#not really i just used the translate function on word

[raskies456]

learning python rn and nothing boosts your confidence like finding the bug while the person teaching you is coding live

[nightcolorz]

“Armand was lying to Louis about how Marius used to pimp him out to his friends bcus he wanted him to feel bad for him” is perhaps the stupidest and most insane take in the amc iwtv fandom. It’s stupid bcus ik that the ppl saying this r only saying it from a delusional place of “I really don’t want amc iwtv to portray Marius as a bad person so I’m hoping that every instance we have so far of Marius doing bad things isn’t actually canon” and the people who believe this don’t actually think about it in the context of the plot and what a lie like that would mean, bcus if they did they’d realize that it makes no sense and they r delusional.

The craziest part of it is the “Armand is lying about this specifically to try to make Louis feel bad for him” aspect, bcus that implies that armand is 1: willing to vilify Marius (the most important person in his life who he continues to love and admire and hold in deep regard) to gain favor in his relationship with Louis (hot guy he just met) and 2: That Armand somehow needs to make up more bad things that happened to him bcus apparently being enslaved and raped as a child wasn’t enough and he had to throw in a random detail about his makers friends cuz otherwise Louis wouldn’t sympathize with him enough.

Yep that makes sense. Not even to mention how Armand explicitly softens the way he words the fact that Marius pimped him out in a way that makes Marius *look better* bcus he loves him and clearly based on performance context and actual dialogue isn’t looking to make Marius out to be a bad guy when talking about him to Louis. That is definitely the tone in which someone lying about being abused for attention would talk about their abuser! Also, the insinuation that Marius would not do this so it must be a manipulation of the truth is hilarious, bcus Marius sending Armand to have sex with house guests seems to me like a very clear adaption of his actions in the books where he sends Armand to go have sex with ppl at brothels to try to “flesh out his worldly experiences” or whatever. In an adaption where Armand is more explicitly and functionally Marius’s slave (and also a poc with less social privileges) it makes sense that marius making Armand have sex with other people for his warped reasons would translate to house guests instead of prostitutes. Marius does arguably so many more worse things in the books then tell Armand to have sex with his house guests so I don’t see how this is the line that can’t be crossed for some people. I don’t mind if anyone rlly likes Marius or stans him but nothing bothers me more then seeing huge mischaracterizations of my boy Armand so like in conclusion shut up.

[dedalvs]

it's fascinating to me how endlessly complicated High Valyrian seems to be when you answer questions about it. Is there any language in the world more or less at the same level of complexity?

It depends how you're thinking of complexity. All the languages of the world are equally complex. They have to be, because they all need to perform the same function, and they're all used by the same human brains living inside the same humans living human lives. I think English speakers (and hypothesize that, by extension, the same would be true of Chinese speakers, Hawaiian speakers, Vietnamese speakers, Swedish speakers) look at certain other languages and think of them as more complex in the meta sense because they are more morphologically complex.

By this, I mean in English, for a noun you need to know its singular and plural form—that's it. For a verb, you need to know its -s form, its -ed form, its -ing form, and, very rarely, its -en form. There is some irregularity in form for almost all of these (-ing appears to always be regular), but there aren't more forms, outside of "to be", which has a unique first person singular form.

And...that's it, really. We have adjectival comparison, I guess, but even that can be traded out for an expression (aside from "better" which can't be replaced easily by "more good", most comparatives can be replaced—e.g. you can say something is "more red" than something else even though you can also say it's "redder" than something else). There aren't many word form changes in English a user has to learn in order to be able to use those words in a sentence. The same is true of those languages I listed in the parenthetical phrase above.

Compare that to Spanish, where there are more word form changes for verbs in the present tense (indicative and subjunctive) than in the entirety of English. And that's just one tense for verbs! There's loads more that needs to be memorized; many more word form changes you need to know to be able to use words effectively in a sentence. And there are irregularities on top of that!

Is it the case, therefore, that Spanish is more complex than English?

Certainly, Spanish is more morphologically complex, but does that mean you can express more in Spanish than you can in English? Certainly not! So then what does it mean when we say Spanish is more morphologically complex than English? What's the upshot? What does it mean for the language user?

Perhaps it would help if we compare some Spanish verbs and their English translations:

hablabas "you were talking"

hablé "I spoke"

hable "you would speak"

The precise translation of these verbs will depend on context, but this is a fine example. These are all single words of Spanish. They're different forms that must be memorized, but they're single words. The English requires at least two words for each concept.

So which is more complex? On the one hand, you have fewer words but more forms. On the other, more words, and more words = bigger.

And that, essentially, is the crux of it.

Any time you have complexity baked into single words morphologically in one language, you'll find complexity in the form of multiword expressions in a less morphologically complex language. The meanings are always there(*), but they're expressed in different ways.

As English speakers, we're used to having to express things in multiword expressions, and a speaker of a given language will find their own language to be simple just because. We extend that to think of languages like ours as simpler than those that are different. But, in truth, it's six of one, half dozen of another. Furthermore, there's just as much complexity in languages with less morphological complexity. Consider the following expressions in American English:

I walked to the store. ✅

I walked to a store. ✅

I walked to store. ❌

That's pretty standard. English has articles and you need to use them, right?

I ate the dinner. ✅

I ate a dinner. ✅

I ate dinner. ✅

All those are okay. They don't mean the same thing—and, indeed, the first two have much more restricted contexts—but they're all okay. That's a little weird, isn't it?

Not as weird as this:

I made it by the hand. ❌

I made it by a hand. ❌

I made it by hand. ✅

The first two aren't just weird: they're yikes-a-doodle-do wrong. You might try to brush it aside and say that it's just an expression, and, sure, it is, but ask yourself this: how'd that expression come about in the first place? This one is actually from Shakespeare (Romeo and Juliet) and still works the same way in American English:

You kiss by the book. ✅

You kiss by a book. ❌

You kiss by book. ❌

And just for funsies:

He won by the nose. ❌

He won by a nose. ✅

He won by nose. ❌

You might think the way these shake has to do with what they stand for—that the semantics of the noun in question condition whether or not you can use articles—but consider the first one "store" and compare it to this one:

I walked to the Barnes & Noble. ✅

I walked to a Barnes & Noble. ✅

I walked to Barnes & Noble. ✅

Barnes & Noble is a store, but refer to it by title, and suddenly it's all okay.

Now, if your native language is English, ask yourself: when and how did you learn all of this? Did someone sit you down and tell you where to use which articles and where not to? I'm sure there was some level of instruction you got in elementary school (whether it was accurate or not), but how much of a difference do you think that made? Did you just not use articles before then? And even now, could you explain this? Do you even think about it? Or do you just do it—flawlelssly and effortlessly? Adult learners of English will tell you learning this stuff is a nightmare. Throw in phrasal verbs (pick up vs. pick out vs. pick on vs. pick up on vs. plain old pick) and suddenly English doesn't look too simple anymore.

Bringing this back to your question, when you look at High Valyrian, is there a natural language with an equal amount of morphological complexity? Sure. Maybe something like Latin. But understand that any language will be as complex—not more, not less: as. The only difference with High Valyrian, actually, is its vocabulary isn't as large (give me a couple decades), and it doesn't have nearly as many users as any natural languages. It's also being kept artificially small, in that the language is built up to fit a fictional reality, rather than being expanded to handle anything, the way modern languages are. But pick up any language and it will be equally complex.

(*) From above, it is not always the case that the same "meanings" will be in the equivalent translation of a given sentence. A good example is gender. If you say El río es largo in Spanish it means "The river is long" in English. Like, exactly that. There is no question that these two phrases are functionally equivalent. HOWEVER there is more information in the Spanish sentence. The words el, río and largo are all masculine gender. What does that mean? Nothing more than that they're not feminine. If you hear el in Spanish there are a limited number of words that can legally follow it. When you hear largo, you know that what it refers to has to be in the same class. The function of this is simply to enrich the signal. If you only hear "is large" in English from the previous sentence, you have no idea what noun is large. If you hear es largo in Spanish, you also don't know—but whatever that thing is, you know it has to be masculine. That means that if a Spanish speaker has to guess what es largo they were trivially have a better shot at guessing correctly than an English speaker guessing what "is large" (e.g. if an English speaker has a one in a million shot, a Spanish speaker has a one in 500,000 shot, because roughly half the nouns of Spanish are masculine and half feminine). This means, technically, there's more information in the Spanish sentence than the English sentence, and that information is not represented at all in the English sentence, and is, essentially, unrecoverable. But that "information" is more morphological in nature than semantic.

[from-the-coffee-shop-in-edoras]

Do you have any specific idioms that you’ve come up with for Rohan?

Yes! I’ve got a huge mishmash of adages, idioms, little sayings and turns of phrase that I’ve made up over time for use among the Rohirrim. A bunch of them are in old posts, which I can’t locate because Tumblr’s search function is garbage, so here’s just a random helping from memory in all of the above categories:

“Crumbs will do when crumbs must do” (often shortened to just “crumbs will do”). Leftover from the famine of the Long Winter, it means “stop whining and make do with what’s available.”

“The proof is on the tongue.” This refers to the cultural tradition that the way to recognize whether a stranger is a friend or foe is to see if they can speak Rohirric, but it gained added nuance after the reign of Thengel, when he came back from Gondor speaking Sindarin and Westron all the time, which rubbed people back home the wrong way. Now it’s used as sort of a general expression about whether something or someone is genuinely of Rohan.

“Cirion didn’t win alone.” Based on Cirion coming to Eorl to ask for his assistance (which ultimately led to the Oath of Eorl and the founding of Rohan), it means “don’t be too proud to ask for help when you need it.”

“[Person] rides with their hands at their chest.” Proper riding posture has your hands at hip level, but amateurs often end up raising them higher to keep their balance (rather than making the correction in their seat as they should). Basically, this is one of the harshest insults you can fling at someone by insinuating that their horsemanship is bad.

“He’s going to hear Béma’s horn.” Referring to Oromë’s sounding of his great horn as he rode against the servants of Morgoth, it means that someone did something very stupid and now he’s going to face wrath for it.

“The glory of the grass is the glory of the field.” I stole a version of this from one of my favorite books, Matrix by Lauren Groff, but I think it’s perfect for a kingdom of plains and grasslands where collectivism is necessary for survival. One blade by itself is nothing, but a field has shape and substance and beauty. And if your field is not doing well, your personal glory as a single blade is still diminished even if your blade is thriving.

“[Person] has gone with Ácith.” Ácith is the Rohirric name for Béma’s wife. Flowers bloom in her wake, and so they believe that the appearance of simbelmynë on their graves means that she’s been there to escort the dead person on to their after life. So to “go with Ácith” means that someone has died.

I *also* really like thinking about unique words that would exist in Rohirric and not in other languages. I’m already on record as saying that I think they have DOZENS of words for “horse” that recognize different distinctions and nuances that no one else bothers with, but I’ve also speculated that they’ve got words like something that translates directly as “oath honor” and means the pride of having fulfilled your promises/commitments at great personal cost.

I totally LOVE this stuff and could sit around thinking about these all day every day, so if anyone else has examples that they want to throw out there, please do. I would LOVE to see them!

Check out part two here!

[weenwrites]

Can I have a cybertronian S/O with TFP Shockwave who’s really REALLY into weaponry and is really invested in his canon arm? Like, analysing and taking notes and asking questions about it, even manoeuvring it to look it up and down but carefully enough to not distract from his work (when he’s working at least)

[ Please do not repost, plagiarize, or use my writing for AI! Translating my work with proper credit is acceptable, but please ask first! ]

"Ooh, a vented barrel shroud—or perhaps that's a compensator?"

Y/N leaned over his shoulder here and there, observing the new device as they strode here and there to fetch all the necessary tools to assist him with the new upgrade.

Shockwave reached for the ammunition belt and and detached it from his arm, setting the end of the cord down on the table before he answered, "A fusion of the two devices, in order to ensure that my armament works to its fullest capacity with minimal interference due to recoil or muzzle movement."

"Both in one?" They repeated, passing him a tool as he held his hand out, before laying the rest out all over the table, "Given all your preexisting modifications, I feel like you're going to get less of a return with each new change to your hand gun."

"The law of diminishing returns indeed renders the percentage of the return into an infinitesimal value." He confirmed, attaching the device with ease before tilting it here and there to observe the weapon as a whole, "As such, any further efforts to improve the firearm would prove futile."

"Would? Let me guess, you've already made some ground-breaking discovery that will drastically improve its performance, haven't you?"

"Your hypothesis is a gross exaggeration, yet you are correct." He picked a device from the sea of tools in front of him, "I have engineered a device that will increase fuel efficiency and decrease the time spent reloading the gun, thus increasing the number of shots fired per round of ammo supplied by the ammunition belt."

"And you don't have to make any sacrifices for it? No switching out parts or anything?" They asked as he simply began to install the device without a hitch.

"No, it functions in conjunction with the rest of my modifications seamlessly." He held his hand out, and naturally they passed him the correct tool he needed.

"You have to make me a gun just like that one day. I won't accept anything less if you're planning on making me your official conjunx endurae somewhere in the future." They joked.

"You say that as though I would not give you the magnum opus of my work, that notion is illogical." He momentarily set his tool down and met their gaze, "As my equal, you will be given gifts naturally appropriate for someone of your caliber. Anything less would constitute as unacceptable."

"And here people say that you don't have a way with words!" Y/N smiled bashfully, "ah, they just can't understand your mind the way I do."

[caineinthecorner]

Language (The Demon Brothers)

★ Based on my language general hcs. Part 2 is here.

