#seeing it as complementary to his role of god of stories

[yananamjoon]

the loki show could never

[applestorms]

FUCK IT. DEATH NOTE CLASSPECTING. GO:

LIGHT: prince of light. both class and aspect are non-negotiable here. moon-wise i’m actually inclined to assign him derse, if only cause of the whole “accessing the powers of dark gods” thing (guess that makes ryuk a horrorterror? hmm), though prospit would probably fit better personality-wise.

L: prince of void. i’m quite confident in the aspect for this one, though the class is a little more iffy. having them both be princes feels oddly fitting though so let’s run with it. moon-wise i’d actually like to give him prospit, mostly just to be complementary to light, but also cuz it’s funny to imagine him cloud-watching in the piss pjs.

MISA: page of doom. i’m quite proud of this assignment actually, i think it fits quite well w/ her whole thing in canon about being loved by death (though here the terminology would be more like “served by doom”). prospit dreamer for sure probably maybe, to be honest i have no fucking idea how dream moon assignment works? fuck it, i’m giving up on that from here onward.

MATSUDA: knight of hope. again, less certain on class, but i think it’s very sweet if he’s a hope player <33 esp since his Belief in light lasts (almost) the whole series…

MELLO: thief of light. making him & light both light players is fucking hilarious to me so we’re rolling with that. also assigning him thief is making me think of vriska parallels now which is vaguely horrifying to consider but he did kidnap sayu and kiyomi so let’s move on quickly now.

NEAR: heir of void. take a wild guess who he’s inheriting that void from, fellas. this one kind of breaks my heart to think about, which i think is a good sign that it fits well. not much else to say, i’ve had this one pretty cemented since one of my earlier astronaut rambles on near, so…

MATT: knight of breath. as we all know, this bitch only shows up for like 2 seconds so there’s probably a lot of room to consider other options here. i just kinda like how this reflects his role in helping mello + being a pretty chill, laid back dude most times we see him, but i’m certainly open to other takes for this one in particular.

NAOMI: sylph of mind. this is incredibly vibes-based. she’s got that interesting mix of brutality paired with loving motherhood-esque associations that feels very sylphy/kanaya to me, plus an analytical approach that feels fitting of a mind player.

BEYOND: heir of heart. there’s a lot of aspects that could fit beyond, honestly— blood, rage, doom, and time are all other considerations that could easily work as well. i just like heart for how he mimics L, and heir makes an interesting connection between him and near, though i considered mage too. also heart to match naomi’s mind etc. etc. (you may notice i’m quite partial to good connections/pairings like that, even if it doesn’t fit the individual perfectly— classpecting is just as much a social thing as a personality test, in my mind. but i digress.)

KIYOMI: maid of life. i haven’t essay posted about kiyomi much but this one seems kinda fitting, though she perhaps interprets this title in a slightly different way than jane. someone go angst about kiyomi a little more so i can get a clearer read on her. life is also to match misa’s doom, as well as…

MIKAMI: knight of doom. i’m kinda hesitant to have two doom players on this list since they’re supposedly somewhat rare, but really, what else would fit for mikami? serving light his doom is basically his most notable action in the story, ultimately. guess it makes sense that DN would have a lot of doom about it, or at least it seems more like a doom series than, like, a rage series. in my humble correct opinion.

SOICHIRO: knight of blood. one final one where i’m more confident in the aspect than the class, but i think this one ultimately works— albeit in a very different way from karkat, ofc ahhakdjf. he serves his family, he works for the benefit of People. the tired dedication of blood just feels very soichiro all around.

[meltorights]

How do you read Adam and Eve story as not gender complementary crap?

by recognizing it as a story written with a very different gender construction than we have today.... in much of the ancient world, "man" and "woman" werent distinct, self-identifiable, complete complementary ways of being. there was one way of being: to be a man. a woman was simply something that failed to be a man. this was aristotle's view.

in the first creation account, the mention of "male and female" is in the context of fertility. one of the modes of signification woman-ness is used with in the bible is that of childbearer. this is not the only thing it means in that tradition, it is not a definition, but it is a symbol.

god "created humans in his image, in his own likeness he created them, male and female he created them..." he then gives them the blessing to "be fruitful and multiply and fill the earth."

the focus of this whole creation story is god as the source of earth's fecundity, of life--seed-bearing plants and trees, animals that crawl on the earth, and humans--everything that procreates in imitation of god who creates. god takes on the role of all the gods of the ancient mythologies--he is not simply an orderer, he is a childbearer, he is fecund. and so "male and female" (procreator and childbearer) are equally in his image, in his likeness. this is why gender essentialists and complentarians love this image--it fits easily into their narrative.

but it's not hard to look elsewhere in the bible for other modes of signification (or in later theological tradition--jesus, the Word, proceeds ex utero patris--from the Womb of the father--a father, a masculine image, can represent childbearing too). we just need to look to the second creation story.

the essentialist complentarian wants to say man and woman are made for each other because they are different and ontologically so. but that is not what we find in this story. when God makes Eve from Adam's side and he wakes up, he says "here at last is bone of my bone and flesh of my flesh..." it is her likeness to him that makes them partners, not her difference.

the difference is the way they are made distinct from each other, made intelligible despite their fundamental likeness. this is a common instinct in ancient myth--the symposium recounts a Greek version where likewise the yearning for another is symbolic of some primal oneness we want to restore.

indeed, that adam, "man", is only gendered after the creation of eve fits well with contemporary views of gender (like those presented by judith butler) that see it as a mode of intelligibility. we create genders, not to represent some ontological difference, but to express ourselves as part of a community--without these signifiers, we could lose identity, become caught up in oneness.

this reading of genesis, where adam and eve becoming gendered people only after meeting each other represents the fact that gender is not something ontological, intrinsic in being human, but rather a way to distinguish between people who would be unintelligibly alike has the same relation to the original story as the complementarian or essentialist interpretation--it's reading in a modern hermeneutic that's alien to the text itself. as i said in the last ask, the text asks for this in a way.

but fundamentally, what can we take from god's making of man and woman in the two genesis creation myths? that both are ways of being that imitate god, that they have multiple symbolic meanings, that they are ways of interpreting the world that afford multiple dimensions. genesis is not saying that, but it demonstrates it. and that can, i think, help some people (it has helped me) navigate how they connect to the complicated and thorny ways we build our identities, including but certainly not limited to gender.

and then id just encourage you reading of the stories, or rereading, if you're familiar with them... theyre short, they speak for themselves, i think they're fairly enjoyable. not as a religious exercise (which i do!), just as an encounter with great human literature from a distant past that still speaks despite the many changes in modes of thought that stand between it and us.

the second (but older) creation story, with the creation of humans from dirt and the expulsion from the garden, is genesis 2:4-3:25. the first (and more formulaic and abstract) is genesis 1-2:3. i think theyre best approached as separate short stories before being explored in the context of each other.

[thelazydoodle]

Saw wicked with my sister cause she's been a fan since highschool

And you mean to tell me that a man came from another world, singlehandedly destroyed a self sustainable, unified, and peaceful environment for his own benefit by making people believe they are superior than another race, for he made them believe he's a theoretical God?.... and he's Elphaba's father?!AND GLYNDA AND ELPHABA WERE ROOMMATES!!

Now jokes aside, I haven't ever seen Wicked. I've only listened to the CD with my sister and heard her tell the story and explain the songs as they went on. So when the first trailer came out, she looked at me and asked if I want to come with. I knew how much she cares for this musical altogether, and of course I grew used to musicals and enjoy them more as I grew up. I took up on it.

