#please read the part where i said nuance)

[fairyhaos]

How To Fucking Write: a guide by fairyhaos

[masterlist]

this post details:

DIALOGUING INTERESTINGLY

hi gays and gals! the first post on starting and pacing a story did really well, so "how to fucking write" is back, with yet more advice and tips for everyone ^^ please feel free to let me know if there's something you want me talk about, because i'll be more than willing to see if i can help. also a reminder that i have a taglist for this series as well, and please reblog if you find this helpful :)

# - HOW TO DIALOGUE.

.. bullet point one : grammar

okay guys, as a native english speaker, i'll be the first to tell you that this language fucking sucks in terms of its grammar, but when it comes to dialogue, understanding how it works even to some extent will help you branch out and vary the way you write dialogue, which makes it so much more interesting.

with dialogue tags (said, asked, etc) if the punctuation mark in the dialogue is not a ! or ? then it should be a comma.

example : [junhui + castle]

as you can see in the first line, a comma is used rather than a full stop, because the sentence hasn't been finished yet. there's a dialogue tag, ('you correct'), that comes after it. and since the pronoun 'you' isn't a proper noun (i.e. a name) then it shouldn't be capitalised, because, again, the sentence hasn't been finished.

with action tags however, (he smiled, he stood up, etc) then it should be a full stop.

example : [i just made one up bc i don't use this a lot lmao]

"I disagree." He stood up, and walked over to close the door. "This isn't safe. You shouldn't go alone."

and now, since there is a full stop, it indicates that the speech is a sentence all by itself. that means the next word ('He') ought to be capitalised.

but the key part when grammar-ing dialogue in order to make it interesting depends on where you put the action and grammar tags.

if you constantly have lines that are just:

"dialogue," he said.

"dialogue," she said.

"dialogue but a bit longer," he said.

... then it can get repetitive, and annoying. by varying your dialogue structure, it can create more interesting dialogue.

example : [minghao + password]

there's a variety of dialogue and action tags being used with each line of dialogue, preventing everything from sounding too repetitive.

the first line starts with a normal sentence, and an action tag. the second is a standalone line of dialogue with no tags. the second has the action tag in the middle of the dialogue. and the last has a dialogue tag in the middle of the dialogue.

by varying the ways in which you write your dialogue, it makes everything a lot more interesting.

.. bullet point two : verbs and adverbs

the easiest way to make dialogue interesting, though, is to use fancy words.

this can be by replacing 'said' with a range of other dialogue tags (see this really comprehensive list for a whole variety of different words), but i'd advise against overusing these. 'said' is your friend! it's the invisible dialogue tag, helps your reader read through your dialogue in comfort, but of course, if you wanna add a nuanced way of describing the dialogue, then replacing 'said' is the easiest way to make your dialogue interesting.

but don't overuse these. for me, i'd focus on action tags and adverbs.

use interesting adverbs that add description to how a character is saying something can go miles. and using action tags that break through what could have been a long section of characters just talking? it helps so much.

i'd recommend having onelook thesaurus open as you write. you don't have to type in just words: phrases, the overall vibes of the word you're thinking of, all of that can be typed into the thesaurus and they'll provide you with pretty good results each time.

it also really helps when you've forgotten a word and can only remember vague bits of what the word should feel like.

.. bullet point three : voices

the best way, however, is ultimately to create a character. write a personality for them, bring them to life, think about the way in which they would talk and then put that down onto paper.

it's difficult, perhaps the most difficult to do, because it's also so tricky to advise someone on how to do this. it's all about the character you want to create, the personality you envision for them, and the only person who can fully write that is you.

however, i would find a few 'ticks' of theirs and use them as indicators in your writing.

for example, in my seoksoo long fic, seokmin's tick is that he always "chirps" what he's saying. and beams. a lot. this identifies his character, makes him unique(ish), and establishes his personality and differs him to the other characters.

but ultimately, it comes down to word choices, when you're writing a character voice.

like, your character describing something with elegant, floral language vs them going "this is so pretty". or perhaps making them stumble over their words when they're panicked vs them simply just going silent when they're flustered.

it's about being specific. about making choices with your words that would have english teachers analyse and unpick your writing, hundreds of years later.

(even if it's fanfic. especially if it's fanfic: because who knows how many fans may join your fandom in the next few years?)

... and that's it ! if anyone has anything else they want advice on (how to structure, how to write dialogue, how to plan etc) then just shoot me an ask, because i'd love to help however i can :)

tagging (comment/send ask to be added!): @selenicives @stqrrgirle @weird-bookworm @eternalgyu @blue-jisungs (tough luck guys btw but youre gonna be tagged in this entire series ehehehe)

[wander-wren]

i wasn’t gonna respond to this because i absolutely don’t feel like getting into the fiction affects reality debate AND i won’t take seriously any argument that uses porn addiction as part of it, lmao. the article links are a nice touch, though, i appreciate people who at least make an attempt to back things up.

unfortunately i’m lazy and this is not a discourse blog so i will not be doing that today. anyone else is welcome to.

i’m not sure you want to discuss self-harm as a coping mechanism because oh boy!! another nuanced topic! i’m not sure you’re great at those. but also getting into that would be veering wildly off topic because it assumes coping through fiction is in any way harmful, which it is not (unless you’re writing/reading so much you neglect basic needs and responsibilities! which is not the issue at hand! woah!). again, i have friends who do have maladaptive coping mechanisms and i, personally, do as well, and i don’t even feel qualified to make any kind of broad statement about self-harm-as-coping. but you wanted my knee jerk reaction to be “noooo don’t hurt yourself that’s scary and sad” right? to go haring off to save my friends from themselves? because i know everything about them and i’m qualified for that? not a project i’m taking on today, thank you.

also, as i said at the top, this ISN’T just about trauma and anyone has the right to make whatever they want forever <3. i could go write nasty twincest fic right now. maybe i will out of spite!

here’s my thing about proshipping, particularly in regards to the “well you can write that stuff to process trauma, but don’t fucking post it” argument. and i’m really just repeating what many, many others have said, but bear with me.

i don’t have sexual trauma (which is, 99% of the time, what this argument is about), so i can’t speak to that directly, but i do have traumas and coping mechanisms that some people think weird or off-putting or gross. i’m also someone who needs to talk about things with some kind of audience in order to process, whether that’s my therapist or my friends or—get this—fanfic readers. often, all three! max processing, baby!

but i’ve had people avoid responding when i bring certain things up, or outright say they can talk to me about some of my ~problems~, but not Those Ones. which is fine on its face, everyone is entitled to boundaries and in many cases they may simply not know what to say.

but it is deeply isolating to feel like there is a part of you unfit for public view. especially a part of you that you still want (need) to talk about in order to come to terms with it. so i can only imagine how it feels for some of the people arguments like these are attacking.

as long as there are warnings (and YES, “choose not to warn” is, in itself, adequate warning), there is no reason why any aspect of the human experience should have to be permanently hidden and undiscussed, no matter how uncomfortable its existence might make some random on the internet.

[visualtaehyun]

I'm not making the same dumb mistake twice in a row so- 'Chop' Anon, please find the long answer to your ask right here! And curse this hellsite for eating asks...

Disclaimer: not a native Thai speaker, still learning 🙏

Anon, my answer is gonna be twofold. The word ชอบ /chaawp/ = 'like' comes up a lot this episode and you can see that it can be used exactly the same as in English, platonically or romantically, it really just depends on context. And as you said, Jane does have the context of catching Ryan staring at him, getting flustered, trying to act nonchalant, talking to himself, zoning out, and generally acting real fucking weird lmao all throughout the episode. It's no wonder that he assumes Ryan's hangry or mad again, even checking for stomach rumbles 😂

The word 'like'

Thai has this fun feature where you don't always need to use pronouns or any other qualifying words to denote who or what you're referring to which can be both a boon cause it simplifies talking by assuming others will know the meaning from a previous or given context (or you intentionally omit that meaning!) and a curse cause it makes translating nuance a bit of a struggle sometimes 🥴

For example, this routinely happens in short question-answer exchanges but I'll let you be the judge:

- Pie: แกชอบป่ะ /gae chaawp bpa/ = You like [it]? - Ryan, only staring at Jane: ชอบ /chaawp/ = [I] like [🤡?]. - Jane, turning around: [🤡?] - Me @ translating stuff like this: 🤡

เขาดูเหมื่อนชอบพี่เจนนะครับ /khao duu meuuan chaawp phi Jane na khrap/ = I'm jealous because Khun Joy keeps hitting on you. lol just kidding subs are right on

- Jane: แบบนี้ ชอบไหมครับ /baaep nee, chaawp mai khrap/ = lit.: Like this/this way, [do you] like [it]? -> this sounds like an odd thing to say to a client in both English and Thai lmao clearly you'd usually ask if it's 'okay' or 'good' or something like that but the script needed to set up Khun Joy's flirty answer - Joy: ชอบตั้งแต่แรกแล้ว /chaawp dtang dtaae raaek laaeo/ = [I've] liked [🤡?] since the beginning.

I'll get back to Ryan's last 'like' at the end~

Jane and pronouns

The second part of my answer is how interesting and, frankly, puzzling I find Jane in how he talks to Ryan. Up until part [2/4] Jane actually completely omits any pronouns with him, as he's done frequently in the past. But when he does use them with Ryan- boy oh boy, he's kinda all over the place this episode! If Ryan wasn't so busy stewing in his confused feelings and jealousy, he might've noticed that Jane keeps flip-flopping between very different choices. Kudos to P'Baimon for catching Jane acting like a lovesick fool too that one time he's smiling at the printer 👀

Here's every single instance of Jane using 1st and 2nd pers. pronouns with Ryan, every other time you read any 1st or 2nd pers. pronouns in the subs in conversation with Ryan, he actually omits them, which is most of the time!

1) When they're unseriously fighting in front of the printer:

เรานี่แหละ ประหลาด /rao nee lae, bpra laat/ เราเป็นเด็กฝึกงานของพี่ /rao bpen dek feuk ngaan khaawng phi/ -> 🫣 that last one got me a bit shy with the ของพี่ /khaawng phi/ (= mine, my [...], lit. phi's [...]) and I think the editor agrees with me there, considering the music cut out lol

2) When Jane discovers the broken bottle debacle and turns to Ryan:

คุณไปรอผมที่ห้อง /khun bpai raaw pom thee haawng/ -> back to formal pronouns again, either because they're not alone or because he's about to scold Ryan or both even

3) When Jane scolds Ryan:

ถ้ามีคนเป็นอะไรขึ้นมา คุณรับผิดชอบไหวหรอ /thaa mee khohn bpen a rai kheun maa, khun rap phit chaawp wai raw/ -> still formal

แล้วมีพี่ให้โทรหาคนเดียวหรอ /laaeo mee phi hai thoh haa khohn diiao raw/ พี่รู้เรื่องนี้คนเดียวหรอ /phi ruu reuuang nee khohn diiao raw/ -> arguably softening his scolding a bit by switching to the more familiar พี่ /phi/ they established at the end of last ep., maybe because of Ryan's voice too which at this point sounds close to tears

And then Ryan is crying 🥺 Oof. Honestly? Jane was actually harsh this time! But rightfully so too, and it's very much in line with his principles and character. And he does immediately apologize for raising his voice and being so harsh, exactly like he told Ryan he would, in ep. 3, if he did wrong by him:

ที่หงุดหงิดเนี่ย เพราะว่าพี่เป็นห่วง /thee ngoot ngit niia, phraw waa phi bpen huuang/ = That [I got so] angry is because I was/am worried. แล้วก็ขอโทษด้วยที่พูดแรง ๆ เมื่อกี้ /laaeo gaaw khaaw thoht duuay thee phuut raaeng raaeng meuua gee/ -> no pronouns here again

This is probably just me being me lol but it's giving Lian harshly scolding Kuea in Cutie Pie when he puts himself in danger mishandling a knife and then immediately softening when Kuea starts crying.