Hi. Today we have the demon brothers language hcs, brought to you by a single dumbass bilingual. :D

I include mentions of bilingual/multilingual MC, but I use the term MC and you interchangeably in the bullet points. It's the same thing who cares (you can also add whatever languages you think fit I am just going off vibes tbh)

★ Lucifer.

Since he was the strongest and highest ranked out of the brothers, his innate abilities were muddled the least.

This is to say that he remembers a lot from his innate knowledge as an angel, and can actually fare incredibly well on his own if you leave him in the human realm.

(the language he preferred back in his angel days was Archaic Latin, which is also Simeon's preferred language)

When Diavolo brought up the idea of the human exchange program he was like "(: ok" and binged human language for like two months straight like a total psychopath

He's like one of those fancy 10+ languages fluent polyglots (how)

Despite his fluency, it is rare to ever see him speak them. He has better things to do and prefers demon tongue.

Or if he does, the Loquar Ad Vos that was applied to you once you arrived in Devildom doesn't allow you to hear it.

You try to swear in your native language around him and oh boy it backfires

That is how you learn he's fluent in everything under the sun (exaggeration)

Frustrated, you grumble that you will learn demon tongue just to one up him

He takes it like a challenge. Enjoy reading a million books on the demonic language and having double the homework for your little joke.

(he gives you hard material to learn on purpose to see you fail. Enjoy hell buckoo. Double hell? Hell²)

You kept misspelling good morning in demon tongue as a demonic death threat and that somehow turned into an inside joke between the two of you.

He has to keep himself from chuckling whenever MC screws up words

Your accent is lovely though. Keep it up

★ Mammon.

Spanish and English.

Ok I actually can't justify myself further than "Mams would absolutely fucking go to Vegas" and the fact that USA has a large Latino population but hear me out

You cannot tell me that he would not watch telenovelas. Like. C'mon.

he has the vibes of a Spanish speaker is what I am saying

he was SO frustrated about having to learn human languages you have no idea

In fact he probably still struggles a bit and that makes him really mad

Why is it so complicated all of the sudden?! It wasn't complicated Before!

He unconsciously associates human languages with the trauma of the fall, and the stress and hurt and turbulent emotions it conveys

So learning new languages besides the two he knows is a touchy subject for him

(but like, he will learn MC's native language despite this. Whining to hell about it, but he will. Everything for MC)

You are actually very lucky that you have Loquar Ad Vos with you, bcs he actually switches from demon tongue to either English or Spanish mid sentence sometimes.

Not that you notice with your crusty translator (Loquar also works for human languages it supports), of course.

"Ayo can you [Spanish phrase], oh and give me a [English word], for a [spanglish nonsense]" <- Mammon's dumbass not functioning in trilingual

Also he has an accent but he's trying

The others are used to it so they don't question it anymore, but they deadass could not understand Mammon at some point because trilingual was not computing

It was frustrating to say the least

You two play charades with each other when the other forgets a word in your respective languages

"MC WHAT'S THE NAME OF THE ANIMAL FUCK THAT CHANGES HOME" "... Hermit crab?" "THATS THE BITCH"

★ Leviathan.

Japanese (very decent) and English (bad) are musts.

You cannot tell me for a second this fuck watches anime subbed OR dubbed. He's too weeb for that. He will watch the original dub version for the full emotional impact

He wanted to know what happens in the weeb world of the west (and internet discourse), so he learned English through shitty 2000s anime forums and Duolingo

Probably plays Duolingo competitively and/or cries if he loses his streak

His hearing and speaking English is okay, his writing is literally so so shit

Tried to learn a romantic language to be corny but failed miserably.

(He steered clear of languages his brothers know so he isn't self conscious)

It was probably Portuguese or something since Mammon kept talking about being good at figuring it out as a Spanish speaker (due to it being a romantic language)

The diacritical marks killed him on the spot

Meu português não é bom... (crying)

Victim of the you're* corrections

Runs his several-paragraphs-long rants about weeb stuff through Satan so the grammar is legit

Actually thinking about it would be absolutely fucking hilarious if he knew russian just for funsies. Yeah add Russian to the list

He sends you crusty Russian memes at unholy hours in the morning. Calls that bonding

Would absolutely swear in loud ass Russian while playing Valorant or smt

"ПИЗДЕЦ" "LEVI IT'S 2AM SHUT THE FUCK UP"

Ah + he knows Morse code (obviously). He was really excited when he discovered it and proceeded to obsess over it for like three weeks straight.

Although by the time he learned about it humans had already moved on from its wide-spead use at sea (post-1999), the Devildom Navy adapted Morse code for their own use as per Levi's command.

He teaches MC how to use Morse code (bashfully) and they send lil' messages to each other for fun

★ Satan.

He inherited a good chunk of Lucifer’s angel-knows-all-languages innate talents.

He doesn't have the angel knowledge of every language, of course, but he definitely has a really high count since birth; Unlike his brothers who had to relearn their languages of interest.

However, he can tell™ that the topic of languages is kinda taboo-y, as it signifies the traumatic fall he himself was not there to witness, and kept quiet about it.

The others (mostly) think he just learned languages in his free time.

He is the designated google translate person. When the other brothers need translations, they ask him.

He gets very frustrated when he has to translate something on the spot

Absolutely knows Chinese and Latin just to read fancy old human books and be a menace about it

He has a copy of the Art Of War in Chinese I will fight you on that

Actually he probably owns every important human book in its native language

Culprit of the you're* corrections

If he has to read another thesis-length essay abt weeb shit by leviathan he will actually lose his shit

You know the Voynich manuscript? He's probably trying to decode it for funsies.

If you and him (unfortunately) share a language, he will absolutely correct the living shit out of you when you speak it

Look me in the eyes and tell me he wouldn't "erm ACtuAllY" MC. You can't.

His ass does not understand slang. At all. You tell him See You Later Alligator and he'll be like "tf you smoking ಠಿ⁠_⁠ಠ?"

★ Asmodeus.

French. And Korean. Maybe very mid English.

Ok so french is the language of lOVe and whatever + Korea is known for their heavy beauty-focused culture

I can see Asmo definitely picking up Korean just for makeup and self care brands purposes.

Like it is easier to browse for products he wants if he can actually browse the original places/websites himself

It's just more convenient and he's actually very good at language learning

+ Korean it is a "cutesy" language so it fits his vibe.

Like he absolutely would go "안녕 teehee (⁠ ⁠ꈍ⁠ᴗ⁠ꈍ⁠)" to look disarming is what I am saying

He flirts to hell with Solomon in French. It is a language they both know and isn't supported by Loquar for translation so nobody can snoop their conversations

If you have the misfortune of knowing French I am so sorry for you bcs they are NASTY

Solomon is teaching him English. Asmo fakes being bad at it on purpose

★ Beelzebub.

He knows a decent amount of English.

What does he use it for? Order food. Obviously.

In fact everyone kinda assumes he just knows a few food orders and that's it but no he's actually very decent at English (borderline fluent)

He learned through clunky conversation with small restaurant owners

Beel actually makes a great effort to enunciate every word clearly, so he doesn't like speaking long sentences

"Would you like Salsa with that, sweetheart?" "... Yes," <- Beel has no fucking clue wtf salsa is but it tastes good so who is he to defy food gods (a nice Mexican grandma with a killer Pozole) whom have blessed him

I also think he would probably know some kind of sign language

Fingerspelling maybe, solely because it allows him to talk while having his mouth full or bcs his games are loud and he can't hear words very well

That and, like, the Devildom equivalent of sign language. DSL or something.

Look at him. Absolute sweetheart. He would absolutely want to include deaf or hard of hearing ppl.

★ Belphegor.

Ok so

I am going to be very fr with you

I believe Belphie would be the only monolingual (demon tongue "native") of the brothers

at most he would remember a few phrases of a few languages from back when he was an angel, but not any specifics

Like this dude has ZERO interest in human culture I cannot think he would sit down to (re)learn anything

he would fall asleep trying to learn human verbs actually

He only knows how to tell you to fuck off on 4 languages (/hj)

None which you speak. So that's kinda awkward

He doesn't know how to cast Loquar (nor has any interest in learning how)

Beel casts it for him if he needs it

He can and will deadass just remove the translator spell from you if you try to annoy/interact with him (except if Beel is who casts it on you).

(so Beel now also casts Loquar for you)

Begone >:(

[glassautomaton]

What Is the First Magic, Anyways? (Or How I Learned to Stop Worrying and Love FGO Spoilers)

Out of the five instances of True Magic, the Second and Third are known about in some detail, the Fouth is a total unknown from what I can gather and simply hasn't been expanded upon in the lore quite yet, and the Fifth being shown, but not explained in detail, which is its own post. The First Magic falls somewhere in the middle here, where a few vague things are known about it and the person who attained it, but not much in the way of details.

What we do know for sure is that the Magician of the First Magic was Yumina, the First Witch, who founded the Meinster lineage and used the First to create Ploys, which were passed down to Alice Kuonji, considered to be the last pureblooded Meinster by 1989 following the 'death' of her mother. Based on some information about Witches and the Meinsters in particular from the FGO collab from back in April, I think I can hazard a strong guess as to what the First Magic actually is: authority over Mystics/Mysticism itself.

Some spoilers for FGO's Lostbelt 6, though nothing critical to the plot, as well as this translation of Alice Kuonji's FGO profile.

First off, some basic information about Witches and Yumina that was dropped a solid decade after Witch on the Moly Night first came out, because Nasu's a fucking comedian:

This establishes a few things, first and foremost that Alice is actually Yumina's descendant, that Witches aren't human and are instead closer to faeries (although I'm not sure if they can be considered true faeries as this is phrased like they were created by an individual rather than born from the land or the Inner Sea), and that the daughters of Witches are essentially the next vessel for a singular consciousness, such that lineages are more like a single individual with several reincarnations. Not all of this information is actually completely relevant to this point but how insane is it that Alice got a lore drop for the first time in a decade and it was buried in the ass-end of a six-year-old mobile game? I just needed to get that off my chest.

Alice's profile reinforces this by seeming to allude that Alice's mother and her ancestors were all the same person, as well as the third paragraph using similar wording to how True Magic is often explained.

Crucially, the final line also states that Meinsters stand in defense of Mystics from humanity's constant march towards order, which inevitably destroys Mystics by coming to understand them, as is one of the overarching themes in Type Moon in general. Yumina's lineage seems to be actively pushing back on this.

Knowing Nasu, I could stop right here. See, it's thematically cohesive with the Meinsters and Alice's character arc of growing past the reminders of her family's past and learning to appreciate the present, and thematic cohesion is really all you need in Type Moon, established lore and rules be damned.

However, I think that my point is supported by the Ploys, which are all products of the First Magic. We'll start off with the Three Great Ploys, which we know were created by Yumina proper and not any of her later descendants/incarnations.

Flat Snark, Oil of the Moon, is the Great Ploy that's featured most prominently in Mahoyo. This is pretty straightforward - the prose in the scenes that feature it describe it as Magic, and it functions by transforming the world inside of its domain into a landscape of fantastical insanity. It is, quite literally, draping the landscape in Mystics once again. Even the air becomes dense with mana, similar to the atmosphere in the Age of Gods (as shown in Absolute Demonic Front), when Mystics were at their most common and well-integrated, before humanity had begun to push it back as much as they had.

The Thames Troll is the second of the Great Three Ploys, and one that, at first glance, seems to be by far the most simple - it's a massive golem that can get stronger based on what it's built out of. Alice states she has poor compatibility with it, and therefore can only use its first two forms, that being wood and clay/brick/stone, with its final two forms being iron and steel, then silver and gold. Thames uses the environment to create its body, be it the woods the first time we see it or the brickwork in the park during Alice's fight with Touko, which would mean that further forms would likely do the same. As Alice says that the final form would overshadow even London, this would mean that Thames is capable of annihilating entire cities. However, considering it would need iron and steel nearby to do so, it could likely only become so powerful when being used within a more advanced human settlement, likely for the express purpose of destroying it. Therefore, Thames is the Ploy that most directly serves the Meinster's goals of opposing humanity and safeguarding Mystics.

The final of the Great Three Ploys, which isn't directly stated in Witch on the Holy Night but instead FGO, is Wandersnatch, which frankly could and probably should be its own post. There's a whole hell of a lot going on with that thing.

The long and short of it is that the Ploy consists of a dense fog, and numerous entities within it. Only by glimpsing Wandersnatch's true form in the fog can one escape, which makes the Ploy itself act as a microcosm for Mystics in general - it's an impossible, insurmountable obstacle that can only be weakened and overcome by observing it and learning more about it. It's little surprise, then, that Yumina herself choose Wandersnatch to inhabit while her current descendant doesn't yet harbor her consciousness - much of Wandersnatch’s presence has to do with Yumina attempting to exert more control on Alice in order to possess her and incarnate.

Ultimately, though, the smoking gun for me isn't one of the Three Great Ploys, but the most common one we see used: Diddle Diddle, Alice's favorite Ploy. This one has a simple function, that being that it strengthens Mystics in a certain area when dropped on the ground. Which is simple, yes, but also just absurd. You mean she can just crank out little Christmas tree ornaments that can singlehandedly counteract the one consistent force present in every single Type Moon property? She can just do that? Alice, and only Alice, can just say "nuh uh?" That's not attainable through normal magecraft, and has got to be an application of the First Magic through the Ploy. Considering how straightforward the effect is, it seems to pretty clearly point towards the First Magic being tied to Mystics.

