach in her beautiful white dress that made her look like an angel and him in his tuxedo of the same color and matching hat.

But Mario realized too late that this was not the right moment.

Still, he is content to have had the opportunity, albeit brief, to stand next to Peach while they both wore what would possibly be their wedding outfits. Mario knows that this will never happen again, that it’ll never come true, because the idea of trying to propose again wouldn’t even cross his mind. It took him a long time to forgive himself for his huge blunder, even though it took Peach only a few minutes to do so, and he’d never be able to be at peace with himself if he bothered her again.

Peach's friendship is very precious to Mario. He loves to meet her on his travels and share a few moments with her, full of fun and trust, which he wishes he could extend in time forever. In addition, on more than one occasion, Peach has asked him to accompany her to Lake Lemonade to make a new dress, and sometimes she has also invited Toad and Luigi. The people there are experts in haute couture, and Mario is always spellbound as he watches Peach pose for the seamstresses, who, in a matter of minutes, are able to create a new dress for her, each one more beautiful than the last.

And, on each occasion, Peach always turns on herself so that the dress can be appreciated in all its splendor, making her look more dazzling than a star and more radiant than the sun itself.

🎈 Balloon Brothers🎈

Shortly after he saved Peach, Mario made two decisions when he continued to travel the kingdoms on his Odyssey ship. The first one was to adopt his loyal doggy friend, the clever Shiba that has helped him find so many power moons during his adventure. He named her Hattie, as she adores wearing a hat on her head no matter where they travel to, and also because her favorite game is chasing after Mario's cap and bring it back to him.

And the second one, as soon as he ran into Luigi for the first time, was that he'd always play Balloon World with him.

Every world he travels to, whatever his purpose or the mission that takes him there, Mario always has time for his little brother and loves to play Balloon World with him. He adores seeing his sibling so cheerful and excited, and the way he claps and cheers him on always causes Mario’s unstoppable energy to soar and his heart to melt with tenderness.

In Fossil Falls, Luigi was so scared of the T-Rex that organizing the game for Mario served as a distraction and a way for him to release some stress, something Mario was extremely relieved about. In Forgotten Isle, the same bird that had captured Cappy was threatening to pop the balloons that kept Luigi in the air and that were an essential part of his outfit as the game organizer, which only motivated Mario to chase the darned bird with the help of his loyal Hattie, until, at last, and to the relief of both brothers and Cappy, he managed to scare it away.

However, as soon as Mario ran into Luigi in the Snow Kingdom, shivering with cold in his shirtsleeves, but still smiling at his brother and inviting him to play while hugging himself, Mario did not hesitate for a moment: he hurried to get rid of his orange coat and, ignoring Luigi's faint protests, threw it over his twin, taking care not to accidentally pop his balloons. Despite his initial reluctance, Luigi couldn't help but close his eyes as he snuggled into the garment, trying to get warm, and Mario, his heart shrinking, hugged him with all his might as he gently rubbed his arms and back. Luigi cuddled up to him and Mario stroked his hair gently, his mind flooded with memories of when they were both little and Luigi would run to hide in his bed because he thought there was a monster under his bed. Sighing as he held his sibling in his arms, trying to shield him from the cold and icy drafts, Mario didn't agree to play until after he had taken Luigi inside his ship to wrap him in a blanket and offer him a hot drink to warm up inside.

Nevertheless, the opposite thing happened in Tostarena: Luigi, always determined to stay true to his original outfit as the game's creator, was too warm for the scorching desert heat. Before playing Balloon World, Mario decided that his little brother needed a change to feel more comfortable. So he grabbed him by the hand and pulled him into the shop. Luigi had to bend down so that his balloons could go in with him, and Mario immediately tried to convince him to, like him, put on a typical costume of the land, poncho and wide hat included, to feel comfier while they played there. His twin resisted a little, always wanting to maintain the elegance a game show host should always display, but when Mario assured him that he could keep his green bow tie, Luigi finally gave in. And, seeing them both in matching outfits, Mario also managed to convince his brother to play Balloon World together, to which Luigi agreed only after gifting him one of his balloons for Mario to wear on his wrist.

And they've done it many more times since then: in Peronza Plaza, in Bonneton, in New Donk City... even on the Moon! Also, whenever they play in the Mushroom Kingdom, the Toads join them and Luigi ends up giving them as many balloons as possible so they can have fun playing on their own, being the kind-hearted person he is.