ถ้ามันมีคนได้รับบาดเจ็บ ตัวแกเองนั่นแหละจะเป็นต้นเหตุ /thaa man mee khohn dai rap baat jep, dtuua gae eng nan lae ja bpen dtohn heht/

By this point, I was literally like 'Huh. What even is going on, he's so all over the place in terms of pronoun use, where did this แก come from all of a sudden?' My reading of this is that he's actually just as unsure and confused about Ryan and his feelings for him as Ryan has been all episode.

แก /gae/ is an informal familiar 2nd pers. pronoun that's a little impolite but not nearly as rude as มึง /meung/ and can similarly express closeness with someone you know well, it's used between age mates or for someone younger. In Thai BL, you hear แก /gae/ a lot more from or between girl friends than the rude pronoun of choice between guy friends, มึง /meung/. If you scroll back up, you'll see that Pie called Ryan แก /gae/ as well! The kids are a different story though, they all use a variety of different pronouns amongst each other, depending on context, mood, situation, individual relationship, ... I ain't getting into that lol it would take forever to explain, please no one get any ideas asking me about all of that 🥴

So here we are again with the word 'like'

ผมชอบงานนี้ ชอบที่นี้ /pom chaawp ngaan nee. chaawp thee nee/ แล้วก็ชอบพี่ดว้ย /laaeo gaaw chaawp phi duuay/

Arthur meme meets 😦 emoji

Sometimes Jane looks at Ryan like he's trying to solve a puzzle. It seems like he just realized that they're having two different conversations. But judging from his subtle reactions-- He's not dumb enough to assume that Ryan means it any other way than romantically, considering Ryan's odd behavior all throughout the episode too. Looking at the preview, I think he's gonna refuse to acknowledge Ryan's clearly romantic feelings though, not least of all because HR is already looming in the background, ready to go 🚨!!!

หรือเป็นเพราะผมบอกชอบพี่ไปแล้ว [...] /reuu bpen phraw pom baawk chaawp phi bpai laaeo/ = lit.: Or it's because I've told you I like you [...] -> บอกชอบ /baawk chaawp/ = lit. tell like; tell someone you like them (romantically), confess to liking someone

So! ชอบ /chaawp/ isn't exclusively romantic, same as the English 'like', but there's just no way around how Ryan meant this. And Jane knows it 🌚🌝 Hope my rambles satisfied your curiosity, anon!

[gasolinerainbowpuddles]

Okay, let's talk about NC/Ra*e Kink

disclaimer: Thoughts are under a cut due to the sensitive nature of the topic.

disclaimer: This is not a post endorsing or condemning the kinks. It is simply a discussion about them.

Some kinks are more niche than others. Some kinks aren't widely accepted. Some kinks are very nuanced and will elicit contradictory or confusing feelings.

When I first came across non-consensual (NC) and rape kink fics, I was a little bit jarred. I couldn't understand why someone would want to write it or how someone could enjoy reading it. To me it was very triggering and upsetting, so I didn't interact with "dark fic" like that.

Still, I had a genuine curiosity as to why people were attracted to the kink even if I didn't enjoy it myself. Sexuality is a very broad spectrum, and I try to be open minded if not for just gaining the understanding of a different point of view.

I wanted to ask questions to readers and writers of the kink, but it's such an inflammatory subject in fandom that I couldn't figure out how to do it without it coming across like I was being rude or condemning. Eventually I was able to talk directly to people about it who knew I wasn't coming from a place of judgment. This was on top of looking into things on my own (like reading articles, think pieces, historical/social takes on it, etc.).

Here's a quick list of what I learned:

SURVIVORS: WRITERS — Many of the writers of the kink had been subjected to sexual violence. When you're writing, you can dictate the characters, the dialogue, the plot points, etc. You are in control of what happens. For some survivors, it is a therapeutic exercise in "rewriting" an experience where they had zero control into an experience where they control every facet of what happens.

SURVIVORS: READERS — Readers of the kink have the buffer of a fictional exploration of it and can choose to exit out of a story if they no longer enjoy it or it becomes too much for them, which was not an option in their actual lived trauma. There is also the distance between themselves and the story, which creates a safety buffer where they can engage with the sensitive topic in an indirect way if they so choose.

SEXUAL AUTONOMY — If you pick up any given romance novel, there's a decent chance the kidnapping trope is in there. This roughly entails some physically bigger/stronger man whisking a woman away against her will and then forcing her into a sexual situation where she ends up enjoying it despite it not being consensual. There might even be bits of "this isn't supposed to feel good" and "why do I feel like I'm enjoying this?" sprinkled into it. This trope is in large part due to the limited sexual freedom of women in the past (and present, but notably in the past). Because the woman wasn't initiating or even agreeing to the sexual act, she is relieved of the responsibility of said act. She didn't ask or choose for it to happen, so she does not have ownership of the sexual act. (I know this isn't reality because unfortunately many women are burdened with the "responsibility" for their assault, but please keep in mind I'm speaking on the fantasy/fantasizing aspect of this.) Because of historical and social expectations of chastity in women, one of the few ways that it was even "acceptable" to explore sexual acts was through means of coercion. The fantasy that you don't have to endure the societal repercussions of your sexual act because you didn't initiate it or execute it is sometimes the only way that women knew or felt comfortable in accepting a sexual experience.

SEXUAL DOMINATION — For some people, the idea of being completely sexually dominated and controlled is their biggest fantasy. There's a thrill to not knowing what will happen or when it will happen or how it will happen. Having zero control is akin to being able to turn their brain off and just exist and feel. This bleeds into consensual non-consent (CNC) kink and domination/submission kink as well with NC kink being the more "extreme end" of the spectrum imo.

These points do not exist in a vacuum, and it is not a comprehensive list of factors. Again, this is not an endorsement or a rejection of the kink. I am simply sharing my thoughts on what I have learned over time in the hopes that it can clarify things for others who maybe were curious like me but weren't sure how to learn or where to start.

[zhaohuis-lost-walnut]

Lanzhou and Control

[spoilers up to chapter 220ish]

So I’ve been working on a future post and have been rereading my personal chapter summaries and notes. As I refreshed my memory and even reread some specific chapters, I ended up asking google a question that sent me to an interesting Reddit post.

Basically someone said they didn’t understand why Shen Zechuan initiated intercourse in chapters 40-41. Someone else gave a very thoughtful reply which you can read here, but the part I’m focusing on for this post is Shen Zechuan’s relationship with control. The replier shared, amongst other things, that Shen Zechuan gave Xiao Chiye control in that situation.

I actually just reread chapter 40 today and noticed that on page 413 of vol. 1 it says “Shen Zechuan allowed Xiao Chiye to gather his wrists into one hand”. I never really thought much of that phrase in my previous readings of volume 1, but I feel like that it only really sunk in for me after getting better acquainted with their relationship as it developed.

Throughout the story it’s repeated over and over how both leads HATE having their lives out of their hands. Xiao Chiye despises that he was forced away from his family and home. And Shen Zechuan hates how he was held at the mercy of others for years as well; vowing to never be in such a position again. Both of these individuals crave freedom. And yet, Shen Zechuan allowed Xiao Chiye to do as he pleased with him.

Now, their first time being intimate has a lot of nuance to it. They both used that moment to escape reality for a time. And this particular instance of relinquished autonomy literally had Shen Zechuan expecting to be handled roughly. But once their relationship developed into a mutual romance, time and time again, Shen Zechuan surrenders control, letting Xiao Chiye take the lead, and following his whims.

I’m currently at chapter 220 and while some of their unions still have escapist undertones, there are still pure romantic moments where Shen Zechuan completely gives himself up to Xiao Chiye. And I think it shows a key difference in these two’s desire for control: Xiao Chiye likes to dominate by nature while Shen Zechuan feels like he has to for survival. Not to call Xiao Chiye a freak, but bro is literally described as enjoying fights, likes the struggle of taming wild animals, and is possessive as hell! While Shen Zechuan’s need for control stemmed from being abused by others throughout his life. When he’s not in control, he gets hurt. So that told him when he’s in control, he can protect himself.

I have taken mental note of a few scenes during Shen Zechuan’s conquering Zhongbo era where he’s tired or even annoyed by the work that goes into running essentially a country. But why doesn’t he delegate those tasks to others? Because unless he is genuinely incapable of getting the job done himself, he doesn’t trust anyone else to do it. He’s also stated several times that he doesn’t desire to be at the top: two examples that immediately came to mind being in chapter 70 when Xiao Chiye asks “Don’t you want a turn at the top?” and in Shen Zechuan’s conversation with Yao Wenyu in chapter 146. While in both of these instances he was bluffing, part of me thinks there is at least a semblance of truth to the statement.

When he lived with the Jis in Duanzhou, he was content with his simple life. He wanted to be like his brother and become a squad commander one day, but that’s nowhere near as ambitious and taking over several prefectures. He was happy. And then his world was flipped upside down.

While I don’t think he necessarily regrets the path he is on now, he definitely misses simpler times. In chapter 209 Shen Zechuan says he forced himself to stop thinking about his days in Duanzhou because remembering those times make him cry. He was forcefully removed from a life he loved, and thrusted into the middle of a violent political struggle.

All of this to say, while Shen Zechuan is implied to be a natural leader and has a domineering nature, it isn’t really a position he chose to be in. Every action he takes is deeply calculated from multiple angles for the best possible outcome. Even carefully crafting his persona to attempt to control how he’s perceived. And living your life like that is DRAINING!

Oh man, Shen Zechuan is tired 😩

But when he’s with Xiao Chiye, he can turn his brain off. He can forget about his meetings. Forget about trying to watch everything the other enemy factions are doing. Forget about trying to put up a front as to not scare those around him with his true self. He can melt into Xiao Chiye and think of nothing but him.

I think the real turning point in their relationship was in the Public Ditches arc. Shen Zechuan is literally out of commission for several days due to illness and Xiao Chiye came to watch him every single night. Shen Zechuan had no choice but to let Xiao Chiye take care of him… but the tenderness Xiao Chiye showed him? The genuine concern? The comforting whispers and cuddles? It left an impression on Shen Zechuan.

I think Xiao Chiye’s sincerity truly shined through to him in those moments. None of those actions were necessary, and yet Xiao Chiye ran himself ragged handling his professional work and his silly little guy.

Shen Zechuan being cherished in such a vulnerable moment showed him that he could really trust Xiao Chiye. Half a decade before, people in power took advantage of Shen Zechuan and pinned the deaths of tens of thousands on a confused and delirious teenaged boy, while this big love struck dummy showed Shen Zechuan an intimacy he had never experienced before. And that’s so beautiful I could cry.

Shen Zechuan doesn’t need to be on his guard around Xiao Chiye, and Xiao Chiye likes being a leader. Shen Zechuan has his trusted confidant and Xiao Chiye tamed his falcon. …well, work in progress. His falcon still gets himself hurt carelessly.

Shen Zechuan needed stability and someone to lean on. And he found that in Xiao Chiye.

I have so many thoughts. OMG I’m so unwell about these two. I started writing this at 3am and forced myself to go to bed and finish it upon waking up. They drive me crazy. All the worm in my brain are Shen Zechuan and Xiao Chiye shaped!!!

In my next essay I shall explore why they rolepla—

[redbatchedcumbermayned]

I have recorded different versions of my name, and the last time I was told it was Haynrix and I was like, really? Haynrix? - Interviewing Chris Tester part 3

We contiune talking about the transformative power of fanworks, a bit more about romancing Heinrix, how Heinrix is pronounced actually, what a dream come through project would be for Chris and why a stage production of Crime and Punishment was his most memorable work to date and his newly discovered interest in playing D&D.