As a final note, I also think this makes sense of Nasu's note that the First Magic was discovered after the Third but named as such for a special reason relating to its nature (although this is from an unofficial translation from the Fandom wiki so take this with a grain of salt). It would be very in keeping with what we know about mage society for them to say Mystics are more foundational and important than souls.

[codenamesazanka]

the leaks:

skimming through the entire chapter 431 with my rough translation skills.

Uraraka's Quirk Counseling expansion seems to be her (and Tsuyu) trying to single-handedly screen for problems and child abuse by spending one month at every single (elementary) school/school district? They're helped by volunteer heroes.

She's also helped by Hawks, who negotiating with the Ministry of Education, Culture, Sports, Science and Technology and other organizations to provide support to change quirk education.

She is the best hero. 😭😭😭

My worries about quirk counseling have been slightly mollified by this. Slightly. It's geared towards very young children, and we don't see the actual counseling, just Heroes spending time with kids to make sure they're not showing signs of distress, but it's nice to see this tiny glimpse.

Uraraka has dreams about Toga, and wonders if Toga left her blood/quirk/will inside of Uraraka similar to how OFA functioned. Uraraka can't remember the content of the dreams, though, and wonders if Toga is trying to send her a message.

Deku says he's developed a policy to help students develop their quirks. He also goes around to elementary schools and facilities and give lectures, sharing his experiences with young girls and boys.

Shouto has taken up pottery-making classes, after thinking a lot about fate and inevitability and his path

The entire class mobilizes to capture a car thief who may or may not have used his quirk - alert said that if he does just his quirk, it might cause a big accident? idk about this part.

When Deku asks Uraraka out, Uraraka finally remembers her Toga dream, which is Toga telling her that just like how Toga lived as she liked, Uraraka should live as she likes. So Uraraka says yes to going out with Deku.

.☠️☠️☠️.

Laughing so hard because 'go live as you please!' is so Toga! It's Toga's ideal and guiding principle. She clung to being her quirk-influenced, bisexual-love, creepy-smile self, fighting to love and die as herself. She would be happy for Ochako following her heart! But did it have to be the most conventional hetero cutesy romcom shit.

The OFA-esque accumulation of will and power of Toga's quirk and love and ideals............... to encourage Ochako to date Deku.

I don't believe the League is mentioned at all by name except for Toga via Uraraka's dream, and one line from Shouto saying he was praying at Touya's altar (thus confirming that Touya is dead).

AFO is mentioned but in context of young heroes deriving their impressions of heroism from the AFO battle? idk about this part.

Two flashbacks to Shigaraki, from Deku.

First is Deku flashbacking to him inside Tenko's heart, holding Tenko's hands, as he talks about how even if he had OFA, he would still come to want to be a teacher.

(Feel like this is interesting because AFO has always been 'Sensei'/teacher to Shigaraki. In a way it feels like Deku is trying to be a Good Teacher to AFO's Bad Teacher, I guess?)

Second is Deku ruminating on Shouto's talk about 'inevitability' and how he's doing everything he wanted, and he's blessed. He flashes back to Shigaraki's "Really, do your best," which is when he also notices Uraraka laughing and get heart eyes.

So i'm laughing again that even without a dream ghost, Shigaraki's words about destruction also gets used and recontexted to fuel Deku/Ochako.

Did that extra panel of Shigaraki's almost-smile in Chapter 423 come about just to give us this ~*~parallel~*~???

It's pure gold. Villainous creeds (Destroy everything / Live as I please) ultimately used to not even prop up the Heroes doing heroic stuff related to the society that the Villains were rebelling against... but rather to get Deku and Uraraka on a date.

[magicpotatothoughts]

SVSSS | The absolute GENIUS meanings behind the name Shen Yuan 沈垣

Ok so most of us already know the meaning of SY 'cause it's in the appendix of the official translation books but I was today years old when I realised just how much meaning MXTX embedded into this name. *spoilers ahead*

Level 1 Meta

Official translation of the word Yuan垣 means wall. But not just any wall, a wall that surrounds something else. It would be specifically used to describe city wall 城垣 or garden fence 花垣 would use this character. This is incredibly fitting for Shen Yuan because his whole story arc is his battle between his logical conscience for survival and his compassionate gut instinct to protect LBH, in other words, to surround and to shield LBH from harm. But this wall of protection functioned against Bingqiu psychologically because SY kept on making decisions without talking to LBH and decided a lot of things on his own. SVSSS is a novel about achieving that balance, to allow both partners to take agency and face life side by side.

Level 2 Meta

Normally, surnames don't have any meaning. Shen沈 is largely used as a name for things/people buttttttt it can also mean liquid or to pour. Guess what, Luo Binghe 洛冰河 means Luo frozen river. So it could be interpreted that Shen Yuan's entire job in the novel is to make LBH achieve his final crybaby form by getting the frozen river Luo to melt, to "pour".

Also, SY made himself melt as well in a way, his internalized homophobia potential toxic masculinity as well as his need to maintain a cool composure were also things he needed to overcome. We finally see him cry for real in the 3rd book, right after LBH scolds him out of anger and worry. Our protagonist learns to break his own walls down and show emotionally vulnerable parts of himself to LBH.

Level 3 Meta

Chinese characters are made up of radicals, meaning more complicated looking characters are made up of simpler characters (radicals) that give clues to their meaning and pronunciation.

Shen沈 is made up of the radicals:

氵 [ shuǐ ] water 💦

冘 [ yín ] can mean to move on OR doubtful of something/someone

The water radical氵💦 occurs in all three characters in Luo Binghe 洛冰河. This can mean that Shen has influence on Luo Binghe's development and overall life. It also reaffirms their compatibility as as couple. I mean let’s be honest, SQQ cries inwardly and LBH cries outwardly, they are both crybabies.

yín冘 perfect describes the base functionality of SY's character; he has a strong survival instinct but is also extremely doubtful of everyone's intentions, especially LBH's.

Yuan垣 is made up of the radicals:

土 [ tǔ ] soil, earth; items made of earth 🌎

亘 [ gèn ] to extend across (dimension/space), through; from 🚀

I find it so fucking funny that MXTX took the tǔ土 soil radical seriously and literally just had SY zombie-himself out of the dirt after 5 years. But it's also really poetic that it once again goes perfectly with LBH's name; the river and earth go hand-in-hand. no wonder LBH asked for Shizun's hand in marriage. 😳😳😳

gèn亘 perfectly describes SY as a transmigrator, someone who travelled across dimension and space. But also SY is really the ultimate sightseer of SVSSS, casually crossing between the human realm and demon realm while also going on road trips with SQH. It's honestly so fucking mint. But I'm here to point out to you how Xin Mo 心魔 LBH's sword (heart demon) is how LBH travels across dimension/space for the majority of the book.

Ultimately, Yuan垣 highlights the importance of finding a home in the people you love. Bingqiu both enjoy that sightseeing lifestyle but the book constantly has important relationship developments, smexy times and domestic Bingqiu set in the Bamboo House. Ultimately, no matter how far you travel, run or chase, you cannot get away from your problems. You need to extend and make effort in understanding and communicating with your SO 🚀 and work on feeling grounded 🌎 in your relationship together.

MXTX you freaking genius I-

[clairedaring]

Compilation post of my favorite Nadao actors (Nonkul Chanon, JJ Krissanapoom, Tor Thanapob) & Bright Rapheephong giving some interview answers on why they decided to star in queer/LGBTQ+ coded series/roles, some of their takes on being in BL (Y)/Queer series.

note: if you find this post familiar, it's because i've posted this on Reddit before. reposting here for archival purposes

TOR THANAPOB

Tor Thanapob interview in April 2023 when being asked about starring in Midnight Museum (a queer-coded GMMTV series) - (translation by infinitygraph_)

Tor: I think nowadays we should stop talking about gender. It doesn't mean that I have to act with women all the time or I can't act with men at all. I feel that I have proved to everyone that, work is work, and everything is about art. Even my team who are staying with me all the time has all kind of sexualities. It's not strange if someday we want to try telling story of other sexualities that we feel that we might be able to help them telling. If you ask me if today I am like that, today I might not, but I have a chance to understand them more, so I want to do it. Q: Is it because of the spoiler that [Midnight Museum] might be a series Y (BL)? Tor: Nothing to do with it. I tell you, sincerely, it has nothing to do with the spoiler. I just want to say that you don't have to overthink about it because nothing is fixed. Actors are actors. These days there are some award shows don't divide genders into categories anymore. I think this is a great step. Actresses also don't have to act with men all the time, they can act with women. And they both being the main characters Right. Because not all the main characters from every project have to come with the word 'love'. Even if there's 'love', there're many kinds of love. It's up to the audience what kind of feeling they have. Do they feel the same as me or they even feel more than I do? Q: So that means these days you can accept the work without any limit about what you are, which genders... Everything is about the story/script-writing? Tor: Right. I admit that I was afraid before. I wasn't afraid about my image, I was afraid that I would tell the story without understanding it, because I didn't have any experience at all. But at some point I found the chance to be more open-minded, brave to act it out all the way, such as Midnight Museum...

Tor's Vogue Interview in February 2024 on Spare Me Your Mercy as another important milestone as an actor (all translation by saltymarbles on twitter)

Tor: As for Euthanasia, I’ve been interested in it just from its name. If we were to go back in time to the period of the Prime Ministerial elections last year, there was some talk regarding the laws about euthanasia. As such, I know the meaning of it but if I had to explain it, I wouldn’t dare to because I don’t know that deeply about it. Tor: Up to the day that this drama happens, the owner of this project told me he wanted to set this question before anything changed in society: ‘Actually, are humans capable of choosing their death?’. Tor: This question shot through the core of my brain and immediately, i was like: ‘I need to tell this story’. And the role that he hoped to give me also served that function too. It’s a character which sets up the question of ‘what is right?’.(t/n: "this question" likely refers to a more philosophical kind of question regarding morality which asks what does being ‘correct’ mean — what is ‘objective morality’ (if it exists)) Tor: Do the people who are really suffering have the right to ask to leave? (t/n: "leave" is just a polite way of saying die (Thai people usually don’t use directly use the word die when talking about humans, usually use a more polite way like how we say ‘passed away’ or ‘xyz has left us’) Tor: Thus I decided to play along with knowing that the timeline of Euthanasia will remain with one in a hundred (people), so I like shades of the polar opposite. If the first story is navy blue, the other will be red — not close at all.

NONKUL CHANON

Nonkul's response to the question “If you have a chance, would you consider playing in a BL series? If accepted, who do you to co-act with?” in a Facebook Q&A video in 2021

Nonkul: If that series is an interesting storyline for me, I am always open to any kind of genre. I never categorized BL series as an BL series, I just think of it as a series with another plot as part of my work. It is a normal series that can have any of the plots which I will categorize as Romantic Comedy, Drama or whatever. Thus, when I choose the BL series I want to work with, the love preference of the character does not affect my decision. If the plot of the series is interesting, of course I’m gonna do it for sure. Every work that I chose, I personally think it at least enjoyable for me. Of course, if in the future, there are BL series with plots that I find interesting, that I enjoyed the script. “Like, wow, that’s my type!”, I will definitely selected it to be my future project. A good written series is a good series. This is what I believe as an actor. For BL Series, I think I can work with everyone. I don’t think I have anyone in particular. One thing! I desire the character of that person/actor? to be close to the character in the series. At that point I will be satisfied. Sometimes, I as an actor have a chance to work with people who don't have a lot of acting experience. I will still discover something new from him as well. And there is a BL novel which I really like! [Nonkul explains the plot of his favorite BL Novel ‘Peremo’] I would prefer to choose the “heroine” role because it will be a new experience for me as an actor because it will be a new experience for me as an actor. Because basically I only play as a hero role for the main character or support character in my work, but a “heroine” role in a BL series is the only chance for me to play a character more feminine. So it is a new experience for me. [Nonkul continues raving about 'Peremo’]. But if you think that you can make [an adaptation of Peremo], please do not forget me, Nonkul! Pleaseeeeeeee, I will do my best, I promise!!! However, I’m not only fixated on this novel. I’m also open for many more BL series if there is an interesting plot.

Nonkul's response to being ask if he's worried about filming NC scenes in IFYLITA (translation by saltymarbles)

Nonkul: I have to say when I had finished reading [the novel] and it’s made me want to act (in this series). I am probably worried more about the CG because if it’s a fantasy story with time travel, if the CG isn’t good, people will feel that it’s ‘off’. Because CG is something we don’t know anything about until we see the final product. One of the reasons that I accepted this role is because for some series, when I’ve read (the script/novel) for homework, I don’t accept them because there are some scenes that are forced in just for the sake of fan service. And I’m not really into that. If it’s a natural NC scene, then I’m not bothered. I’m a person who places a lot of importance on the story in series making sense. So to me, if an NC scene is reasonable, I won’t be bothered by it. But if it seems forced, I’m not into it. It’s important to show human-ness.

Two clips of Nonkul being asked what he thinks about doing NC scenes in IFYLITA (Clip 1 and Clip 2). Nonkul said that he places great importance on the character's actions. If an NC scene is reasonable he wouldn't mind but would if it's not reasonable. For Nonkul, understanding character is very important, especially for himself as an actor. Nonkul also said previously he had rejected some BL series offers because he can feel when NC scenes are put in just for fan service, which is also a reason why Nonkul accepted to play Jom in IFYLITA is because the love scenes are natural and make sense.

