#other notable entries are

[alistair-blackwood]

asking spotify nicely to stop personally attacking me with their vibes

[violant-apologia]

by any chance, does anyone know if any of the 1890s editions of uk Who's Who are available online anywhere? i'm curious as to what the real life equivalent of slowcake's would actually have looked like

[wavetapper]

big fan of rhythm game songs that if i was like maybe 5% less insane would be absolutely unlistenable

[mariocki]

Final Exam (1981)

"Why are you so apprehensive? When are you going to realise that the whole world isn't made of psychopaths skulking about?"

"But they are out there. They do exist. People are killed every day for no reason at all. Perfect strangers wake up in the morning and decide, 'Hmm, I think it's a good day to snuff somebody". And these are people who eat at our restaurants with us, use our highways and vote for the President, which probably explains something about him, too. I'm not paranoid. I'm just facing unhappy facts."

[dawnleaf37]

finding every fukase and flower cover to put on the playlist of two ocs who are fukase and flower coded

[prokopetz]

I'm spinning this off of the main thread about tracing the origin of the term "d66" because it's not strictly germane to the topic – none of these examples actually use the term "d66" to describe their dice-rolling methods – but I'm going to post it anyway as a matter of general interest: following a conversation with Tumblr user @notclevr, it appears that before tabletop wargames (and, nearly concurrently, tabletop RPGs) got their hands on the mechanic, the principal (though by no means exclusive) users of the old "roll a six-sided die twice, reading one die as the 'tens' place and the other die as the 'ones' place" trick may have been tabletop American baseball simulators.

The most notable example of the type – and the only well-known example still in publication today – is J Richard Seitz' APBA Baseball, first published in either 1950 or 1951 (accounts vary). In this game, a d66 roll is cross-referenced with a card representing the active player and a "board" representing the current situation on the field:

For example, with Carlton Fisk at bat, a d66 roll of 31 would yield a result of "8". Assuming for the sake of argument that the situation on the field is a runner on first and a grade C pitcher, consulting the "Runner on First Base" board, this corresponds to an outcome of "SINGLE—line drive to left; runner to third".

(This example is, strictly speaking, incorrect, as Carlton Fisk didn't have his major league debut until 1969 and I'm using the wrong lookup tables for any year in which he played, but you get the idea!)

Interestingly, APBA Baseball is not the first game to use this setup. It's heavily derived from Clifford Van Beek's National Pastime, a game whose patent was registered in 1925, though it wasn't actually published until 1930. Even at a glance, the similarities are substantial:

Indeed, though National Pastime's lookup tables are much simpler than APBA Baseball's, where they overlap they're often word for word identical. It's generally accepted that Seitz plagiarised National Pastime without credit when creating APBA Baseball (ironically, given his own famously combative stance toward alleged imitators!), though he was within his rights to do so, as National Pastime had fallen into the public domain by the time APBA Baseball was published.

We can go back even further, though. As far as I've been able to determine, the earliest known tabletop baseball simulator to use d66 lookup tables for resolving plays is Edward K McGill's Our National Ball Game, first published in 1886:

A copy of the game's 1887 US patent application can be downloaded here. This one uses an unusual 21-entry variant of the standard d66 lookup table in which the order of the rolled digits is insignificant, with doubles being half as likely as non-doubles rolls; it's unclear whether McGill was aware of this when he laid out the table. Unlike later incarnations of the genre, there are no individual player statistics, with all at-bats being resolved via the same table.

[chuluoyi]

i love your comedy and fluff! but my masochistic heart is itching for more angst to fluff for gojo🥲 and i have this brainrot ever since i read "baby", "protect" and "wife": childbirth gone wrong, that's why he is sooo concerned about your wellbeing during your maternity leave~

࿐ ࿔ 🕰️ 「 09:45 P.M 」

tw: childbirth. there are two very same ask for this now and so that's the cue for me to practice my crack/angst more :3 okay this is basically an extended version of protect's epilogue and oh, it's a happy ending! mini sequel -> 11.10 p.m

a part of gojo's love entries

“you’re always doing whatever you want! ow!”

“deep breaths, sweets. deep brea—”

“easy for you to say! you don't contribute anything other than shoving that damn stick into me! and now i’m left with the consequences!”

“i kindly remind you that you very much enjoyed my stick that night—”

“i hate you!”

satoru looked at your tear-streaked face and patted you in the head—his notable love language, erupting into laughter. “of course you do.”

lying on the hospital bed, tears welled up in your eyes as you roasted your husband and your contractions kept getting closer together. three hours after you woke up to your labor pains, all you could feel was that you were ready to burst.

gripping his hand tight, you purposefully dig your nails in just to spite him. “i’m serious. i hate you. you’re not putting me up for this again!”

“you say that now, but the moment we are home, those words are going to be null and void,” satoru snorted in an attempt to lighten the mood, ignoring the slight pain you inflicted on him, because what was this compared to what you were going through?

but his facade dropped as soon as breath was knocked out of you and you whimpered. he instantly gathered you in his arms.

“hey, hey... take deep breaths...” when you did, he planted a tender kiss on your damp forehead. “that's it, there you go... the baby's going to be here real soon, okay?”

you panted, limp in his hold as dull pain overwhelmed you. “yeah... your baby.”

“our baby, love. not just mine,” he corrected, smiling. he had one hand on your swollen belly, palming the subtle firmness, and gently rubbing it. “our munchkin.”

“i’m just the container though.”

“heh, no,” he chuckled softly. “you're everything.” his eyes crinkled affectionately, a hint of laughter still in his voice, and your heart actually melted when he whispered: “my everything.”

truthfully, despite your bravado, you were scared shitless. yet, as you nestled your head against your husband's strong chest, feeling the steady rhythm of his reassuring heartbeat, and when you gazed into his eyes, you were sure, because he exuded confidence as if he had no doubts that this was going to go perfectly fine.

and so holding onto him you did. he held your hand through it all, talked you through your pain, and you were so, so grateful to have him by your side.

the next hour was a blur, as excruciating pain blinded your senses. you were wailing when everyone told you to push, and you gave it your all. you kept it up even as you felt like being torn apart.

and before you knew it, cries unlike any other, ones you had only imagined until that moment, echoed through the room.

“he's here!” satoru's hitched voice reached your ears, and you went slack, falling back to the sheets.

you were completely spent and all you could register was that the cherished baby both you and satoru had been waiting for was here. you shivered, your mind tuning in and out—lightheaded, wondering why you felt so drenched down there.

“holy shit! i can't believe it! i can’t—” if you were awake enough, you would realize that it was one of the rarest times when satoru was choked with emotions. he turned to you. “i—”

and suddenly you felt strange. an eerie chill seemed to engulf your entire being. your hand slipped from satoru's grasp as your vision dimmed, the world growing darker.

“are you okay? hey—” his voice sounded distant, and you struggled to keep your eyes open. satoru finally realized that something was wrong, as his six eyes discerned the rapid dwindling of your cursed energy, and the room reeked of the tangy scent of blood.

you barely made out the nurse's shouting next. “blood pressure is dropping!”

"come on!" now he was utterly panicked and tried to get a hold of you, shaking you slightly. “hey, stay awake—look at me, i’m right here, please—”

but to his horror, your head lolled back as you lost your consciousness. soon, he was thrown out of the delivery room. just like that, in one sick twist, his world was crumbling down hard and fast.

a sense of helplessness washed over him as he stood outside the room, barred from being by your side. inside, you were bleeding out, and he was unable to do anything but wait.

didn't he say he would protect you with everything he had? once again, gojo satoru was humbled—not everything was in his grasp. he couldn't save those chosen by fate not to be saved.

suddenly, it felt like suguru all over again, except the stakes were higher. he shuddered—his fist clenched so hard that it drew blood, while his other hand clutched his chest, desperately willing the searing pain away.

would he really lose you this way? the sheer thought made his ears ring. no fucking way. even hell knows he'd go berserk. would fate really let him decimate anything in his path? surely, no... right?

he was unaware that he had been murmuring these silent prayers when the doors slid open, revealing the doctor who had been assisting with your delivery earlier with the news. it was a case of a postpartum hemorrhage, she said, an unfortunate incident.

all things considered, you were going to be okay. that knowledge alone was enough to make him breathe freely once more.

when he was allowed to see you, the moment your eyes blinked open, the first thing he did was burying his head in the crook of your neck.

and there you have it—the first time you had ever seen him really shaken to the point of shedding tears.

“you scared me,” he rasped, voice thick with emotion. “i—i can't stop thinking— if you really left me—”

“i’m fine now...” you were somewhat wonderstruck by the knowledge that you had this potent hold over him. oblivious to how your soft voice calmed the depths of his soul, you stroked his hair, and he breathed in your scent, grateful to every force imaginable for returning you back to him.

“sleep,” he gently pulled away, his eyes rimmed with red, his fingers caressing your cheek. “you need it. i’ll be here when you wake up, i promise.”

“the baby—”

“they just cleaned him up. he's resting too,” satoru reassured with an impossibly tender smile, and his next words made your heart lurch.