Of course, Mario is well aware that his sibling knows the locations of the balloons, being the organizer of Balloon World, but he equally enjoys touring the various worlds with his little brother by the hand, dragging him along while Luigi floats after him and simply lets himself go. Mario’s heart sings for joy with every laugh that escapes his twin’s throat, especially when Hattie also joins the fun and runs with them in search for the balloon, only to pop it as soon as they do. Mario also loves the way Luigi guides him, or often misleads him, to make his search for the balloon easier or more complicated. Mario likes to be challenged by the game and Luigi knows it, so he appreciates it when his brother tries to trick him to divert him from his initial goal. This lengthens the game, as well as the time the brothers spend together, thus increasing the fun.

However, when it's time to say goodbye, Mario can read in his brother's face that he’s just as reluctant to part with him as Mario himself. His complicated missions through the kingdoms and, also, the longing to be reunited with Peach and spend some time with her as well have caused Mario to have to leave his brother's side without really wanting to, his soul screaming in the depths of his being that he should not do so, that he should turn back and return to Luigi's side.

When the same thing happens to him in the Moon Kingdom, Mario finally stops before entering his ship and turns on his heels. He sees Luigi raise his head, confused to see him turn around, and the surprise on his face only grows when Mario starts running towards him, although a little slower than he’d like due to the moon's gravity. A smile breaks out on Mario's face as he speeds up as fast as he can, and he stretches out his arms as he approaches his little brother. Luigi barely has time to open his arms as well before Mario pounces on him.

Luigi's gasp causes Mario to burst out laughing as he spins around with his brother in his arms, holding him tightly. It takes him a few seconds to realize that both of them are now floating in the air, propelled not only by Luigi's balloons, but also by the lack of gravity prevailing on the moon. His sibling clings to him as he laughs shyly, and Mario pulls away from him a second before his feet touch down again.

Holding Luigi's hands tightly and energetically, Mario offers him to board his Odyssey ship and accompany him on his travels, so that they can continue playing Balloon World together as his adventure progresses. And, perhaps, Luigi could also help him during their missions, just like in the old days, when they visited faraway realms, such as Pi’illo Island or the Beanbean Kingdom, and even became partners in time.

As he speaks, Mario is very aware that his eyes are shining, full of excitement. His whole face must be, in fact, as euphoria bubbles up inside him like a river of unstoppable lava. He’s unable to keep completely still, so he inadvertently shakes his hands and, with them, those of his brother, as he explains his idea to him. And his enthusiasm undoubtedly rubs off on his twin, as Mario can read in Luigi's blue eyes, identical to his own, which are filling with a special glow that can only mean he shares Mario's eagerness.

And so it was that the brothers began to travel together.

✨ The Golden Trio ✨

In some of their first trips together, when the brothers are about to play Balloon World, Peach meets them and becomes a spectator of their games. Luigi welcomes her with open arms and quickly explains to her what Mario has to do, and while his brother is searching, Luigi reveals in whispers to the princess where the balloon his twin is looking for is hidden.

Although, at first, Mario is a little embarrassed that Peach is going to watch him while he searches, he quickly decides that he must do everything he can to impress her, so he puts more effort into finding the balloon quickly and on his own, despite Hattie's attempts to help him. Whenever he succeeds, Luigi praises him enthusiastically and gives him a big hug, which Mario reciprocates joyfully and heartily. Peach, after applauding him a little more demurely, leans over to place a kiss on his nose, causing Mario's whole face to light up until it looks redder than his shirt. This always happens under the watchful eye of Luigi, who doesn't miss the chance to give his sibling a playful nudge while trying to silence his giggles, causing Mario's blush to increase.

However, the third time Peach meets the brothers, Luigi has the idea of inviting her to participate in the game, which he eagerly puts to her. Both she and Mario are delighted, and Luigi immediately rearranges the game so that Mario and Peach can play in competition against each other.

Of course, respect and friendship prevail in the game. Mario continues to play as usual, but Peach often beats him, as she’s quick and smart, and he can only admire her more and more every time this happens. In fact, he’d say that he enjoys the occasions when the princess beats him the most, as he loves to see her so happy and enjoying herself when playing with him. Needless to say, even though Luigi is a most enthusiastic audience, Mario is the one who always applauds Peach the most, which makes her blush, something that doesn't happen to her when she thanks Luigi's compliments.

When the game is preparing to take place for the fifth time since Mario and Peach started playing together, Mario can't help but notice the way his brother is wringing his hands and fiddling with his fingers as he watches them. The game is about to begin, but he can't take his eyes off Luigi. He can read his face like an open book, something that has happened practically since they were born... and he doesn't like what he sees.

It's not that Luigi is sad. He's happy to be with them and eager to see them play Balloon World again. He's ready to cheer them both on and shower them with praise, as always, for, after all, his little brother is one of the sweetest and gentlest people he knows.