JJ KRISSANAPOOM aka JAYLERR

JJ's interview in February 2024 on Spare Me Your Mercy and his chemistry with Tor (translation by saltymarbles)

JJ: The pilot of ‘Euthanasia’ has been received well since the novel has many fans already who are excited about it. JJ & Tor are similarly excited and are committed to doing their best. The chemistry between Tor & JJ need not be questioned according to JJ since they are already close with each other. The series is in the phase of pre-production currently.

One of my favorite fictional characters of ALL TIME (not just in Thai or BL series) has got to be Tangmo from Great Men Academy (2019) (the series that a lot of BL audience refused to admit it's a queer series). The character Tangmo (played by Jaylerr) was questioned by the press about his gay crush on the protagonist: "Do you think being gay affect your chance of winning the competition?" to which his reply was a stellar "Well then let me ask you something, Does being gay make my good deeds meaningless?"

This isn't the first time JJ has played a queer role, JJ has played a gay character in TWO seasons of the LGBTQ+ series Diary of Tootsies (2016 and 2017). JJ plays Gus, the love interest of the main character.

So even though many BL fans consider Spare Me Your Mercy to be JJ's "first" BL series (which I don't agree with this strict interpretation of BL series), it is definitely not his first QL (Queer Love) series nor queer-adjacent roles as shown through out his filmography.

It is also noteworthy that even during the airing of these series, JJ was already in a public relationship with his fellow actress girlfriend Thanaerng (who has also played sapphic roles). You can see that the real life relationship of JJ or Thanaerng do not influence how/what projects they take on because work is just work :D

BRIGHT RAPHEEPHONG (all translation by saltymarbles on twitter)

Bright at Mono29 Lineup event

Bright: I think that, as I’ve previously said, BL series are just like other ordinary series or movies. Like IFYLITA can be changed to be said to be more like a period drama. I feel that BL is just about two people loving each other, not about whether it’s about male-male or female-male. This series is a period drama and it’s a romantic comedy and the other series is an action drama.

Bright's Interview with LIPS Magazine

Q: What if one day, we’re sucked in by the ship? Bright: I think fans in this day and age don’t need actors to do fan service to that extent. For myself, I’ve never intended for it to be the foundation (of his work). I think it’s a matter of being partners and working together. As such, it’s somewhat good in every aspect because it’s not forcing it. But in some moments, there may some actions that may just be the result of being friends. So even if fans ship, it’s cute to me. (smiles) Q: Do you feel a sense of “newness” stepping into a full-fledged BL? Bright: I feel that BL series are another branch of acting. I don’t think of it as being a specific form of male to male communication. It’s just another type of series just like action dramas, comedy etc, it’s just another kind of role that we can play.

Bright's Interview with Praew Magazine

Q: How is it working with Nonkul? Bright: Nonkul is a person who already does a good job at his work. He does his homework and he is also good at delivering and receiving emotions when on set. It isn’t just Nonkul who is great but the other characters in this series too, this includes P’Tee, the director. We can always talk about ideas which made the work even better. If asked whether entering the scenes with Nonkul made me shy, I would say that BL series are just another branch (of acting), it is just another role. I don't think that when acting with another man, that there’s a need to feel anything. I feel that it’s just another form of work. Another thing is that our workshops were very complete. When we work together I know what level and extent I can go to, what I should do and also trying my best in how I should feel. Thus, I felt at ease working together.

Bright’s Interview with NineEntertain

Q: Are you happy to do “ship” activities like this? Bright: I feel that if there’s an opportunity with regards to being an actor, I don’t want to be stuck in ships like this. I accepted this role with the status of an actor and I want to accept various roles too. It doesn’t always need to be BL or a specific kind of series. I will have another series next year which is ordinary boy-girl relationship and not a BL series. I feel that BL series are just another category of series — not like BL series are just BL series. It’s another category like action, romcom, or drama. It’s just another category. Q: There is still the possibility of coming to act as per usual. (unclear of what the interviewer said) Bright: I feel that with every work opportunity, it’s more about the script and storyline of the work that I were to accept. For example, I accepted the role of Khun Yai in IFYLITA as i felt that it was a script that was suitable for me. I didn’t think of it as “oh it’s a BL series, I need to accept it” because to be honest, I have been contacted for various BL series but because [IFYLITA] storyline is really good, I wanted to try acting in it. Q: What is the difficulty of acting in BL as an actor? Bright: I feel like there isn’t any difference compared to regular series. I feel that when two men love each other or kiss, I don’t think of it as (me and) a man, I think of it more as each of the characters or persons. Q: Does that affect the trend of being a ship? Bright: Hmm… Actually I am not able to answer that because I feel like it depends on people’s perspectives. Because some people may prefer that (an actor) has a (onscreen) gf/bf but some people may be upset about it. I feel like the trend depends on the people’s perspectives as people have different ways of thinking (about it). I think that I am open to listening to all different opinions on this. I feel that working (in this industry), you should be able to explore different things and you should not be fixed in one thing. We need to continue moving onto the next thing. I feel that Non has his own work and I also have my own work, and other actors too have their own upcoming work. It doesn’t mean that coming to act in IFYLITA means that you stay in IFYLITA forever. Q: Some may feel that it’s sad their their ship is coming to an end and that they are gonna work with different people. Bright: Actually, there are still some upcoming pair events but as I’ve said earlier, everyone needs to continue to do their own duties as an actor. Q: What if people change their minds about shipping your ship in the future? Bright: I think it’s a normal thing. I feel that when someone (likes us), they also like our work. I feel like our fanclub likes both Yai and Jom, and they also like Bright and Non. They like the characters and that Bright and Non play these characters and they so they like us at this point. I feel like people who came to like us are also fans of other people. I feel that they are a source of encouragement for me when they like me but I am also glad if they meet someone new or support another person. I feel happy when they come to meet me and if they’re happy when they meet other (celebs), it’s a good thing for them. If there’s a new person, an older person, a regular person or a person they just met that they are happy to meet, I feel that it’s nothing to be stressed about. Let’s say a fan comes and likes me and is following my work and there’s someone new who enters and they like their work, I am glad for them to go support that other person because that person can bring happiness to the fan.

Wow, I really got carried away with this compilation but as a fan who's followed Nonkul, JJ and Tor since their Nadao days, watching them star in queer-coded series/roles like Bangrak Soi 9/1, Hormones, Diary of Tootsies, Great Men Academy... (or in Bright's case a gay character in lakorn Rivalry), I'm just so proud that they have been able to receive "BL" series script offers that they would like to take on.

I've never sat well with the difference in the treatment of the press to "BL actors" and "non-BL actors". I wish there weren't such a distinction because it feels like the notion itself holds a lot of prejudices baggage with it, to both "BL" and "non-BL" actors. To quote a friend on Reddit, "I believe most actors would feel more fulfilled if they knew their fans loved/respected them as individual artists, instead of only seeing them as one part of a unit whose value is lower when 'separated' from their official partner."

[monayen]

Relax | Nyon

➷ Paring - Nyon x Fem!Reader [Randal's Friends / Ranfren]

➷ CWs - Drug use (weed), grinding, use of Russian words (translations provided at the end), making out, just Nyon being sweet :)

a/n - pumped this out in a few hours, i got too excited LOL. apologies for any mistakes. p.s can you tell i haven't smoked in literal years

You huff, finally completing cleaning the kitchen. It had been a long day in the Ivory household, well, for you at least. A bulk of the chores tended to fall on you and with the antics the house seemed to get into, they piled up quickly.

It was annoying for sure, you rarely got any help. Nyen was the type to add dishes to the sink while you were washing them, Luther was always busy with other things, Randal made most of the messes, and even and Sebastian barely took notice of your effort. You couldn't catch a break.

Well, except Nyon.

The quiet catman actually did assist you most days, much to your relief. You never asked him to, he just did. You really appreciated the silent connection you both had.

With all the personality between these walls, when it came down to it, you both kept the most level heads. You're sure the house wouldn't function the same without that.

Which is why you are so frustrated today. You haven’t seen Nyon all day. Again, he wasn't obligated to help you per say, but he lived in this house just as much as you did. So why are you doing all the work?

Your back and feet ached terribly, and you still needed to do laundry. Groaning, you turn a corner when you bump into someone– Nyon, coincidentally.

Usually, you smile and try to small-talk him (despite his standoff behavior) but today, you are so irked you scoff and put down the full laundry basket on the ground. “Your clothes are in here, y’know.” Nyon watches you cross your arms.

His face is stoic, as usual. He stares at you while you stare back at him. It's awkward, and you realize how stupid it is to expect some response from him. You go to pick the basket up again when you feel him grab your shoulder. Looking up, you expect another stare, but he's sheepishly looking off to the side before muttering, “Come.”

Before you can ask, he's walking off, making you follow him. You realize you've walked into his room, where he shuts the door behind him. “Okay… what is it? I still have things to do, Nyon.”

You're still giving him that attitude and Nyon hates that. He didn't mean to be out all day, he wanted to surprise you with something. He knows how stressed you’ve been.

He motions you to sit on the messy bed with him, and despite your tone, you listen. “ Мне жаль, I know you are tired.” His accent is low and smooth, giving a weird butterfly feeling in your stomach you weren't used to. He didn't talk much, but was his voice always so… enticing?

Suddenly, all the peeves you had with him were gone. You shift on the bed as he continues, “I got us this.” He pulls out a zipped baggie and reaches in to reveal… a joint.

It’s silent for a second before you let out a laugh. “Really? You got us a joint?” You giggle as he rubs his neck, “We don’t need to do it if you don’t wish–” Cutting him off, you lean forward close to him, “Oh, no, we are. I fucking need this, light it.”

Nyon gulps to himself, when did it get warm in here? He quickly lights it per your request, making sure it's ready as he passes it to you.

With a big inhale, the smoke fills your lungs– and you immediately cough it all out. Now, it's Nyon’s turn to let out a chuckle. It’s small, but it's enough to make you giggle too. You push his shoulder in a playful way, “Hey, it's been a while for me!”

He takes the lit joint from your hand while you still recover from the burn in your lungs. Swiftly, he takes a massive puff from the joint, and expertly keeps it down before he releases the smoke. Your jaw hangs, “So you do this often?” Nyon shows a small smirk, “Eh, time to time.”

Time passes and before long, the joint has been passed between you two enough for you to really start to feel it.

Finally, you tap out and lay on the bed, satisfied with the fuzzy feeling going up and down your body. Nyon takes the joint, setting it aside on an ashtray.

You motion him to lay beside you, and he hesitates for a second before he does. A couple inches separate you both, in the low lighting you can see his glossy eyes gaze back at you. You don’t know what you are thinking before you inch closer to him, placing a hand on his face. “Don’t be nervous, relax.”

Nyon’s eyelids hang low, “Do you feel good?” You hum, “Yeah, really good.” Nyon’s chest is noticeably moving in and out as sweat builds on his temples.

“Remember, this is to relax.” You try to remind him when he suddenly lets out a curse in Russian you don't understand. “It's hard– it's hard to. You're so close. I want you closer, любимая.” He speaks quickly and without a thought you pull him into a deep kiss.

After you both separate, you roll on top of him. Straddling his hips, you lean down and kiss him more. He seems to have found some confidence, placing his hands on your hips as your tongues interlock.

When you pull away, you see his half lidded eyes and flushed face. Slowly, you start to grind against his hardness, the hazy feeling in your head becomes stronger when you feel the warmth between your legs.

“родная, take off our clothes, yes?” You nod and he follows suit, both tugging at each other’s clothes in between kisses.

Finally, you lay exposed on the bed with him hovering over you. Everything moves quickly, feeling Nyon’s warm length rubbing against you.

Your hands trace the firmness of his body, you hadn't realized how attractive the catman really was. Maybe it was the THC talking, but you can't help but wrap your legs around him and pitch.

“Please, Nyon–” He hushes you, grinding against your slick warmth, his breaths heavy as you feel his heart beat through his chest, “Relax, любимая.”

You whine and pull him closer, “Don’t tease!” You're sure he can see the desire in your red eyes, pleading with him to just sink in. He pushes himself closer to you and aligns himself, kissing your neck before he murmurs, “Okay, okay.” How could he ever deny you?

He finally thrusts in, slowly, inch by inch before he completely fills you. Both of you have a groan escape your mouths. Nyon almost feels like he's about to burst right then, the sensation is so clear and strong.

You feel heavenly, better than he ever used to imagine. He keeps himself from thrusting too hard, instead choosing to pace himself so he can savor this moment with you. You sound so beautiful, look so beautiful, staring at him with those glossy lidded eyes. He wants to make sure you feel every inch of him.

“So sweet, (Y/N). So sweet and perfect, только для меня” His kisses trail down your neck, meeting your collar bone, leaving hickies.

Your moans fill the room, not even realizing how loud you are being, fully focusing on the heat consuming your body. “Cute sounds.” Nyon says through passionate huffs. He appreciates his silence typically; himself barely letting out any noises, but he wants to hear it all from you, every whine and moan.

It isn't long before your moans turn into whines, reaching your tipping point when Nyon hits that spot that makes you tighten around him over and over again. “You want to come?” You nod and wrap around him closer, “Yes, yes– Don’t stop!”

Nyon listens, pistoning in and out with such intensity you swear you see stars. Finally, you cross your legs behind Nyon’s back, arching your back as you come undone around him.

Soon, Nyon can’t keep himself together when the sensation of your tightness becomes too much. “Ебать–” He pulls himself out and shoots white all over your heaving stomach. It’s a lot , how long has he been holding this in? He slouches over you, observing your sweaty face, “Sorry, mess.”