“my strong girl, you did it. you're a mother now… thank you. thank you... for making me the father to our child.”

you felt like you might burst into tears. you felt so loved, so secure, even after you went through the most challenging ordeal in your life. and as you drifted to your rest, you could hear the love of your life whisper in your ear ever so lovingly—

“i know i have said it before, but i’ll say it again. with everything it is that i have, i swear to you, nothing will befall you and our baby, for i will spare nothing and give everything for both of you... even my own life.”

[doyoulikethissong-poll]

ABBA - Waterloo 1974

"Waterloo" is a song by Swedish pop group ABBA, with music composed by Benny Andersson and Björn Ulvaeus and lyrics written by Stikkan Anderson. It is first single of the group's second studio album of the same name, and their first under the Atlantic label in the US. This was also the first single to be credited to the group performing under the name ABBA. The title and lyrics reference the 1815 Battle of Waterloo, and use it as a metaphor for a romantic relationship.

In 1974, "Waterloo" represented Sweden in the 19th edition of the Eurovision Song Contest held in Brighton, winning the contest and beginning ABBA's path to worldwide fame. The song differed from the standard "dramatic ballad" tradition at the contest by its flavour and rhythm, as well as by its performance. ABBA gave the audience something that had rarely been seen before in Eurovision: flashy costumes (including silver platform boots), a catchy uptempo song and simple choreography. It was the first winning entry in a language other than that of their home country; prior to 1973, all Eurovision singers had been required to sing in their country's native tongue, a restriction that was lifted briefly for the contests between 1973 and 1976 (thus allowing "Waterloo" to be sung in English), then reinstated before ultimately being removed again in 1999. Watch the performance in Swedish here. Sveriges Radio released a promo video for "Waterloo" that was directed by film director Lasse Hallström, whose first notable English-language film success was What's Eating Gilbert Grape in 1993. ABBA recorded the German and French versions of "Waterloo" in March and April 1974; the French version was adapted by Alain Boublil, who would later go on to co-write the 1980 musical Les Misérables.

The song shot to number 1 in the UK and stayed there for two weeks, becoming the first of the band's nine UK number 1's, and the 16th biggest selling single of the year in the UK. It also topped the charts in Belgium, Denmark, Finland, West Germany, Ireland, Norway, and Switzerland, while reaching the Top 3 in Austria, France, the Netherlands, Spain, and Sweden. Unlike other Eurovision-winning tunes, the song's appeal transcended Europe: "Waterloo" also topped the charts in South Africa, and reached the Top 10 in Australia, Canada, New Zealand, Rhodesia, and the US (peaking at number 6, their third-highest-charting US hit after number 1 "Dancing Queen" and number 3 "Take a Chance on Me"). In 2005, at Eurovision fiftieth anniversary competition Congratulations: 50 Years of the Eurovision Song Contest, "Waterloo" was chosen as the best song in the contest's history.

"Waterloo" is featured in the encore of the musical Mamma Mia!. The song does not have a context or a meaning. It is just performed as a musical number in which members of the audience are encouraged to get up off their seats and sing, dance and clap along. The song is performed by the cast over the closing credits of the film Mamma Mia!, but is not featured on the official soundtrack. It is also performed as part of the story in the sequel, Mamma Mia! Here We Go Again, by Hugh Skinner and Lily James.

The Australian film Muriel's Wedding (1994), features "Waterloo" in a pivotal scene in which lead Toni Collette bonds with the character played by Rachel Griffiths. The film's soundtrack, featuring five ABBA tracks, is widely regarded as having helped to fuel the revival of popular interest in ABBA's music in the mid-1990s. "Waterloo" features prominently in the 2015 science-fiction film The Martian. The song plays as the film's lead, played by Matt Damon, works to ready his launch vehicle for a last-chance escape from Mars. In "Mother Simpson", the eighth episode of the seventh season of The Simpsons, Mr. Burns plays "Ride of the Valkyries" from a tank about to storm the Simpson home, but the song is cut-off and "Waterloo" is played, to which Smithers apologizes, advising he "must have accidentally taped over that".

"Waterloo" received a total of 89% yes votes!

(the video is posted by ABBA's own account, not Eurovision's = safe to watch)

[beesorcery]

hello here is 3.29-3.31! absolutely devastating for my bingo

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

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

[lightseoul]

Hello! For your event can i get #11 ?

hello, sure! this took quite a while for me to get around to doing, but i hope the wait was worth it <3 thank you for playing!

(this is lightseoul’s 2k milestone event ft. bakugou katsuki! to play, view the numbered list of prompts here, then simply send an ask with your chosen number and i’ll whip something up!)

warnings. minors dni, please!

11. "IS THAT MY SHIRT?" (1.4k)

under other circumstances, today would’ve been filed under the non-descript mornings with which you start your unremarkable days.

the sun is barely peeking through the curtains, the temperature is not too cold but not too hot, and you’re buried in freshly washed bedding that smells divine.

and so it’s not really your fault for thinking for a modicum of a second that today was just like any other day.

if it weren’t for the muscled arm slung across your bare waist.

you’re yanked from your half-asleep stupor the second you see it, and you jolt in shock before you can stop yourself. the man beside you, thankfully, doesn’t stir awake.

with wide eyes, you chance a glance at the decidedly naked person next to you (if your sense of touch wasn’t betraying you), and the sight that greets you nearly makes you faint.

because what the fuck are you doing in bed—naked—with the bakugou katsuki?

suddenly the areas where your skin meets his are becoming way too hot, and you’re hit with the visceral urge to get away from the man.

and so as discreetly and quietly as you can, you lift the arm that’s wrapped around your midriff, but freeze when his grip tightens and he shifts every so minutely. sneaking a peek again, now at his face, you study the man with caution as his eyebrows furrow for a beat before they relax along with the rest of his features.

you don’t allow yourself to revel in how peaceful he looks, or dwell on the fact that you may have just fucked this man last night, choosing to try again and wrestle yourself out of his hold. to your relief, he doesn’t resist, even in slumber, and you’re able to slide out of the bed with minimal noise and motion, thanks to his firm, exquisite mattress.

you wonder how firm it proved to be last night…

you mentally slap yourself.

now is not the time to be horny.

it instantly dawns on you how naked you are, standing in this man’s bedroom fully bare, and so you scan the room for any sign of your undergarments and clothing. it doesn’t take you a while to spot your panties, and then your bra a few seconds later—both of which are notably plain and not at all sexy. you try to fight the cringe as you shimmy into them—obviously, you didn’t anticipate getting any action yesterday—eyes darting across the area in search of your shirt. they finally land on the black article that’s unceremoniously sprawled across near the foot of the bed, and you waste no time putting it on.

and as you find your trousers and squeeze yourself into them, you let your brain wander to what got you here in the first place.

you remember being strung along by your girlfriends into that exclusive bar that’s said to be frequented by many pro-heroes. you don’t know how your designated planner friend managed to get you guys entry, but you didn’t question it, choosing to just enjoy the atmosphere and drink good booze with good company.

in fact, you may have drunk too much good booze because your memory drifts in and out a few hours into settling into a booth in the bar. you recall one friend pointing to a group of three men who looked suspiciously like pro-heroes cellophane, red riot, and dynamight, as well as you laughing at how it couldn’t be.

you wince at the memory of said friend, who knows about the big, fat, embarrassing crush you have on the ash-blonde hero, dragging you to where they sat and introducing yourselves to the men.

at that point, you were tipsy and bordering on drunk, and dead convinced that they were just wannabes who wanted to look like their hero idols. but the guy with the crimson eyes that were notably boring into you looked too much like bakugou that you threw all caution to the wind and just went along with it, too curious about the person in front of you.

but now, as you stand smack dab in the middle of this pristine bedroom that can only belong to a very highly-paid, famously all-might-loving hero, you’re flooded by a wave of dizzying nausea.

dizzying nausea that doubles up when your eyes catch the ridiculously sculpted arms of the man who’s still lying on his stomach, seemingly fast asleep.

you can relive and fact-check your fantasies later, when you’re alone and in the safety of your much more modest apartment unit, but not now.

and so with a slightly heavy heart, you turn around and silently twist the knob, ready to tiptoe the hell out of his room with your purse in tow.

but all hopes of making a quiet exit get thrown out of his bougie-ass windows when the door fucking creaks so loud, that you don’t have to look behind you to know that the man just shot awake.

you stand there, frozen with your back turned against him, for what feels like forever, before ultimately deciding that you can’t just walk out the door now like nothing happened lest you come off as a fucking lunatic.

and so with a deep inhale, you steel yourself for the incoming shitshow, and turn.

you try not to stare at his crazy, stupid, built torso or his beautiful face that’s looking all too stunned as you awkwardly gesture to the door.

“you ought to lubricate this door of yours,” you quip, capping it with a laugh, although it comes out stilted.

and when he doesn’t say anything, “…sorry i woke you up.”

that must’ve been enough to sober him up, because he finally speaks up. “shit—no, i—”

he cuts himself off as he scrambles to get up, and you turn around just in time to not see his dick dangle as he searched for his boxers. you hear rustling and things being turned upside down as you wait for him to get dressed.