Part 1 of the interview

Part 2 of the interview

This is the final part of the interview. Thank you so much for reading and listening! (the audio quality is not spectacular but tumblr limits uploads to 10MB). If you quote or reshare, please quote me as the original source.

F: It's very transformative. You take a game and you get your own stories after the game or with the people you interact with. It's very creative. Because Heinrix is very much an archetype, as you said, he has this duality about this very authoritative man with so much trauma underneath. There is a lot to explore, and that speaks for Olga's writing as well, because only a very well written character would draw you in like that into a story.

CT: I mean, it's a crazy balancing act, definitely. And at any time, it could close off, you shut him down, or he shuts you down. And you're like, Oh, okay.

F: And it was incredibly funny that the first romance lines straddled the line between workplace harassment and flirting. And he is so unnerved and then it doesn't like to cordon you off and say, well, you were too aggressive. Game over. 

CT: Yeah.

You can switch to this closeness path like in a real relationship, you are maybe very flirty, very teasy at the beginning, and then things get real and you get real and it changes. And that was very dynamic. I never experienced that before. BioWare writes great romances, but they are often very one note in their games.

CT: And there's still the kind of like, okay, so are we sleeping together? Yeah. Or we do not. All right. No, okay, great, fine. God, I had to go through all the different fucking options just to go like, Is this, is that, no, no, okay, fine, right, yeah. So in terms of nuance and dynamic, it's you've got your issues over there, but regardless, can I just say the right thing? Uh, or not, you know, or be pure, or whatever. Garrus was always a favourite for me.

F: Oh yeah, Garrus, Garrus is great.

CT: Yeah, yeah. I'll be honest I didn't really appreciate quite how subtly all of the pieces are put together until I played through bits of the game and watched bits of the game afterwards [this relates to Rogue Trader]. Because there are so many different moving parts, but also so much is recorded out of order, it's very difficult to get a full appreciation of the whole, and it's the credit of the directors to just be able to give you enough for you to get it in two or three takes, because we gotta move on because time is money is time. 

And so that's kind of crazy, where you've got to just act in faith in the moment and trust that the people who are listening on the other end feel as if they're getting what they need. Obviously the more you record, the more you get a sense of what the character is about and the palette and the playfulness and all of those kinds of things. But because there are such a multitude of choices anyway, no one can explain to you exactly the context of what it is because that's all such a movable feast as it is anyway.

F: That's a huge credit to voice actors to still get it right in three or four takes.

CT: Well, the aim is to give them options so that they can trial it out and be able to have a playfulness about things. It's always nice when you go like, I'm just going to try this different take on how this might traditionally be read as or something, and then you maybe hear that in the game and go like: Oh, okay, that's a little bit of whatever. 

Because quite often you'll probably be told to read a line no more than three times, and the first time that you read a line, that you read it out loud is the first time that you read the line at all. So, you don't read it in advance, and sometimes that goes in. It's normally the second or third take, I would say, but that depends very much on the voice actor. Because quite often, the whole point is to be quite good at sight reading, and sometimes there's a spontaneity in the reading of something for the very first time, which might give something a little bit unexpected, or a little bit fresher. 

And then you realise halfway through, there's a word I have no idea how to pronounce. Is it von Valancius? Von Valancius as it's written or von Valen and you're just like, the hell? Okay. And then you need to go back.

F: Or his name actually, because as a German, we have Heinrich as a first name. So is it Haynrix? Is this Hainrix? But we can say it's Low Gothic, so it doesn't matter.

CT: I have recorded different versions of my name, and the last time I was told it was Haynrix and I was like, really? Haynrix? Okay. Sure? But I've not had a definitive conversation about that, so I don’t know whether or not they change it or, or whatever.

F: I settled on, it's Low Gothic and not the German version and it's fine because that's a fantasy language. It doesn't matter. And I know from other voice actors that sometimes you don't get any directions on how something is pronounced.

CT: Quite often we're just taking an educated guess. I mean, they're very good in terms of some pronunciations, but if no other character is saying this word except you, then there's probably not a guide for it in which case you just make sure that you record it somewhere. So, it's consistent. So, if you're saying it more than once, at least you're saying it wrong consistently. So that becomes the new, right?

F: What was your most memorable work to date? Stage or voice acting?

CT: Stage or voice acting or whatever? God, I would say one was a production of Crime and Punishment. There you go. It was a three-person adaptation of the massive book really condensed into about 90 minutes, essentially. Quite a radical adaptation, but it was a beautifully written adaptation, and I think I did it probably about 2017, 2018. That was wonderful storytelling because it had so much of the original flavour in it and also this ambiguity of character. A much more ambiguous character than someone like Heinrix. Someone who is so eminently fallible and flawed, and yet trying to find a through line through it and a making of sense and the justification for the reasons why people do bad things. That is pretty iconic for me as an experience. 

I do feel lucky that a lot of the things that I'm able to explore in the video game or in the voiceover world generally are completely new and unexpected things. Whereas on stage, unless you're doing a lot of new writing, the vast majority of the time, it's a role that you're familiar with or have seen or have heard about. It's pre-existing. Whereas with some of these video games, you get to create that whole original world or character and that kind of stuff. Which is why if anybody asks me, what role do you want to play? I'm like, the role that I don't know exists yet, and Heinrix is very much one of those. Like, I had no idea and neither did I have any idea that it would develop in the way that it did. 

But the whole process itself is a lot of fun and you work with very cool people to tell a completely new and original story. But having that ambiguity, having that tension within the character, every actor has to find that for themselves anyway, just to keep creatively engaged and alive, but have that so vividly running as an undercurrent and for it to be able to go in different ways, that's such a cool kind of thing. I'm just so up for more of those kinds of opportunities. Maybe hopefully in the future, we'll see.

F: Has voicing Heinrix opened any doors? Did you notice an uptake in offers?

CT: I think it means that a few more people probably know who I am, and that's cool. A few more people. Yeah, it's definitely been referred to. Other than that, I don't know. But it certainly doesn't hurt being involved in such a high profile and well respected, well-loved game. I mean, for me as well, because I've done various different aspects of stuff in that world. That doesn't hurt. 

I love the whole Warhammer 40k universe, at the same time I don't want to just be like, I'm a 40k actor and that's all I do because that world also probably doesn't need just another white middle-class man in it, even if that is like 70 percent of the world. Like you say, they're trying to broaden it out and diversify it and necessarily if it wants to get to a bigger audience and have a healthier ecology on so many different kinds of levels. So, I don't want to go all in on just that, even if it's a very rich world. So, it was a real pleasure. 

F: Would you want to broaden your repertoire into radio plays, because I know on your LinkedIn, you write, you're the voice when Cumberbatch is busy and listening to you, there are undertones of Benedict Cumberbatch in your voice, and Benedict before he became really popular, he did something like Cabin Pressure, which is so fun.

CT: Yeah.

F: Would you be open to doing radio plays like that?

CT: Definitely. I've just recently come from a voiceover conference in the UK and did a couple of workshops and that reminded me of what the work is that I want to actively seek out. And there's a lot of audio drama stuff floating about, a lot of that is available via social media or is operated in the U.S. as opposed to in the UK., though there are some great ones in the UK. as well, and it's tricky to know why and how to validate some of those things. So, it's something that I would love to explore doing more of as well as, you know, you can do these audio drama things, which are kind of like shorter versions of audio books, almost essentially with not so many voices. And I think those medium and short form ways of storytelling would be lovely. It would be great because I'm not right for a lot of video games. 

I don't think I'll ever be actually a very prolific video game actor if that makes sense because I'm okay at shouting and I can play some monsters and I've got a couple of accents in the bag and that kind of thing in terms of doing voices. People will say it's about the acting Chris, it's not about voices, but doing some voices and being able to nail certain things there are people that are brilliant at that. But there are people who have probably a wider palette of voices than I will ever have. 

I never started out as a voice actor. I'm very much an actor who uses the voice, and I'm trying to broaden that out a little bit more as I keep on going. But I want to open myself up to more different types of stuff to be creatively fulfilled. The prospect of going into a recording session and screaming “grenade” and “bang” is not very fulfilling. I did that for a few games, and then I'm done with that. Like the money's not good enough for me to do that. I mean, never say never. If the money does become good enough, then we can talk. But you push your voice and it's a different kind of acting, I'll put it that way.

F: So, last question. What would be a dream come true project for you?

CT: A dream come true project? Probably something entirely original that I can't imagine. I would love to be able to work on an audio project where I'm working with other actors in real time. I would love to be able to work with most of the cast in Rogue Trader, for example, but I’d love it for us to be able to have dialogues where you're actually responding to each other as opposed to insert A, B or C here, that kind of thing. Because that's the one thing I kind of miss so much from the audio side of work is you getting something unexpected from the other person and then riffing off it. You have to self-generate as a voice actor that a director will go do you want to try it like this? Or maybe like this, it's supposed to be funny. Try it dead pan, that kind of thing.

But quite often that kind of spontaneous element of discovery only comes from when someone gives you a line in a way that you really didn't expect, and maybe it makes you laugh, when it's supposed to be tragic or whatever, those kinds of things. The biggest thing I miss about stage work is when you're working with an actor at the top of your game and they raise you up to their level. It's terrifying, but in the best way. Some actors can do that effortlessly because they're so in the moment, because they don't know what they're going to do next, even though they can find their light and make sure that the audience is still seeing their brilliant acting at the same time. Clever, clever bunnies. That feeling because they don't know exactly where they're going, you're kind alive to the moment in a way that quite often you're not, and if there was a way to be able to replicate that in an audio way and a long form storytelling way, then that would be cool. 

I've just started playing a little bit of D&D and I don't know if I'll ever get good at that, especially in terms of like, so I've got to come up with words. Oh my God. Whereas I will never watch a D&D playthrough for four hours on YouTube myself, personally, life choice, I can start to understand the appeal of that because there's an element of that spontaneity and playfulness, but in a group. So, if there was a way to do that with actually scripted drama, I'd be all in on that. That would be amazing. Or some kind of hybrid. So I don't know exactly what that is, but that kind of thing would be quite cool. 

F: That's what the BBC did with Cabin Pressure. I attended one live recording and it was just amazing. You have all the other actors [apart from Benedict Cumberbatch] that are household names. And to see them act and how little takes they actually need for the lines and everything is amazing.

CT: Yeah, there's an appreciation of the craft, but it's also the fact that it's not into a void. It's not like, okay, we've done three. Is that okay? We're onto the next. I think in many ways it can make the work much easier, because you're using your imagination, but in a different way, because you're operating with a stimulus. And that's always exciting.

F: And good D&D is just like improv theatre.

CT: Yeah, exactly.

F: Really good players are spontaneous. Just very creative.

CT: That should be celebrated and I think harnessing more of those kinds of things would be fun, because in all honesty, still probably about 60, 70 percent of the work that I do is in the corporate and business sphere. That's just because of how I sound. I didn't go out to court that work particularly, but in terms of the stuff that pays the bills regularly, that's the kind of stuff that I do. Even then, you're trying to find levels of playfulness or colour so that you're not just coming over with: “in a world where you can trust a big corporation to take your money.” So, there's any kind of nuance or subtlety to that, that will be a good thing. So that's the kind of stuff that I crave as a result.

F: Thank you for your time.

CT: Oh, my pleasure.

F: It went by so fast. We went over time; I still have a lot more questions.

CT: Oh, sorry.

F: No, no, no, no, no, no. That, that's, that's absolutely fine. Thank you.