You shush him, pulling him to lay next to you once again. “No, no, don't worry. It was amazing.” You giggle, still feeling the high linger on your body. It’s less intense, now you just feel tired.

Nyon shows you a small smile as you wrap your arms across his waist, big spooning him.

“I like you.” Nyon admits, letting go of a weight on his chest he had been holding for a while now. He feels like he's about to melt, it's like he didn't just fuck you, instead it's as if he’s a school girl confessing under a cherry tree.

He slowly turns his head to look at you, meeting your gaze. It's silent for a second, then you kiss his nose, “I do too.”

…

“I am hard again.”

Мне жаль - I'm sorry

любимая - darling

родная - dear

только для меня - only for me

Ебать - fuck

I apologize if anything is inaccurate! I used google translate. If anyone who knows Russian sees any mistakes, please tell me and I will fix them :)

[kit-williams]

Transactions

Male Lead: Konrad Curze/Solruthis Uadasha/The Night Haunter (Sol being his nickname) Female Lead: Reader/Sorsollia (sun that illuminates) CW: SEX, Obsession, baby trapping, yandere, not exactly dubcon but some sexual boundaries aren't respected Word Count: 2256

Know what the best thing about Dividers are... I can use them when I don't wanna spend time talking about the boring stuff

Again using this for the Nostroman words (I included translations this time)

thanks @squishyowl for the lovely 40k dividers

@bispecsual @egrets-not-regrets @moodymisty @bleedingichorhearts @liar-anubiass-blog

@thevoidscreams @barn-anon @gallifreyianrosearkytiorsusan @squishyowl @ms--lobotomy

@nekotaetae @sleepyfan-blog

You took to him like flies do to rotting meat and he was pleased with that. Conversations dragged on and beyond what they were meant to as more often then not you would stay in his presence as you worked on the more tedious duties being a scribe brought you. But this allowed you to get closer to him which he wanted.

You paused as he was talking about something and you looked at him. He knew that look, a dark smile passed his lips, "What did you think of me like Lorgar? Unaware of such capricious and often bawdy thoughts and glances of the opposite sex?" He gets up slowly walking over to where you worked, "Or would libidinous fit better?" He leans in watching you get smaller as he enters your space more and more, "Perhaps even concupiscent!" He trills before mouthing the back of your neck and smelling that sharp change in your scent.

"I just... I..." You stutter as you are flustered and squirming as one of his hands comes and cups your breast.

"It's alright if you made that mistake. Unlike you mortals sex isn't as... required to function as most of you need."

"Sol you know its more than that." You say as if stating the obvious.

He grinned into your hair playing dumb as he knew Nostromo was far from normal or sane. Seeing what items you needed to keep yourself sane in the dark ship as your room, like the other non natives, was so much brighter than most. Its why he called you his Sorsollia. "No Sorsollia I do not know. Upon Nostromo sex is a transaction like many things. If I gave you sex either it is because I am after something you have or you are giving me something I want." He explains as she looks up disappointed.

"Surely just love and affection can be a reason to have sex. I really doubt-"

"Perhaps amongst the hill people." He hums softly, "But I smell your desire..." and your fecundity, "Do you want to partake in the transaction?"

You shake your head surprising the Primarch yet again, "Solruthis Uadasha, I don't want anything other than affection and actual I suppose desire and care. I don't like the idea of sex just being a transaction between us... like what do you feel like you owe it to me?" You look up at him bewildered as he continues to have a soft patient smile.

"Slightly." He admits as for him he was indebted to you. You were freely giving him affection and treating him like a human like an untrained whore giving too much and not getting enough money for it. But he was ready to make up for it by paying you back with giving you his baby. How adorable you are looking up at him horrified at that revelation.

"Sol." You say sadly.

He cupped your face, "Easy solution to make me not feel this way... stop being so affectionate." He says knowing you won't do that.

"But... I want to be... can't I just give you this freely."

"You would be called very unflattering things back on Nostromo."

"Well good thing I'm not Nostroman." You said back unflinchingly and as if you didn't have to think about it.

His eyes sparkled with deviant delight. And this was why he adored you and exactly why he had given you sugar pills in place of what you were using for birth control. But his little Sorsollia was a forgetful thing as you weren't using it as often... but that only benefited him.

"I've warned you Sorsollia it's transactional..." He whispers leaning in and kissing you as his hair falls free of the loose tie he had it in the black strands caressing your face, "I just want you to keep treating me like you do." He admits with sincerity.

"Sol... you don't have to do this if you don't want to I'll still give you everything I do." You say continuing to damn yourself to his side... damning yourself to being the object of his love and desire. You damned yourself to being the object of his obsession... to be the object of his gaze... to be the object that would truly be the only good thing he could have as a reference for all the disorder and disgust this universe would have. You would be the one thing he could have that no one else would take from him.

"Sorsollia I will do my best to not see it as... transactional... just-"

"A mutual exchange of flesh?" You try to make it better and you do... you always do.

"Hardly mutual."

"How come?"

"I don't think you realize how big I am." He takes your hand and puts it against his crotch.

"I don't see how..." Your eyes widen and he just smiles.

"I am unaroused right now do you still want to try?" Bless the human spirit as you nod and he just grins as he cups your chin trilling down at you. "It will hardly be mutual as I believe I will be... ruining your body for the next man for a long while."

How cute you looked sticking your tongue out while thinking before those beautiful eyes of yours sparkled and you nodded as he ushered you away to lay with him.

How pretty you looked in the pitch black room eyes darting around wanting some bit of light... the flutter of your singular heart made him feel something delightful. He hands you his shirt and in return, after you fiddle with the buttons of your own, you hand him your own. Little transactions you played up the benign discomfort for not participating in it as he drank the sweetness of your reassurances. Greedy slovenly thing he was taking so much more from this... but he would make up for all the unasked for humanizing of him.

His hands wandered over the contours of your naked body... feeling each curve and pressing against the skin. His fingers dipping into the V between your legs his fingers probing. His mouth presses a kiss into the side of your head as he pushes a finger inside of you as you whimper with pleasure. "Say my name." He growls into your ear.

"Solruthis... Uadasha." You moan as his fingers feel so big... you try to grope him but he keeps himself away.

"Not that one... say the other name."

This causes you to pause as he watches you look up at him, where you think he is, "But you aren't that name."

"I want to hear it from you." He pushes his finger deeper and deeper in and listens to you whimper and moan, "I want to hear you say it with the same care and affection in which you call me Sol."

You pause for a moment as if debating on if he really wants to hear it but your mouth moves in its pleasing shapes, "Konrad... Konrad Curze!" You say with such affection... you say with such adoration and tenderness that is the opposite of the cold impassiveness that name was thrust upon him.

"Oh my Sorsollia!" He moans kissing your neck as you feel weightless and dizzy as soon you are pressed onto the bed his cock pushing against your entrance. "Your songlike voice makes hearing that name so bearable."

You giggle as it was very clear he was using his time with Fulgrim to good use, "How very poetic."

"Gothic is far too plain you need to learn Nostroman then I wouldn't have to speak like Fulgrim." By how he speaks you can imagine his nose wrinkling. You can't help but giggle as Sol... Konrad could be affectionate... in his own way. You wonder in that moment when the last time a man's cock had rubbed against your folds raw. You can't help but close your thighs together. You feel his dark grin press into your skin, "Sorsollia... are you scared to take me?" His tongue pressed into the pulse of her neck feeling the quick fluttering pulse.

"Yes..." You say softly.

"Jasha (Good)" He says biting into your skin as he pushes in. You writhe under him, panic floods your basal brain. He learned quickly you fall back on instinct when pain is applied. You bleating his name as your nails try to dig into his flesh trying to pull away. Seconds bleed together for you till the tightness gives way, "Corshia Sey (Breathe now)" He coos to you as he holds you tightly.

Tears slip from your eyes as you lay there trembling bleating in pain unable to see the malicious grin from your lover above you. The way those black eyes of his fixate on your tears... the way your heart beats quickly... almost the same quick beat of fear. "Shhh Sorsollia Shhh you're okay. You feel so warm so tight." He says to you as you twitch and whimper in pain as he stays so still, "Wont it be nice when you can just handle me easily?"

You whimper out and nod. He runs his hands over your body and seduces you with morbid poetry. His tongue running over your salty skin before darting into your mouth as he finally begins to move. "Sol!" You gasp out causing him to chuckle.

"You can call me Konrad you know." And yet he adores as you try to call him Konrad but slipping into that chant of Sol... Sol... Sol! Sweat rolls down your skin as his warmth overwhelms you. The pained whimpers soon turned to wails of pleasure unlike the wails of screams and the shrieks for mercy as you scream for more. The pain long passed leaving only a heated pleasure in its wake.

You ride him, as best you can, his hands gripping your hips and pulling you down on him as you arch your back, your breasts bouncing as you make your noises, your body going ridgid as your toes curl from an orgasm... he flips you over as your eyes glaze over at the sound of the wet slaps as his cock jackhammers into your body. His nails dig into your flesh as he knows your scent will linger in this room for so long, he hardly uses it, but he might have to if the smell of you is going to stain his bedding.

His mouth moves over the hollow of your throat mouthing it... sucking on it... his spine arching to move his mouth against your flesh. The discomfort worth the way your eyes sparkle as he fucks you dumb... his long tongue pushing into your mouth as you grab a fistful of his hair trying to keep him close. He grins at your boldness... the breakdown of decorum he will allow for now in the darkness of this room after all you tend to be good either way.

He pulls out hearing you whine as he bends you over and fucks you like the animals that you two are. Whining and mewling like a bitch in heat. He once more bites your skin hearing your shriek again causes him to bite down harder for a moment as his completion hits him and he cums deep inside of you. His biting causing you to orgasm as well.

You whimper and bleat out in pain, Konrad can taste blood in his mouth. Konrad rolls his jaw forcing his saliva ducts to work more as he can feel his mouth go numb slightly as he runs his tongue over the bite mark. You flinch and twitch, "It tingles." You say your voice hoarse from screaming.

"That means its working," He slurs slightly explaining how he got his saliva to overproduce the mild anesthetics and painkillers naturally found in human saliva.

"You're just an elevated human." You say with a smile as you feel him tend to your wound. Your eyes closing as you feel so tired after that full body experience. "So... have I shown you that sex doesn't have to be a transaction?"

You can't see the wild smile on his face, the madness in his eyes, the craving inside of him to give you more then the simple mess between your legs as a showing of his affection... perhaps some bone trinkets made from his own bones... but that will be for later for when he can make sure you will be his forever. "It will take more than one encounter like this Sorsollia." He says calmly as he was an expert in hiding his true perverse excitement.

"It's a start." You say with a smile struggling to get up before his large hand pushes you down.

"Rest Sorsollia. I'll clean you up. At least let me take care of you..."

"Is this to make you feel better about the transaction?"

"Yes." He lies as easily as he kills.

You take his hand and gently kiss his knuckles. "Thank you Sol. I just need a little bit after that." As you quickly close your eyes and your breathing shifts

He smiles wickedly at to be in his aura for so long... any primarch aura does things to people. It took you such a long time to no longer feel that unnatural fear. He'll make sure to clean you up... and to make sure that things eventually will take. He contains his giddiness allowing the darkness to hide his emotions from your sun gifted eyes as he vanishes into the dark to collect things. 

[rivkae-winters]

Zack Fair, Violence, and Tragedy

Over the last month or two I’ve seen several posts about the nature of Zack Fair’s tragedy and his seeming heel-toe-turn and thought I’d chime in. 

Also like last time: this is only my interpretation of canon, there is no one true analysis to take as gospel. If you disagree/differ in opinion/even just want to talk please reblog or dm! I enjoy talking to other people about this sort of thing, fandom is all about discussion after all!

While I agree with the sentiment I’ve seen going around that Zack’s relationship to violence plays a role there are other nuances and factors at play here. I’d argue that it’s more accurate to say that Zack is becoming more aware of personal and professional culture outside of SOLDIER and outside of both ShinRa’s constraining grip and Angeal’s attempts at protection. Even then it takes great personal tragedy caused by the inherent contradictions of ShinRa’s reality for him to realize that he has functionally been on the wrong side.  

Sure he’s not callous like Cloud is in the beginning of original and Remake, but he certainly isn’t horrified at his actions just because there is violence. I’d argue the violence of his actions isn’t the main horror to him in isolation. I’d argue that even the death that results from violence isn’t what the core of the issue is either. 

Zack’s hinging point is more his loyalty and his pride. What he does for other people and what he believes in and of himself. Specifically these things in conjunction with his desire to be a good person. 

The language of Pride, the non-localized direct translation of the word hokori or 誇り(JP CC Script), is what’s going to be used here rather than Honor. 

誇り | Hokori - To take pride in; To boast of

Definition Sources: 1, 2, 3

Just keep in mind that I’ve written this from as neutral a point of view as possible on the matter of pride since the Western perception definitively does not apply. To be proud is not a crime and it is not foolish it simply is. 

Zack initially places his pride in SOLDIER- in what being a SOLDIER means to him. In how being a SOLDIER is his and that they are his people and thus he lets ShinRa policies define how he frames his morality. Thus ShinRa defines good in Zack Fair’s life. 

Zack wants to be a hero. He wants to help people. He is trusting and kind and respectful to people consistently outside of the conflict of the mass desertion. Zack genuinely wants to be a good person and help other people, good or otherwise. He is led to believe by ShinRa propaganda that the best way to help people or to be anything meaningful in this world is through them. This is a baited trap that he falls into, Zack is prime prey this trap was intended to catch. 