“just a sec,” he calls out, before: “have you seen my—is that my shirt?”

before you can think better against it, you whip around to look at where he’s gesturing, only to be met with him, now in his boxer shorts, staring straight at you.

“wha—?”

you look down to where his gaze is fixed, and sure enough, the shirt you’re wearing is decisively not yours.

“fuck—” you start, flaming in embarrassment, “i’m sorry, i thought it was mine. i—let me just—” you trail off just as your eyes land on another black shirt near your feet, and you’re about to scoop it up and turn and hurriedly strip off his shirt when he speaks up.

“no, it’s okay.” you freeze, bent over and hand just barely having grasped the shirt off the floor. and when he doesn’t say anything, you slowly straighten up, fighting to maintain eye contact.

he’s scowling now.

“you don’t have to scurry like a fucking rat, dumbass,” he spits, although there’s not much bite to it. he’s looking a tad bit embarrassed, too. hesitating for a second, he diverts his gaze, before: “can’t i at least cook you breakfast?”

you pick up your jaw that just dropped to the floor as fast as you can. “you—you mean you don’t want me to leave just yet?”

at that, he scoffs. “what do you take me for, a fuckboy?”

he says it so incredulously you almost snort. instead, you cock your head a bit to the right, not entirely able to deny your impressions of him.

“seriously?” he splutters for a beat, before sighing in resignation. shaking his head, he finally shifts to meet your eyes and regard you, the switch in the air to that of palpable seriousness so potent.

“i don’t normally do this,” he states, gaze remaining fixed on yours, as if he’s trying to communicate the rest with just his eyes.

you don’t have to ask him what ‘this’ means.

and so you reply just as honestly. “me, neither.”

neither of you says anything for a brief moment, the revelations from both of you taking up the small space between.

“so,” bakugou breaks the silence eventually, “breakfast?”

[under-lore]

What could Sans find out about Flowey ?

By finishing a neutral route over and over again multiple times, Flowey has some unique dialogues in which he mentions various trivia or shares his thoughts on some of the other characters.

One such character is Sans, who Flowey notably gives us a warning about.

However, the way he words that warning feels a little intriguing :

While Sans is generally a very perceptive character who is often capable of making pretty good guesses from limited information, Flowey makes it rather obvious that he is speaking from experience rather than simply making a general comment about Sans' observation skills.

But a question that isn't brought up very often is, what was it exactly that Sans would frequently "find out" about Flowey to warrant this warning ? And how ?

While the question may seem unanswerable at first due to Flowey not giving us any specifics whatsoever, there are a few details scattered throughout the game which may allow us to deduce our way towards what was most likely the intended answer.

First, we know what solution Flowey ended up settling with in order to deal with whatever that issue was : Simply avoiding Sans.

In any given timeline, Flowey took the habit of avoiding to be seen by or around Sans at any point, unless he specifically had something in mind that required him to do so. (such as in the pacifist ending) As a general rule of thumb, he would avoid Sans altogether as much as possible.

However, even with that effort on Flowey's side, a quick mention of a talking flower from Papyrus is already enough to seemingly get Sans at least a little suspicious that something may be up with that.

This is our second clue : The fact that it took Sans so little information for him to get suspicious of what Papyrus told him about a flower.

Our last clue is the few words we hear from Sans after he sees and hears Flowey at the end of the pacifist route :

In order to find out what to make of those clues, we need to introduce a fourth element : Sans' scientific background.

Luckily, none of the more complicated or speculative nuances of that side of his character are required here, all that we need is to highlight his somewhat-hidden friendship with Alphys.

She knows him well enough to call his jokes in advance :

Or here, the game more obviously points out that these two seem surprisingly friendly.

Sans tries to play it off, but it is clear they know a lot more about each other than seems at first glance.

But how much exactly ?

Well...

To go back to our main point, if one were to call Papyrus' phone in front of Alphys' lab, the conversation between the skeletons brothers would eventually deviate towards the question of wether or not Alphys is hiding dogs inside of her lab.

To which Sans answers, winking :

If it had just been this one joke, it may have been a coincidence, but the game doubles down on this exact same implication if you call Papyrus from within the lab as well, showing that this connection between Sans and Endogeny was absolutely intentional :

While the determination experiments were sorely Alphys' entreprise, it appears that Sans was at least made aware of the way they ended up playing out.

We cannot affirm with certainty how much detail exactly Sans has regarding the experiments, but if he is aware for the dogs and possibly even involved in dealing with them (as he had the dog food bag in his room), then he most definitely would also know about the vessel too. It was the main goal, after all.

This vessel had a few particularities.

First, it was a golden flower, the flower from the outside world, chosen for symbolic reasons.

But second, that specific golden flower was chosen because it was different from the rest.

It was at the center of the garden, it had grown before all the others, those were the ones mentioned by Alphys in her entries. But there was one more specificity which she omitted to bring up :

Golden flowers in Undertale are a species of flowers which has 5 petals.

But our "vessel" had a mutation, resulting in an extra 6th petal.

A design choice in part, perhaps, but one that takes a very real in-world importance within this context.

Adding to this that, from the view of the current timeline iteration, the vessel seems to have suddenly vanished one day and...

Since it is likely for Sans to have been aware of all of this, now, it makes a lot of sense that the mere idea of a new mysterious talking flower that says strange things showing up out of nowhere would immediately put him on high alert. A potential connection with the missing vessel is easy to make.

Actually, now that we have this context, even Alphys seems to make the same connection as well after hearing Papyus mentioning a talking flower just before Flowey arrives.

But most of all, it now feels incredibly clear why Flowey needs to avoid being seen by Sans so much.

His entire appearance, and particularly his obvious extra 6th petal, are all dead giveaways of his origins.

Could Sans, who is skilled enough at analysing faces to tell the difference between the face of someone that has died 9 or 10 times in a row, really miss out on such blaring evidence ?

Of course not.

Flowey might as well have written "i am the vessel" on his face with a marker as far as Sans is concerned.

Chances are that merely seeing Flowey even once would be all it takes for Sans to be practically certain that Flowey must be the former vessel.

Not only that, but given that those experiments were all about determination, the so called "resolve to change fate", Flowey would also immediately be considered extremely likely to be the anomaly, too.

This is what we see in this scene :

Not only does Sans get to see Flowey here, but the speech that Flowey makes during this scene also provides him with definitive evidence that Flowey really was the "anomaly" he had been worried about, as his psychological profile matches extremely well with the one Sans shows us to have built for the anomaly in a genocide route. But, it also shows him that Flowey has, for now at least, lost his anomalous time powers to Frisk, and is thus struggling to keep them in his "game".

This suggests that for now, Frisk actually still has the advantage, and that despite all those crazy speeches, without his reset powers, that weirdo has got nothing on them.

But this is all later on in the story.

During Flowey's earlier RESETs, being seen by Sans, even once, quickly becomes a major pain for Flowey in every timeline iteration in which it happens.

At best, he might get "pranked accross time and space" a number of times. At worst, Flowey might have no choice but to reset and start all over again on whatever he was aiming to do.

Except this time around, without letting the smiley trashbag learn ANYTHING about him.

[kelaeri]

The Many Languages of Dick Grayson

Apparently, according to Nightwing #54, he can speak 12, so I went on a little quest to see just how many I could identify.

Starting off with The Essential Batman Encyclopedia, the entry for Dick Grayson lists him as being trained in French, Spanish, Russian, Japanese, Mandarin, and Cantonese with having some proficiency in an unknown Romani dialect. Given there are multiple examples of him speaking these languages throughout the comics, I am inclined to trust this claim. To start, we've got several examples of French (Gotham Knights #14, Detective Comics Annual #12, Nightwing #73, Grayson #10-- also featuring Spanish)

In Grayson #1 he speaks Russian only briefly, but in Detective Comics #36 he speaks it throughout.

As far as the Chinese languages go, while I believe Dick can speak Mandarin and/or Cantonese fairly well (Batman/Superman World's Finest #3), his Hanzi recognition and literacy could use some work.

Similarly, when the Titans head off to Japan in Titans Annual #1, we have Nightwing speaking Japanese in battle; however, when it comes to the prospective job of being a manga translator in Nightwing #125, he claims he doesn't know Japanese, which leads me to believe he is only proficient in speaking Japanese/Chinese and struggles with the writing systems.

So what about the languages not covered in the encyclopedia? To start, we have another romance language: Italian (Nightwing #72).

Followed by some alleged German (Nightwing #51, JLA #44)

And conversations in Farsi (Robin #175)

While I've seen some Tumblr and Reddit posts claim he knows Kikuyu, The Power Company: Manhunter #1 only says he "brushed up" on his Kikuyu before going to Kenya, so it is unknown how much of the language he actually speaks, but to me it doesn't seem likely to be a lot.

He also, to some unknown degree, speaks Tamaranean-- at least enough to hack into an alien computer (Action Comics #842).

As far as unspoken languages go, Dick is fluent in ASL, which is proven numerous times when he communicates with Jericho (New Teen Titans 1984).