However, Mario can see in his gestures, in the way he bites his lower lip, in the way he fiddles with his own hands, in the way his eyes sparkle, that Luigi misses being able to join the game despite knowing the location of the balloons beforehand.

So even though Luigi gives the start command just a second later, Mario doesn't move.

And it pleases him greatly to realize that Peach, next to him, hasn't moved either.

When he turns his face towards her, Peach does the same. Mario barely needs a few seconds to realize that the princess, always as perceptive and as concerned about Luigi as he is, almost as if she were some sort of big sister to him, has also noticed the longing that shines in his little brother's eyes.

The two hold each other's gaze for a moment before smiling determinedly and giving one another a mutual nod. In unison, the two turn to Luigi, who looks from one to the other, his face the spitting image of bewilderment. As he and Peach start walking towards the game organizer, Mario can't help but let out a laugh in anticipation of what's about to happen, and he hears Peach let out a small giggle next to him that only makes his heart swell.

Decisively, they both hold Luigi, each with one hand, and Mario puts his other arm around Luigi's shoulders while Peach wraps her free arm around the younger plumber’s back. Luigi doesn't understand anything, but he doesn't resist, since, of course, he trusts them completely. Peach and Mario start walking while dragging him along, and the princess proclaims that, by royal order, Luigi must play Balloon World with them. This finally gets Luigi to relax and even laugh, and Mario feels his little brother squeeze his hand as he and the princess laugh together.

For a moment, Mario simply watches them. His heart fills with joy whenever he sees them getting along so well. He loves that Luigi has found in Peach a friend he can trust and be himself with, and he loves that the princess, in each of their interactions, shows that she truly cares about Luigi's well-being and wants only the best for him.

And he just loves them both so much that his heart could burst.

He couldn’t live without either of them.

When the game concludes, shortly before the brothers return to the Odyssey ship, Mario summons the courage to offer Peach to join them. That way, the three of them could travel together, keep each other company and help one another in their adventures, and they’ll always have the chance to play Balloon World together.

As he speaks, however, it occurs to Mario that perhaps he should have consulted Luigi before inviting Peach, so he throws a sidelong glance at his brother to try to apologize to him without words.

But Luigi, ever so sweet and kind, ever the man with the purest heart, is nodding eagerly as he hears his brother speak, and as soon as Mario concludes, Luigi turns to Peach and takes her hands while expressing how much he’d love for her to join them. Mario can't and won't hold back the look of intense love and adoration he gives his twin as he talks to the princess. Who, of course, gladly accepts.

Thus, Mario, Luigi and Peach, accompanied by the inseparable and always loyal Hattie, Cappy and Tiara, embark on the Odyssey to a new world. And, as they travel, the three of them look out the window, Mario and Luigi with their hands on the glass and looking at the clouds with excitement, and the princess, with a hand resting on the shoulder of each of the brothers as she joins in their excitement at the sight they are contemplating.

Their adventure has only just begun.

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teyrnacousland · 1 month ago

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I'm jumping in on the Spite spirit vs demon discussion going around because this is one of my favourite Dragon Age topics!

I've always thought the concept of spirits and demons is less black and white than it's presented. I see it the same way I see the concept of "Good" vs "Evil" in people. 'At what point in DA2 does Justice become a demon' is the same question to me as 'at what point in DA2 does Anders become evil'? In my personal opinion, it's never. Others might disagree. (They do, trust me, they won't stop telling me about it) As does Anders himself. Is there a definite, objectively true answer to whether or not Anders is evil? Or is it all subjective?

I think it's the same with spirits. I think a lot of which spirits are considered spirits and which are demons is based purely on what morality we ascribe to certain feelings. Pride is Bad. Valour is Good. Rage is Bad. Compassion is Good. Etc.

But it isn't that simple. Rage may have a tendency to lash out and destroy everything around it, but it can also be healing like in Harding's companion quest, or it can be motivating, sharpened and used as a weapon for justice and to protect others like in Grandin's case in Inquisition. Similarly, Compassion, despite being "Good", can come to kill innocents in the name of mercy. None of these concepts and emotions are clear black and white. It's just that most people would categorise them as bad and good respectively. (Especially since the Chantry teaches them to do just that.)

The thing with spirits is that they reflect people's opinions.

Lucanis: I notice you never say demon around me. Emmrich: Watchers avoid the word. It begets unfortunate expectations. Lucanis: With just a name? Emmrich: Spirits are mirrors of our emotions, and we, the unconscious creators of their environments.

Emmerich doesn't call Spite, or any spirit, a demon because that opinion could reflect on Spite. I love this banter because I've been saying this about Justice for over a decade now. Is Justice a demon because he was twisted by Anders' feelings, because of his own actions, or because he's always feared becoming a demon and Anders feared his own flaws corrupting his friend and those fears combined to make them think it was true, and because everyone around them talked about and treated Justice like a demon for the better part of seven years?