He is angry at Genesis and horrified by Angeal, especially at the beginning, not for cruelty or violence or even really death… He is angry at them for their betrayal. Sure he is violent and angry in the instance he thinks Angeal has murdered his own mother, as with Genesis and his parents, but that does not define his antagonism, his hatred, his regret, his sense of justice with them at all. 

 Zack does not raise his sword at Genesis for the people of Banora, he raises his sword for SOLDIER. 

Zack understandably feels, and has been, betrayed. 

He is hurt and angry and alone in a way he’s never been since he got into the SOLDIER program. He falls deeper into the illusions of ShinRa for that reason, angry and hurting and grieving the life he had with people in it who will never return. There is a deep sense of nostalgia throughout Crisis Core in the sense of the word’s initial meaning: the pain of missing home. Specifically the homes we find in people.

Even as he believes in ShinRa's twisted reality Zack wants to help. He wants to protect those he cares for. Zack wants to be good. Unfortunately in Zack Fair’s life the undisputed definition of good is now written by the ShinRa Electric Power Corporation alone.

Then he meets Aerith. 

Suddenly ShinRa’s version of right and wrong have opposition but the control that ShinRa has over his life, total and complete as it is, prevents that from sinking in. Zack is perceptive though, around Aerith he is her version of good and then he has to go back to what equates to his phase of reality. A sanctuary is not safe, not truly, when watchers are peering in through the back door ready to drag you out by your feet if you misstep. 

Zack wants to be a man Aerith or anyone won’t be scared of. He wants to do that not because he is suddenly horrified at his own violence but rather in consideration of others. Zack is highly empathetic after all once he can see someone else’s perspective. He wants to be what Aerith wants, even if he doesn’t really and truly understand it yet, because he cares about her and cares about her opinion. He cares about her comfort. Zack still puts most of his pride within SOLDIER though. That means that Aerith’s morals cannot sink through his skin to his center, not like Angeal’s had. She makes him think but she is not shaping his mind, he is left to do that himself.

 Zack spends a lot of time questioning Angeal and being upset at and about him off screen even more than on screen. We don’t get a front row seat for all of it. The big takeaway is that Zack doesn’t shed Angeal’s morals that he’s taken on himself. He can’t after all, not with ShinRa only just seeming tarnished. ShinRa would need to rust and crumble fully before he actually can let them go. Before he can be free in his own mind.

ShinRa chips and rusts in an instant under Sephiroth’s hand. The last holdout crumbled in the fight of two victims of ShinRa and someone who will become one soon. ShinRa is no longer the defined of good, not after what Zack sees is the response to the Nibelheim Incident.

ShinRa not being good, worse even ShinRa being bad breaks the entire morality system. The illusions crack and Zack is forced to examine himself, his actions, and his biases in ways Aerith made him want to but that he couldn’t afford to truly indulge in. Even more that he was scared of self introspection in a sense, of the paradigm of his reality shifting even further. 

He eventually truly reframes his actions and has to reckon with them (and himself) at the end of the game, chapter 9 and onwards. It is only then that he actually LOOKS and is fully horrified by what he sees of himself. That horror only progresses as he fights for both his and Cloud’s lives. That horror only builds as he realizes he’s exactly the person who his girlfriend SHOULD be terrified of despite his best attempts- that he’s everything she was talking about. He’s everything she was talking about even after trying to change the way he acts around her. 

To abuse the innate metaphors: Zack Fair goes to Nibelheim, a well trained attack dog, still seeing relatively little wrong with fulfilling ShinRa’s orders. Zack is only then on the cusp of figuring out that he does not want to be there, that he is the antagonist of the planet’s (and Aerith’s) story unwittingly. 

Zack Fair leaves Nibelheim beaten. He tries to go back to the safety of what was once his home prior to ShinRa only to be waylaid. 

Zack Fair leaves Banora free and irrevocably changed. 

He is free in the sense that the illusions he held himself too are crumbling even more with knowledge that his demons are men too. He is free through the knowledge that he is one of those demons. , that he has been shaped to be one, and that good intentions pave a terribly walkable path to hell. 

Zack leaves with the knowledge that he was the monster in the closet. The knowledge that his sword was not just the executioner’s blade but the enforcer’s. The sword kept clean in favor of bloody hands and higher risks is now drowning in pools of it. Zack leaves with the knowledge that he never would have been truly free. 

Yet he is in the sense that he can choose- actually choose- what he wants, what he values. He chooses Aerith and he chooses Cloud as he has each time before. He chooses violence. It is something he knows and among what he is good at. It is not all he is but it is a tool he can use. 

He chooses to pay the price of freedom. 

Crisis Core is a tragedy and Zack and Genesis both are tragic figures at its center. Zack’s arc is angled to the viewer for maximum effect but Genesis’s does mirror it in a way just on an offset path already initiated. Sephiroth is also a tragic character, undeniably so. However structure wise his role is more murky given the way he has the ability to be the god waiting in the machine, a guaranteed victory or unavoidable altered trajectory should he choose to act, for most of the story. 

And that’s a large part of why I love Zack as a character, aside from things I’ve said before about what makes him such a good narrator. Zack is the unlucky prodigy at the center of a story about wars, abusers, connections, and perspectives. He wants to be good, he wants to be a person that helps. 

He can’t, not really, not in the way he wants. 

Crisis Core is a cautionary tale about exactly that going wrong and how anyone can be taken advantage of. 

[yersina]

a linguist* plays chants of sennaar (pt 1)

*i studied linguistics for four years and concurrently did three years of sociolinguistics research, but i'm not currently employed in a linguistics-related field.

[pt 2] [pt 3] [pt 4] [pt 5]

thought i'd have some fun breaking down the languages in cos and stretch my rarely used linguistics muscles in the process! disclaimer: can't promise that i'll have any insights that a layperson wouldn't have, this is kinda just me thinking through the grammar of the language out loud haha.

this post covers the first language and will contain spoilers! it also assumes that you know what each of the symbols means already.

so the three glyphs from the devotee's language that you get introduced to right off the bat already tells me a lot: it's a pictographic logography (real life example: chinese characters), which is probably a good place to start for people who are new to language deciphering (also, none of these languages are spoken so an alphabet would be pointless lol). a logography is a writing system that represents whole words/concepts with a single character, as opposed to representing the sounds that the words make (like alphabets or syllabaries). i haven't completely finished the game yet (most of the way through the fourth language), but i'm p sure 1) all of the languages are logographies and 2) the devotee's language is the most true-to-life with its pictograms.

with these three words we can also begin to establish a pattern--verbs most likely have a line on the bottom, which holds true for the rest of the characters. i think the only exception to this rule is the character for "greeting", which is also used as the verb "salute" later in the game (an interesting choice (considering etymologies for greetings in irl languages), but it makes sense when your language is only 40 words lol). other patterns include the curved line for tools, the semi-open box for structures/locations, and the half-circle with the line for things relating to sight (which amusingly is also the overall game symbol for examining something). (not gonna include things like "man" and "music" and "plant" in this list cause they're defined in game.) i do think it's kind of fun that they introduced "i/me" and "you" before they introduced "man"—it validates that you'll find patterns haha.

(while writing the prev paragraph, it finally hit me that the symbol for "key" is open-tool. isn't that cool!)

i did notice at one point in the game that there was a devotee word that was cut off in one of the stone carvings that looked like it might have been the equivalent for "fortress"--it was the room radical with the two opposing arrows from the word for "warrior". although it's not validated by the game's automatic translation function, it does seem to be evidence that the language elements are fairly flexible and recombinable!

this language is SVO (subject verb object), like english, which again is a choice that makes sense in terms of easing people in. it uses reduplication with nouns to indicate plurality, which as far as i can tell is unique amongst the languages in this game. there's no tense markers, which is common to all the languages in this game (again, as far as i can tell without having encountered the last language yet). given how simple the languages in the game need to be, i'm not surprised that there aren't really auxiliary verbs or indications of infinitives either.

questions that still remain unanswered: - "dead/death", "seek", and "find" all have dots that don't show up in the other characters. not sure why that's the case. could be a representation of something metaphysical? - the character for "go/pass" has a "room" radical on the right side and something else on the left side. wonder if that was intentional

[canmom]

when robots got muscles

You can blame @centrally-unplanned for this post. She(?) wrote...

The ‘chrome’ designs pioneered by illustrators like Hajime Sorayama (Sexy Robot from 1984, for example) tended to be more in vogue at this time (or just…a  hot girl, who is apparently a robot, trust me bro), you don’t see designs like this too commonly until later (ask resident robo-fetishist/animator expert @canmom for details on that timeline).

After a challenge like that how can I refuse? Although the question is ‘when did robots get muscles’, this turned into something of a historical survey of robot designs from the 80s on with a throughline of biomimesis.

(Originally this was just going to be an excuse to talk about Ghost in the Shell... but I gotta be thorough.)

This was all brought on from this picture from a 1989 fanart magazine...

by an artist going by ‘Facepunch Tatebi-kun’ (顔面強打たてびー君, Ganmenkyouda Tatebii-kun). I remarked that it was interesting to see these kinds of ‘robot muscles’ in a picture from 1989, since I thought that kind of design became popular in the 2000s.

On some reflection, I think I gotta revise that opinion! I think ‘robot muscles’ became a thing around the mid 90s in anime; in the West I think it took a bit longer. But you can also see precursors already before that.

So. One thing artists are super into is biomimetic robots. That is, robots whose form (and perhaps function) is similar to animals, especially humans. The word ‘android’ referring to a human-like automaton dates all the way back to the late 19th century, but the modern ‘android, robot, cyborg’ taxonomy apparently became established around the 40s.

There’s two types of humanoid robot that get a lot of play, especially in anime. One is the convincingly humanlike cyborg, which is the same size and shape as a normal human; the other is a what we call in English a ‘mech’, i.e. a big robot you can sit inside.

Of course, if your androids just act like humans all the time, then there’s not much point having them be robots. To really create the frisson of contrast between human and mechanical forms you have to show the mechanism somehow. This could be because the machine isn’t perfectly human-like, and has visibly mechanical joints - take a look at the works of @sukabu89​ for very inventive depiction of this theme - or, the android could be damaged or undergo maintenance.

When you attempt to translate biological forms into a more mechanical design language, the traditional way has been to use hard, rigid shapes, since these make the contrast especially clear. In more recent designs, particularly as we started to see real robots with ‘artificial muscles’ such as the ones created by Boston Dynamics, we get another sort of design language to express ‘mechanical parts’, and robots start having more biological forms with exposed plasticy muscles.

So let’s tell the story. We begin at the end of the 70s.

the dawn of mechaguro

For an early example of ‘mechaguro’ (a term I’m applying very anachronistically!), when a robot gets smashed up, we have Alien (1979). This film did a ridiculous amount to define sci-fi design language, and of course the alien itself blends mechanical and biological forms, with its glossy black surface allowing it to seem to melt into the exposed pipes of the spaceship. But let’s focus on the character Ash, a secret android who is broken apart in the second half of the film.

When Ash is torn apart by the alien, his insides consist of weird white plastic beads and a milky fluid that seems analogous to blood. It’s not clear what the function of any of this tech is - it’s intended to be vague and mysterious. The outside is biomimetic but the inside is anything but. He has a kind of artificial skin which resembles a latex mask.

The Terminator films are another major touchpoint for 80s science fiction. Late in the film, Arnie starts taking damage which reveals the Terminator skeleton underneath his fake skin.

The stop-motion Terminator model is basically designed according to the principle of ‘replace human bones and muscles with hard metal bits’. So you have a metal skull, metal clavicles (which are pistons for some reason), metal shoulder blades, hydraulic pistons generally in the places where muscles are. e.g. in the above picture you can see pistons that stand in place of the sternocleidomastoid muscle, and in this picture...

...you can see metal scapulae and piston biceps and triceps and a piston. The shoulder joint by contrast built in a very non-human-like way. Also there’s random tubes everywhere lol.

That’s generally how androids are portrayed in the 80s. The ‘droids’ in Star Wars are similar; C-3PO is an arrangement of metal plates with gaps suggestive of underlying mechanical details and rudimentary joints and pistons.

In Blade Runner, we have the Replicants, humanoid robots - but by the premise of the film, they are essentially indistinguishable from humans. So when the Replicants die, we never really get to see their robo-innards.

and now, anime

OK, that’s the big four Western 80s sci-fi movie series; what of anime? Of course, androids in anime go all the way back to Astro Boy. But most of these early designs don’t really focus on mechanical details all that much. Super robot designs are more like tokusatsu suits than anything. There were certainly instances of impressive mechanical animation in the 70s, with early experts including Kazuhide Tomonaga on Space Battleship Yamato. Then there’s Hayao Miyazaki’s episodes of Lupin III Part 2 which featured proto-Nausicaa flying a prototype of the robots from Castle in the Sky. It would be some years before anyone could come close to matching these!

The original Gundam in ‘79 famously started the ‘real robot’ movement [Animation Night, so let’s take a brief look at how a Gundam fits together.

Generally speaking, the way Gundams are drawn in Gundam ‘79 is kind of rough. The methods to animate these rigid mechanical systems in super accurate perspective were just not yet established at the end of the 70s, certainly not on a TV budget. The actual joints on the Gundam are left very vague, but it broadly speaking seems to move like a human in armour.