[thewulf]

Veiled Allegiance || Aragorn

Summary: Request: I was wondering if I could request an Aragorn x reader where the fellowship is already on their quest and maybe the reader is a ranger or just a good fighter but maybe she saves Aragorn’s life and he asks her to join them... Read Rest Here

A/N: Ahhh loved writing this one! Thank you so much for the request. As always, please keep them coming!

Pairing: Legolas x Female Reader

Word Count: 2.5k +

TW: General LOTR triggers, anxiety, orcs, bows, knives, killing creatures

The forest whispered secrets to those who dared to listen, its ancient boughs swaying in a silent dance with the wind. Among the shadows, you moved with the grace of a predator, your cloak melding seamlessly with the darkness that coated the land. You were a Ranger of Ithilien, a ghost in the night, your past veiled in mystery and your purpose known only to yourself.

It was amidst the tangled undergrowth of the woods that you stumbled upon them; a ragtag group of travelers bound by a common purpose. The Fellowship, they called themselves, their faces etched with determination and the weight of their quest heavy upon their shoulders. And yet, amidst the weariness and uncertainty, there burned a flicker of hope, a flame that refused to be extinguished. You followed and listened to the nine males walking towards their sure death, so you learned. Who in their right mind would travel to the dark with such determination?

At first, you observed from the shadows, your keen eyes taking in every detail, every nuance of their interactions. You watched as they argued and laughed, their friendship a testament to the bonds that bound them together. And though you remained on the periphery, a silent observer in a world not your own, a part of you longed for the connection they shared.

It was on a fateful night, beneath the shadow of darkness, that your paths would intersect in unexpected ways. The Fellowship found themselves beset by enemies; their camp surrounded by creatures hungry for blood. With blades drawn and hearts pounding, they prepared to face their assailants, unaware of the silent watcher in their midst.

As arrows flew and steel clashed in the night, you swiftly engaged, a lethal force amidst the chaos. Closer to the heart of battle with each fallen foe, your presence epitomized death's fury. Amidst the aftermath, you stood amidst carnage, your cloak stained by enemy blood.

Silence fell heavy, punctuated only by fallen breaths, before the Fellowship turned to you, eyes filled with gratitude and wonder. Bonds formed, destinies entwined, as you found your place among them amidst the battle's ruins.

"You have proven yourself a true ally this night," he said, his voice carrying the weight of authority and respect. "Will you join us on our journey?" For he knew the value of having another person skilled in battle would be for the Fellowship.

His words hung in the air, heavy with significance. You met his gaze, your own eyes searching his for any hint of deception or ulterior motive. But all you found was sincerity, a genuine desire for your companionship on their quest.

For a moment, the weight of his request bore down upon you, the magnitude of the decision looming large in your mind. You had spent so long walking the path of solitude, guarding your heart against the pain of betrayal and loss. To join the Fellowship was to forsake the shadows that had been your home for so long, to step into the light and embrace the bonds of friendship and camaraderie.

But as you looked upon the faces of your newfound acquaintances, their expressions filled with hope and trust, you knew that your journey lay not in solitude, but in the company of kindred spirits. With a nod, you accepted Aragorn's offer, your voice steady as you spoke your oath of allegiance.

"I will join you," you said, your words a solemn vow. "Together, we will face whatever trials lie ahead, united in purpose and bound by the ties that bind us."

And as the Fellowship gathered around you, their voices raised in a chorus of affirmation, you felt a sense of belonging wash over you, a feeling long forgotten amidst the shadows of the past. For in that moment, amidst the ruins of battle, you had found not just allies, but friends—companions on a journey that would test the limits of courage and compassion, and forge bonds stronger than steel.

As the days turned to nights and the Fellowship journeyed ever onward towards their destiny, you found yourself gradually forging connections with each member, your bond with them growing stronger with every shared hardship and triumph.

With Legolas, it was amidst the tranquil beauty of the forests that you found common ground. As fellow guardians of the natural world, you shared a deep appreciation for the wonders of the wilderness, your spirits entwined with the song of the trees and the whisper of the wind. Together, you roamed the woodlands, your laughter mingling with the rustle of leaves as you regaled each other with tales of your travels.

Gimli, though gruff and stubborn at first, soon warmed to your presence, his respect for your prowess in battle matched only by his loyalty to his companions. Through shared trials and triumphs, you earned his trust, your determination and courage earning his admiration. And though your banter was often filled with jests and barbs, beneath the surface lay a bond forged in the fires of battle, unbreakable and true.

With Frodo and Sam, it was a connection born of shared burdens and the weight of destiny. As guardians of the Ring, they bore a heavy burden, their hearts weighed down by the knowledge of the perilous quest that lay before them. Yet, despite the darkness that threatened to consume them, there burned a flicker of hope—a hope that you found yourself drawn to like a moth to a flame

The connection you forged with Gandalf was one steeped in wisdom and guidance. As the Fellowship's guide and mentor, he possessed a wealth of knowledge that proved invaluable on their perilous journey. From the depths of Moria to the towering peaks of Caradhras, Gandalf's wisdom and foresight guided the Fellowship through the darkest of times.

With Merry and Pippin, it was your kindness and compassion that endeared you to them, your willingness to lend a helping hand in times of need earning their undying gratitude. Together, you shared in their mischief and their merriment, your laughter echoing through the halls of Moria and the fields of Rohan alike. And though their innocence sometimes tested your patience, their unwavering loyalty and steadfast friendship were a constant source of comfort in the darkest of times.

Boromir, though burdened by the weight of his own fears and doubts, found solace in your steadfastness and determination. In your presence, he saw a kindred spirit—a warrior forged in the crucible of adversity, yet unbroken and unbowed. Together, you stood against the tide of darkness, your courage inspiring him to rise above his own limitations and fight for the greater good.

With Aragorn, the bond that blossomed between you was one of mutual respect and shared determination. From the moment you saved their lives in the heat of battle, a bond was forged, strengthened by the trials and tribulations of the journey ahead.

As a fellow Ranger, Aragorn understood the weight of duty and the burden of leadership, and in you, he found a kindred spirit—a warrior forged in the crucible of adversity, your resolve unyielding in the face of danger.

Together, you stood at the forefront of the Fellowship, your skills in battle complementing each other's strengths and weaknesses. In Aragorn's steadfast leadership and unwavering courage, you found inspiration, his presence a beacon of hope in the darkest of times.

But it was not just on the battlefield that your bond deepened. In the quiet moments shared around the campfire, you listened as Aragorn spoke of his past and his struggles, his voice tinged with the weight of responsibility that lay upon his shoulders. And in those moments, you offered words of wisdom and encouragement, your own experiences serving as a guiding light in the darkness.

Yet, it was not just Aragorn's strength that drew you to him, but also his compassion and empathy. In the face of adversity, he remained steadfast in his commitment to protecting those under his care, his heart a wellspring of kindness and understanding.

And as the Fellowship pressed on towards their destiny, you found solace in the quiet moments shared with Aragorn, his friendship a source of strength and inspiration. For in the heart of darkness, even the smallest gestures of kindness can illuminate the path forward, forging bonds that transcend the boundaries of time and space.

You and the Fellowship journeyed onward towards the treacherous lands of Mordor, each step a reminder of the perils that lay ahead. It was amidst this backdrop of uncertainty that the gnarled creature, a servant of the dark lord Sauron, lunged at Aragorn as he led the group, its claws poised to strike. In a heartbeat, you interceded, your instincts guiding your blade to block the blow meant for him. The impact sent shockwaves of pain coursing through your body as you staggered back, blood seeping from the wound at your side.

Aragorn's eyes widened in disbelief as he reached out to steady you, his voice laced with concern. "Are you alright?"

You offered him a grim smile, trying to downplay the severity of your injury. "Just a scratch."

But Aragorn would not be dissuaded, his gaze lingering on the blood staining your cloak. "You saved my life," he murmured, his gratitude evident. "I owe you a debt I cannot repay."

With a weary sigh, you shook your head, attempting to deflect his gratitude. "There is no debt between comrades in arms."

Legolas and Aragorn took it upon themselves to tend to your deep wound, their skilled hands gentle yet firm as they cleaned and dressed the injury you had sustained. In their care, you found a measure of solace, their presence a soothing balm to the ache that lingered in your body and soul.

But it was not just the physical wounds that they sought to heal. With each passing day, they offered words of encouragement and support, their unwavering faith in your abilities serving as a reminder of the strength that lay within you. And in their company, you found yourself opening up, sharing the trauma of your past and the burdens you carried with a vulnerability you had long thought lost.

It was during one such moment of vulnerability that Aragorn's gaze fell upon the myriad of scars that marred your skin, his eyes widening in silent horror at the evidence of the pain you had endured. "Who did this to you?" he whispered; his voice thick with emotion.

For a moment, you hesitated, the memories of past betrayals and heartache threatening to overwhelm you. But then, with a steadying breath, you met his gaze, your voice raw with emotion. "There are shadows in my past that I would sooner forget," you admitted. "But perhaps, with time, I can learn to trust again."

Aragorn's expression softened; his eyes filled with understanding as he listened to your words. He reached out, his hand gently tracing the outline of one of the scars, a silent gesture of empathy and solidarity. "I cannot undo the pain of your past," he began, his voice gentle yet resolute, "but I swear to you, I will do everything in my power to ensure that no harm befalls you under my watch."

His words were like a soothing balm to your wounded soul, offering a glimmer of hope amidst the darkness that had long clouded your heart. For the first time in what felt like an eternity, you allowed yourself to believe that perhaps, just perhaps, there was still light to be found in this world.

In the days that followed, Aragorn remained true to his word, his steadfast presence a pillar of strength and support. He watched over you with a quiet protectiveness, his keen eyes ever vigilant for any sign of danger or distress.

And as the Fellowship pressed on towards the heart of Mordor, you found yourself drawing closer to Aragorn, your walls slowly crumbling in the face of his unwavering kindness and compassion. With each passing day, the bond between you deepened, built through adversity, and tempered by the trials of the journey.

One evening, as the campfire crackled merrily and the stars twinkled overhead, you found yourself sitting beside Aragorn, your shoulders touching as you stared into the dancing flames. The silence between you was comfortable, filled with an unspoken understanding that transcended words.

Finally, Aragorn broke the silence, his voice soft as he spoke. "You have faced much hardship in your life, haven't you?" he asked, his gaze fixed on the fire.

You hesitated, the memories of past betrayals and heartache threatening to resurface. But then, with a sigh, you nodded. "Yes," you admitted, your voice barely above a whisper. "I have lived much of my life alone, guarding myself against the pain of letting others in."

Aragorn turned to look at you, his eyes filled with empathy and understanding. "I know what it is to carry the weight of past pain," he said, his voice tinged with sadness. "But I also know that true strength lies not in solitude, but in the bonds we build with others."

His words struck a chord deep within you, resonating with a truth you had long denied. And as you looked into his eyes, you saw something there that mirrored your own pain—a vulnerability that he had long kept hidden beneath a mask of stoicism.

Something shifted between you, a silent acknowledgment of the shared scars that bound you together. And as the night wore on, you found yourself opening up to Aragorn in a way you had never thought possible, sharing your fears and insecurities with a vulnerability you had long thought lost.

As the days turned into weeks, you found yourself gradually softening towards those around you, your heart thawing in the warmth of companionship and camaraderie. And though the road ahead was still fraught with danger and uncertainty, you knew that as long as Aragorn walked beside you, you would find the courage to face whatever challenges awaited you and emerge stronger in the end.

For in the heart of darkness, even the most jaded souls can find redemption in the light of love and friendship, their scars transformed into badges of honor by the steadfast kindness of those who refuse to give up on them.