Even humans adapt to meet expectations in that way. If you treat someone like they're evil, they're more likely to see themselves that way and act accordingly. Spirits just take that to the extreme. Expectations and environment can literally fundamentally change them, they're beings of the ever shifting Fade, where nothing is constant and everything is adaptable.

Going back to Spite, the reason he and Lucanis don't become a typical abomination is because they made a deal. Which has to start with Lucanis choosing to see Spite as something that could be reasoned with. How much different would things have gone for them if Lucanis had responded by panicking and trying to fight Spite off because he saw Spite as nothing more than a monster? Spite would likely have reflected that instead, not because that version of Spite is any less capable of reason, but because that's how any frightened being backed into a corner would respond. Maybe it helps that Spite is literally the demon of "no, fuck you" and all it takes to reason with him is saying "calm down, because freaking out and bursting out of me is what the person who put you here wants you to do". But we also know that even something like Rage is capable of coming to this type of agreement, as the Rage demon does with Grandin.

Here are some things Solas says about demons in Inquisition:

"They fight to gain entrance, and when the rules of this world do not mirror theirs, they lash out. Tragic, but not evil." "The dog that bites you because it is rabid is not the dog that bites you because it is starving. You may kill either, but one is just a few scraps of meat away from being your faithful servant."

Rage is said to be the most common type of demon. Rage is also one of the most common responses to trauma and stress. And Solas seems to be claiming that this state of lashing out isn't permanent, as it wasn't for Grandin's Rage demon. (As it isn't for people who are hurting.) Grandin's Rage demon found him, drawn to his own rage, and was likely soothed by the fact that together they had a purpose and a target to focus all this new Rage on. Rage's voice speaks alongside Grandin's when he talks about protecting people. Is this version of Rage still a demon? If working with Grandin gives it focus and purpose while it adjusts to this world, like Lucanis' goals do for Spite, will it still be Rage when they're done? Could it calm down and become a spirit of Justice or Protection? Will it go back to being whatever it was before? Or will it always be a spirit of Rage, just a more complex one now that it is a thing that exists in our world and not just a simple concept in the Fade?

In both Spite and Grandin's case, neither of them fit into the clear cut Good Spirits vs Bad Demons method of categorisation. They fit far better into a system where spirits are like any other people, complex and capable of both good and evil.

#I think when we're told spirits are simple beings it's easy to assume a simple moral dichotomy for them too #but even the simplest concepts can be complex when something as complex as morality is applied to them #Spite Dellamorte #datv #idk how to tag things lately I usually just Don't #love the Spite Dellamorte tag though I have to use that #veilguard spoilers #anyways this is mostly me rambling because that's what I do here 👉👉#Also look at me I made a meta post about spirits and I didn't talk about Mouse I resisted the temptation #(I did talk about him I just ended up deleting the paragraph)#(when I said Pride I was thinking of him though just know that ♡)

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animamii · 1 month ago

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highschoolsweetheart!Eren always asking you out to school dances by performing a Justin Bieber song for you.

It all started in Freshman year biology, the two of you sharing earbuds plugged into your phone. You have your liked songs on shuffle. All basic stuff, some Kanye, My Chemical Romance, The Weeknd. Just things you knew anyone, including Eren, would enjoy. Nothing you'd be embarrassed to play, none of your guilty pleasures. That is until One Time by Justin Bieber starts to blast through the headphones.

Me plus you...

Your cheeks flush, eyes widening as you look straightforward. Refusing to turn to look at Eren, who you can see out of your peripheral vision already looking at you with a smug smirk on his face. A soft snort leaves his nose, and you can feel your face getting hotter and hotter.

"Didn't know you were a Belieber, y/n," he teases, eyes still locked onto the side of your face. You take a deep sigh, your eyes shut as you slowly turn to look at your best friend.

"I grew up listening to him, Eren. Like every other little girl. I'm not a damn Belieber," you muster out, chest still tight from the embarrassment. You knew the situation wasn't that serious, but you and Eren had this will they, won't they situation that you didn't want compromised by your preteen music taste.

"Sure, you aren't," is all Eren says with a snicker and playful shake of his head as he continues to do the classwork. In all honesty you thought he would egg it on even more, continuing to tease and pester you over having 2000's teen pop sensation Justin Drew Bieber in your playlist. But no, the green-eyed boy drops the subject and forgets about it altogether.... right?