But the OVA boom was about to begin, and while it would be a while before we saw the heights of Headgear/Production I.G./Gainax, things were going to change a lot. Mechanical design and animation was about to get much more sophisticated very very quickly.

In 1982, we have Super Dimension Fortress Macross, with robots that transformed into fighter jets. Its robots are designed by Kazutaka Miyatake, who cut his teeth doing mechanical design for Space Battleship Yamato and Daicon. The Macross TV series introduced the world to the animation of Ichirō ‘Missile Circus’ Itano. [AN64] A plane with legs... honestly looks kind of goofy, but Itano’s ambition to have a highly mobile 3D camera that could move in ways that would simply be impossible in live action marked a huge step up in how robots are animated. And this would get refined even further in the film Do You Remember Love.

In terms of design, we’re really moving our inspiration from ‘tokusatsu suit’ to ‘military hardware’ here. A Macross suit has to look like something that could transform into a plane, so its silly little arms and legs have to look kind of plane-like. In any case, we are definitely still in a world of hard and rigid robotics.

Dallos (1983-4) dir. Mamoru Oshii is known as the first OVA, if not the first successful OVA [AN115]. It features a variety of mining robots on the surface of the Moon, which are generally less humanoid, taking their design cues from JCBs...

...as well as humanoid robots with fairly clear joint patterns...

...and more humanoid robots too.

The eponymous Dallos, however, is a huge humanoid robot that looks like this...

Here we have a pile of mechanical shapes that vaguely calls to mind a human face. It’s suggestive of motifs we’d see later in works like Akira.

A year later in 1985, Megazone 23 really kicks off the OVA boom in earnest [AN 103]. It also has a robot, in the form of a transforming bike that can become a humanoid piloted mech...

You can see mechanical designs and shading have become considerably more detailed; its motion is a lot more complex as well with a ton of indulgent background animation shots. The actual details of the bike -> robot transformation are rather brushed over. But to sort of sum up the design language: we have organic but hard-edged shapes contrasted by inorganic but round shapes. (These terms ‘organic’ and ‘inorganic’ refer mostly to symmetry and a sense of ‘flow’ in the shape.) There are few right angles as such, but a lot of broadly boxy topology. The shapes are broken up by elaborate specular highlights in complex shapes, a motif of the later Kanada school.

OK, but that’s all variants on ‘rigid robot’ so far - what about the androids? What about the more directly biological designs?

Following the enormous success of Megazone 23 Part I, Toshiki Hirano got the chance to adapt his favourite lesbian cosmic horror hentai manga Fight! Iczer One into a rather more tame OVA which released from 1985-87. In terms of mechanical design, this starts to do some interesting moves towards blending biological and mechanical forms...

Of course it has a robot in addition to the requisite bishōjo and lightsabers. In contrast to the boxy shapes we’ve seen so far, the robots in Iczer-One have a much more curvy organic sort of design language. Still, there is not a lot of emphasis on the precise details of mechanical articulation outside of select shots. (It is however notable for the first ever Obari punch!)

Despite the change in shape language, these are still very clearly animated as metal plates and not yet muscles.

In 1984 we have a very important film (for this narrative, and in general), Nausicaa of the Valley of the Wind, the film that created Studio Ghibli. Here we have the ‘God Warriors’, giant humanoid weapons with the ability to shoot a massive laser out of their mouth. Rather than robots, these are very much biological in nature, having to be grown in a kind of cocoon. In the film version of Nausicaa, an incomplete God Warrior is released, leading to an iconic scene animated by Hideaki Anno in which the God Warrior attempts to blow up the oncoming wave of Ohmu.

The God Warrior’s melting flesh is gorgeously animated, bubbling and sloughing off in great big lumps as the skeleton pokes out from underneath. Throughout, Nausicaa is full of beautiful and impressive animation of both machines (mainly planes) and biological (the giant insects), but the God Warriors, as human-made lifeforms, bring the two together. However, this strand wouldn’t be especially followed up on for a long long time.

Right, but what about Bubblebum Crisis (1987-91)? That is, after all, the iconic 80s robot girl OVA. It’s inspired heavily by Western robot-related films like Terminator and Blade Runner; here we have ‘Boomers’ (never stops being funny) as androids that can appear convincingly human. Like the Terminator, the underlying metal parts can burst out. Here we have a metal frame designed to resemble muscles, and also metal tentacles.

The shapes of these robots are a lot more organic. The robot neck has tubes that sort of resemble the neck muscles, metal plates that resemble pectorals and abs and deltoids and biceps and so on. You’ve even got a direct riff on the Terminator ‘fleshy face falling away to reveal metal skull with glowing red eye’! Under the plates there are clusters of tubes which also heavily resemble muscles. Also you’ve got the classic ‘three small circles’ motif there.

Contrasted against them are the Knight Sabers, who aren’t cyborgs as such but fight in powered exoskeletons which fit the design motifs of robot girls.

These suits are quite form-fitting, with a rubber under-layer and metal shells on top. There is definitely some attention paid to how they’ll articulate around the joints. One very recognisable 80s motif is the sort of extending spike thingies you can see on her hat there; there’s also the jets that extend out behind the suit. And, you have that multi-layer shiny highlighting of course!

Still, the way the characters move in Bubblegum Crisis is still very squarely Kanada School poses; big movements, lots of held poses accentuated by flashing and line boil, not a lot of concern for conservation of momentum or anything like that.

For a contrasting strand we can look at the rise of the ‘Otomo school’ (if you will) of realism. Around the end of the 80s, a pool of talented animators were gathering around Katsuhiro Otomo. Their most famous work is Akira, but I’m actually going to begin with Robot Carnival (1987), a wonderful anthology of short films from 1987. This features a huge variety of interpretations of the concept of robots.

For example, for Kōji Morimoto, later co-founder of Studio 4°C, the robot is a kind of cobbled-together steampunk Frankenstein’s monster. It’s a very cool design with all sorts of asymmetries and exposed parts suggesting its cobbled-together nature. And although all the robot does in this short is stand up and then fall over, a great deal of attention is paid to the little details of its articulation and its movement through space.

Presence, directed by Yasuomi Umetsu, is notable for its steps in the direction of realism - Umetsu’s characters are hyperdetailed and in some ways over-drawn. The opening shots establish this is a world where lifelike androids are common, when an android gets his head kicked off and stolen by children. Here the robot-as-doll metaphor comes in, something that will be increasingly central in the next decade. The robot girl is essentially a human-sized doll in a room full of other toys. Her creator smashes her to pieces with a wrench; later her ghost visits him as an old man. We see the girl attached to a bunch of wires, but she bleeds like a human.

Cloud by Manabu Ōhashi features another humanoid robot, an Astro Boy-like child recognisable as a robot based on his segmented torso and legs and robotic ear... cones. Here the robot is a standin for human emotions, the boy’s struggles projected onto the constantly changing sky as he walks against the wind.

Strange Tales of Meiji Machine Culture: Westerner’s Invasion by Hiroyuki Kitakubo (later to direct Golden Boy, Roujin Z and Blood: The Last Vampire) is a sendup of mecha shows in which two very goofy looking steampunk robots operated respectively by Japanese and Western crews duke it out, laying waste to the city around them. The Japanese robot is basically a big wooden samurai...

and the Western (more specifically American) robot is, uh

sorta big barrel with little eyes on top? I’m not entirely sure what the deal is with this design!

That’s really not relevant to our story tbh I just think it’s a neat short.

Chicken Man and Red Neck, by Takashi Nakamura, features especially distinctive robot designs. The film is kind of a dream sequence in which a terrified drunk man witnesses the revels of the machines of Tokyo, transformed into robots; the robots are extremely shaped, moving through a world that is pretty much just pistons...

These robots call to mind the dancing demons in Fantasia’s Night On Bald Mountain sequence, or even Bosch.

Otomo’s own segments feature the Robot Carnival itself, a vast mechanical structure built as... well some kind of entertaining spectacle, but which now drives around the post-apocalyptic wasteland dropping robots which explode as bombs. It’s cute.

OK, to wrap up the 80s, we gotta cover Akira (1988) [AN34]! Akira has plenty of impressive mechanical animation of helicopters, hovercraft thingies, satellite lasers and of course the famous bike, but it doesn’t really feature robots as such - but what it does have is a blending of mechanical and biological forms in its climactic sequence where Tetsuo’s psychic powers go out of control. First, wires start to spread like the roots of a plant from his robot arm - less an actual machine and more something he assembled with his psychic powers...

He takes a bullet, and the mechanical wires and muscles start to blend together and spread out like a slime mold...

...which he can extend as essentially a giant tentacle.

When his powers fully go off the rails, he bulges out into big blobs of flesh which have both veins and wires running over them. These burst out of the metallic parts as well.

He turns into essentially a giant biomechanical baby.

Did Akira invent these images of blending biology and machinery? Probably not, but I’m not really familiar enough with manga of the time to say. What can at least be said is that Otomo’s absurdly meticulous style could really sell it. Otomo was truly a god of perspective and detail; Akira the film was an enormous, prestigious production that threw ludicrous effort and resources towards realising his vision (which doesn’t mean it paid its inbetweeners much more...). A lot of the animators who worked on Akira would go on to be prominent in...

the 1990s

So, the 1990s. If the 80s was dominated by the later Kanada School, the new movement of the 90s, at least as far as film animation goes, was ‘realism’.

But before we get onto that, let’s take a brief look at Gunnm (1990). Known as Battle Angel Alita in the West, this manga by Yukito Kishiro depicts a world in which most people are cyborgs; it was adapted to an OVA by Madhouse in 1993 and became wildly popular overseas. Its protagonist Gally, aka Alita, starts out the story as a wrecked cyborg body like this...

Looking at this design, you can see similar patterns as we have so far. We have metal clavicles, metal sternocleidomastoid muscle, metal pectorals, metal spine. There aren’t robot muscles, per se, but there’s a lot of attention to detail on mimicking biological shapes.

Before long she is rebuilt (twice in the manga, once in the anime). Her new body is like this...

...which is to say a skintight bodysuit in the middle, and metal arms. These arms, although designed in a way that indicates hard surface and with a hinge joint at the elbow, are designed in a way that mimics the flow of muscles in a human arm. By contrast, her sorta-love interest Yugo has a body like this:

which gets mashed to pieces in the finale of the OVA. There’s a striking mechaguro scene in which Gally catches Yugo, but leaves him hanging by a fraying arm, which snaps, leaving him to fall to his death. Compared to later iterations of the ‘robot arm torn apart’ device, this one’s relatively light on detail...

Cyborg bodies in Gunnm are used as a visual indication of character type. Gally has curves but also sleek robo muscles: she’s a Beautiful Fighting Girl, sweet but also extremely powerful. A huge ‘muscular’ cyborg with wide shoulders is likely to be a brute. Yugo here has much more plain, simple shapes with visible bolts, not precision pieces like Gally.

I don’t know how much of this originates with Gunnm. I’m sure the idea of cyborg girls was in the air long before, but this became an influential example on the tail end of the time of the 80s bishōjo. One device that is notable here is the idea of a ‘full body cyborg’, which is only human down to the brain (or perhaps not even that). Body swapping is a major theme in Gunnm, something that would be expanded on before long...

And if that was going out, what was coming in? Let’s look at Patlabor, which traces the evolution of the Headgear artistic collective and IG Tatsunoko into Production I.G.. This is about as down to earth as giant robot stories can get, with robots as just everyday machines used for work and by the cops. But where things really go nuts in animation terms is the opening to Patlabor 2 (1993).

Here you can see some of the most impressive sequences of mechanical animation ever drawn. We see pilot Noa testing out the robot, and especially notable are the scenes of the hand flexing and of walking. Enormous attention is paid to the articulation of joints. The robot’s hand can swivel 360 degrees, unlike a human; however, like a human, the articulation of the fingers seems to be controlled by hydraulics in the forearm (whereas in humans, the muscles and tendons in the forearm control our fingers). When the robot’s foot steps, it flexes like a real human foot, with believable joints, and a sensible arrangement of pistons to absorb force.

It’s not imitating a human’s muscles, but the attention to the details of the robot’s mechanical design serves precisely to draw our attention to the ways it’s like/unlike a human - the robot’s hand impossible motion immediately contrasted with its pilot shot from the same angle. And the perspective drawing is absolutely impeccable. The robot is made of purely rigid structures, and the way rigid structures articulate is not at all how a human’s joints articulate.

The sequence above was animated by Atsushi Takeuchi. But across the board, the bar was getting pushed for mechanical animation. For example, observe this cut from Mobile Suit Gundam: The 08th MS Team (1996-1999), in which the robot tears off its own arm and beats up another robot. The precision of the way the joints are animated and the way the robots move in space is just completely on another level compared to what Gundam had been doing a couple of decades prior.

Anyway, we’re here to talk about robot muscles, and we’re just a few years out from that now!

The year that robots got muscles, at least as far as anime is concerned, is 1995.

You can probably guess the next part. In 1995, we get Eva and GitS. Let’s start with GitS, to continue the Production I.G./Mamoru Oshii thread. The opening sequence of GitS, animated by - who else could it be? - Hiroyuki Okiura - has to be one of the most iconic segments of video ever drawn. Here’s a merely 720p youtube upload but go and find the place you have GitS stored on your hard drive and watch it in proper quality eh.

OK, yes, a lot of it is a naked lady floating around, sue me or whatever. But the sense of form. We see early on an appearance of ‘robot muscles’, here closely resembling real muscles...