As my first time seeing the musical for the first time, I have to say that I enjoyed it. The sets were great, and I'm glad they made bright and colorful scenery like the land of OZ should. Loved the craftsmanship of the dorms, the stone cuttery, the floor plans, the forest, and Shiz. I loved the design of Shiz the most, especially the library. I loved the costume designs, the school uniforms were great, the hair designs were extraordinary, but they fit so well. I enjoyed the performances, Ariana was fun to watch being Glynda and Cynthia's performance was equally enjoyable, from what I remember from hearing the songs, they both have have the right energy and hit the right notes. Their balance between musical numbers and acting were well balanced and flowed beautifully, and their duos worked were complementary to each other (like Green and Pink). The camera work for the songs was cleverly done by going with the beat (especially with popular), the cuts didn't distrupt or take you out of it. It all went with a beautiful flow.

My sister enjoyed the movie, but of course still loved the original broadway more and I can't blame her.

The one thing that made me upset was that Keala Settle had no performing role that is miss coddle, loved her in greatest showman and I was hoping to hear her sing again. Minor silly upset from me.

Now the question still stands: Am I going to see part 2? Of course I am. Is it good? Overall, I personally found it great.

[vegaseatsass]

GAP the Series ep 6 thoughts (spoilers!!)

Am about to embark on an epic two-day backread (dw this is like. self-soothing behavior, not an obligation) but first!! Let me quickly journal about GAP: The Intricate Rituals Series.

So this episode made me feral. I'm like "no way can they top what last week did to my brain" and then Sam was out here licking Mon's thigh and barking. GAP girlies, we are truly God's strongest soldiers.

Thigh-licking aside, Thee Moment for me this week was Mon: It's nothing Sam: That means it's something. Mon: How could you possibly know that? Sam: I'm that type of person. How could I possibly not know what it's like? I mean first of all hhhhh Sam recognizing herself in Mon's attempt at disregarding very strong/obvious emotions!!! They are so socially different yet still mirrors of each other!! But second of all, Mon has become such an expert at decoding Sam's chaotic hot-cold indirect communication style, and I realized this week that Sam's approach to understanding Mon when avoiding or withdrawing from her isn't to learn how to read between Mon's lines and carefully interpret her like Mon does with Sam, but to urge Mon towards direct communication, push her past her kneejerk social graces to tell Sam the things she would otherwise swallow down. Not sure if I'm explaining this well but I find it really lovely, that they're both so attuned to each other and so invested in really understanding what the other is thinking and feeling, but they have different, complementary skillsets in how to go about seeking answers: Mon is incredibly perceptive and Sam is incredibly assertive. They're learning from each other too!! Not only is Sam paying close attention to what Mon is feeling but she does this cute thing where she lists off all the evidence of what she's observed (you didn't answer my texts and said no to dinner!), like a student first learning how to do mathematical proofs kdjfsdff Mon meanwhile asks more direct questions of Sam every episode. "What am I to you?" It's no longer enough for her to rely on non-verbal cues. Tl;dr im love them.

"What do you want to eat?" "Your lips" WANNA SUCK MOUTH ENERGY STILL GOING STRONG. Sam is so openly horny it is such a delight to behold.

Jim telling Mon she almost broke up with her fiance when Sam kissed her lmaooo she gets it!! I'm also wondering if she (whether deliberately or subconsciously) shared that to try to provoke a reaction in Mon. Sam's friends are just always stirring the pot to try to make Mon/Sam happen, so the symmetry of Jim taunting first Sam and then Mon with kissies seems intentional. Regardless, I am living for how hard they all ship Sam/Mon, and how they lack a single shred of remorse for Kirk. "If you guys have a beautiful affair we won't tell!!!"

I loved Sam's apology to Jim for oh so many reasons (why is she such a sexy gremlin? "You slap me, I'll kiss you." Sam who taught you to be like this!! I know it wasn't grandma!!), but one of them is all the apology language she's adopted from Kirk and Mon. The fingerheart attempt was so uwu I am having trouble typing about it, but also I'm clocking the snack bribery as something she picked up from Kirk. Before Mon became her role model on how to human, Kirk was there. Like esp if he's been mitigating her grandma's influence on her since she was a kid? I can just see why that was such a central relationship for her before Mon came along. Like I am sad! That he wasn't actually reading the room and wingmanning for her with Mon in ep2! I would have loved that as a story choice sooo much more, he's more annoying for his heteronormativity goggles, and it legit sucks that he's pushing their relationship in earnest when AT A MINIMUM he knows Sam views marriage as a kind of punishment/failure of girlboss aspirations. But I still suspect (what I am anticipating we'll see of) Sam's sense of obligation around his proposal isn't exclusively about obeisance to her grandma. I think there probably was real love there and he probably was a transformative and vital support for her for a lot of her life. Idk I haven't backread any of the tag or anything so this may be a realllly unpopular take lmao but I'm compelled by mess and it's more interesting to me to think that Sam really has loved and depended on Kirk as a partner for most of her life, but she isn't in love with him, something that only became crystal clear after meeting Mon.

On the heteronormativity goggles note: proud of Nop for getting his shit together this fast! I mean I think he always knew, and last week Mon just took away his reason to keep lying to himself about it, but it's nice that he can comfortably transition into Mon's lesbianism supporter. SHE NEEDS ONE

Noticed that she started wearing rainbow earrings after their little discussion btw. Is she beginning to embrace her "like"-like-a-lover-not-like-a-fangirl feelings... signs point to yes. Honestly atp I think all she needed to take that bouquet and propose to Sam herself was some explicit confirmation that Sam sees her as girlfriend material and not as a weird servant-sister, so it's devastating that instead of getting that grounding, the rug was pulled out from under them both. The preview for next week feels v "I don't know if we were dating but I do know she broke up w/ me" and that's the kind of gay representation I desire MOST so thank you but also ow.

Ok sorry for tl;dr post but the last thing I'll say is that right now my reading is that before her conversation with Nop, Mon was not looking too closely at her feelings for Sam or what they could mean about their relationship or her own identity, and that's why for example she gets so upset Sam calls her an outsider but NOT that Kirk is doing couple-y stuff with Sam right in front of her! She knows she wants to be close to Sam and important and more than a sister or a servant to her, but she can't fully-fully embrace the word for what it is that she wants without Sam naming it first. Mon's issue is one of internal expression. On the other hand, I think Sam completely knows what she feels for Mon, and probably always has. She felt guilty and exposed that Kirk was being couple-y in front of Mon because she fully sees Mon as her girlfriend! (Did she not google "how to make up with your girlfriend" lol I mean.) But for her the issue is one of external expression: she can't say what she knows she wants and feels out loud, because at best it would get her disowned and at worst it would get her killed in a car crash like her sister, so she's left slapping her friends and inventing lip-biting games instead of using her words.

Ep 1, Ep 2, Ep 3, Ep 4, Ep 5

[ginazmemeoir]

My piece for Sundarlekhan Day 1 (Favourite God), hope y'all enjoy :D

Contrary to most kids in hindu families, the first stories I heard weren’t about Krishna or Ram or the other popular gods.

My first story, since my mom keeps reminding me of the fact, was of the Samudra Manthan. That’s the first story I remember listening to and the first story she remembers telling me. A story where my favourite god plays a minor role, but without whom there wouldn’t have been a world (as far as the legend is concerned).

The devas and asuras were churning up the ocean of milk in a desperate attempt to get back the treasures lost due to Durvasa’s curse, including Amrit, the drink of immortality. Before the Amrit, came its twin, the Halahala, a deadly cosmic poison, potent enough to kill the world. That’s when He came. He gulped it in one shot, not concerned about his safety or its consequences, just to save the world. His wife meanwhile squeezed his throat in a desperate attempt to lock the poison in there, turning him into the beautiful blue throated Neelkanth.

My favourite god, is Shiva.

He is known by many names – Shambhu, Shankar, Sundareswar, Bholenath, Ekalinga, Umapati – the list goes on and on, but he’s famous by one only. Mahadev, the greatest of gods, the God of gods.

He stays aloof on his mountain. He doesn’t interact much with this society, and rather prefers his family and his ganas.