And lastly, the two languages that remain rather uncertain are Romani and Cant-- largely due to the nature of the languages themselves and their representation in comics. "Romani," for instance, has several different dialects, and when Devin Grayson introduced it for Dick (Gotham Knights #20-21, Nightwing #91), she never specified which, and based on the lines she wrote, her research into the language was questionable at best. Writers since have recognized Dick's Romani heritage, but have not otherwise suggested he retained much of the language to be considered fluent.

Cant is an even wider term than Romani and can be seen as more of jargon for a particular language than a language itself, sometimes even being called a "pseudo-language." The colloquial term for American circus cant is Carny, or "Carny speak" as Boston Brand puts it in Batman: The Brave and the Bold #14 when he and Nightwing encounter a kid who speaks it.

So... this leaves us with 11 languages Dick has notable proficiency in: English, French, Spanish, Italian, Russian, German, Japanese, Mandarin, Cantonese, Farsi, and ASL. And ~3 languages he has unknown proficiency in: Tamaranean, Kikuyu, Romani, and Carny/Cant (if you want to count it).

Maybe memory-loss Dick was including either Tamaranean or Kikuyu in that count from Nightwing #54, or maybe he knows some other language we haven't seen yet. Given how close the family is to the Al Ghuls, I personally think it would be cool if one of them was Arabic.

But anyway, hope you enjoyed this post! A lot I've seen covering this topic are very surface-level and label some of his more iffy languages as "fluent," so I hope this cleared things up. I've read tons of Nightwing, and I swear there are more examples, but sifting through the 1,000+ comics I've read of him is a lot haha. If y'all know of some others, let me know!

[arminreindl]

Fossil Crocs of 2024

Another year another list of new fossil crocodilians that greatly expand our knowledge of Pseudosuchia across deep time. Happy to say that this is my third time doing this now, so I'm not going to bog you down with the details and get right into it.

Benggwigwishingasuchus

Our first entry, sorted by geological age of course, is Benggwigwishingasuchus eremicarminis (desert song fishing crocodile) from the Middle Triassic (Anisian) of Nevada. It was a member of the clade Poposauroidea, which some of you might recognize as also containing such bizarre early croc cousins like Arizonasaurus and Effigia. Also notable about Benggwigwishingasuchus is that it was found in the Fossil Hill Member of the Favret Formation. Why is that notable? Well the Fossil Hill Member preserves an environment deposited 10 km off the Triassic coastline and also yielded fossils of animals like Cymbospondylus, the giant ichthyosaur. Despite this however, Benggwigwishingasuchus shows no obvious signs of having been a swimmer or diver. Instead, its been hypothesized that it was simply foraging around the coast and might have been washed out to sea.

Artwork by Joschua Knüppe (@knuppitalism-with-ue) and Jorge A. Gonzalez

Parvosuchus

Fast forward some 5 million years to the Ladinian - Carnian of Brazil, specifically the Santa Maria Formation. Here you'll find the one new genus on the list I did not write the wikipedia page for: Parvosuchus aurelioi (Aurélio's Small Crocodile). With only a meter in length, Parvosuchus is amongst the smallest pseudosuchians of the year and a member of the aptly named Gracilisuchidae. Santa Maria was actually home to multiple pseudosuchians, including the mighty Prestosuchus (and its possible juvenile form Decuriasuchus), the small erpetosuchid Archeopelta and larger Pagosvenator and one more...

Artwork by Matheus Fernandes and Joschua Knüppe

Schultzsuchus

Yup, Santa Maria has been eating good this year. Before the description of Parvosuchus, scientists coined the name Schultzsuchus loricatus (Schultz's Crocodile). Now this one's not entirely new and has long been known under the name Prestosuchus loricatus (by which I mean since 1938). What's interesting is that this new redescription suggests that rather than being a Loricatan, Schultzsuchus was actually an early member of Poposauroidea like Benggwigwishingasuchus. Even if it was no longer thought to be close to Prestosuchus, it was liekly still a formidable predator and among the larger pseudosuchians of the formation.

Artwork by Felipe Alves Elias

Garzapelta

Our last Triassic pseudosuchian and our only aetosaur of the year came to us in the form of Garzapelta muelleri (Mueller's Garza County Shield). It comes from the Late Triassic (Norian) Cooper Canyon Formation of, you guessed it, Garza County, Texas. As an aetosaur, the osteoderms are already regarded as diagnostic, tho unlike some other recent examples there is a little more material to go off from. It's still primarily osteoderms, but at least a good amount and even some ribs.

Artwork by Márcio L. Castro

Ophiussasuchus

Our only Jurassic newcommer is Ophiussasuchus paimogonectes (Paimogo Beach Swimmer Portuguese Crocodile), but arguably you couldn't find a better posterchild for Jurassic crocodyliforms. This new lad is a goniopholidid from the Kimmeridgian to Tithonian Lourinhã Formation, yup, Europe's Morrison. It's anatomy is perhaps not the most exciting, like other goniopholidids it had a flattened, very crocodilian-esque snout and was likely semi-aquatic like its relatives.

Artwork by @manusuchus and Joschua Knüppe

Enalioetes

Another quintessential group of Jurassic crocodyliforms are the metriorhynchoids, however, 2024's only new addition to this clade was actually Cretaceous, specifically from the earliest Cretaceous (Valanginian) of Germany. Like Schultzsuchus, Enalioetes schroederi (Schroeder's Sea Dweller) is new in name only, as fossil material has been found at the latest in 1918 and given the name Enaliosuchus "schroederi" in 1936. This kickstarted a whole series of taxonomic back and forth until the recent redescriptoin finally just gave it a new name and settled things (for now). Looking back I realize that I really need to take the time and fix up the Wikipedia page. Tho I've written its current status, I was kinda limited by being on vacation and never dived into the description section.

Artwork by Joschua Knüppe and Jackosaurus

Varanosuchus

Another Early Cretaceous crocodyliform is Varanosuchus sakonnakhonensis (Monitor Lizard Crocodile from the Sakon Nakhon Province), described from Thailand's Sao Khua Formation. It lived around the same time as Enalioetes, but otherwise couldn't have been more different. Where Enalioetes was fully marine, Varanosuchus was more a land dweller as evidenced by the deep skull and long, slender legs. At the same time, some other features, like its more robust limbs compared to its kin, might suggest that Varanosuchus could have still spent some time in the water like some modern lizards. Tho one might be reminded of Parvosuchus from earlier, Varanosuchus is a much more recent example of small terrestrial croc-relatives, the atoposaurids, which are much closer to todays crocodiles and alligators.

Artwork once again by Manusuchus

Araripesuchus manzanensis

Yet another example of a small, gracile land "crocodile" comes to us in the form of Araripesuchus manzanensis (Araripe Basin Crocodile from the El Manzano Farm). And once again, it belonged to a completely different group, this time the notosuchian family Uruguaysuchidae. Now Araripesuchus is well known as a genus, in part due to the work of Paul Sereno and Hans Larsson (who popularized the names "dog croc" and "rat croc" for two species). Tangent aside, A. manzanensis is known from the upper layers of Argentina's Candeleros Formation, corresponding to the Cenomanian (earliest Late Cretaceous). The same locality also yielded A. buitreraensis, from which A. manzanensis can be distinguished on account of its blunt molariform teeth in the back of its jaw. This dentition, which corresponds to a durophageous diet of hardshelled prey, could explain how it coexisted with the related A. buitrensis at the same locality, allowing the two to occupy different niches. There is a neat little animation done for this animal you can watch here.

Artwork by Gabriel Diaz Yantén

Caipirasuchus catanduvensis

We're staying in South America but moving to Brazil's Adamantina Formation for our next entry: Caipirasuchus catanduvensis (Caipiras Crocodile from Catanduva). This one is a little more recent, tho the age of the Adamantina Formation is a bit of a mess far as I can tell, ranging anywhere from the Turonian to the Maastrichtian. One could also argue that C. catanduvensis is part of the "lanky small croc club" that Parvosuchus, Varanosuchus and A. manzanensis belong to, but I feel that the very short snout helps it stand out from that bunch more easily. Anyhow, Caipirasuchus catanduvensis is a member of Sphagesauridae, related to Armadillosuchus, and herbivorous. What's really interesting tho is that the internal anatomy suggests the presence of resonance chambers not unlike that of hadrosaurs, possibly suggesting that these animals were quite vocal. This could also explain why baurusuchids appear to have had very keen hearing.

Artwork by Joschua Knüppe and Guilherme Gehr

Epoidesuchus

We're staying in the Adamantina Formation for our last Mesozoic croc of the year, Epoidesuchus tavaresae (Tavares' Enchanted Crocodile). Tho also a Notosuchian like Araripesuchus and Caipirasuchus, this one belongs to the family Itasuchidae (or the subfamily Pepesuchinae depending on who you ask), which stand out as being rare examples of semi-aquatic members of this otherwise largely terrestrial group. Epoidesuchus was fairly large for its kin and had long, slender jaws. Like I said, Epoidesuchus and its relatives were likely more semi-aquatic than other notosuchians, something that might explain the relative lack of semi-aquatic neosuchians across Gondwana. They aren't absent mind you, but noticably rarer than they are in the northern hemisphere.

Artwork by Guilherme Gehr

And thus we move into the Cenozoic and towards the end our or little list. From here on out, say goodbye to Notosuchians or other weird crocodylomorphs and get ready for Crocodilia far as the eye can see.