A couple months later you sit with your friends at lunch. Sasha downing her burger and school milk as Historia fills you in on some gossip, Ymir chiming in with her pessimistic opinion every so often. All you do is nod and listen, laughing at every snarky remark Ymir adds. The quad is littered with students, at lunch tables, walking around and talking with friends.

"Heyyy y/n please don't hate me for this, but I have to do this or else I'm getting my ass beaten or eaten," Connie shuffles to your lunch table, a good-sized speaker in his hands as he sits in on the table, turning it on.

"Do what??" You ask cluelessly, brows furrowed as you watch Connie plug in his phone and throw a thumbs up at someone. Your eyes follow his gaze, to Jean, who is standing like a damn weirdo next to something hidden out of your sight. Jean nods at Connie and gives a thumbs up back, to which Connie nods back as he presses play on his phone.

"What the hell are these boys doing?" You mumble to yourself until you hear it. That dun, dundun followed by adolescent vocals. Your face turns white, all color drained as you hear young Justin Bieber singing. Turning to Connie, you look at him with that 'What the fuck is going on?!' look he was so used to. All Connie does is nod his head to where Jean stands, with Jean giving you a shit eating grin and a wave. He turns to say something to someone next to him, some kind of signal. And there he is.

Eren freaking Yeager, dressed in a damn gray button up, opened with a black shirt underneath. And somehow some damn purple shoes, just like Justin in the Baby music video. With so much energy he jogs out into the middle of the quad, arm out to you as he lip syncs the opening verse. just shout whenever, and I'll be there. With every word he does the accompanying choreography, which has you wondering just how much effort this boy put into his little stunt. Shuffling his way over to you, his smirk grows as he sees your pink blushed cheeks that you try to hide as you cover the smile that starts to form.

"We're just friends. What are you sayin'?" He places his hands on your shoulders as he sings to you, people in the quad starting to stop and stare as he does those flashy music video jumps and hops Justin does. Ymir points to you two, her laughter drowning under the loud music from the speaker, Connie next to it as he nods his head to the beat and hypes up Eren. Soon Ludacris's part comes on, Eren turning around for a split seconds before spinning to face you once more, sunglasses now on his face as he raps along.

By the time Eren launches into Ludacris's verse, the entire quad has erupted into cheers, laughter, and even a few people pulling out their phones to record. His enthusiasm is nothing short of infectious. He’s moving with the confidence of a boy who knows exactly how ridiculous he looks—and doesn’t care one bit. Anything for you, right?

“Eren, stop!” you shout, though your voice is laced with laughter, and your hands are desperately trying to cover your face. But it’s no use; everyone is staring, and Eren is unstoppable. He drops to his knees dramatically, sunglasses barely clinging to his nose, and grabs your hand like he’s in a cheesy rom-com.

“When I was 13, I had my first love!” he belts, holding your hand up like he’s about to propose. The crowd goes wild. For a glimpse of a second he smirks, a devilish idea popping into his adolescent mind. He starts peppering kisses from your hand and up your arm, causing the girls watching to squeal a bit.

Your friends are no help. Sasha is choking on her burger from laughing too hard, Historia is clutching her sides, and Ymir has fallen over onto the bench, howling like this is the best thing she’s seen all year. Connie is doing some kind of two-step next to the speaker, hyping Eren up like a DJ at a concert. And Jean is just proud that all the practice had paid off, he would have been livid if Eren didn't do what he had taught him.

By the time the song wraps up, Eren’s out of breath but still grinning ear to ear. He tosses his sunglasses aside with a flourish and takes a low, exaggerated bow in front of you. “y/n,” he says loudly enough for the whole quad to hear, “will you do me the honor of being my date to the dance?”

Your face is burning hotter than the sun, but you can’t help but smile. The entire school seems to be waiting for your answer, the chants of “Say yes! Say yes!” growing louder by the second.

“Fine,” you say, trying to sound exasperated, but the grin on your face betrays you. “But you’re lucky I don’t die of secondhand embarrassment before then.”

The quad erupts into applause and cheers as Eren pumps his fist in the air like he just won the lottery. “Let’s gooo!” he shouts, and Connie cranks the volume up for the final chorus of the song, with Eren dramatically singing along one last time. He keeps his arms around you as he sways the both of you back and forth, the biggest grin forming on his face as you start to voluntarily move along with him. As the song ends, he places a sloppy kiss to your cheek. You groan, burying your face in your hands, but deep down, you know you’ll never forget this moment—or Eren’s goofy, fearless way of making you feel like the center of the universe.

₊˚ ‿︵‿︵‿︵୨୧ · · ♡ · · ୨୧‿︵‿︵‿︵ ˚₊₊˚ ‿︵‿︵‿︵୨୧ · · ♡ · · ୨୧‿

Def gonna make another part to it, didn't know if it was too long or nott. Thought just popped up into my head and I was craving some Eren fluff.