Unlike the other gods, he isn’t demanding. Worship him with a simple leaf or with a thousand flowers, as a simple stone or an elaborate idol, with plain milk and water or the rituals and customs of the same society he renounces and destroys, he doesn’t care. Even think of him for a second a day and he is pleased.

Unlike the other gods, he doesn’t discriminate. He doesn’t see society’s boundaries, for all he sees is true intentions. Ravana and Ram both pray to him, because he listens to both of them. Everybody worships him, because he is there for everybody.

For someone who is a sanyasi, a vairagi, he is pretty quick to emotion. He flies into a rage, and then calms down. He dances with joy, but then collapses in grief, much like a child. He expresses it all through his tandava, his awe and fear inspiring dance, for he is Nataraj, the Lord of Dance. His singing cause even Vishnu to melt, giving rise to the Ganga, and he plays the veena with a finesse that rivals that of Saraswati, the goddess of music.

He is covered in ash, and he only covers his groin with a tiger skin. His dreadlocks surround him, and he wears rudraksha beads. The moon rests on his forehead seeking refuge, while the Ganga flows through his locks seeking peace. The snake king Vasuki is coiled around his neck, and his vahana Nandi is so attached to him that he voluntarily turned from a boy destined for premature death into a bull as bright as the moon, just so he could be with him forever.

His wife is Adi Shakti, complementary to him in every sense. They are the eternal couple, and the only ones capable of dealing with each other. They are Ardhanareeshwara, the half man-half woman. The goddess is fiery, descending with all her fury to protect her and her husband’s devotees, whether it is through devouring demons or filling the bellies of the starving populace. Shiva doesn’t interfere much, but instead washes away the world in one go when things go awry.

His sons are Skanda and Ganesha, who protect and comfort the same society he shuns. His daughter is Ashoka Sundari, as beautiful as the ashok trees, who makes sure that the world is without grief.

Prey and Predator live peacefully on his abode. Everybody is content, even though they seem to don’t have much.

Don’t take his innocence lightly though. He can humble you and trick you as well, and his wrath is unrivalled.

Now don’t get me wrong, I love Devi and Krishna as well (I mean who doesn’t love Kanha?), but perhaps there is something about Shiva that just pulls me to him.

Shiva – the corpse brought to life, through Shakti.

[zarya-zaryanitsa]

Perun, Veles and the Christian Saints they became.

Today I wanted to share a few paragraphs from Russian Folk Belief  by Linda Ivanits, shedding some light on the matter of the Saints that Perun and Veles were amalgamated with in russian culture.

„There is no doubt that the favorite saint of the Russian peasant was Nicholas ("Nicholas the Wonderworker" [Nikolai Chudotvorets], Nikola, Mikola), the kindly fourth-century Bishop of Myra whose Life came into Russia shortly after Christianity. In the spiritual song, his name sometimes appears next to those of Christ and the Mother of God, indicating his high place in the peasant's religious hierarchy. 34 In the eyes of the folk he also acquired the status of apostle by accompanying Christ on his pilgrimage through Russia in some of the many legends on this subject.

Nicholas had an important place in the agricultural calendar as a patron of livestock, especially horses; he also was a protector of the grainbearing fields, and, according to some commentators, stood in special relationship to the earth, whose nameday, May 10, occurred the day after his spring feast. Almost all the narratives concerning St. Nicholas foster the image of kind and merciful helper.

(...)Legends contrast the kindly Nicholas with the awesome and punitive prophet Elijah (Il'ia) who, if angered, was capable of destroying a peasant's fields with hail. Scholars agree that he assumed the function and, largely, personality of the thunder god Perun, and that the process of assimilation was well under way among the Christian segment of the Kievan state at the time of Russia's baptism. Everywhere Russian peasants imagined that Elijah rode across the sky in his fiery chariot striking the earth with lightning bolts as he pursued the unclean force. Since the devil was prone to hide anywhere, measures were taken to keep him away during storms: the candles from Holy Thursday were lit, houses were censed, black cats and dogs, possible transformations of the devil, were thrown outside, and everything was sealed with the sign of the cross, for, according to general belief, the prophet might strike a house, animal, or person in which the unclean force sought refuge.

At the same time, the prophet had a beneficent side: peasants imagined that he carried water on his chariot to all the saints in heaven, and when he spilled a little, life-giving moisture fell to earth. It was, therefore, to Elijah that they prayed for rain. Elijah's Day (July 20) was regarded as especially dangerous: peasants did not work on this day for fear of angering the prophet. In some areas they fasted the entire week to appease him; in others they set offerings of a ram's leg, honey, beer, heads of rye, or other fruits of the earth before his icon, and they lit candles to him. In some places in Northern Russia it was the custom to butcher a bull on this day, a tradition that has been interpreted as a sacrificial offering to Elijah.

Commentators have long suspected that the faces of the deities of Russian paganism lay just beneath the surface of the saints of popular Christianity, but they have not always been certain which ancient god is represented by a particular saint. In the case of Elijah, of course, there is no controversy: he replaced Perun. There is also general agreement that St. Vlas assumed the name and function of Volos as cattle god. There is also general agreement that St. Vlas assumed the name and function of Volos as cattle god.

(...) Particularly significant in this regard is the reconstruction by V. V. Ivanov and V. N. Toporov of a Slavic variant of the Indo-European myth about the struggle between an atmospheric deity of weather and his earthly opponent. According to the Slavic model the thunder god Perun, whose home is ''above" (in the sky, on top of the world tree [an oak], on top of a hill), struggles with the serpent/Volos "below" (at the base of the world tree, under a stone) for control of cattle. The thunder god pursues his opponent, striking him in the tree or stone, burning him, or splitting him. The result of his victory is the appearance of heavenly water (rain); the serpent hides in the earthly waters. 80 According to Ivanov and Toporov, while Elijah was the main transformation of Perun, the evolution of Volos after Christianization proceeded in two opposing directions toward identification with both St. Vlas and the devil. Thus, the traditions of Elijah as a demon killer are a major source for reconstructing the myth, and, indeed, the stories of how Elijah (in some variants, God) pursues the unclean force are close to the model posited: the thunderer strikes the demon under a rock, under a tree, in a person, and finally drives him into the waters (Narrative 15). Ivanov and Toporov also see a reenactment of this mythic pattern in the traditions of St. George and the serpent. 83 This reconstruction has not been universally accepted. B. A. Rybakov faults it, objecting particularly to the equation of the serpent with Volos and to the notion that Perun and Volos must be viewed as antagonists. He suggests, however, that it might be fruitful to view the two as complementary, as antipodes rather than opponents, with Perun as an atmospheric deity and Volos as his chthonic counterpart. „B. A. Uspenskii, on the other hand, accepts the reconstruction of Ivanov and Toporov and, on the assumption that Volos is the mythic opponent of Perun, develops an elaborate argument that St. Nicholas is a thinly Christianized Volos. One of the major problems with such an identification is that we in fact know very little about Volos aside from his position as a chthonic deity originally associated with wild animals (especially bears), later becoming the guardian of cattle, wealth, and oaths, and a god of the dead. Nonetheless, this study draws on an impressive amount of evidence to show that St. Nicholas assumed probable functions of Volos, primarily in his role as a patron of flocks and agriculture.”

Russian Folk Belief  by Linda Ivanits

Russian folktale about Prophet Ilia and Saint Nicholas.

Art1: The Ascension of the Prophet Elijah (Elias) in Heaven. Icon of ca. 1650 from Corfu created by Theodoros Poulakis. Byzantine Museum of Athens. Art2: 1908 traditional icon of Saint Nicholas Wonderworker, author unknown

[riplever]

Fan-casting Kimura Ryohei and Namikawa Daisuke as Shi Qingxuan and Ming Yi

/*SPOILER WARNING*/

Consider this my manifestation for many many more donghua seasons and Japanese adaptations of TGCF.