LOTR: Permanent Taglist (If you'd like to be added to any or all works please fill out the form here (Taglist Sign Up): @loving-and-dreaming @kmc1989 @memeorydotcom @matisse556 @buckylov3r @taygrls @ah-blossom @hardballoonlove @rosiahills22 @djs8891 @guacam011y @illisea @il0vebeingdelulu @hiireadstuff

[genericpuff]

The Extended Mishandling of LO's S3 Midseason Finale Premiere (Pt 2)

Alrighty, I promised a part two back in the first part of this analysis, but found myself busy with Rekindled and my day job, so I'm finally sitting down and finishing this up. If you haven't read that first part yet, please go check it out!

CAUTION: THERE BE FASTPASS SPOILERS AHEAD!

We left off with Hebe and Apollo roleplaying that one scene from The Lion King, albeit with a lot less sense or nuance. Literally all the "drama" so far feels purely manufactured for cheap plot progression and tension and it hardly feels authentic. But now we gotta talk about the second half of this episode, where we finally address the cliffhanger that the FP midseason finale episode left off on - Persephone causing winter.

And what better way to kick it off than with a completely off-base Persephone monologue?

Now, what's shown here is actually a flashback to the job interview scene from S1, when Persephone asked to see the snow in the Underworld. But it's written as if Persephone has some intimate relationship with snow as a whole, as if she's experienced more than this one time which... she hasn't. There was nothing "romantic" really about that scene following the job interview, she literally just wanted to go out and see something she hadn't seen before.

But that calls into question - why does Persephone constantly act like she has an intimate relationship with snow when it doesn't occur in the Mortal Realm? She even says in the honeymoon episode that it's hot all the time in the Mortal Realm, and the temperature only drops every now and then during rainy days... and she somehow makes this about Hades when it literally has nothing to do with him lmao Persephone monologues are some of the worst /r/im14andthisisdeep moments in the series because she's constantly using word salad to describe feelings we never saw or scenes that never happened.

And this scene is no different. She says that snow is something that's interwoven with her most 'treasured moments' but all the visuals have to show for is that one scene from S1 that, again, didn't even come across as a 'treasured moment', it was just her seeing the snow for the first time, there was nothing 'romantic' about it in a vacuum. All the moments from the series you could call ACTUALLY TREASURED milestones of Hades and Persephone's relationship - and Persephone's supposed "love" for the Underworld - are scenes where snow was completely absent (ex. the scene of Persephone and Hades talking about Sicily in Zeus and Hera's garden, Persephone and Hades spending the night in the cabin during the trial arc, etc.)

But then, to make it even more confusing, she goes on to describe her losing her powers and causing winter a "betrayal". As if the concept of winter owes her anything. As if Erebus owes her anything.

The allusion to Erebus itself in the visuals implies that she feels "betrayed" over this happening, as if it wasn't made ABUNDANTLY CLEAR TO HER that she would have to sacrifice something. She's gone SO LONG without knowing or caring about what she could have possibly given up, that by the time it finally revealed itself, she's acting all shocked Pikachu because there's finally something she can't just have. Everything that could make her seem imperfect has been washed away, from her SA trauma to those pesky green hands. Now we finally ARE seeing her affected by her own choices and she's basically waxing poetic about how sad it is that her actions have consequences.

That said, she does seem to have a moment of self-awareness here... but I can't be confident it will actually amount to anything seeing as how all the past attempts at 'growth' have been overshadowed by her vanity and ego.

This line is really confusing / weird in the way that it's written but I think she's trying to say that the source of the cold is from her, she can't pin it on any sort of 'big bad' like she could with Apollo and Kronos. It's just her.

And again, this could be a moment of realization for her that her actions are her own regardless of whatever she wants to pin it on-

But she rejects it instead. She's still not capable of acknowledging that her choices affect others, that her actions have consequences, that she's finally paying the price for something she knew had a cost.

If this were any other comic, I would accept her rejection of this, I would have confidence in knowing she may recognize it eventually. But this is LO and we're three seasons in, she's technically already gotten her happily ever after in the form of becoming Queen and married to her 'true love', so all of this feels like a very last-minute attempt to paint Persephone as this "struggling" character. But she's not "struggling", she's just finally experiencing karma catching up to her and as expected for a person like Persephone, she's already cracking under the pressure of realization that she can't have everything she wants.

Again, in any other comic, this would feel satisfying or endearing to see her fall on her own sword, but to me it just feels frustrating in the context of LO because we've spent five years seeing her get everything she wants with barely any real struggle that wasn't manufactured - with all of it painted as a GOOD THING - while still getting away with treating the people around her like shit.

And when I say she rejects this concept of having humility, I don't just mean through her monologuing, but also through her actions.

If I were to critique LO the same way I would an actual functional series, I would say that this should be the point of realization, the point where we see her crumble under the weight of her not being perfect, not being able to "fix" everything. It all stems back to her entitlement as a bratty main character, someone who can't fathom not being the main character or the "hero".

Because she's not the hero. Demeter is - or at least, she tries to be.

Again, it's hard to know if this is intentional or if this is yet another attempt to present Demeter as an "overbearing mom", but Persephone here looks and sounds like she's been reduced back to the state of a child crying for her mother in the face of her own failures. Despite now technically being a mother herself (through literal babynapping sigh) Persephone is still not a mature adult. Aging her up 10 years and giving her a husband and baby will not make her an actual functional independent adult who's capable of taking care of themselves or making the right decisions... unlike Demeter who is still, ultimately, more skilled than Persephone. She is an actual experienced and mature adult who's capable of rationalizing and decision making, and knowing when it's time to put aside your ego, walk away and let someone else who's far more qualified take care of things.

What Demeter has is something that one can only gain through true hardship, failing, learning from one's own mistakes, and experience, all of which Persephone does not have because she transitioned from a cage of her own imagination where hard work and responsibility was a virtue, into a gilded cage where true hard work can be passed onto someone else whose efforts she could take credit for while sitting on a throne and buying anything and everything she could ever want.

Despite everything Persephone and the narrative claims to have 'earned', she's still a child. The adults have to take over.

And like a child, she doesn't let them.

This is not an 'anime moment'. This is not a moment of redemption. This is immaturity and irresponsibility in its most visible form for Persephone - refusing to let go of her ego and shortcomings to "prove herself", even if it means making things worse.

And Hades enables it.

I want to make it clear there is a massive difference between not being controlling over someone, and actually enabling them.

This is not some small hill to die on. Persephone is literally causing winter, which could very well kill the Mortals. As we've seen in that prior Hebe scene from the first part of this essay, the snow is showing up in Olympus. This isn't something that's happening in the isolation of this single scene, this is happening everywhere and instead of taking the L, Persephone is trying to make things 'better' by simply 'trying harder' which is just not the solution here, Demeter knows this, but Hades is playing the "girlboss" version of a "good husband" by not even bothering to try and convince her to do otherwise. Hades above everyone else should be the one stepping in because he'd likely be the only one she'd actually listen to, but he's refusing to because he has to be the "good husband" who doesn't control the actions of his wife.

So he flat out enables her instead by not even bothering to try and reason with her, to help her see that what she's doing is not helping. Not even so much as a "Persephone, I know you want to help but it's clear something is wrong and if Demeter can figure out what to do to fix this, we should let her", just him saying to Demeter who wants to stop her that he can't stop her from trying... ignoring the fact that he should at least try.

And that's the difference between being controlling and being an enabler. He's not keeping her from doing something that benefits her and doesn't harm him or others. He's not micromanaging her decisions or trying to tell her she's not capable. Now, don't get me wrong, there are definitely things that make Hades a walking red flag especially when it comes to him being a groomer, but when it comes to directly controlling Persephone, most of the time she's doing things of her own accord convinced that it's "the right thing" (which is still just a side effect of the obvious grooming because I really doubt S1 Persephone would have done this shit lmao).

Here, he's not stepping in to even try to reason with her because "well I'd be a bad husband if I stepped in", completely ignoring the fact that it makes him a terrible person, period, to not at least try to calmly reason with his wife and explain to her that her 'help' is not going to help here. Just like when he rewarded her with sex for abusing a nymph in her own home, he's completely complacent to Persephone's actions and doesn't step in to try and help because, according to Wattpad and TikTok, a "good husband" is someone who looks the other way while his life partner does whatever she wants regardless of the consequences to herself and others. "Happy wife, happy life, who cares if the wife wants to be an actual piece of shit to people if it makes her happy".

And thus she makes things worse in her pursuit of "happiness", while Hades stands idly by, watching it all unfold as if he's just an innocent bystander who can absolve himself of any responsibility in this situation. As if she didn't become this way because she ate the pomegranate to be with him and a part of his world.

Now, there's one other sort-of-blatant smoking gun that I want to talk about that I haven't really seen anyone else mention since this episode went up. Granted, this might be me reading far too much into it, but hey, that's what this blog is for and I think it's something that absolutely needs to be mentioned.

Persephone goes on about how her powers aren't just gone, they've been replaced, all she can create is decay, and more specifically-

Now... think of the context of LO's narrative, what it's told us both literally and through subtext, intentional or not.

What does this sound like?

Hades lost his ability to produce children when he ate the pomegranate. He can no longer "create life".

And now, Persephone is finding herself in a similar situation, unable to "create life" the way she knows how. I'd like to think this isn't literal, but it really feels like there's a metaphorical implication here that Persephone losing her ability to create life is meant to be taken literally, that she not only can't create flowers and plant life anymore, but she's lost her fertility entirely. You can go even further back in this when it was established Persephone didn't eat six seeds, but nine, which originally felt like a weirdly random choice, but now seems intentional. I know some people have theorized that it has to do with her possibly being pregnant, but I don't think that's the case, I think it's the opposite - that the 9 months was a metaphor for the 9 months of childbearing that Persephone can no longer do.

And if that's the case... LO truly is no longer a "feminist" piece of work. It barely was before, but if the point of all this winds up being an attempt by Rachel to give Persephone a "flaw" by taking away her ability to bear children... that'll be a punch to the gut.

That said, if it does go somewhere, maybe the point will be Persephone learning she doesn't need to be able to reproduce to have value as a woman. But considering LO's track record with these sorts of plotlines, I can't be confident in the slightest that's where it'll end up. What I can be confident in is that Persephone will likely not stay this way. Like her green hands, she'll likely get her powers back, maybe after the resolution that she's still a real woman deserving of love even if she can't reproduce. I can't possibly know at this point where it's going, all I do know is that LO hasn't done a great job at resolving these sorts of deeper narratives so this just feels like another dart on the wall of bad ideas. Because it's, again, all being framed through Persephone being the "perfect woman", without there being any actual subtext throughout the narrative to imply that this may be a flawed ideology to have, it's just what Persephone has to be and it's sold in the narrative as a positive.

There's one term to describe this with that's rather consistent throughout LO when you peel back the layers of both the comic and Rachel's past work - white feminism. Despite LO's attempts to be "feminist", it's still ultimately being written through a heteronormative male gaze, that women are only "valuable" so long as they're youthful, that any goals or dreams a woman may have should be dropped as soon as they fall in love with a rich and powerful man, and that "other women" who don't fit into that mould of being rich, white, and heterocis are not worthy of love, empathy, or understanding. It's hard to trust that LO will actually challenge these norms when it's been practically enforcing them for five years.

But ultimately, that's a very loaded topic and right now, we don't know where this is going... I'm just not so sure I want to see it after all the missteps the series has pulled over the past half a decade. Like the miracle of childbirth, it's gonna take a miracle for LO to actually stick this landing.

Now, I'm assuming you read this line of dialogue, and you understood it. Yes? You positive? Okay, great. Why am I asking you this question as if you're an infant who doesn't understand what being "passed out" means? Well, you'll see what I mean in a minute.