#eren x reader #animamii masterlist #eren yeager fic #eren yeager #eren jaeger fic #eren yeager fluff #eren jaeger fluff #shingeki no kyojin #attack on titan #eren yeager x reader #eren jaeger x reader #eren fluff #high school sweetheart eren

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ineffable-suffering · 1 year ago

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Why Aziraphale is an unreliable narrator

Part 2: The Story of wee Morag

This is Part 2 of 3 total metas. Here are:

Part 1, in case you want to read about my analysis of the Story of Job first

and Part 3, in case you're impatient and want to jump ahead.

Fair warning though, for the sake of understanding some of the references, you're probably better off reading this chaptered meta chronologically. However, every part should work just as well as a standalone! I'll do my very best to make it so.

Alright, off or on you go beyond the cutty cut!

I'll start this second part off with a very brief summary of the main take aways and points from Part 1, which go as such:

Memory, as opposed to a third party's narration, is not a factual, objective retelling of a story or event. It's mingled and mangled with emotions, imaginations and exaggerations, projecting both the feelings and impressions you had back then as well as those you might have now in the present time back on whatever it is you are remembering. (Which is why we need to put everything that Aziraphale is remembering into the context of what he might have felt in the past, as well as what he's feeling right now.)

While this doesn't mean his (or anyone's) memories are lies, it does mean they're a very subjective and sometimes factually distorted representation of what actually happened, which, in our case, gives us a lot of subtext and a lot of not-there furniture to figure out and look at.

So, let's continue with S2E3 and the Story of wee Morag. We start our flashback with a scene of Aziraphale writing his diary entry on the 10th of November, 1827. Immediately, it's firmly established that this is once again not an outside-point-of-view narration, but rather what Aziraphale remembers and wrote down.

One thing that immediately stuck out to me here, is how helpful and kind Crowley is to Elspeth, pretty much from the very beginning when they meet her in the graveyard. Not only does he take on a Scottish accent so she won't perceive him as English (as she does with Aziraphale), but he also helps her drag the barrel that has the fresh body in it and, in the end, even pulls it all by himself while Elspeth simply follows behind them. Here's a rather poor-quality picture, for reference:

Now, we know that despite not showing it very often, Crowley has always been very fond of the humans and never really put himself on a pedestal simply because he's an immortal being himself. He likes humans, just like Aziraphale does. But, just like this story will tell us, Crowley knows that on top of liking humans, you can't just put them into boxes of good and evil and expect them to always do what is supposedly the "right" or "divinely good" thing to do. (Which is what differentiates him from Aziraphale in the way he understands and treats them, as we're shown in this minisode).

Him immediately and unspokenly helping Elspeth with dragging the barrel therefore might also be a first sign of a tiny projection from present day Aziraphale, as opposed to what Crowley might have actually done (probably just walked beside her, like Aziraphale) because he has the knowledge that Crowley really was so very kind to her in the end, wasn't he? And that he's kind to humans in general. ("Not kind! Off my head on Laudanum!" Sure, babe.)

Most of this minisode, in my opinion, is actually there to establish how Aziraphale's view of morality and good vs. evil used to be quite flawed and elitist –– and how Crowley has always been there to gently nudge him towards questioning his black and white view of heavenly right and hellishly wrong. That's why I think there's not as many hints in this minisode about Aziraphale's memories not being an accurate portrayal of what happened, as there are in the Story of Job or the magic show in 1941. (And, fear not, the latter will definitely be the most hint-heavy one). Alas, there's still a few bits and bobs in the Story of wee Morag that stuck out to me, that make a brief yet good case of the whole unreliable narration thing.

First of all: The way Aziraphale describes all of it in his diary is so different from the way we see him actually remembering it. It's almost like he tried to write this entry (and possibly all of his diary) as a bit of a thrilling short story, with himself as the main character. Which makes sense, given the fact that he adores books and would certainly be keen on dabbling in the art of capital-w Writing himself. It's yet again hinting at the fact that sometimes people (and angels) try to polish and bedazzle stories (and memories) to make them seem more exciting and adventurous, often to distract from the not-so-fun parts of it.

Like when Aziraphale's diary narrates:

"It was with heavy heart we arrived at Elspeth's destination. I was determined to thwart her monstrous plan!"

... and yet we see Crowley and Elspeth casually walking down the alleyway, very obviously not heavy-hearted in the slightest, while Aziraphale nervously scurries on behind them, very obviously not determined to thwart. (Timestamp-wise, it's around 17:38 in S2E3, in case you want to see for yourself.)