I was thinking of these two for the male forms of the two characters, but I think it would be awesome if they retained the same seiyuus for their female forms as well. Especially as these two have the vocal ranges to pull it off!

First of all, here are their grossly simplified resumes.

Kimura Ryohei as Feng Shi, the Wind Master, Shi Qingxuan

Because Feng Shi is annoying but sweet, generous and sociable, kind-hearted and callous, temperamental but just, we're therefore looking for a Kimura Ryouhei voice that is somewhere squarely in the middle of these three characters:

- (Top) the annoying, superficial, gossipy, prideful, but also extremely talented & hard-working, inspiring, competitive, caring, and funny pretty-boy, Kise Ryouta from Kuroko's Basketball

- (Left) the malicious, volatile, effeminate, split-personality, villianous character, Swamp Demon from Demon Slayer

- (Right) the responsible, respectable, decent, upright, outstanding, not afraid of crying, handsome war general type, Izunokami Kanesada from Touken Ranbu. He would be the ideal martial god in TGCF

Namikawa Daisuke as Ming Yi, the Earth Master, who's in fact He Xuan, Black Water

There's a lot to go into about Ming Yi/He Xuan, but he generally behaves as subdued, stand-offish, and quick-tempered man. We're looking for a NamiD voice that has the intimidating presence of the scary looking guy on the right, and yet also sounds reminiscent of the pretty boy in the middle. Here's the breakdown of the three characters:

- (Middle) the annoying, superficial, gossipy, prideful, but also extremely talented & hard-working, inspiring, competitive, caring, and funny pretty-boy, Oikawa Tooru from Haikyuu

- (Right) the dogged, meticulous, monotonous, intimidating, stand-offish, nihilistic, bat-vampire antagonist Ulquiorra Cifer from Bleach

- (Left) the quick-tempered and crazy perfectionist bladesmith Haganezuka from Demon Slayer. This guy is here just to give an idea of NamiD's range

The take-away is that Kimura Ryohei and NamiD have similar sounding voices. It's how they got casted as Kise and Oikawa respectively, whose superficial personalities are identical to Shi Qingxuan's. These three even have similar supporting characters written around them - those that amicably tolerate and/or see the humor in their antics, those that scold them for their shit, and those that single them out as rivals and competition.

In addition to the roles that I highlighed, here's a clip from a seiyuu event (for Collar X Malice) generously translated with English subtitles on youtube, where you can catch Kimura and Namikawa chatting.

Why cast two similar-sounding voices in a pair?

A pair of characters are usually as different and complementary as possible. Such pairs tend to enjoy great longevity.

It's much rarer that a pair is written to be similar. An example from recent anime that comes to mind is these two from Demon Slayer:

Two boys, Tanjiro and Sabito. Both are at identical stages in their lives, of similar size and age, have the same potential and ambition, and are both the most talented students of a famed Water Master who lives on a mountain. They're so similar that there would be moot point in depicting Tanrjio's tutelage under the Water Master after sharing Sabito's, because their character development - in respect to this particular chapter of the story - was identical.

There's no meaning in telling two versions of the same story unless to make a point about the one specific thing that separates the two from each other.

In their case, a single misstep in a fight took Sabito's life, bringing all of his dreams and hopes to an abrupt end. Tanjiro, who faces off against the same foe years later, paralleled Sabito, but manages to emerge victorious.

Tanijro lives. Sabito... rests in peace.

Their actors? Hanae Natsuki and Kaji Yuki, who both have high-pitched and youthful voices, and so are often casted as the teenage protagonists in shounen animes - such as Tokyo Ghoul and Attack on Titan respectively. This is something that both actors are personally aware of, with Hanae even sharing how he'd been told in the early days of his career that he should aspire towards Kaji Yuki as a voice actor.

Do you care about voice actor association?

How much of a voice actor nut are you? Does it add on to your experience if you recognize a name from a different show? Do you recall their previous roles as you watch their current projects?

For some reason, thinking about performances in association with an actor's resume is something I always do in the back of my mind. For example, we have Suwabe Junichi dubbing Pei Ming in TGCF, yet another example of god-tier casting in this series. I first discovered Suwabe from his performance as hot, crazy and wild bad boy Grimmjow in Bleach; he's also since portrayed flawless boyfriend type Victor from Yuri on Ice, and sleep-deprived passive-aggressive homeroom teacher Aizawa in My Hero Academia. It enhances my experience of media consumption to have knowledge of his repertoire in the back of my head, so much so that my brain managed to conjure up Suwabe's low, husky voice in every scenario that Pei Ming appeared in, despite the fact that I was reading the books in Mandarin Chinese.

It's this meta level of fun that makes me look forward to the appearance of SQX and HX - I mean Ming Yi - in the Japanese dub. If you noticed, the show released casting information on secondary characters Pei Ming, Pei Xiu and Banyue just prior to the series launch, but didn't provide any information at all on these two - dare I say - highly anticipated characters in particular.

What makes SQX and HX's relationship so fun and twisty is that they are practically identical. That is the entire reason as to how Shi Wudu swapped their destinies in the first place. While their similarities isn't obvious on first glance, or even in this season of the donghua, there's nothing stopping the production team from laying hints with some... Insidiously clever voice actor casting.

If you're not as much of a fan of Kise and Oikawa as I am, this fancast is probably going to mean a lot less to you then it does to me.

If you're familiar with Oikawa but haven't heard of Kise, I hereby beseech you to check him out. You'll like Kuroko's Basketball very easily if you like Haikyuu. Both are hit sports anime series from Shonen Jump, dealing with similar themes of the individuals that make teams that play the sport.

As for why SQX is going to Kimura as opposed to Namikawa, apart from my understanding of their vocal ranges (see above), I also simply imagine that Kimura's tearful, desperate and nasally apologies would be as much of a treat as the undercurrent of spite-filled, vengeful rage in Namikawa's voice... come that scene.

I mean, if they can tap Kamiya and Fukuyama for the leads, surely they can afford a couple more prolific voices for the secondary characters!

[aspoonofsugar]

RWBY Chain Of Faves

Who are your top 10 favorite RWBY characters and why?

Hello anon!

Thank you very much for this ask! I love talking about faves!

1) The murder kids aka Emerald and Mercury

I have talked about them here and here and I’ve shared some minor thoughts here and here.

I think their story has yet to enter its climax, so the metas on them are not as finalized as those on other characters. Still, the set-up is all there and I love it. As I say in the metas linked, they are a unit (body and soul, weapon and semblance). They are also two of the characters who mostly explore the cycle of abuse (together with Cinder, who is both victim and perpetrator).

I like how they are given the chance to screw up very very badly (and are given consequences for their actions), but are also always framed as two kids who try to be toughter than they are.

What is more, I love their relationship and their dynamic with Cinder. I think both bonds are very complex and are shown rather than told. This is why Emerald and Mercury’s body language is very effective imo. Their closeness is mostly conveyed through them glancing at each other or how they move around each other. This makes sense because they are in a place where they can’t speak freely.

In particular, I like that their relationship is deep, but not idealized. They care about each other, but are too scared to save each other. This is why Emerald needs the help of an adult (Hazel) to leave her abusive environment. This is also why she is recovering in a healthier environment that also lets her understand the consequences of her actions better. At the same time, Mercury who is instead stuck with another abusive mentor can’t currently escape.

When it comes to each one of them individually...

Emerald’s design and semblance are among my personal favourites. Her semblance especially is at the very top of my list. It has so much potential thematically and flexibility in terms of use (invisibility, transformation, specific illusions fitting a character’s flaw). I hope they use it more and in diverse ways in the future to show Emerald’s growth. For example, how cool would it be if she used it to help another character overcome a panic attack? Or if she helped Ruby enter the mental state to use her eyes with it?

I also really like she has a specific fighting style that fits her thief motif and is very different from others. It is less scenographic, but  very pragmatic and I love it.