Now, again, like with the whole "I can't bring life to anything anymore" thought process I just went through, I can't know exactly what they're trying to do here, but Demeter is fully in the right. I want to make that abundantly clear that Demeter was right the whole time and it's pretty telling that even a lot of the people reading the comic in good faith are pointing this out in the discussion circles they can actually access.

Now, in case anyone hasn't noticed, it's clear that Demeter herself is drawing upon the fertility magic of Gaia or Rachel is just alluding to Gaia for some reason. At first I thought it was supposed to be her form of "wrath" until I remembered that (unfortunately) Eris was the only reason for Persephone's wrath, so this is clearly meant to be some allusion to Gaia. Considering the fertility powers were passed down purely through Gaia and Ouranos, this means Demeter is a descendant of Gaia, which... calls into question Rachel's attempts to "remove the incest" from LO, but that's for another topic.

Either way, Demeter is fully in the right here. Hades is a fucking idiot - a useless lump - for not only enabling the shitty actions of his shitty wife, but for not taking even any amount of accountability for the fact that Persephone found out about the pomegranate through him.

"But Puff, she had to eat the pomegranate to beat Kronos!" Did she? Or was that purely manufactured for Rachel's sake because she just had to have an MCU Evil-Robot-Jeff-Bridges villain despite the fact that this FANTASY ROMANCE series didn't need one? The fact that it was written purely to 'force' Persephone into doing something she already wanted to do was completely redundant, it wasn't a 'sacrifice' she made, it was made pretty clear in Episode 165 that she wanted to eat the pomegranate as soon as she found out about it and while that decision is certainly her own, that does not absolve Hades of responsibility for not questioning his future wife's fascination with it or realizing that he unlocked the inner Pandora's Box of Persephone's mind.

And so, Demeter holds him responsible. As she should.

Okay, you read that, right? But remember that line I asked you about before? We should all know Demeter doesn't mean this literally. We have brains and we should all have a minimum amount of media literacy to understand that Hades was telling the truth when he literally said Persephone was "passed out".

We finish the episode on this panel, which I swear to christ I couldn't tell you in all of my own divine wisdom of the arts what in the world is going on in this panel. I'm literally looking at salad.

Is it Demeter and Persephone? Just some dying plants? I have no fucking clue, your guess is as good as mine.

But we're not done. Because we have one more glaring issue to talk about with this episode, and it comes in the form of an author's note that was inserted at the end of the episode. It is truly, despite EVERYTHING we've talked about in both parts of this analysis, the dumbest, most airheaded and egregiously pretentious thing I've seen in this entire episode.

Rachel quite literally put in a fucking disclaimer telling her audience what Hades already told us point blank in the comic - "Don't worry, audience members, Persephone is not literally dead, it's a metaphor for her spring powers being dead!"

I literally can't even express to you how pretentious and shitty this is of her to do. I can't tell if it's legitimately her thinking her writing is "too smart" for even her older audience members to grasp, or if she just wants to dispel the theories that people would want to make about this, or if she completely misconstrued the criticism about her writing not being "clear enough" and thinks that THIS is what people meant. Pardon my tone because I've kept it together relatively well throughout this post, but this is some 2009-era Fanfiction.net level of author's note bullshit.

If she thinks her writing is "too smart" for her audience to grasp, I'm sorry Rachel, but you're just wrong and this is incredibly shitty of you. You think the 14 year olds in your community aren't also reading other webtoons that have deeper writing than LO? I read Death Note when I was fucking 14 and I knew exactly the point of what the story was getting at by the time it was over, despite all the other stories I read at that age that completely flew over my head. And you think LO is somehow more complicated than Death Note, baby's first introduction to the grey areas of morality and justice?

If she's trying to dispel the theories... that actually holds some merit because not only is Rachel notoriously bad at not letting her fandom just talk about their theories without her swooping in to "um actually" them (even if it means killing the fun of theorizing), but the official FP page on FB was closed to new submissions in the hours following this episode and it since hasn't posted any new content. Is it because people aren't posting? Absolutely not. The mods are quite literally holding these posts hostage through the submission and approval system. People are legitimately trying to submit only for the mods to block it entirely from going through. If this is Rachel's attempts at trying to "protect herself" from the criticism this episode has surely earned, then all she's really doing is punishing her own fans who want to talk about it. It doesn't matter anymore that the discussion groups are finally back from 3-4 months of being shut down over the hiatus, they're still not being allowed to operate. The best there is now is the Discord and it's undoubtedly just as heavy moderated as the FB groups.

And as for the third possibility, this also feels like an attempt at Rachel trying to make her writing "more clear" without actually putting in the work of writing a good story. She's undoubtedly seen the criticisms towards LO as a whole that it doesn't express itself clearly, that it constantly flip flops on character motivations and information that has been established, and that any monologuing that's done implies things or events that we've never seen unfold on screen (case in point, the Persephone monologue from the start of this episode) but she seems to have either misconstrued or ignored the point of that criticism entirely by solving it with a quick and shitty author's note at the end explaining her intentions with a scene that was already clearly laid out to us. Instead of putting in the work to write a concise story to explain the things that are a bit more under-developed, she's slapping in a spoonfed explanation for scenes that literally don't need explaining and that ultimately cheapens the scenes that are TRYING to have impact, bringing them down to the same level of mediocrity as the scenes that never had the impact they intended to have to begin with. "You've killed the Goddess of Spring" was plenty clear after Hades said she was passed out, Rachel. Taking the time to explain it in a note at the end is just sad and it really goes to show what you think of your audience, especially when it comes to how you treat your fans in regards to community accessibility in the official discussion groups.

"The haters" didn't set this comic onto the path that it's on or ruin the fanbase experience, Rachel - you did.

[taebaelee]

Posted this on a small subreddit, but wanted to post here as well. For the new game, while part of me enjoyed playing some of it, I do really think it's such a disservice to be able to really call it a Dragon Age game when the writers stripped away any nuances by trying to make everything black or white; everything feels very basic and borderline cartoonish at points.

Anything morally gray is non-existent and you have no real influence in the game. No matter what you do, you are forced as the player to play a super friendly (or chaotic-good) at best protagonist with no opinions on the world of Thedas. This is what makes this not feel like a Dragon Age game to me.

This isn't super long, but there are spoilers under the cut as to why I feel this way. I do speak very critically about the new game, so please do not read if you think it may offend you as that is not my intention; this is more of a therapeutic rant for me and fellow DA lovers who feel disappointed about the writing.

While people can argue on how the previous games handle the situations involving anti/pro mages, templars, elves, the chantry, etc-- you can't even talk/argue about literally ANYTHING in the world with anyone as these ideas simply do not exist in the game OR are introduced but with a narrative already framed around it by the writers ideals.

- Factions/groups you work with are too virtuous. We could have had such deep and complex dynamics with the factions and how their backgrounds change your relationship with the characters in the world, or how the party members interacted with each other. Instead, none of it really matters as the game sanitizes the world around the groups to make the party members and factions palatable to the masses. A literal criminal organization, the Threads, is shown in a more positive light because while they commit other crimes, they don't deal in slavery? The Lords of Fortune (who are mainly mercenaries) would return cultural artifacts to the ethnic group they belong to-- they loot and steal, but are morally conscious enough to not steal from other cultures? The Antivan Crows who canonly bought and enslaved children, who made said children prove themselves through gruesome tests that sometimes included killing their own peers, are now played out like they're justice fighters. The the closet the game gets to showing any of the truth is small party banter you may miss with Lucanis saying his training was like torture, but it is to never be discussed again.

- The characters all get along way too well. Rook can't ask a character's opinion on the other factions, races, classes, religions, etc-- let alone reply back with their own thoughts that may go against the members views as we don’t really even get to see their opinions on them. Whenever the disapproval bubble pops up, which it rarely does, it does not change anything and it is not brought up again. There seems to be no consequences with your party members based on your choices, which makes the characters likeness towards you feel unearned as they seem to have no agency of their own. In DAI, if Cassandra has low approval then you can get a scene where you call her pathetic as she's stumbling over drunk and yells at you for ‘coddling mages’ or in high approval she can have a scene where she says something along the line 'while she doesn’t agree with everything you have done, she admires you.’ or in DAO Zevran can either betray you and go back with Taliesen/Crows or he can tell Taliesen he is not going back. Even something as small as the characters greetings change based on approval status when you visit them at skyhold. There are tons of examples I could give from previous games, but not a single cut scene seems to change with your companions outside of the final decision you make for them at the end of their companion quests. And to add on top of this, the party members all get along perfectly. If they disagree it is quickly resolved and moved on. Where are my Fenris and Anders fights or Vivienne and Solas sassy quips towards one another?

- No religious themes in the new game feels so out of place as this game literally changes the fundamentals of religious beliefs in the world of Thedas and could cause for a complete uproar with those that believe in the Maker and Chantry. The first game opens with an excerpt from the Chant of Light explaining the origins of the Blight and the Chantrys version of the truth and the whole mage/templar battle which is such a major theme (especially in DA2) in this series is due to the Chantry and this new info shows that the Chantry is wrong (or partially) and this can actually be completely missed behind a side-quest? Also, are we supposed to believe that all the Dalish just know Solas is better than Elgar'nan now? Strife say something along the lines that while Solas may be a bastard he is better than the other Evunaris" WHEN WAS THIS ESTABLISHED? Solas directly talks about how when he tried to tell the Dalish his identity they either didn't believe him or attacked him for being the God of Lies and Trickery. Yes, it has been a few years, and more may know the truth now... but how many as according to the old games the Dalish WORSHIPPED the ground Elgar'nan walked. If so many like Solas now from knowing the truth suddenly, where are all the followers for the Dreadwolf? Not only do we not have any missions regarding the agents of Fen'harel, we don't run into any at all.

- This sounds bad out of context, but where is the slavery/racism? I know a lot of people wanted them to tone some of it down, but for it to be completely removed just does no feel right when Tevinter is canonly known to be the worst place for slavery when it is openly practiced and legal... Also, playing as an elf feels very out of place during an undercover quest with the Venatori, but they already had them working for Elgar'nan which doesn't really add up either; so I guess they are just fine with Evles now after thousands of years...

- None of the previous games matter. While fundamentally, each game has their own story, I liked seeing the cameos of characters reflect past choices. One, of many examples, would be that we got to see Alistair either become a drunk in DA2 and forgotten by the narrative; or have him become a King or Grey Warden in DAI where you can even ask him about the Hero of Ferelden and his answers are different depending on how you played the game! Now we have some characters return but as a blank slate as the writers did not want to invalidate previous choices, but essentially let the characters' cameos fall flat because of this. What is the point of a character returning if they don’t reflect the character I know and helped them become what they are today through my choices?

I know I have a lot of negatives even when I said I liked part of the game, but it is a huge disappointment as the reasons above are what made me LOVE the series with it being so enriched with its environment and now it feels like a hollow shell of itself.

[elumish]

dude...no need to be an asshole to that last anon, wtf? I can absolutely see how they read your post like that. just because you run a writing blog doesn't make up incapable of being unclear.

your shitty response was way out of line and uncalled for. maybe try chilling the fuck out and not attacking people because they read your post differently than you intended, jfc. shit like this makes me feel like I can never engage with your posts because you might fly off the handle and act like an asshole to me for not reading your post exactly they way you intended. which is pretty fucking shitty behavior on your part.

that anon made really good points, and I think they were a valid response to what you said. not their problem (or any reader's) that you don't like that that's how some of us read you post. good posts provoke conversations and discussions about nuanced topics - instead you decided to shut that down and be an asshole. grow up, and maybe take your own advice and chill the fuck out. nobody called you a racist or some shit, but you're acting like you got attacked when the only person attacking anyone here is you.