Ahdeskatanka

The first Cenozoic croc we got is Ahdeskatanka russlanddeutsche (Russian-German Alligator), which despite its name comes from North Dakota, specifically the Early Eocene Golden Valley Formation. Ahdeskatanka is similar to many early alligatorines like Allognathosuchus in being small with rounded, globular teeth that suggest that it fed on hardshelled prey. This would have definitely helped avoid competition in the Golden Valley Formation, which also housed a second, similar form not yet named, a large generalist with a V-shaped snout similar to Borealosuchus and the generalized early caiman Chrysochampsa, also large but with a U-shaped snout.

Artwork by meeeeeeee

Asiatosuchus oenotriensis

We had an alligatoroid, so now its time for a crocodyloid. Asiatosuchus has been recognized from the Late Eocene Duero Basin of Spain for a while now, but now we have a name: Asiatosuchus oenotriensis (Asian Crocodile Belonging To The Land Of Wine). Asiatosuchus is a complex genus, most often not really forming a monophyletic clade and likely representing several distinct or at least successive taxa that form the "Asiatosuchus-like complex". Within this complex, A. oenotriensis is thought to have been close-ish to Germany's Asiatosuchus germanicus.

Artwork by Manusuchus

Sutekhsuchus

Rounding out the trio of major crocodilian clades is Sutekhsuchus dowsoni (Set's Crocodile/God of Deception Crocodile), representing our only gavialoid of the year. Originally described as Tomistoma dowsoni in 1920 based on fossil remains from the Miocene of Egypt, Sutekhsuchus has been at times regarded as distinct and at other times lumped into Tomistoma lusitanica. It was one of several early gavialoids to inhabit the coast of the Tethys during the Miocene and appears to have been most closely related to the genus Eogavialis, clading together just outside of the American and Asian gharials. A fun little personal anecdote, I prematurely learned about this one due to a friend highlighting the name in a study on Eogavialis. Never having heard of "Sutekhsuchus" I took to google scholar, where I found a single result: a reference to the then unpublished description, which naturally I ended up eagerly awaiting.

Artwork by Manusuchus and Joschua Knüppe

Paranacaiman

Two more and we're done. First, completely arbitrarily, Paranacaiman bravardi (Bravard's Caiman from Parana) from the Miocene Ituzaingo Formation of Argentina. Material of this genus has originally been referred to Caiman lutescens, described in 1912 but now considered a nomen dubium. Paranacaiman is known from limited material only, just the skull table, but that would indicate a "huge" animal. My personal scaling recovered a size of almost 5 meters in length, similar to large black caimans today.

Once again, credit to me

Paranasuchus

Last but not least, Paranasuchus gasparinae (Gasparini's Crocodile from Parana). Coming from the same deposits as Paranacaiman, this one too has been known as a species of Caiman for some time before being assigned its own genus, though it at least got to retain its old species name. Alas, I have not scaled it myself, tho its material is at least more extensive than that of Paranacaiman, including even parts of the snout. A little nitpick because I don't have much to say, but I personally think the name was ill conceived. On its own both Paranacaiman and Paranasuchus are fine names don't get me wrong, but together, coined by the same authors in the same study no less, they strike me as needlessly confusing to non experts. Both are caimans, both are from Parana, so the distinction between "Parana Caiman" and "Parana Crocodile" is entirely arbitrary and doesn't really distinguish them. Not helped by the fact that they are even closely related in the original description. Other than that tho another good addition to our understanding of fossil crocs.

No artwork on this one, but fossil material from Bona et al. 2024

And that wraps up 2024. I hope This post, or my posts throughout the year or even my work on Wikipedia has helped to make these fascinating animals just a little bit more approachable and a massive thanks to all the artists who took their time to create fantastic pieces featuring these incredible animals. Special shout outs to Manusuchus, who diligently illustrated a lot of the featured animals and Joschua Knüppe, who had to listen to me suggest Ahdeskatanka every Sunday for about two months straight now.

Fossil Crocs of 2023

Fossil Crocs of 2022

[batmanisagatewaydrug]

Hello!! I hope you're doing well! Do you have any recs for books about twisted/problematic relationships but with woc? Obviously there's our queen octavia butler but unfortunately for me i've finished reading all her books so i'm desperately craving for books that scratch this itch. Thank you for this blog btw i really love reading all your thoughts & reviews ♥️

goddd okay this list is not going to be nearly as long as I wish it was but it is extreeeeemely varied, so at least we have that going for us lmao. and hopefully you find something interesting in here:

right out of the gate if you're chasing that Octavia high, Rivers Solomon's novel Sorrowland feels very very in that vein. it starts with a teenage girl escaping from a Black separatist fundie cult while heavily pregnant with the cult leader's twins, deciding to give birth to the babies in the woods and raise them there. and boy, does it get crazier from there! there are some eventual transformative body horror sci-fi elements that I shan't spoil, but it's a time. the relationships are pretty secondary and genuinely not the most fucked up thing here, but our main girlie Vern is very much into girls and trying to figure that out on top of all the other horrors.

The Hundred Thousand Kingdoms is the first book in a fantasy trilogy by specfic queen NK Jemisin, and the first book in particular is really like. problematic relationship city. the protagonist is called to be an heir to a dying emperor and IMMEDIATELY gets embroiled in a love triangle with two of the gods that her family enslaves for power??? crazy shit.

I just kicked off this year reading a book called Darknesses by Lachelle Seville, which ALSO features a young Black woman fresh out of a cult (this one loves self harm and anorexia). and then she meets another Black girl who casually drops that she's Dracula, and oh boy do things get weirder from there. this book is like kind of Not Good but it is very entertaining; at a certain point you just have to turn off your brain and go with the vibes. it's sweeter than a lot of examples but listen, obsession and bloodlust are obsession and bloodust no matter how much your gf Dracula respects consent. there's a lot of murder!

this one doesn't have any supernatural bullshit afoot and is instead just regular degular #problematic, but Raven Leilani's Luster was one of my favorite books last year and follows an absolute shitshow of a young Black woman's extremely loaded and weird relationship with her older white boyfriend and his insane wife, as well as their adopted Black daughter.

anther no magic entry: I really love Oyinkan Braithwaite's My Sister, The Serial Killer, which is about exactly what you think it's about! the narrator is a put-upon Nigerian woman whose beautiful, beloved sister has murdered her last several boyfriends and has come crying to her dutiful sister to help her clean it up each time; the plot kicks in when the murdery sister sets her sights on the narrator's boss, a doctor to whom the narrator is also attracted. I know it's a sibling relationship instead of a romantic one but you didn't specify so! I am counting it!

this one is like very very very niceys compared to everything else I'm going to put on this list but it's also pretty hot so I have to mention it: Little Rabbit by Alyssa Songsiridej is about a young, bisexual Asian-American woman struggling to get a writing career off the ground falling in love with a Notably Older and wealthier white man and figuring out how to navigate the subsequent problems both within their own interpersonal dynamic and in how their relationship is received by others.

honorary mentions: books about fucked up white women that are written by women of color who Know!!

Under the Pendulum Sun by Jeannette Ng is a Victorian alternate history in which the English discovered the fairy realm and promptly did what the English did, ie, sending missionaries to teach the fairies about Jesus. the novel follows a woman traveling to the fairy kingdom to look for her missing missionary brother and promptly going insane as fairies gaslight gatekeep girlboss from all sides, complete with a side of everyone's favorite gothic horror trope: repressed sibling incest!

My Nemesis by Charmaine Craig is another very lowkey and grounded example, comparatively, but I thought it was neat and worth a mention! it's told from the POV of truly insufferable white woman writer whose emotional affair with a philosopher gets thrown for a fucking loop by the philosopher's wife, an enigmatic Chinese woman whose motivation the MC cannot guess literally at all. it's not the most exciting read in the world but the reveals hit hard and the reveals at the end made me YELL.

also for short story collections by WOC that can bring the #yikes factor in big ways I heartily endorse Roxane Gay's Difficult Women and Carmen Maria Machado's Her Body and Other Parties.

I wish I had more to throw you here; please if anyone has something to add to this list I am LISTENING

[raven-at-the-writing-desk]

the elitism in magic education

HELLO 🤡 I have come to you today with an analysis of Fellow Honest's motives and what they imply about the mages and non-mages in the world of Twisted Wonderland, as well as the state of magic education as it relates to one's social status. It's a doozy, so let's get right into it! ***WARNING: Spoilers for Stage in Playful Land!!***

Fellow's resentment of the elite harkens back to something I've always suspected but also something that Twisted Wonderland has seldom gone out of its way to shine a harsh spotlight on. That "something" is the discrepancy between the "haves" and the "have-nots" in terms of magic. With the main setting of TWST being a private magic school, of course the lens through which we view many events will be from this perspective as well... and that limits what we see and hear. Most of the NPCs we encounter (even the annoying ones, such as the Magicam Monsters from the first Halloween event) endlessly praise the NRC students just for attending a famous magic school. If we look closely though, we’ll start to see cracks in the shiny rose-colored lenses (which, coincidentally, is how Fellow’s UM name is written).