I also liked the focus she received this season and I think it needs to be finalized. I am curious on how it will happen.

Mercury’s background is the one which breaks my heart the most. The little we know is horrible :( I also think it is a story that heavily relies on symbolism to convey the idea of abuse...

Marcus took Mercury’s legs, so he can’t psychologically escape the cycle of abuse... Marcus told Mercury he needs no crutches and Mercury is refusing to aknowledge his hurt and to heal... Marcus’s violence messed up Mercury so much he is not sure what he wants and his semblance is missing to underline it.

I wonder if we will discover more about his background or if what we have so far is all. I can see it go both ways to be honest. Also, Tyrian’s interactions with Mercury are interesting and meaningful, but also terrifying. I both want more and I am scared of having more :’’)

I am also looking forward to see how his allusion will be used. As for now, he has the potential to have at least three different motifs going on. The one of Mercury the God, the one of Mercury the metal and the one of Mercury the planet. Curious to see what is done with them!

Finally, I’m the One is one of my favourite songs because it is full of foreshadowing and perfectly conveys what their characters are about. I would love to properly analyze it one day, even if I have used it in multiple metas already :), so I am not sure I have new things to say.

The same can be said about their fight against Coco and Yatsuhashi and their fight with Cinder against Amber. In a sense, those two fights are complementary, since the first one foreshadows their major assets that are properly shown and charged symbolically in the second.

In short, their fight with Coco and Yatsuhashi is how they want to appear:

I'm the one that your mama said 'Don't mess with them or you'll end up dead That type they don't follow any rules'

Their fight against Amber is who they are deep down:

I'm the one That was born in a nightmare a murderer's son

I'm the one Who rose out of filth and was loved by no-one

3) Penny

She is the protagonist of the Atlas Volumes and has my favourite arc so far.

Her arc is contradictive, sad and powerful. In a sense, her whole character is written to hurt :’’’) She is given a happy and enthusiastic personality to hide how tragic her story is.

Penny is an example of how to write a specific kind of tragedy, where the main conflict does not lie in the character’s flaw, but in the environment she is in. Penny wants to be a “real” girl, but others won’t let her. This conflict escalates until she tragically manages to affirm her personhood in death.

At the same time, she is given self-issues that can be seen as a flaw and tie to her environment. She is self-sacrificial and struggles to see herself as a true person. Still, this flaw does not really drive her plotline (others’ control of her does) and, as @hamliet​ has stated, it does not eat everything around Penny.

So, she dies tragically because she never gets the chance, not even to overcome these self-issues, but to properly face them. At the same time, her death is powerful and cathartic because she negates others’ control and manipulation. She negates the mechanisms that had her develop self-issues to begin with.

Is it a happy outcome? Not at all. It is sad and contradictive. It is gray, but this is precisely why it is powerful. It manages to convey and explore complex and contradictive ideas. It does not offer an answer, but only bittersweet questions.

I also really like how Penny’s allusion is used in the story. It is played straight in terms of plot since Penny becomes human as the story goes on. However, it is problematized in terms of themes. It conveys that humanity is about making choices and experiencing both happiness and pain. Finally, Penny’s final scene is an inversion of the original novel.

Penny is not the Blue Fairy’s creation, but the Blue Fairy’s creator:

She goes from Creation (passive, a child) to Creator (active, an adult).

Incidentally, Penny too has one of my favourite songs. Friend is beautiful and it perfectly describes her arc. It conveys how much she loves humanity despite how complex and painful it is. The music starting slow and melancholic to gain more power as it goes on describes Penny’s life beautifully. It is a story that ends too soon (the music interrupts at its most vibrant), but it is still a melody full of love for life:

An answered prayer A chance to Share the world To be a girl Who fin'lly felt alive

4) Cinder

Cinder is probably the most complex and best written character so far.

She manages to make me feel for her and to make me incredibly angry with her at the same time :’’’)

I have written several metas on her, so you can read my thoughts on her background, the focus she received this volume, how I think her arc will end and some minor symbolism.

Cinder is built on an equilibrium between victim and perpetrator. She is both and the narrative strikes perfectly with its framing of her. It is both sympathetic and strict and most of all tragic because no matter if Cinder wins or loses... she keeps spiralling either way and she can’t understand she is fighting a worthless fight.

She is also full of interesting motifs and symbolism. One I would like to explore more in the future (and for it to be explored more by the story itself) is her fall motif.

She chooses the surname “Fall” herself when it is decided her first target is the Fall Maiden. This makes for a nice juxtaposition between her and Winter.

Cinder is born with nothing. Her own name refers a substance almost completely burnt, something with almost no color. It is a very humble name, so she chooses a surname which is important. It is a surname that hints to her role as a vessel of the Maidens.

She is not chosen to be a Maiden... she is not supposed to be one. However, she decides she is going to take the power even if it is not hers. She is taking destiny in her own hands.

Winter is born with apparently everything. However, this is also why everything gets decided for her. She is given the name Winter before she was born. Similarly, Ironwood chooses her as the Maiden even before she discovers about them.

Cinder sees Winter as having everything Cinder deserves. However, she misses how Winter is facing very similar struggles. She might be given what Cinder is negated, but she too has to make that destiny hers. She has to take her story in her own hands, just like Cinder.

At the same time, Cinder’s fall motif is linked also to the idea of falling. She falls and makes others fall. Exactly like she burns and is burnt. The orange of her flames aesthetically calls back to the orange of the falling leaves.

This idea is also conveyed through Cinder constantly mistreating and even killing characters representative of sides of herself.

She abuses Emerald and Mercury aka her child selves.

She kills Watts aka her negative foil.

She kills Pyrrha and Penny aka her Maidens’ foils.

It is clear that all this hurting and killing parts of herself won’t end well for her. I mean, she, not Salem, is the one responsible of the two major deaths in the series (Penny and Pyrrha), so she is bound to receive consequences.

Another thing I love about her is how her intelligence is people focused. She is very good at reading and manipulating others and this is how she wins her major fights. This is both her flaw and her major asset. I like it because I think RWBY is good in showing different kinds of intelligence and Cinder’s one is very coherent with her personality.

Finally, I love how her Cinderella allusion is used. It is a deconstruction of the original fairy tale that is born from a question: “What if Cinderella were not the kind victim of the story, but a bad victim?”. It is also interesting how the key character in Cinder’s allusion is not the Prince or the Stepmother, but the Fairty Godmother who fails her twice (Rhodes and now Salem).

As a side note, I can’t wait for The Truth to be out in its complete version.

5) Oscar

Aka the one who deserves nothing of what he gets :’’’)

I love him because he is an example of how to write a character who is a cinnamon roll, but that also is not boring and has complexity.

His struggle is about his sense of self. He starts the story by wishing to become more than what he is, but he does not like that this “more” turns out to be about fusing with another person. He wants to grow not to lose himself to another entity.

This is his major fear:

Who will you see? There in the darkness When no one is watching Who will you be? When you're afraid And everything changes Will you see a stranger? Feel proud or betrayed?

This is well conveyed also by his relationship with the rest of the group. He starts as the odd man out and others mostly rely on Ozpin rather than him. He sometimes even seems to disappear behind Ozpin. However, as time goes on, he forges genuine bonds and he becomes dependable on his own. He becomes even more so than Ozpin because he has something Oz lost out of cynism. The ability to trust.

In the Atlas volume he is the character that embodies the thematic statement about trust:

Oscar: You want him to trust us? Then trust me.

The point is that to be trusted you should trust first, even if there is no guarantee it will work.

It is interesting because the theme of trust is explored starting with Ozpin, Oscar’s foil, who does not trust others, so our protagonists feel betrayed. However, in Atlas they find themselves in Ozpin’s shoes and must choose if to trust Ironwood or not.