Here are my choices when people send me asks that misunderstand or misrepresent posts that I made:

I ignore them. I do this sometimes. I can and will keep doing it.

I entertain their argument and get sucked into a conversation I have no interest in having.

I tell them that they misrepresented my post and that I'm not going to engage with it.

In this case, I picked option three. Was I a bit harsh? Yeah, maybe. I'm sorry if my tone came across as more aggressive than I intended.

But I am sick of the standard reaction to me talking about things like being cognizant of what we write and trying to avoid doing harm being people telling me that it's censorship or that it's somehow infringing on their ability to write what they want, or that I'm implying that they can't ever bring up a bad or hurtful topic at all.

Because that is probably the most common type of ask that I get whenever I make posts like this. This are not even the only conflating glorifying with talking about at all and then arguing with me based on that misunderstanding reaction I have gotten in the last 48 hours.

But, and I mean this genuinely, I would like to know what I am saying that is implying that. I have read through the posts I made and tried to see where that implication might be coming across, and I can't find it. And so please, I would truly appreciate you or anyone else telling me what in my phrasing or word choice is leading to that conclusion.

Because I want to avoid saying that. That's not the argument I'm trying to make and it's never the argument I've been trying to make. And so if I am accidentally implying that somehow in what I'm saying, I want to know that and change it.

But it's not my job to engage every time someone starts arguing with a point I didn't even make.

[rodem]

Ok I did it I finally set out what I promised myself I'd do. I'm free! (Now I just need to stop stalling on the Cyrus scenario draft....................)

Here is my translation of the leaked rough sketches for the remake Rocket executives. These images are attributed to Takao Unno, the art director for HGSS. It was already known that he was the artist behind Proton and Petrel, because of the TCG, but it is nice to have confirmation that he designed all of them!

As you can see, because these are formally unreleased, wip concept sketches, I wouldn't take any of the "new" information here as gospel regarding their final game selves. Though getting to see the initial ideas behind their designs and personalities is a big treat in and of itself!

Also this probably doesn't need to be said here, but please respect the Gamefreak employees and don't bother them with anything related to leaks in any capacity.

If you want to share my translation of this leak on another site, please only do so by linking to this Tumblr post and don't repost the images directly. (This also probably isn't something to worry about, but I'm saying it just in case.....)

Under the read more is my translation notes and personal thoughts:

Archer: Archer's notes were the big bottleneck for this, ngl. I was unsure what the nuance was with "he wants to become Giovanni," so I spent a decent amount of time looking into it. Based on that, I can infer that the nuance here is that Archer's feelings of admiration for Giovanni are so strong that he either wants to straight up be Giovanni, or exactly like him. Either way, it implies a desire to be just like the other person so strong that you lose your own sense of self. So take of that what you will I guess…..

Ariana: I translated the last bullet point under the assumption that it was referring to the plot point where Ariana and her subordinate go after the player character in the TR HQ. Japanese doesn't have plurals so when I first read it I thought it said they routinely attack children together, but I am going to assume that that wasn't what Mr. Unno was going for here.

Petrel: Petrel and Proton's names being switched around here is not a mistake on my part, btw. Petrel's arrogant way of talking is present in the final game! I have no idea how obvious it is in the English version tbh, so I'm pointing it out here!

(Example: he uses "ore-sama" in HGSS like twice ok. He's so cute and I love him so so much.)

Based on the wording, I'm still kinda unsure if the mole was intended to also be fake. (I'm leaning towards yes rn.) So I will just leave this convo I had with a friend here:

Also in relation to lack of plurals, you could interpret the hat line as him hating hats in general, but based on the context it's most likely just referring to the TR hat.

Proton: I don't really have much to say here except that I've stared at his cleavage for longer than necessary.

There is another leaked image that shows Proton from the front (definitely made as an internal reference image). It is interesting that this reference gives him a grey undershirt while his official depictions from the front (Hitoshi Ariga's 3ds theme and Masters) have him wearing a white one!

[probablyasocialecologist]

TikTok was where I learned about SHEIN. For a while my For You page, which had accurately identified my interest in fashion’s more material impacts, served me videos of sustainable fashion influencers decrying SHEIN’s wretched labor and environmental practices. The textile industry is the second-largest polluter in the world, they said, and of all the fast-fashion producers, SHEIN is by far the worst offender. SHEIN uses toxic chemicals in their clothing production; SHEIN mass-produces fabrics like spandex that never decompose (at this point an image would flash across the screen: an overflowing clothing landfill, or a mountain of discarded clothes in the Chilean desert so large it is visible from space); SHEIN exploits and endangers its factory workers. Employees earn $556 a month to make five hundred pieces of clothing every day, work eighteen-hour days, and use their lunch breaks to wash their hair — a schedule they repeat seven days per week with only one day off per month. A more nuanced TikToker might point out, briefly, that conditions in SHEIN factories are not necessarily unique, or that focusing on suppliers — rather than the larger systems of Western consumption and capitalism that create these conditions — is a fool’s errand, but the platform isn’t built for that kind of dialogue. I clicked on the comments and invariably read ones with several dozen likes saying, “I’m so willing to die in shein clothes.” Before long I was watching SHEIN hauls. There are millions of them — the tag #sheinhaul has been viewed a collective 14.2 billion times on TikTok. In each haul, a woman rips open a plastic bag filled with smaller plastic bags filled with small plastic clothing. Sometimes the woman holds up each garment and narrates its merits, but often the clothes are disembodied, laid flat on a floor or a bed in an accidental stop-motion animation. A stretchy red skirt on a furry white carpet is replaced by a strapless watercolor bustier with a deep-V neckline. A zebra-print skirt is followed by a matching pink two-piece set, with a short-sleeve cardigan and miniskirt constructed from a fabric that looks like bubble wrap. Sometimes a haul is five pieces, and sometimes it is too many pieces to count. The garments appear and disappear in seconds, edited to the beat of a trending song. Rarely do we see the clothing on a body. Usually brand familiarity accrues in a slow drip, building from obscurity to instant recognizability over the course of months or years as a designer’s work intersects with the zeitgeist and gains traction on social media. SHEIN was different. One day I’d never heard of the retailer and the next it was inescapable: in thousands of outfit videos, on millions of social media feeds. The clothes weren’t distinct or cohesive; what united them wasn’t style but price. All those SHEIN hauls entered my feeds with such ubiquity that they began to feel like they’d always been there. I’d opened a door to a new part of the fashion internet: a place where girls bragged about their ultra-fast-fashion purchases, delighting in the cheapness of the garments. Here, SHEIN was the obvious choice for new clothes. Why not, when you could buy on-trend pieces at lightning speed for less than the price of a cup of coffee? It was uncanny to bounce between videos: here was a girl showing off her new halter, here was another girl giving a litany of reasons why it was unconscionable to buy clothes for so little money. Didn’t these TikTokers hear one another? But then again, how could they? “This is what we keep missing here in the whole conversation about sustainability in the industry,” Nick Anguelov, a professor of public policy from UMass Dartmouth, said to a Slate journalist writing about SHEIN in June. “We keep failing to understand that our customers are kids and they don’t give a fuck.”

[saiintvalentiine]

WAIT im back bc i remembered most of your followers are UUers :3c a bit of seavbo, if it pleases thee? can be requiescat verse but doesnt have to be!

ok well I'm not even gonna defend myself. in fact I don't even think I can defend myself. here's some requiescat flavored seavbo. tho tbh I don't think you need to know anything about requiescat to enjoy it.

Word count: 697

The gardens on the roofs of the Master level houses are always a pleasure to sit in. Seawatts misses them a little, but never enough to abandon his library. But Evbo keeps a house up here, somewhat separate from the cluster of the main city, and Seawatt has every permission to be here whenever he'd like to be.

He sits under an azalea tree, book in hand. His personal library of hand-transcribed books grows as he works on them between his other duties. Many are translations, Galactic to English or Parkour to English, unfit for adding to the library that he simply can't just throw out. He collects them in his little sandstone house, but he's begun to store some of them here instead.

He's probably read this version of this book a hundred times. It's smudged and covered in reworked translations. Nuance is hard, but translation is an act of love, for better or worse, and if there's anything left in this world that he loves, it is this.

Well.

He hears the clattering before he sees anything. Evbo lands on the moss and grass with a 360 flair, windmilling his arms so he doesn't directly topple onto Seawatt. He half succeeds, instead tumbling onto his knees next to where Seawatt's sprawled in the shade.

“Hi,” Evbo says with a grin, eyes glittering in the afternoon sun. “You're here.”

“I let someone else take care of the library today,” Seawatt says. It was terrifying, but necessary. Seawatt won't be around forever to take care of it. Others need to learn. “I've been here all morning.”

“You didn't say anything!”

“You're supposed to be helping the Champion right now.”

Seawatt pushes his glasses up his nose, gold rims reflecting light into his eyes. He shifts them until it doesn't bother him anymore.

“EMF is fine,” Evbo says, shuffling closer, still on his knees. “He said I was being annoying.”

Evbo hasn't realized it yet, or maybe chooses to not acknowledge it, but annoying in EMF speak means that he's been moping. Obnoxious means Evbo's been talking too much about Seawatt. Overbearing means he's stressed. They've developed a whole language around not rubbing Evbo's face into his emotional problems.

Seawatt closes his book and places it on the grass next to him, reaching over and running his fingers through Evbo's hair. Evbo follows the flow, lets Seawatt pull him in until their foreheads bump together.

“Hi,” Evbo says again, quieter, scrambling to take Seawatt's glasses off and store them away safely. “Hi, you're in my house, Seawatt.”

Seawatt's affections aren't easily won, even between them. Evbo knows that. Evbo likes it, even. So Seawatt waits. He doesn't pull him closer, doesn't push him away, just waits.

Evbo knows how Seawatt likes to be kissed. He presses close, presses their mouths together, lets Seawatt revel in the feeling before jolting into motion. He bites until Seawatt's lips are tingling, then soothes the sting with his tongue. He waits until Seawatt's a little lightheaded before pulling away. He lets Seawatt catch his breath, kisses a flight of moles across Seawatt's jaw, and Seawatt digs his fingers nice and well into the back of his head.

“The whole day,” Evbo says. “You've been here the whole day!”

“Mhm,” Seawatt responds lazily, head lulling back into the trunk of the azalea tree. “Since sunrise.”

“Since sunrise!” Evbo repeats, threatens Seawatt's throat with the blade of his teeth for a moment.

“Until sunset,” Seawatt tugs Evbo's head up so that they're eye to eye.

Evbo's always had expressive eyes, and now they spark. He flips them over, part skill and part godliness, so Seawatt is straddling his lap instead.

“Until sunset,” he repeats. “I bet you can finish reading me that book from last week.”

“You'll have to let me,” Seawatt pulls his hair again, this time as punishment.

“Get better at reading.”

Evbo grins, fierce in his demand.

“Bastard.”

Evbo just sticks his tongue out, arms wrapping around Seawatt and hugging him close, pillowing his chin on Seawatt's chest. Such a childish God. But a challenge is a challenge, and Evbo's always known how to bait Seawatt into rising to the occasion.