To begin with, we are told that only 10% of the human population (for the sake of argument, let's assume that most other races also have low magic rates) is even capable of magic to begin with. Of this 10%, the majority of people with the aptitude for magic only have enough to barely be able to lift a cup. In order to qualify for a prestigious magic school like Night Raven College or Royal Sword Academy, you'd literally have to be the cream of the crop and get lucky in terms of genetics. Magic cannot be learned by someone that was not born with the innate ability for it, and not everyone who is the child of a mage will be capable of magic themselves. This is already one HUGE barrier for entry. We now have more to consider.

Night Raven College is notably a private boarding school. This potentially means that students may need to pay a tuition fee for classes, room, and board. Perhaps this tuition doesn't exist, since NRC doesn't take applications but rather hand-selects its students. Additionally, NRC is based on a British school, and most European schools cost little to nothing to attend. However, it's hard to believe a school as fancy as NRC is a private institution that runs solely on the charity and goodwill of donors (though we do see Crowley happily accepting donations as well, specifically from the local town and from Kalim’s family). Realistically speaking, Stuff Costs Money, and if you Want Stuff, you also Need Money. NRC is not raising these mages of the future out of the goodness of their hearts, NRC is raising these mages because there is profit and prestige to be gained from the endeavor. What if there are students who are picked to go but end up having to leave because they can’t afford it?? This point is just speculative though; I won’t count it as actual evidence since there is no in-game lore which confirms tuition. We do know, however, that students do at least have to pay for their dorm uniforms, as Ruggie has mentioned he could not afford one—hence why he wears a hand-me-down from Leona. We also know students are on their own when it comes to paying for their food, as both Ruggie and Deuce mention being low on cash in reference to buying meals/snacks. Buuuuut even if we discount that money is a factor that gatekeeps some selected students from attending or having the cash to just get by on a daily basis, what we cannot ignore is that money inherently puts some people ahead of others before magic schools even recruit them.

Because the majority of those in Twisted Wonderland are incapable of using magic, magic is not typically included in general education. This means that if your kid manifests magic and you want them to be "ahead of the curve", you'd need to seek out resources for magic training and education. Now, this could mean reading materials, private tutoring, or reaching out to mages you know of. The problem with all of these things is that they tend to require money and/or connections, which are things not everyone has access to. Idia even says in book 6 that Riddle has an “artificially large” pool of magic due to how young Riddle started his magic training, meaning that the wealthy has the resources to just produce “better” mages. The rich also have more money to throw into items to help with magical training, such as bigger and better magestones (which must sell for substantial amount in the first place since Ruggie tries to save some to pawn off later in Vargas Camp) to keep mages healthier for longer (since magestones help absorb blot). This keeps power concentrated in an already elevated class. (Note: research has shown that money opens up and expands one's connections, which still puts the rich in an advantageous position compared to the less fortunate. There are also studies that show impoverished people who happen to have rich friends have a better chance of raising their own social standing just because of the doors and connections that rich friend can open for them.) Look at who in the main cast remarks on having formal magic training: literal royalty like Leona and the upper middle class like Riddle. Again, one could say that because schools like NRC appear to hand-pick students regardless of how much formal magic training they had prior to enrollment. However, the fact remains that it simply looks better to potential recruiters (using this blanket term because we don't know how magic schools besides NRC gets its students) and better prepares the child for magic school curriculum to get an early start on it.

Looking back at the 22 boys that make up the main cast, close to three-quarters or ~75% of them come from at least upper middle-class backgrounds and quite a few could classify as wealthy:

Riddle's parents are both doctors, with Riddle's mom in particular being well-known and well-regarded in their home community.

Cater's dad is a banker; his position is high enough up that he needs to relocate every so often (presumably to service their largest or most important firms).

Leona is a literal prince. Even if he isn't destined to be king, he still has access to the resources and wealth avaliable to a royal.

Azul's mom owns the most popular restaurant in the entire Coral Sea (have you seen how large the Coral Sea is on the world map???), and his stepdad is a lawyer.

The twins' family is said to be well-off; they are able to afford luxuries like fancy clothes and Mr. Leech stresses the importance of manners and presentation. He is implied to have business associates who are also well-off and would like to get in his good graces. (Popular fan speculation is that the Leeches are a crime family.)

Kalim is the heir to a massive family fortune and trading business. He also has relatives (by marriage, I believe) who are royals.

Jamil, as Kalim's attendant, is also from a reasonably well-off family; they receive benefits unique to being closely tied with the Asims, such as exposure to elite society and lessons to acquire various skills, albeit these benefits comes with being in the lower social position of a servant.

Vil's father is an A-list celebrity, and Vil is also one himself.

We don't know the specifics of what Rook's family does, but it must be well-paying, as we learn in book 5 that the Hunts have villas all over Twisted Wonderland, as well as permissions for international travel via warp pads.

Idia and Ortho's family run a secret organization that researches blot. S.T.Y.X. is so secretive that basically only those in super high positions like Crowley and Leona would know about them. Let's also not forget that the Shrouds have ties to the Jupiter Conglomerate and the Olympus Corp, which is a tech giant in the world of TWST.

Malleus is prince AND the heir to his kingdom’s throne. He is also one of the top 5 most powerful mages in the entire WORLD.

Lilia is a renown war general and a close friend of royalty. He raised a young Malleus as well.

Silver is Lilia's adopted son and is actually a prince himself.

Sebek's parents are dentists. They must make mad money. His grandfather is also a respected knight that served alongside Lilia.

Notice how all the dorm leaders are upper middle class or higher; the vice dorm leaders have ONE normal person (Trey); in Playful Land, Trey confesses to living a comfortable life so we know he must be at least middle class.

We can try to argue all we like that NRC doesn't discriminate based on social status for their selections, but if that's the case then why are so few of the main cast from impoverished or low-income families? Only Ace, Trey, and Jack count as squarely middle class. Ruggie is the only example we have of someone from a very low socioeconomic status rising up to be among "elites". The other example is Deuce, who comes from a single parent household and has implied they don't have a lot of money (for example: how the VDC/SDC earnings will help out his family). (Epel is kind of a ??? case because depending on where in the story you are, his family could be in financial trouble or not; in book 5, they imply his entire village is having difficulties selling product until Vil promotes Harveston apples on his Magicam.) Maybe it's unfair to say that 22 students out of 800ish is representative of the makeup of the entire NRC student population (or represents the composition of all magic schools), but Ruggie confirms in his Birthday Boy vignettes that a majority of the students at NRC are decently well-off. This single digit representation of low-income students is also true of real-life elite schools. They are private schools for a reason; it naturally gatekeeps who is and isn't "allowed" to attend, leading to the majority of its students being members of the elite.

Another thing to consider is legacy students. This term refers to the increased likelihood of people being accepted into a school if they had a relative that also attended that school. We know of two instances of this happening: Ace's brother and Sebek's brother also went to and graduated from Night Raven College. Ace even makes a remark during his sorting ceremony that he ended up in the same dorm as his older brother "as expected". If magic aptitude is genetic, then perhaps it makes sense to recruit from the same families--but again, this is inherently restrictive, as you would continuously be culling from the same pools generation after generation.

Back on the topic of bloodlines and family, what about Kalim, who has an extensive family? There will be no shortage of Asim mages going to NRC just because of legacy (Jamil even alludes to the fact that the previous Scarabia dorm leader was an Asim relative, and his recommendation is what got Kalim the dorm leader seat). And speaking of Kalim, consider instances where rich families are able to bribe faculty (lookin' at YOU, Crowley) or donate a large sum to get their kid ahead or to be given priority over others that may be more qualified than them (RIP Jamil). To continue off that point, NRC itself is structured as a "dog eat dog" world. Those with inherently more magical ability have the right to trump over others. You can duel and lose your dorm seat to a more powerful mage, even if you trump them in terms of merit or leadership qualities. Students feel a sense of duty to obey those who have bested them in battle (ie Epel's servitude to Vil). Everyone fears Malleus. Your magical power is respected above all else.

Attitudes surrounding magic have notably shifted from fear of it several hundreds of years ago (around the human-fae war, back when “witch” and “wizard” were used in a derogatory sense) to recognizing it for its strengths and actively seeking it or granting some favoritism to those who have it. There is, in fact, now class discrimination in based on whether or not you can use magic. We got an early instance of this as early as book 1 of the main story, when Riddle insults Yuu for their "pitiful" education and states that they were clearly "born to parents with no great magical capability". It’s something that clearly rubs Ace, who has a magicless father, the wrong way, and he stands up for Yuu. There are other subtle hints about this divide sprinkled throughout the lore. For example, Ruggie has a voice line which he indicates that the slums where he comes from doesn’t produce many magic users. Again, recall that magic runs in bloodlines. This could potentially allude to a past where those without magic were forced into lower income neighborhoods, which results in pockets like Ruggie’s hometown with a high population of magicless individuals living in poverty. This doesn’t appear to be a large scale issue (perhaps its only an isolated case?), but this is worth paying attention to.