Here, we explore a form of conditional trust. This idea is presented by Ruby, who wants to be sure it is safe to trust Ironwood. So she keeps secrets and studies him until she decides she can trust him... only to discover that was not the case immediately after. This happens because trust can never be completely safe. Actually, in its most negative declination, this kind of trust becomes the control symbolized by Ironwood.

No matter what, trust is always a leap of faith. This is why trust is a risk. Oscar shows this concept well. He decides to still trust Ironwood at the end of volume 7, but it does not work. Still, he does not stop and decides to trust Emerald and Hazel. This time his trust and faith are repaid. He is fred and gains a new ally:

I love Emerald and Oscar’s interactions btw :’’’) It is good that Oscar is the one who is growing closer to her. They escape Salem together and Oscar has not been hurt by Emerald the same way the others are.

Anyway, even if trust is worth it, the exploration of this theme in Atlas actually ends on a negative note. It ends with Cinder who is an enemy of trust because she uses others’ trust and feelings against them.

Anyway, Oscar is a key character and I can’t wait for his story to develop more!

6) Ironwood

He breaks my heart.

He is a an excellent tragic Hero.

He thinks he is the Great Good, but this is precisely why he spirals out of control and falls with his own Kingdom, hated by his allies and forgotten by his enemies.

His downfall stems from his inability to trust, his refusal of emotions, his single-mindness and mostly his convinction he is better than others. This idea is structural of Atlas society and is seen in many of his inhabitants. No matter the social class, we see multiple people thinking they deserve better and that they are above others. This is why Atlas falls and his people becomes refugees in the poorest Kingdom of Remnant.

Anyway, Ironwood thinks he is better than others, so he should be the one deciding for others as well. This idea is flawed and perfectly conveyed through his ideology of sacrificing everything. He feels he has everything, so he can sacrifice what he wants. Still, this is not the case. Others’ lives and feelings are not his. He doesn’t own them.

7) Weiss

I love Weiss. She has one of my favourite designs and one of my favourite semblances and fighting styles.

Her snowhite allusion being played to explore the idea of a dysfunctional family is very good.

In general, I love how much she has grown slowly, but steadily and how she has progressively become warmer. I enjoyed her interactions with her siblings this season. She also gets many moments where she shines for her humanity and intelligence.

She is both Snowhite and the Prince, but also the Huntress that changes and makes others change. She becomes an inspiration for her whole family and since the Schnees are all in Vacuo and she will eventually join them, I am curious if there is going to be more about their family dynamic.

Other than this, I am excited about her Nevermore summon, what is means symbolically and when she will use it.

8) Ruby

I think Ruby’s arc must still enter its climax and that she will shine towards the end of the series.

That said, I love her as a protagonist. She has an interesting set of skills that makes her competent, but not invincible. Moreover, I like how she is important and a participant of the plot, but also does not single-handedly solves everything by herself. She has to learn just like the others. For example, this volume she learns that trust is a risk and the importance of taking risks.

Moreover, she is actually very rarely the protagonist of a volume climax. Speaking of the most climatic volumes, Pyrrha is the protagonist of the climax in volume 3, Yang and Raven are in volume 5, Penny in volume 8.

The climax where she is the most in focus as a character is volume 6 and that is the volume where her eyes are explored and her personal arc is set up. That said, she still manages to be important and to contribute to the action in many ways.

I think her role is to inspire others and I guess that by making that speech this volume she is gonna grow into a symbol even more. If that happens it will be interesting to see what this means for her.

Apart from this, I am curious about her subplot with her mother and if it will tie to her choice to save Cinder with her eyes (since I think this is where we are going). She is going to be both Hood and the Huntsman who kills the Wolf and saves the Victim.

9) Nora and Ren

They are my favourite canon romance.

Their story starts with Ren getting focus (with Nora as a support) and is slowly shifting to Nora developing as her own person (with Ren as a support).

It fits for them to be one of the series main romances because as characters they both explore the concept of emotions and emotional intelligence.

I would say Nora is one of the most emotional intelligent characters in the cast. She is aware of her own feelings for Ren and tries to push their story forwars. She quickly picks up on Pyrrha’s crush and encourages her to make a move. Honestly, she sees herself as a dumb jock, but she is far from it. She is one of the wisest and most sensitive characters:

Nora: You shove people out so you don’t have to feel things that are hard!

Ren is ironically the one struggling with feelings, even if his semblance is all about emotions. In a sense, it is as if he develops it precisely because he struggles with this part of himself.

As a child he is easily overwhelmed by emotions like fear, which goes in the way of his actions. So, when he is under stress he deveops a magical power that lets him control this part of himself. However, as time goes on, it becomes more and more obvious that he should face his own feelings. And once he faces them:

Ren: No! No one is replaceable.

Then he becomes able to see both himself and others more clearly.

In general, both Ren and Nora must overcome their issues if they want to end up together.

Ren’s issue was his fear of being completely vulnerable and to open up with another person. Nora’s is her complete dependance on Ren and how she sees herself as only a part of him, while she is much more.

As a side note, Ren finally confessing his feelings for Nora only to be (temporally) rejected is a great note for his character arc. He was repressing his feelings out of fear, but now he has grown enough to take a risk (opening up, showing vulnerability). Well, this risk does not pay off immediatley. Nora asks him for some time and this is surely not how Ren would have hoped things to go. Still, he understands and supports her. He takes an emotional risk that does not pay off immediately, but he is able to live with it.

In terms of writing, I also think Raven is top notch. Moreover, Winter is a lowkey favourite as well.

I also like some minor characters like Ilia, whose background is built on a very interesting premise that fits her chameleon motif, and Whitley who manages to be helpful even if he is not a fighter. Velvet also has a cool weapon and semblance that tie with her photography motif.

I also love Yang, Blake and Jaune aka the other members of the main cast.

In terms of design, many of my favourites have also my favourite designs (Emerald, Weiss, Mercury, Cinder, Penny, Winter, Ruby, Ren and Ilia).

Other than them, I love Neo’s design, characterization and fighting style:

Finally, I also like Tock’s design and concept, even if she only appears once.

Thank you for this ask! I had fun with it!

[tls123]

do you have any xicheng headcanons

okay i don't know about headcanons but the main thing i suppose, is uh... well, i like it best when their relationship is built on them being on the same page + on equal footing. in general but also, given that i enjoy them getting together post-canon, specifically in the way they help each other heal and grow. i've read some fics where one does the healing and the other is just there to do all the heavy lifting and it doesn't feel right. it's so much more satisfying, both as a reader and from a character standpoint, when it's the both of them walking the path together; where they both give and take, where there's bad days for both of them, where the need for understanding comes from both. and i like when parallels are drawn between their situations/experiences but they both get to acknowledge that no matter how similar the overall story may seem, the circumstances are different, and so they get to support one another by also letting each other know that hey, what worked for me might not work for you and even if our situations were completely identical we're still very different people at our cores and so we will always handle/heal from things differently.

comforting but not patronizing, at time harsh (sometimes one does need to be snapped out of it) but never cruel.

but headcanons uh? i don't think i've thought of headcanons for a pairing i like in ages tbh but let's see if i remember how to do this lmao 🤔

i like the idea of them having different kind of knowledge/expertise, in a way that's complementary. maybe it's a bit bland as a headcanon, but the idea of jiang cheng having more hands-on and practical knowledge while lan xichen has the more literary, textbook knowledge covered is something i'm really into. as long as it doesn't get too... two dimensional? jiang cheng should still be well-read and lan xichen shouldn't be an incompetent fool when put in front of, idk, the mdzs/untamed equivalent of ikea furniture. i just mean this as their strengths lying more in those areas, if that makes sense?