[for-ships-that-never-sail]

Okay Y'ALL I saw Episode 5 today and these are the thoughts I jotted down while watching it (PART 2 OF 2)

Please don’t read below the cut if you are avoiding spoilers until you get to watch it yourself 

And FYI some of these may not have any context, but I guess it won’t matter cause you’ll have context in 7ish hours anyway (also sorry about how long all my thoughts and feelings are lol)

Awh Kate you’re so pretty - kinda weird to see her so chill though - she was so stressed all of season 2 that seeing her so serene is throwing me off tbh - I am so happy for you though my love

Also her outfit that looks like a sari is soooo gorgeous I WANTTTT

Love the cinnamon biscuits vs fruit jellies bit

Portia ma'am please listen to Varley FFS

lol I hope they did in fact fuck again like she wanted

Ugly crying at MY MESSSSSS

PARIS? oufff I love how comfortable she is, just casual teasing chit chats with bestie

“Undefended”? Charlotte needs a different hobby pleaseeee

LOLLLLL when did Penelope learn to do her hair and makeup by herself???? Cause there’s no fucking way she would’ve looked THAT fucking good after alllll of that lol

We were going to be KNIGHTS!! OMG sweet babiessss

“as much as I do” I can’t even blame anyone for anything they’ve done or said so far tbh 

This is such nuanced writing — I understand exactly where pretty much everyone is coming from and that’s really nice tbh 

Omg they really do want Cressida to marry a dinosaur 

WTF Cressida you do you girl fuck shit up for Penelope I don’t even care do whatever you have to do and go all out and save yourself cause no one else will I’m so sorry you were ever put in this position  

We have been acting uncouth AS OF LATE??? as of late????!? Omggg Portia girl pleaseeeee you had ONE job and you’re just gonna pass the buck to your daughters instead? STAHP own up to your shit cause you knowwww they bully her because youuu bullied her and the gall to say this is just happening LATELY on top lmao 

Though like in her eyes I always do see remorse too - I think she just lacks courage to ever really own up to everything in full because she’s just so guarded 

Honestly this is such stellar acting 

And also like, Penelope, most of you is your mom my girl - your brains, your overthinking, your inability to just say Yuh I done fucked up my bad lol 

Greg’s hat

Yesssss lord Kent find you some Bridgerton besties 

I actually do love Portia - yeah she’s been a colossal dick of a mom to Pen but as complex women go, I get her - If she makes amends with Pen for them daily microaggressions and general abuse one day, for real for real, she’d be really great 

Omg Mama B and Lady D are such big shippers - wish they didn’t fully cut out the Lady D stuff from the books though le sigh 

Eloise has a point - I agree - she had lotsss of alone time to say it - I understand Pens fear completely, but she must realize that her saying this is still soooo much better than him having to find out on his own - and there is no way he wouldn't - and he’d be more hurt by that part than the actual LW part I think and honestly Eloise is right about her being involved in that painful deception too, I wouldn’t want my own brother to feel betrayed by me like that either, given how often he wished LW ill out loud - and the longer Pen stays quiet the more guilty Eloise becomes as a sister too - If anything her not immediately snitching makes her moreee team Pen than team Colin - this is still a lowkey loyalty to Pen for sure - I think I may have issued this same ultimatum under these conditions too

Omggg JOHNNNNNN stop he’s having a panic attack why did Fran put him on the spot like thissss????

“As you rightly mocked me last season” lolllll

Awh Colin and the toast 

Eloise should nottttt have done her second toast - now THAT part was uncalled for, but I guess they want to keep the stress levels high 

Lmao Kate to the rescue 

I loveeeee how close they are sitting in public - but like… does nooooo one else see this??? Hips glued together? Hands holding??? Just out in the open?? No one thinks this is insanely intimate for a newly engaged couple of the ton??? Even if it’s a love match? None of the older women are clocking this and saying 1. Sit the fuck apart 2. Did yall fuck already cause yall look like you fucked and we don’t even have a wedding date set yet??? Are you not going to even ask for a special license?? You just want her to pop a baby before she technically should and cause more drama?? Like who is in charge of all these fools?? Mama B what is you doing??? Do you not think Colin is being a nasty girl with his wife-to-be?? lol

Lol Anthony I love you, you competitive lil bitch 

Lmaooooo Eloise and Penelope being the smartest bitches of the ton YESSSS

Portia trying to show where Pen's brain comes from lol

Muddy boots panic again 

LMFAOOOOOOO Mama B your face is going a mile a minute right now listening to the muddy boots

"I saw straight away" OH MY FROHN you will end me one day

Pen get your shit together pls grab a brown paper bag or smthn 

Oooohhhhh fuck I get itttttt

Cressida girl my bad I get ittttttt sooooo much more - I didn’t fully understand her thought process behind what we already knew she was gonna do until just nowwww - they really set it up for her well - girl needed an exit and everyone fully offered her one - I have no issues with this at all tbh 

Omg omg this is the most chaotic midnight strike of all time like 6 different things happened at the same time???? 

Well that was some good old fashioned Bridgerton CHAOS Hope y'all enjoyed it too!!!! LESS THAN 8 HOURS TO GOOOOOOOOOO

[majycka]

Hi i have a thought but do you think that gege had some sort of story set up between utahime and gojo well not as a ship (i would still ship them regardless with my delulu self but anyways) idk how to express it, i am sorry , but the way their nuanced dynamic was portrayed intially in s1 of anime or exchange event in the manga made it seem that there's sorta a deeper bond and it seem that gege scratched that idea off or something idk only gege knows lol Honestly it's wasted potential...

Same here anon, same here 😩 I actually did ask linkspooky, our resident jjk analysis writer, a similar question once, and to summarize, aside from Gojo and Utahime’s nuanced dynamic, there are glaring similarities of Utahime and Geto in how they foil Gojo, and it got me thinking if there’s more for future Utahime roles, considering Geto got his time to shine earlier JJK and his big role towards Gojo. Linkspooky even agrees that Gege seems to be building up something for Gojo and Utahime (but imo looking at it now with the current state of the manga, it seems doubtful). She furthers highlight how Uta got the strong potential to connect with Gojo if only he lets her in. I guess that’s the possible “deeper bond” that you are talking about, anon. Please give the post a read cuz Linkspooky got great points she discussed <333

And honestly, her response to my question really got me thinking that maybeeeee Gege HAD a plan? He’s fast pacing in JJK definitely made him scrap ideas (like that one part from vol 23 leaks where Maki was supposedly gonna go undercover within the US military invading the colonies but like that fever dream of a subplot just…disappeared). Anyways, JJK is still not finished, and I’m holding on that itty bitty tiny tiny hope that maybe Utahime gets her moment someday T—T Like I said from my last post, there’s the Gojo/Yuta vs Sukuna happening in the manga atm, and one of my itty bitty tiny tiny (delulu)hopes is that could prompt for Utahime to show up for support again :’)))

[paimonial-rage]

why he rejected you (pt 2)

characters: itto, kaeya, kaveh, kazuha, mika, razor, thoma, tighnari, venti, wanderer, xiao, xingqiu, zhongli

synopsis: you finally gathered up the bravery to confess your feelings, but much to your dismay, they turned you down. but you deserve to know the reason, right?

notes: this group is more nuanced than part 1, so i was not able to capture the whole reason within a single paragraph. please keep that in mind when you read.

Itto - Bros Before Hoes

It’s not that he doesn’t like you. He may tell himself he doesn’t, but he likes you. A lot. It’s not like he can admit to that, though. Could you imagine how the boys would react if they found out? He’s the great Arataki “The One and Oni” Itto! What would they think if they found out the head honcho of the Arataki Gang turned into a stuttering mess over a little crush! No way, he’d never live it down. I mean, besides, the bros come first, you know? 

Kaeya - (Self) Protection

It’s easy to fall for the silver-tongued Calvary Captain. Kind, exciting, and adored by everyone, everyone has had a crush on him at some point in time. Oddly enough, though, you’ve never heard stories of anyone confessing their feelings. Eventually, you found out why. With quick wit and an even quicker tongue, he doesn’t give you the chance. He dances circles around you with ease. And there in his eyes, you can catch glimpses of it. Amusement, yes, but something more. Fear? Self-loathing? Or perhaps something else.

Kaveh - Weighty Expectations

His roommate would tell you that Kaveh is nothing if not morally driven. He takes his sense of duty to an extreme degree. Some say it’s his best trait; others, his worst. It’s why he rejected you, his roommate states plainly. Kaveh knows what he is. He’s broke, temperamental, living with Alhaitham, depressed, troubled, living with Alhaitham… As he is right now, he is not in the right place to give you everything you deserve. You deserve better. 

Kazuha - Self-pursuit

It’s often said that Kazuha floats from place to place like a leaf upon a summer breeze. Not even the popular Traveler can keep him inside their peaceful teapot for long. Stagnancy dulls the mind and the sword, after all. It’s why he keeps the wall he has built before you. How will he be led by the whims of the wind with a weight holding him down? As strong as his feelings may be for you, his heart will always know where it belongs. It will never be yours.

Mika - Overwhelming

You don’t need to know him well to know that Mika does not like attention. Even having worked with Varka of all people has not given him the confidence to converse easily. As much as you may wish not to, you are not exempt from this. For someone that plans and prepares meticulously as him, you represent an unknown. No amount of observation could ever prepare him to interact with someone that stands out as much as you. Sad to say, you're just too much for him.

Razor - Confusion

Though having spent most of his life around his lupical, a mate was always a simple concept to understand. A mate is a lupical you have a strong bond with. You take care of your mate and your mate takes care of you. You are bound to them for life. The human concept of mates though… Strange complex rituals bind it. It’s frivolous and random. It’s weak and can easily be broken. It can easily wear down over time. Really, Razor can’t wrap his mind around it at all.

Thoma - Higher Loyalties

It’s safe to say that Thoma is an oddity in Inazuma. Ignoring his appearance, he’s helpful and friendly. He treats everyone with the same amount of kindness. He’s gentle with children, not bound by pride. After meeting him personally, it’s hard not to like him. So it’s not much of a surprise that many mothers wish to welcome him into their family. But don’t be fooled. Thoma is a man of duty. His loyalties will always lay with something far greater than you.

Tighnari - Fantastical Expectations

Tighnari is nothing if not a realist. This is not something he exactly hides either. If he has something to say, he will make sure that it is heard. You can’t exactly blame him. He deals with delusional travelers on a near-daily basis that adore touting fantastical dreams of befriending dangerous creatures, after all. If he has to deal with you piling expectations on him of being treated like a princess with sickeningly sweet words of love and infantilizing care, he will go insane. 

Venti - Guiding Wind

Though he has his faults, it’s easy to fall for a person like Venti. When he drops nearly everything to listen to and help you with kind words and a gentle smile, how can you not? It’s so easy to feel like he cares for you, that you truly matter to him. It’s such a wonderful feeling that it becomes easy to forget that trust is a two-way street. Has he ever relied on you for the same amount of support? When the wind is always forging ahead to lead the way, the only place it will never remain is at your side.

Wanderer - Safe

This traumatized boy would probably fall for anyone persistent and resilient enough to put up with his attitude. 

Xiao - Kindness

He’s never hid his reason for rejecting you. Really, he warned you of it when you first met. So even though your smiles pique his curiosity and your laugh makes him long for more, even though the warmth of your eyes beckons him close and the sound of your voice calms him like the melody of a flute, he will never open his heart. It’s the kindest thing he can do for you.

Xingqiu - Interest

As a writer, there’s nothing that calls out to Xingqiu more than potential, story potential. This spark of inspiration can be found in many things—people, situations, places. Every new discovery is like unearthing a gem, drawing him close and pushing him to work his magic to make it shine. You, however? His eyes pass over you as if there’s nothing there. You might as well be a faceless extra in a large crowd. There’s no potential to be found. 

Zhongli - Divine Perspective

Trying to get Zhongli to fall may frustrate you. You wouldn’t be the first. Though his amber eyes may reflect warmth upon seeing you, they never reflect that of a potential lover. Rather, it’s a look that brings you back to your younger years in a way you can’t exactly explain. Only his long-time friends would know why. Really, being thousands of years older, how can he not see you like anything other than a child?