We get another cinematographic/auditory hint at the fact that Aziraphale's memory is heavily influenced by what he's feeling that very moment, when Dr. Mister Dalrymple –– FRCSE, thank you very much –– shows him the tumor he removed from the seven year old boy. You can see the shock and horror on Aziraphale's face once he learns of this child's cruel fate. We then proceed to hear Mr. Dalrymple's voice grow sort of echo-y and far away as the sad music swells up and drowns out his voice almost completely. It's awfully similar to what it feels like when really horrible news are broken to you and you dissociate and drift into a state of shock. Here's the clip of it, so you may listen for yourself:

It's clear that this is a very subjective portrayal of what Aziraphale is going through during this part of the memory. He's deeply horrified and saddened about the little boy having passed away so early in life – and we hear and feel this shock with him. Through him, because this is his memory. Whatever it is he's feeling and thinking, we're feeling and thinking it too because we're seeing it through his lense.

Another (less sad) hint at a possible exaggeration is the abnormally deep hole Crowley makes the two graveyard watch keepers fall into. I'm pretty sure he's very much in charge of his miracles, making this random slip-up seem a little silly – which is why I'm also pretty sure the "Might have slightly overdone it on that hole" is a wee bit of a meta hint at this just being another one of Aziraphale's dramatic bedazzlements of this story. For the *flings feather boa around neck* drama!

You know what else might be exaggerated? Hm, I dunno, maybe Crowley growing into the size of a tree for no apparent reason. Sure, yes, he's pretty high on Laudanum which is making him a bit loopy. But apart from that, it does seem an awfully big cinematographic euphemism for him being the metaphorical (and, once again, for the drama of it) literal bigger person in this scenario. He's the one who ends up saving Elspeth and who manages to secure a safe life without poverty and grave robbing for her. While Aziraphale was so tangled up in his own moral journey and main character-ism, missing that wee Morag was seconds away from death already, Crowley is the one who actually ends up growing stepping up for the human in need and saving them for good (pun intended).

In a way, it might just be Aziraphale's view of/feelings for Crowley in this very moment. Watching the demon outgrow what, according to Aziraphale's heavenly logic, is supposed to be a foul fiend, bestowing evil upon humanity – and growing into someone who does the exact opposite and saves Elspeth instead. Another larger-than-life character development, in Aziraphale's eyes. Literally.

Let's switch back to the topic of the diary entry one last time, so I can make my final point of the this minisode's unreliable and a smidge over-dramatic narration of Dr. McFell. If you pay close attention, Aziraphale starts the entry we're all getting to experience with: "Last month, Crowley and I both happened to be in Edinburgh." Which means it didn't actually happen on the 10th of November, but rather at some point in October, 1827. Once we see Crowley get hydro-pumped back to Hell after rescuing Elspeth, the minisode ends with, presumably, the last sentence of Aziraphale's diary entry: "And that was the last I would see of Crowley for quite some time."

Take my hand and let's look at where the furniture isn't: This very clearly means that Crowley couldn't have been gone for more than a month, at best. Read again: "It happened last month and that was the last I would see of him for quite some time." This, albeit indirectly, clearly implies that when Aziraphale had sat down to write the diary entry, he had already run into Crowley again. Otherwise his phrasing would have probably been more along the lines of "... and I haven't seen Crowley since" or "... and Crowley has yet to return from wherever it is Hell's currently keeping him".

What's the point I'm trying to make? Good question. I guess my main point of storyteller Aziraphale being a bit over-dramatic in his narration is simply backed up by this, since A Single Month would barely pass as "quite some time" for an immortal being like him. And yet that's how he puts it, in his little Confidential Journals of A.Z. Fell, Vol. 603.

And another point that has absolutely nothing to do with the topic of this meta (but I'm still gonna make it 'cause this is my memory post): The meeting at St. Jame's Park in 1862 that so many, post-S2, took to be their first run-in after the Story of wee Morag, actually wasn't that at all. They saw each other at least once only a month later, as Aziraphale's diary lets us know. Which explains why he wasn't very surprised or concerned when he met Crowley in London, 1862. If there really had been 35 years in between those two events, the first one ending with Crowley being sucked back Downstairs to receive more than three decades worth of hellish punishment, wouldn't Aziraphale have been at least a tiny bit worried or more interested than:

Just saying.

Alright, let's string this inflated hot air balloon of a post back together so we can outline some invisible furniture. This time with only two humble points:

Crowley through Aziraphale's lense Backed up by how we are introduced to Bildad the Shuhite in the Job minisode (suave, cheeky, smart, passionate in shoemaking and obstetrics), it's growing quite clear that Aziraphale's memories and impressions of Crowley are very fond and impressed ones. He sees him as someone who's not only witty, funny and cool, but also as someone who has figured out way sooner and faster than him that nothing's ever black and white. Not God's plans and not the human's choices either.