they should be friends first, i want them to be friends first

the funny parallel to wangxian where, like wei wuxian can read lan wangji's microexpressions, lan xichen is an expert in deciphering jiang cheng's scowls and jiang cheng knows exactly which of lan xichen's smile is his 'fuck you <3' smile

they're both so powerful and strong and independent but i am a little bit of a sucker for the king and lionheart trope so i enjoy the idea of jiang cheng as lan xichen's Scary Shadow (god knows he doesn't need it but!! even if it's just to scare off people who have been talking lan xichen's ear off for two hours because they refuse to get the hint that, hey, maybe sect leader lan has other shit to do! it still counts) but that aside and given zidian, wouldn't it be aesthetically pleasing if they were to reverse the roles of wangxian's usual battle strategy? and so lan xichen would stand (mostly) in one spot and jiang cheng would twirl around him ahah purple lighting goes brrr (but also!!! it would then mean that they fit perfectly on the battlefield with their own brothers too. it would be a role they're used to, you know what i mean??? isn't that exciting?)

one of the best things i like for them is that they can let go a little, i feel like they'd be able to be honest in a way that is 100% real. jiang cheng is brutally honest and lan xichen doesn't lie but there is always that one last step of truthfulness that they won't touch, like a margin of error that they leave for themselves. and so i feel like they would recognize in each other (maybe jiang cheng in lan xichen first) a bitterness that is usually kept private. a bitterness that, with each other, they wouldn't need to soften or sweeten or hide. not only because they know the other one gets it, but also because they know it won't hurt them to see it.

i want them both to be flirts (in the right moments). i also want them both to have moments where they legit have no fucking clue how to react to the other flirting with them, where it gives them brain freeze for a second. i want them confident, but even the most confident motherfucker should have a 'oh.... me? were you just..?' kind of moment.

everyone and their mother thinks this but i might as well add it: lan xichen being the only one who calls him wanyin and, later, much later, jiang cheng being the only one who calls him lan huan (but only in private, otherwise i like him calling him xichen)

i feel like neither would be the jealous type but maybe sometimes it does get the best of lan xichen, though only rarely. jiang cheng is just too practical for that (he has other issues, give him this at least)

inspired by this post: you know those moments in brooklyn-99 where terry has to physically pick up rosa and then amy because they're in full bloodthirst mode? that has to happen at least once with these two. aaah idk something like: jiang cheng isn't even talking to wei wuxian at this point but the guy lets it slip that "actually lan zhan and i are already married" and in .2 seconds lan xichen has an arm around jiang cheng's waist and has picked him up to hold him back. but only to give wei wuxian a head start. he lets jiang cheng go a moment later because he's actually as much of a little shit as anyone else.

jiang cheng is a sucker and has no back bone it's all: "wanyin? :)" "no." "wanyin :'(" "fuck, fine!"

lan xichen probably just remembered how baby jin ling had his uncle tied around his little finger and thought he could learn something from it

speaking of babies...... lan xichen sees jiang cheng with a baby and almost dies on the spot (because jiang cheng is very much the gordon ramsey with kids vs with adults meme) "you saw me hold jin ling for years?? this is nothing new?" "...still." jiang cheng can only roll his eyes at that. and then he sees lan xichen with a baby lan disciple and yeah okay he gets it now.

watching them spar is fine most of the time, even fascinating because that is zewu-jun and sandu shengshou, but then sometimes it'll be just as disgusting as watching wangxian do.... well, anything really. and then everyone has to clear out of the training field to let them spar alone. they're not even doing or saying anything, it's all in the eyes.

personal preference is no terms of endearments because they have so many titles, so many roles, they're so many different things to so many different people that hearing their name, a name they don't hear from anyone else, would help take the masks off.

jiang cheng doesn't particularly like holding hands but 1) he won't mind if lan xichen wants to hold his hand and 2) honestly he makes up by giving those jiang cheng(tm) full-body hugs of his

i think i fell more into what's expected of headcanons in the bottom half of the list but i also feel like none of this makes sense so oh well. besides, these aren't things that are set in stone for what i enjoy for this pairing. especially when considering a fic's context and how that might change the way they interact with each other.

anyway! hope this was at least a little bit what you were looking for, like i said it's been years since i've been asked something like this! most of the time i just enjoy a pairing quietly in my own little corner of the internet lmao

[captorations]

name a character dynamic better than rapunzel, eugene, and cassandra. i fucking dare you.

rapunzel and eugene by themselves are good. cute. solid m/f bisexual relationship. talk honestly about their problems the vast majority of the time. eugene going “i don’t understand but i promise to do everything i can until i do understand” right at the start of the series cemented his status as a Good Boy. his vanity counters rapunzel’s extreme selflessness in a way that helps both learn to mitigate the harm said traits can inflict on others. they love and support each other but aren’t afraid to course correct when one is making a mistake. healthiest and most complex canon romantic relationship ever portrayed in a classic disney property, easy.

cassandra and rapunzel are. nothing short of incredible. they have a lot in common with catra and adora, actually, to the point where the the two shows share an episode plot beat for heart-wrenching beat. they’re complementary opposites in every way. the story wasn’t exactly subtle about this, setting them up as wielding two halves of a single power represented by the sun and moon. early on, cassandra basically acts as rapunzel’s anger translator, because the girl needs it. rapunzel’s entire arc throughout the series is learning to feel and express emotions healthily. so is cassandra’s to an extent, but they have polar opposite starting points. unlike with eugene, rapunzel’s relationship with cassandra is turbulent to say the least, but at no point were they not acting out of love for each other. not once, even when cassandra had, in her worst moments, almost managed to convince herself otherwise. she never quite manages it. she knows she’s playing a role, trying to become the villain, trying to martyr herself to save rapunzel from walking into death like a heroic idiot. by the end, by the time they finally understand and trust each other completely, you have a pair of characters that are basically unstoppable. there is no situation one of their skillsets cannot handle, with the possible exception of a few that eugene could handle more effectively. this is why i firmly believe that cassandra’s ideal future is, eventually, as the *king* of corona at rapunzel’s side.

without cassandra and eugene in each other’s proximity, they, rapunzel, and the damn show kind of fall apart. for evidence, see: most of season 3. they spend most of their time just tearing each other to shreds for fun. you know it’s for fun, because the *instant* someone pisses them both off they switch gears and destroy the offender in perfect sync and far more viciously than when targeting each other. cassandra and eugene understand each other better from the start than rapunzel understood either of them at first. they know they can count on each other when it matters. and while it probably isn’t romantic (i could see an argument for it, but i lean towards them being platonic), they love each other. they absolutely do. you think cassandra was only sacrificing herself for rapunzel? ha, no. she did everything she did so that rapunzel AND eugene could live their perfect happily ever after without her.

take all these interactions and have them running concurrently and you get a nonstop whirlwind of shenanigans and great character moments. comedic, tragic, dramatic, anything in between. each pair is only made better by the presence of the third, and each individual is only made better by the presence of the other two. god this show fucks so hard

[marahope-things]

I think the similarities that people are finding between Adora/Catra and Mara/Light Hope are less to do with the relationships being the same internally (as in, in terms of the dynamics between the two characters) and more to do with the fact that their stories deal with a lot of the major themes of the show, because the two pairings embody a LOT of the major themes of the show between them.

I don’t think it’s an accident or any kind of misrepresentation that the two relationships have parallels, but as someone who enjoys Mara/Light Hope A Whole Lot, while being pleased but more or less happy with how Catradora is presented in the show and not feeling a need to go beyond that, I want to unpick why, and what some of those differences are.

Partly because I think people make broad, thematic-level arguments about why a pairing is attractive to them, and for me, there are a lot of intra-relationship or interpersonal dynamic elements that have more bearing on why I like a ship. And it’s hard to frame in a positive light, but with Catradora, they already engage with some relationship dynamics that I’m a huge fan of (namely, rivalmancy, childhood-friends-to-lovers, and enemies-to-lovers).

The big similarities I see people picking up on are: The mind-control thing, and the "you deserve love too"/"you’re more than what you can give to other people" exchange.