This could all translate into the professional world too. Some jobs are entirely locked behind magic (ie you just cannot do them or pursue them if you don't have the magical ability for it). Some jobs DO require magic (ie medical mages like Riddle's parents, magic police force officers, technomantic inventors, etc) and probably additional training that goes with it. As a result, I'd imagine that these magic-intensive jobs pay quite a bit more. There may also be overall more job opportunities for those capable of magic, since magic is so much more efficient than doing things by hand. The magic police force in particular are described as “elite” and members are REQUIRED to be mages or else you don’t qualify. It means more retention of wealth and/or more upward mobility for the few impoverished that are able to enter magic schools. (This is, of course, not including the few and far between cases of regular people who get rich in select industries, such as Kalim’s father.) Recall too that NRC requires its students to take internships during their 4th years, many placements being with very prestigious groups and organizations such as pro-sports teams, labs, tech giants, etc. Being able to attend a prestigious school with connections grants those elite students even more opportunities than the average person.

Then think about what this means for people who fall short of these standards that these magic schools set. We actually have examples of them in book 5 of the main story: when Deuce and Epel are reconciling on the beach, a bunch of delinquents from another school come along and start checking out Deuce’s borrowed magical wheel. Through the NPCs’ exchange, we learn that one of them has enough magic to power a magical wheel, but not enough to do much else. This NPC also couldn’t keep up in class and dropped out of a magic school. He then becomes insulted when Deuce implies he is “a beginner”, so this is obviously a very sore spot for him. Riddle also has dialogue that implies students dropped out of NRC prior to his reign (and since then, no Heartslabyul students have left). Additionally, consider how magic can be used to oppress and lord power over others. Deuce himself is guilty for summoning cauldrons to crush rival delinquents in fights back in Clock Town—even if those delinquents lacked magic themselves. Similarly, Epel is implied to use magic to gain an upper hand against those that bullied him back home. This all implies a social divide between those with magic and those without, and begs of bigger questions.

What happens to the ones that don’t make it? The ones that get left behind? The ones without the magic to make it “big”? This is the root of Fellow’s anger; he’s mad at a system that cast people like him (someone with very little magic) and Gidel (a non-mage) aside. They don’t get the opportunity to make better futures for themselves. They’re looked down on by high-up institutions that basically tell them they’re not good enough.

Knowing all of this, the deck appears to be stacked against the poor and non-mages. It’s no wonder why Fellow is so mad.

THIS ACTUALLY RELATES BACK TO WHAT ROLLO SAID IN 5-2 OF GLORIOUS MASQUERADE… "When you have too little [magic], you're resentful. And when you have plenty [of magic], you're arrogant. You can never content yourselves." The NRC boys are arrogant (this is the side of the story we’ve always known due to seeing the world mainly from their perspective). They are the “haves”, and we see them constantly misusing their power by fighting each other over very petty things (even if it’s against the rules to do so). But everyone else??? They’re scrounging for the scraps. Fellow falls into that former category; he IS the guy that’s resentful because of his lack of magic and how something he cannot control has already determined where he and Gidel will stand in life no matter how hard they work. They can never hope to rise out of poverty, and there’s nothing they can do about it. That must be soul-crushing.

When Fellow praises the NRC boys in that overly exaggerated way, he’s obviously being shady and facetious—however, there is also a kernel of truth behind this behavior. Most other NPCs we’ve met have spoken about the NRC boys favorably just because of their affiliation with a prestigious school. It’s the same way people might be impressed if you walked around in an Ivy League branded hoodie or something. People automatically associate you with the school’s shiny and exclusive reputation, and thus assume you are also intelligent, talented, etc. Then, in the same way being constantly put on a pedestal like this might result in the students getting swelled heads, this only further feeds into the NRC kids’ egos. They so privileged they don’t even recognize it. And that makes Fellow fucking FUME.

Look back at Fellow's dialogue. He is constantly mentioning the prestige of the school the boys go to, or adding on extra compliments about their status and skills. He's ass-kissing to his boss, who is also wealthy or part of the upper class, then insults the boss once he hangs up. Fellow is always in a position where he HAS to be subservient to the upper class in order to make his money and get by, and he finds that entirely unfair. Imagine having to simper and placate people you absolutely despise and blame for your problems every day, people who are gorging themselves on luxuries, coasting by in life, taking everything they have for granted while you get by on pennies—that has to get frustrating.

I want to briefly mention here that, in addition to praising the NRC students to high heaven, Fellow also talks down his own skills. He cheerfully calls himself a loser and says that no matter how much he trains, he could never reach their caliber of magic. Yes, Fellow is exaggerating to get the kids to think they’ve won, but I also have to wonder if he’s parroting the same phrases he was told long ago, from people who doubted him and never thought he’d make it. If that’s the case, then I get the sense that Fellow is in a way “reclaiming” his autonomy and power by adopting those same cruel words and using them as a strength. He admits to being “weak” but is also proud of the fact that he can utilize his magic along with his natural charisma to get a leg up over others. It further fuels his new belief that going to an elite school doesn’t matter, it’s practical skills that will serve you well.

Okay, back to talking about his shitty work situation! Fellow’s employer clearly doesn’t treat him with decency. They berate him, make unreasonable demands, act impatient, etc. They are a typical depiction of a toxic workplace and boss. This can also be read as shorthand for the relation between the rich and the poor, and how that may have shaped (or worsened) Fellow’s views on others of the privileged class. He makes many assumptions about the NRC students without really getting to know them, calling them entitled brats. Why? Because these descriptors likely apply to the higher-ups Fellow has always slaved away for. This, in combination with his own experiences in being rejected from magic academia, has created a person who feels trodden on by society and by the upper echelons who run it and benefit off the system.

Fellow himself is the perfect example of someone who was failed by said system. He has dialogue stating that he was never given the chance to learn because his magic was not considered strong enough. Still, he tried to make an effort to earn that chance among to elites and to study among them. Fellow was rejected, ridiculed, and told he had “forgotten his place”, what he had been born into. There were expectations he couldn’t meet, and so Fellow was thrown away like a broken toy. He has failed not because he didn’t try, but because he was denied the opportunity to begin with. This is where is rage stems from. Fellow despises the students of those same kinds of institutions who kicked him down, students who don’t realize how fortunate they are for their educations and will likely continue to perpetuate the system.

What, then, does that means for his signature spell, which is closely tied to one’s identity? Let’s take a magnifying glass to it. As previously mentioned, the name for Fellow’s spell is written as “Rose-Tinted Dream”, but it is said out loud as “Life is Fun”. The chant for it is, “Come on to the theater” (notably said in English rather than in Japanese). Both the spell and the incantation are references to the song Honest John sings in Pinocchio, Hi- Diddle-Dee-Dee. And… well, the whole UM in of itself is one big cruel joke given his circumstances now.

I think this spell is representative of a young Fellow still full of hopes and dreams, looking forward to studying at a magic school. But then those dreams are shattered and he has to commit terrible crimes to survive day-to-day, and he seems to have given up on his dreams. He even goes so far as to protect Gidel from having the same hopes he once did, telling Yuu to not put silly ideas in his head when Gidel expressed curiosity about school. At the same time, he delights in crushing the hopes of those he deems his enemies (stating that he wanted to betray Kalim to “teach him a lesson” about how cruel the world is). Fellow knows the truth: that life isn’t fun, that it will disappoint you and will put you down. His actions are very cowardly as well—he uses tricks and deception, he runs away from his problems instead of properly addressing them, the NRC students remark on his lack of pride. Fellow has had to throw away so much to scrape by. Yet his UM symbolizes someone brimming with hope—so perhaps it’s a UM he manifested when Fellow still thought he had a chance?? And then people made fun of him for it being so weak?? Alternatively, maybe he didn’t get his UM until after his dreams were crushed so he’s looking back on those nostalgic days of blissful ignorance with rose-colored lenses (which is, again, maybe why his UM magic name is written as “Rose Tinted Dream”). A UM that is a reflection of one’s true self, yet that same identity is one that has been forced to be discarded. That’s the reason why, despite all the swindling and scamming, I don’t think Fellow’s enthusiasm for fun is a lie. That’s the one “real” part of him, but even that’s been repurposed to help him live on scraps, something innocent twisted 😭 and that’s really sad to think about…

But also??? You could argue that Fellow still has a little bit of that lost inner child and hope left in him. He tries to defend Gidel’s understanding of the world and has goals of starting his own school despite how poorly he originally spoke about these institutions. (So Fellow does appear to care about children and their futures.) He also has a childish streak despite being an adult, demonstrated by his use of cowardly tactics, taunting kids, and abruptly quitting his job to then destroy his workplace. Fellow himself states that he “just tries to live a free and fun life”, thus his pursuit of money and pleasure. This could all play into being what defines Fellow and thus his UM. It embodies a spirit of playfulness even when he has been crushed under the weight of an unglamorous life.