We can see from the way this is drawn that it’s made of a combination of artificial muscles, solid segments, and flexible, fabric-like panels. One of my favourite shots at the beginning shows the solid segments of the skull clicking into place. Here we have a very clear contrast between the angular, hard edges of the mechanical pieces against the organic forms of a human body.

Elsewhere in the film, we see various incredibly cool bits of ‘wouldn’t be fucked up if a body did this‘, like the fingers...

Here, what we expect to be soft biological fingers is contrasted with unexpected rigidity, mechanical joints under a shell.

Also in this scene we encounter a robot body that has been stripped of her arms, legs and hips but is nevertheless still alive...

most extraordinary hacker in the history of cybercrime and you have your titties out and yet you still can’t get them to stop misgendering you, smh

For the Terminator, having its body smashed up and continuing to walk was a demonstration of its strength. Here, as would become perhaps an increasing motif, having a robot body is a source of vulnerability: people can do things to you that would kill an ordinary human but you keep going through it. Not surprisingly, ‘robot body maintenance’ is a recurring porn device. (One that GitS deploys in SAC s2).

But of course this all builds up to the all time classics of mechaguro scene at the ending where the Major attempts to tear off the hatch of a spider tank. Muscles ripple individually under the surface of her skin, her arms bulge in exaggerated contraction, and then her arms fully tear apart under the force.

Here, we’re showing her as mechanical not by contrasting rigid forms with biological ones, but by exaggerating the biological ones to the point of doing something extremely unnatural. Human muscles do not generally flex in such an individual way, nor are they strong enough to tear the arm apart, but robot muscles? Yeah, they could do that. This sets up the next scene where the Major lies unnaturally still, but can still exert control through hacking through her union with the Puppet Master.

Robots holding onto something so hard their arms explode has become... if not a recurring image, then at least one that was called back decades later in Violet Evergarden.

The final scene of GitS brings back the image of robot-as-doll, with the Major’s consciousness now uploaded into a black-market robot body that resembles a child in a dress.

This is further expounded on in Oshii’s second GitS movie Innocence (2004), with its Ballade of the Puppets in the soundtrack as Batou and Togusa (and eventually, the Major) are attacked by essentially an army of ball-jointed doll gynoids. The puppets’ movements are extremely unnatural and erratic acrobatics, constantly flipping all over the place; when hit by bullets, panels pop open to reveal the underlying brass skeleton. It’s a very cool image. (The thing that lets the sequence down is the extremely dated CGI and aggressive digital compositing.)

It also has Donna Harraway as a literal cyborg!

Now, the GitS movies didn’t drop fully formed out of nowhere, but draw on the work of Masamune Shirow. The manga has a somewhat different design sensibility than the movie, distinctive and shiny as all Shirow’s art. It is more rounded and organic, less cold.

So, the basic design of a cyberbody originates with Shirow. You can see it on this page (unfortunately from a flipped version, translation Dark Horse):

You might be able to determine from how the nurses are dressed that, yeah, the GitS manga is in significant part fetish porn. But really nerdy fetish porn, which is the best kind. This chapter is almost entirely dedicated to explaining how cyborg bodies are constructed in great detail, from the ‘sensory film’ (that’s what’s being applied in the opening to the 1995 film) to the hair implantation.

It’s interesting seeing how some of the more out-there designs of the manga, like Chief Aramaki, are transformed into the realist style of Hiroyuki Okiura. It’s Okiura, so it works great of course.

I don’t know if there are manga examples of such detail about cyborg bodies that predate Shirow.

Anyway, that’s just one of the two punches dropped in 1995. The other is Neon Genesis Evangelion. To the pedants: sure, the Evas are not actually robots, but they’re giant cyborgs that play the role of ‘robot’ in the story and they look like robots so I’m counting them.

Anyway, the thing about the Evas is they are incredibly lithe. They run, rip and tear and swing heavy objects around in a way that’s both weighty and distinctly biological. Their bodies are extremely flexible compared to prior mechs (look at how much the spines bend in that Iso cut from EoE!), but not without hard, rigid components such as the shoulder towers. Their jaws are bestial but feature mechanical-like components like interlocking hexagonal teeth and jet-like vents. They are in short a fantastic design that blends biological and mechanical features.

The impact of Eva on just about everything can’t be overstated, but as far as robot design, well. There certainly were works that leaned on the precedent set by Eva, as for example RahXephon, which also treats robots as something spiritual, prone to popping into a blob of weird little bubbles just like in Eva.

There’s a great deal missing from this account. I am very focused on anime because I’ve watched a lot more anime than I’ve read manga or played games from this period. So I’m sure there’s major foundational works I’m missing here!

the 2000s

When did the West start to catch up? eh that’s subjective - David Cronenberg was way ahead of the game! - but specifically in the sense of robots with mechanical muscles, I think the major points in the timeline go a bit like this.

In 1999, there’s the Matrix, which leans heavily on anime. This features a similar ‘robot takeover’ premise to Terminator, but here it’s biomimetic robots modelled after squids, with clouds of constantly moving tentacles that sweep behind them. After making a cool half a billion dollars, the Wachowskis decided to pay all their favourite anime directors to make short films. I’m not going to comment on every part of the Animatrix, since most of it isn’t really relevant, but I will point to this horrifying cut by Takeshi Honda in The Second Renaissance in which a robot woman has her clothes torn and then skin bashed off by a mob. The framing, motion, her expression of abject terror, and the ‘reveal’ of her ‘true’ nature, all viscerally call to mind a trans bashing.

On the manga side, a big one to mention is Gantz, a gory nihilistic seinen manga which ran from 2000-2013. The characters in Gantz fight in special latex-like suits which take on the appearance of muscles while engaging superstrength, but can also sustain damage that causes them to drip fluids from ports located at the neck and become fatal to their wearer. Gantz was adapted to anime by Ichirō Itano in 2004, but I haven’t seen it so I can’t comment on any notable animation.

Cyborgs are a favourite subject of games, but in the 2000s, games are really pushing art direction and biopunk stuff is in. Half Life 2 (2004) has its spider-crab like Striders and dropships and so on. Oddworld: Abe’s Oddysee (1997) bases its whole concept around the sheer variety of weird creatures that would inhabit its dystopian factory. And I gotta give a shoutout to Septerra Core (1999) - in case one other person has played that lmao

At some point after 2005, Boston Dynamics became a viral sensation thanks to their robot BigDog. BigDog is just welded steel and hydraulics, but its lifelike hopping movement style definitely brought to mind the idea that the future of robots is going to be in biomimesis.

So, 2007, here comes Crysis to melt your PC! This is an FPS with the not-uncommon premise of being a supersoldier fighting (country America hates) and also aliens, but its gimmick was that you have a special exosuit that wraps around your body with artificial muscles, making you much stronger and manlier or whatever.

This is indicated by a visualisation that could be right out of a toothpaste ad, where tiny little balls drop into the character’s pores and somehow go straight into the bloodstream which is of course a void full of flying red blood cells. And so on. It sold the game, though! The ad there focuses almost entirely on the suit and not the character wearing it, who is basically an irrelevant soldier man. What it entailed in gameplay terms is that you have a mode switcher so you can have strength or armour or invisibility or whatever. But it’s cool military superscience, you see!

Anyway. Not like my preferred flavour of cyborg is any less stupid I guess x3

In the same year, Bayformers started. These films’ robots are honestly just visual noise, there’s so many moving metal shards going every which way that it’s next to impossible to discern any sort of underlying mechanical principle. A similar ‘overwhelming business’ visual effect would be applied the next year in Iron Man, kicking off the MCU. So mechanical muscles definitely weren’t the only expression of ‘hyper-advanced robot’ in Western visual media in the late 2000s.

I’m going to end my story with two more games: Horizon Zero Dawn and NieR Automata.

Horizon features a world inhabited by a large variety of robot animals, using the peak of AAA rendering techniques. The robots are designed to be biomimetic after both modern animals and prehistoric ones, and feature a combination of hard surfaces and softer biological muscles. For example, a robot horse:

The discipline of making designs like these now has a name: it’s called ‘hard surface modelling’ and it involves boolean operations and bevels and other techniques designed to create a balance of hard edges on a surface against the smoother parts. The design language of Horizon says that the hard plates are white, the soft parts are very dark and may be patterned like a cloth texture, and there can be small colour accents here and there.

I think you can definitely see the influence of Boston Dynamics’s robots (and recent military tech in general) in these designs, iterated on through a decade and a half of increasingly intra-referential concept art. They are visually very busy designs, but there are a couple of recognisable features that draw attention by being inorganic, such as the cylindrical fuel tank at the back. Vitally, the silhouette is very readable.

This robot T. rex for comparison serves as a world boss monster, and you can see it’s got a bunch of military looking attachments that look like radars and missile launchers and so on. As real tech evolved, so too did our idea of what a scary robot ought to look like.

So, that’s where this kind of design pattern has gone in mainstream games.

Now to finish, a brief comment on NieR Automata. Its designs draw hard on those of Ghost in the Shell. Visually it draws a strong contrast between the Machine Lifeforms, who have inorganic shapes (spheres and cylinders) and very visible and plausible mechanical joints, and the doll-like androids, who might as well be human (although A2 provides some contrast in an android who is damaged enough for the underlying materials to show through). The mechanical nature of the androids is communicated by the acrobatic way they move and the interface elements, and dead androids you find in the field - and later when they start losing arms and stuff, it’s a whole thing. But just like humans in Yoko Taro Games, they’re capable of dying in a puddle of blood.

(I guess if you take one thing from this post it’s that if you’re a robot, don’t expect to keep your arms.)

Robot muscles gives you a chance to give both the ‘anatomy porn’ of drawing something very precisely right, with the added bonus of giving you a reason to draw the muscles écorché, and the chance to make it weird and defamiliarised by splitting it with mechanical elements. In short... they look cool!

In this whole post I’ve basically not touched at all on illustration. I can point to a variety of illustrations of robot girls, but in terms of periodising them, I just don’t think I know enough. Though it’s safe to say that cyborg bodies in various states of construction or disrepair are now a mainstream of concept art - and that Ghost in the Shell is usually cited as an influence. I don’t know if robot muscles ever truly became the mainstream way to depict a robot, but it does feel like they’re increasingly common.

One artist I will briefly mention (besides sukabu), mostly bc I think they’re neat, is Haruyo Megurimu, who draws these very intricate designs of ‘necrotech’ which is sort of very biological robots extending out of human bodies - limbs extended on long spindly insectoid strands, jaws splitting open, that kinda thing. Can’t say who influenced them or anything but it’s a compelling extension of the idea into a particular corner of aesthetic space.

And that’s all I’ve got I think. There’s definitely big gaps like. More recent sci-movies. Western comics. Nevertheless, that’s an arc.

If you’ve read this far: thank you for indulging my autism.

[yumeka-sxf]

Today's new chapter was so intriguing 👀

First off, nice to see the Authens again. Guess we're sure now that Endo will make them reoccurring characters! Yor's embarrassment about being called "Mom" ("okaa-san" in the JP version) was really cute.

They managed to translate this joke very well; in the JP version, the word "ebento"(event) makes Sigmund think of "obento"(lunchbox). Using the word "function" for "luncheon" was clever!

But the main highlight of this chapter for me was seeing the ever enigmatic Melinda again after so long!

She's a really a tough one to figure out, and this chapter only brought up more questions than answers. She seems extremely nice here, being very forgiving of Millie despite her harsh accusations against her husband. She also mentions that she'd be very resentful if anything were to happen to her family...which is kind of contrasting to her thoughts about Damian from the end of the bus hijacking arc.

I also loved the scene of Yor sticking up for Millie. Her expression was so blank yet so deep at the same time. It actually reminded me of Anya's expression when she punched Damian - in both cases, their blank expression doesn't match their action, but it makes sense because they're still unsure of how to act and what emotion to portray in many seemingly "normal" situations. Anger and annoyance aren't feelings that come naturally to them.

In Yor's case here, having to defend someone against such accusations isn't something she's had much experience doing (at least not for someone who isn't family), and at the same time she can't just outright kill the hostile party like she would on an assassination mission. So despite being in such an awkward situation, especially for someone like her who struggles with social interactions, she managed to remain remarkably calm. As usual, Yor gets easily flustered when it comes to her own feelings, but if she sees someone else being threatened, her capabilities shoot up to maximum! That unpredictable expression should be feared from both her and Twilight!

We also learn that Yor lost her parents in the war, which is something I always suspected. Her words in the below panel reminded me a lot of the thoughts she had during the end of the cruise arc. As I've mentioned before, despite her naivety about many things, she understands the tragedies that go on in the world, especially in terms of war - that it's not just soldiers who suffer, but the children and everyone else left behind. It makes sense that someone who understands that kind of loss and hardship has such outpouring empathy to others the way Yor does...

...which is actually contrasting to the way Millie deals with her loss, by lashing out at others. It's said that those who have suffered can become either very sympathetic or very resentful. It was interesting to see that subtle contrast between Yor and Millie here.

Speaking of Millie, it was nice to see her get some redemption and backstory. Like Camilla, I still don't think this makes up for all the mean things she's said to Yor before, but it's something!

Good to see McMahon again after so long. Don't think he's made an appearance since the cruise arc 👀

As usual, it's hard to say if this chapter is leading to a new arc or not. I'm sure things mentioned here, especially about Melinda, will come back later, but who knows if it will be right away or several chapters from now. I know we were all expecting something relating to Anya's backstory based on the previous short mission, but I still think there's a chance that what happened here could tie into that. We'll see! We're close to chapter 100 so I wonder if Endo is planning something special for that 🤔