Aziraphale as a bit of an exaggerating adventure author With the direct parallel we get of inkslinger journalist!Aziraphale in the present day, it's quite apparent after this minisode that Aziraphale's memory is not only deeply influenced by his emotions, but that he also tends to have a bit of a dramatic touch to him. Although, you gotta give it to the guy: A month without seeing the love of your life, even if said life is eternal, can indeed seem like "quite some time".

Well, would you lookie here, we've reached the end of Part 2! What a journey it was. I hope you forgive me for the fact that I drifted off-course a few times. I just can't seem to reel in my silly little observations, even if they've got nothing to do with the point I'm trying to make. But hey, doesn't that just make me a little bit like Aziraphale's storytelling, in a way?

I'll let you be the judge of that.

See you in Part 3! And in case you haven't snuck a peak yet: here's Part 1 again.

Ta!

#good omens #good omens season 2 #gos2 #go2 #good omens 2 #good omens meta #ineffable husbands #aziraphale #crowley #good omens analysis #aziraphale is a storyteller #but not a very accurate one #story of wee morag #my own meta #aziraphale the Drama Queen #shakespeare who #unreliable but beloved story teller aziraphale

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drdemonprince · 3 months ago

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I remember a while back you did a fun ask game where people sent in kinks and you rated how good an investment they are and it keeps popping into my mind because of how chill you were about kinks that even kinky people tend to view really negatively in the sense of ethics. I was wondering if you had any advice on how to *feel* chill in terms of my own kink ethics. I intellectually believe that fantasies can’t be immoral and that kink with other adults is moral as long as there is consent (and appropriate risk awareness).

But I am still pretty triggered on the topic when it comes up. Eg, earlier a friend told me they are cutting someone they love off for being friends with someone who “sexualizes trauma”. And yeah, that is definitely where some of my darker kinks come from—though not all. They’re entitled to that opinion and action of course! But hearing all the things they said against this person triggered me, making me feel like I’m dangerous and that it is wrong of me to interact with them going forward even though this isn’t a topic I would discuss with them anyway. Until writing this I hadn’t even considered if they are still a person I *want* to interact with given this. Though I’m sort of unclear on whether it is actually wrong of me to interact with them still.

I am working with my therapist on this. And I know it will take some time to work through. I was just wondering if you had any words of wisdom on the topic.

My thoughts are that if I had a friend who cut people off for having problematic (or in this case, just like, unsettling?) kinks, I would not feel safe around that friend. It would seem to me that they were judgemental, moralizing, and had a completely different viewpoint on how the world operated than I did, and that sooner or later they would demonize me for things I thought, fantasized about, felt, and so on. I might have sympathy if the person was a trauma survivor early in their recovery, as it's quite common for people to think in very dogmatic, black-and-white ways about morality in order to protect themselves and to be highly reactive to perceived threat. But their feelings of safety are their own business to guard over, and mine are mine, and I just wouldn't be able to get along very intimately with someone like that. I'd have to give them a wide berth until they started to get over it, if they got over it.

Recently, a friend of mine was completely ostracized from their local queer community simply for writing a piece that touched on a taboo fantasy -- a taboo fantasy they had concocted as a way to cope with some really gnarly early childhood abuse. They lost performance gigs and friends, had hate campaigns erected against them, had mobs of people threatening all their remaining friends and colleages, all based on a rumor about a piece that they never even got to perform anywhere because someone had heard it was about a taboo subject and even the IDEA of what it might be made them uncomfortable, and so they assumed my friend was condoning abuse when they were literally just describing what had already happened to them and how they found healing from it. Shit like this sucks, and it comes down most heavily against queer people, especially trans femmes, and I've seen the fear mongering ruin enough lives that I try to steer really clear of it.

My life has been so blessed by inclusion of people with really intense, taboo, stigmatized kinks into my life. I was afraid to even breathe a word of my hypnosis fetish to anybody until I was in my late 20s, because I thought it was so freakish and evil. and now I routinely talk with people about really animalistic feral fantasies, harkness rule violating monsterfucking, rape play, necro fantasies, abdl, age regression, incest roleplaying, blood, eating bodily fluids, and everything else that freaks people out but harms no living being. Even when it's not my stuff, even when it's something I might personally find a little squicky to actually be in the room with, it makes me feel seen, safe, and free to express the depths within me. I think surrounding yourself with more people like that or just consuming their stories can help a lot. And trying to find some mental distance from the people who do fear monger and get triggered. They have their reasons for feeling as they do. But that doesn't mean we have to align with their values or actions.

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