I’ve heard people saying that while Rollo is Idia’s dark mirror and Fellow is Ruggie’s. They have similar backstories but ultimately their fates are different and left the former two down far more sinister paths. Just as Rollo is an Idia that turned his anger outward instead of inward, Fellow is Ruggie had he not been given a chance to receive an education to elevate his social status and job prospects. Fellow and Ruggie both cling to rich, powerful benefactors/bosses and do their dirty work to get on by—a big difference is that Leona, while he does also work Ruggie to the bone, also has some conscience. Something else to consider is that while Ruggie prioritizes making a life for himself by studying and securing a stable, well-paying job, Fellow is focused moreso on the accumulation of wealth itself (as he suggests to Kalim he’ll take a bribe to let him go free and quits when there is no longer money to be gained from his boss). Both don’t really care how they get their money (even if it is by dirty means), but ultimately Ruggie’s way of making cash is more sustainable in the long run. Yet Fellow ultimately realizes the importance of school deep down despite constantly denying it when the NRC students tell him of it. Fellow is in denial because that’s the only way he can cope and justify his lifestyle. He’s confused when finally confronted with students who are his ideal of “happy and free”, even when they’re in an educational system that he views as shackling people into strict roles. The way he laments about not being able to go to school is also very reminiscent of an adult mourning a lost or unfulfilling childhood, which is quite a depressing scenario…

Fellow is the one that got the short end of the stick in life. Ruggie met Leona, and Leona technically uplifted him in his endeavors, tutored him into getting decent grades and giving him hand-me-downs and money in exchange for his services. Fellow never had that kind of support system, he was just insulted and bullied into giving up and had to find an alternative way to keep himself going 😔

Personally, I think Fellow could also be a dark mirror to Kalim, no?? They exist on opposite ends of a social spectrum. Kalim has everything and Fellow had nothing. What’s more, Kalim is still wide-eyed and trusting. He is the only one willing to try words instead of fighting him and instantly labeling him as the enemy. Meanwhile, Fellow has become bitter because of how the world has betrayed him. He wants to take that trust Kalim has and show him how cruel everything truly is. Why is he fixated on that? Why even offer in the first place if he never intended on going through with it? Why does he want to rub it in Kalim’s face in particular? Maybe it’s because Kalim seems rich and dumb, as Fellow claims, but maybe it’s because there is envy there. Sure, Fellow is upset about Kalim being a sheltered brat that faces no challenges in life, but I also feel like he’s jealous that Kalim can still afford to think this way. That he can still afford to be cheerful, that he can still be a dreamer. Fellow was alluded to be like that once—but he can’t be like that anymore, not when he has to look out for himself and Gidel.

Side note, another comparison! Recall that Kalim’s Oasis Maker is also a UM that uses a little bit of magic. However, Kalim does not know of many creative ways to use his spell, as there is no real reason to since his home country has lots of canals and irrigation. He therefore deems his UM as pretty useless. Fellow meanwhile has what most consider a weak UM but he fully utilizes it to his advantage and pairs it well with his natural charm to maximize its effects. He had to develop these skills because he was in pressing circumstances in which they would benefit him. This contributes to the “mirror” theme between the two.

Fellow and Kalim have a notable similarity as well, and this is where I feel they can connect. They are both older brothers to a child or children who are magicless. Fellow only has one, and Kalim has many—but the number here isn’t what is important. What is important is that Fellow and Kalim think the world of their siblings and want to support them. To that end, Fellow is willing to be cruel and step on others, and Kalim is all sunshine to keep their spirits up. Fellow has suffered through great poverty and insults and Kalim has survived so many attempts on his life, yet they’ve developed distinctly different approaches to the worlds that have embraced them. Kalim’s wealth could afford him protection and luxuries, so he’s able to live carefree with others tending to his needs. The same isn’t true for Fellow, and so he came out far more spiteful and resentful.

Thinking about it, it’s ultimately Kalim’s words that convince Fellow to turn on his employer. (The other boys certainly wore Fellow down and planted the seeds of doubt, but it’s Kalim that I believe fully resonates with Fellow.) He can so happily talk about why he loves school, even though he doesn’t do well at it (something I presume is also true of Fellow, since he is lacking in tons of magic). It’s not said in a particularly articulate manner, but it’s so candid in its presentation. Kalim is relating to him based on similar skillset (or lack thereof) and sharing fond memories of his time at school, reviving the hopeful “lost child” in Fellow. Kalim is probably the first wealthy person in a long time that was friendly, kind, and supportive to him. And here he is, reassuring Fellow his dreams are still possible, to not give up. That’s the final nail that allows Fellow to be “honest” with himself and his inner child. It’s what leads to that slew of irresponsible actions at the end of the event (letting people free, blasting the amusement park, driving a sinking ship, etc.).

At the end of Stage in Playful Land, we see that Fellow never really let that childlike side of him fully die. (It seems to have been concealed under a desire for money and appeasing his boss.) He shares his dream of creating his own great school to give educational opportunities to non-mages and mages with low magical reserves like Gidel and himself, a school that teaches practical life lessons. He wants to promote his own ideals and to change the system he hates from the inside out. This was never communicated to us before most likely because Fellow had renounced those ideas in favor of blind hatred and a lack of faith in the world and those that dominate it.

Fellow also acknowledges that life may be even more difficult for him and Gidel going forward, as now they lack the money for even food and no longer have jobs. Furthermore, they need to worry about their ex-employers coming after them for what they’ve done. Even so, Fellow faces it all with a smile and reassures everyone that they can transfer or visit to play… “on this shining stage called life”. He and Gidel are able to walk away with their whimsy preserved, and can still be that which they’ve always wanted to be: dreamers.

All of this is to say that Rollo was right all along about magic, he never misses—

[valtsv]

so i’m curious about your enjoyment of pain as someone who also enjoys it. do you like all types of pain? what’s the like. intensity cut off? do you have favorite and least favorite pain sensations? for me personally i sort of like getting zapped, and also getting lightly burned, but not enough to actually leave a burn if that makes sense? like the sensation of having something slightly too warm pressed against my skin for too long is nice but i can’t stand actually healing from a burn wound (there was one time i literally couldn’t sleep due to a burn on my thumb). also bruises are nice. like pressing on them. but i absolutely can’t do cramps of any kind. anywayyyyy i curious about your opinions <3

JAMES CEMETERYTHING PAIN ASSESSMENT (or: i am asking you to get weird with it):

DISCLAIMER: this is a subjective account of my personal experiences with pain, and not intended in any way to dismiss other people's perfectly valid personal experiences, or to promote self-harm or violence towards oneself or others. obviously your body is yours to do with as you wish, but i accept no responsibility for those choices you make. please be kind to yourselves and each other.

- bruises: friendly short-term companions that occasionally stiffen, ache and throb in response to movement and touch. they have pretty privilege but fortunately i like that in a wound.

- scratches: zingy, sharp, and refreshing. like biting into a ripe but still sour berry. sometimes they swell up a little while they're healing. these are the best kind of scratches because they have tenderness and texture that's fun to touch.

- cuts (ie: anything deeper than a scratch, but not puncture/impaling wounds): the pain has a more intoxicating, overwhelming effect than scratches, which can be a good or bad thing. temptingly slippery and reactive to touch, but the risk of infection is a looming threat that takes some of the fun out of the act. cleaning them out can be an enjoyable compromise.

- incisions, stitches, and other consensually inflicted forms of wound (eg: tattoos): the choice and intention you have in the matter makes them more satisfying to experience, and your body's reactions (tensing, gritting your teeth, and breathing sharply through the waves of pain running through your body from the focal point of entry) can be exciting to bear witness to if you allow yourself. please engage in this one responsibly and safely.

- broken bones: immediately nauseating, but the dull ache of a healing bone after it's fractured has an almost comfortingly omnipresent quality to it that i find myself nostalgic for when it's gone. the occasional shooting pains you get when you move wrong, however, are too fleeting and sharp to really enjoy.

- muscle/joint injuries and pains: sickening and hateful. they burrow too deep to easily root out, but remain close enough to the surface to make you feel clumsy and unwelcome in your own body; a throbbing tumour ejecting waves of pain into the world. demanding and ungrateful, relieving them is the only thing they're good for. a notable exception is muscle aches from pleasurable/satisfying experiences, which carry that muscle memory and can redeem themselves in the process.

- headaches: really depends on where and how intense they are. i kind of enjoy the headaches that build behind my eyes, and will roll them and blink exaggeratedly to send little starbursts of pressure-release shooting through my skull. headaches that gather around my temples or build at the bridge of my nose, on the other hand, are unwelcome intrusions.

- impaling/puncturing wounds: perhaps a controversial opinion, but the penetrative aspect is probably the least interesting part to me. the aftermath - having a foreign object lodged inside you, surrounded by shrieking nerves declaring their resentment at the intruder, or a vacant hole of emptiness and strange new sensation where once was untouched flesh - is when things really start to get exciting.

- burns/debridement: generally considered the worst kind of pain, and i'm somewhat inclined to agree. it's hard to find much of a silver lining in having your skin flayed from your body layer by agonising layer. i think it's down to a similar issue to the one muscle cramps present - you're too trapped in the mundane misery of having a body, with no adequate distraction or fascination to make up for it. i do find the way that they heal to be interesting, though. the itching and oozing and peeling is by no means pleasant, but it is a disgustingly welcome relief from what came before. and the shiny new or scarred skin left behind feels like a kind of victory medal. a badge of endurance.