And these are extremely valid parallels! They touch on two Extremely Core messages of the show! They’re very real! And you’re correct—those parallels do mean something about Mara and Light Hope, about their importance to the show and its message. Mara and Light Hope embody many of the show’s core themes, and I am glad people are starting to write about that!

But I find myself sometimes feeling like that’s… not quite the reason why I like the pairing. Y’know?

So, with the caveat that this is just my feelings about the pairing, and probably literally everyone who ships either Catradora or Marahope has a different opinion than me in some way or other, I want to discuss the major differences between Catradora and Mara/Light Hope as I see them.

Because we started liking these ships before we saw the themes that they’d be used to embody in the end, right?

Breaking it down

What Adora and Catra have is a rivalmancy, essentially—especially when they’re first introduced.

Even when they’re on the same side, they have a competitiveness to their dynamic, and part of what drives their split is that Catra, on some level, resents Adora for getting all of the things that she wants, but can’t have, because of (basically) Shadow Weaver—and then abandoning both it and her. It’s a rivalry between peers, fellow soldiers, and there’s a colossal amount of abandonment issues and emotional trauma involved as well. They’re also both close to the same age.

And they were raised together. They spent their formative years extremely close, and their split has a lot in common (probably intentionally) with painful adolescent splits that happen as people grow up, change, grow apart, and (sometimes) come back together. It’s quite moving!

Mara and Light Hope aren’t peers in the same sense; you get the sense that they started out more like co-workers, and their eventual split only happens because Light Hope has their mind wiped and their ability to choose taken away from them (Catra, on the other hand, makes a lot of choices that put her and Adora at odds, often intentionally). The two of them work together and depend on each other, and they become friends, and their roles are complementary. Literally neither of them could do the other’s job, and they depend on each other’s skillset and resources to stay safe and fulfill their own duties effectively.

So they meet as fully-formed (relatively) people in a professional context and become closer, rather than being together for those formative years and undergoing a separation as they change and discover they don’t fit the same way they used to.

There’s also an implication that Light Hope may have trained other She-Ras in the past. I don’t know how long Mara expected her tenure as She-Ra to be, but it seems like that could be a lifelong commitment, once she’s been chosen. If so, then that could imply that Light Hope’s "age" (though I don’t know if that’s something anyone would even keep track of for an AI, because they weren’t supposed to change and “grow” like a person) is on the scale of centuries by the time she meets Mara.

And even if you headcanon them traveling to Etheria together immediately after Light Hope was minted, they’re still not really anything like Catra and Adora in their dynamic. The development of their relationship has a lot more in common with interspecies or human-AI relationships in sci-fi—Terminator, Andromeda, and Killjoys come immediately to mind.

I’m also intentionally including platonic relationships here, like John Connor and Uncle Bob in Judgement Day, too, because this is such an established trope, and touches on some of those Core Sci-Fi Questions that exist in the genre—about the nature of life, consciousness, sentience, individuality, and choice. It’s not just in a romantic context that you see humans and AIs ruminating to each other about what beauty is, why people find flowers “pretty”, what it means to have free will, to feel emotions, or to be an individual. Hell, you can even include Data from Star Trek in that list.

But it is also something of a trope for AIs to "fall in love" or develop special bonds with humans that they work particularly closely with, or for humans to fall in love with AIs (sometimes they go more Pygmalion with the latter and cast the human as the AI’s creator).

Which brings me to the core trope being engaged in Mara and Light Hope’s relationship, one that Noelle has actually alluded to in their remarks during the "Exit Interviews" streams:

Relationship makes Light Hope more than their intended purpose.  

Memory and programming

In one of the streams, Noelle states that the writers’ room made the decision that something about Etheria "broke" the people who have tried to conquer it, and kind of made them part of itself (God this show has Star Wars all over it). He uses several examples, including Hordak.

Hordak, however you feel about him, develops a sense of individuality that makes his re-assimilation into the greater Horde impossible. Like Light Hope, he remembers things he isn’t supposed to, and on being presented with a physical reminder of Entrapta and his relationship with her, Horde Prime’s conditioning begins to break down.

Over the course of her arc, Mara comes to realize that being She-Ra means something more than her superiors have told her, and on realizing what her superiors are doing to Etheria, concludes that She-Ra, and all of Etheria, are being exploited and need to be protected from the First Ones. So, by betraying the First Ones (breaking her oath to them), Mara fulfills her role as She-Ra.

And Light Hope falls in love with Mara, something she was never supposed to be able to do. In the end, it is the memory of Mara that allows Light Hope to break through her programming long enough to allow Adora to destroy the Sword.

I know I brought up how AIs gaining sentience and self-will is a trope within sci-fi, but the best recent example that I can think of off the top of my head (and the reason I was able to articulate this at all) is actually The Good Place, with Janet.

In The Good Place, successive reboots are the in-universe mechanism that allows Janet to grow and change—but it’s her relationship with the other core characters that shapes who she becomes and what she believes. In fact, if she hadn’t been stolen and rebooted so many times in the first place, she never would have become who she did at all.

So: Like the rest of the cast, relationship makes Janet more than she was originally intended to be. Relationship makes Janet whole and fully alive. Light Hope’s story is, um, a bit more tragic, but I think the comparison works.

Catra and Adora, on the other hand, are dealing with a separate problem(/s): Catra’s pain and abandonment (and Adora’s self-abandonment) as a result of what they endured growing up, and the angst of childhood friends growing up and growing apart. It fits very squarely within the parameters of She-Ra as a kids’ TV show.

To boil it all the way down, their relationship *is* the problem. And it takes the whole show to fix it.

What’s suggested by the (sparse) textual evidence on Mara and Light Hope is that their relationship followed a more well-worn sci-fi path: By becoming friends with Mara, Light Hope learns how to be in relationship with another person, how to make her own choices, go against her programming as needed—how to have fun and appreciate beauty and being. Her falling in love with Mara is, metaphorically, her learning how to be alive in the world. Through loving Mara, she gets a glimpse of a world beyond being someone’s instrument, someone’s tool.

That’s part of what’s so heartbreaking and beautiful about them: In the midst of a situation that’s that’s built on deception, concealment, and coercion, where both of them appear to have been lied to or denied the entire truth by their superiors, where Mara, Light Hope, and the entire planet of Etheria are considered expendable by their superiors as long as they get their shiny weapon, Mara (who seems to understand that there’s more to life than duty and heroism) creates a space for Light Hope that is free from the constraints of her programming, to a degree. And as a result, Light Hope changes.

If Light Hope is a villain for her role in all of this (and this is complicated by the fact that she’s a programmatic being created for a particular purpose), then loving Mara is part of what makes her redemption possible. Her relationship with Mara makes her more than a weapon. In fact, it breaks her as a weapon.

And there’s certainly elements of that in Catra and Adora’s relationship, but it’s not the throughline that it is for Light Hope and Mara until you get to season 5—a full three quarters of the way through the show.

Love also doesn’t play as positive of a role in Catra’s redemption arc, really (where her parallels to Light Hope would be the most obvious), both because her villainy is something she explicitly chooses, and because her internal conflict and pain regarding her feelings for Adora are so much a part of her villainy. It only becomes redemptive in Adora’s struggle with the Failsafe—i.e. when we get back into the world of the First Ones, where most of the themes of "destiny" live.

So yeah. That’s the breakdown. I want to get into the individual tropes, but I’m going to have to save that for another day.

[dwollsadventures]

Of all the Mesopotamian gods and monsters, Tiamat is the most well-known. Mostly because she is both a god and a monster. In the Akkadian religion Tiamat was originally a primordial figure, a goddess symbolizing salt water. In the beginning of the cosmos the salt water of Tiamat mixed with the freshwater of Apsu (an event actually seen in the Persian Gulf). There the two sat and slept, basking in each other's presence. There was no Earth, no Heaven, no light. Only a dark, warm swirling of water, reminiscent of both the beginning of the universe and the womb. Among the pair's offspring was Lahmu and Lahamu, who went on to give rise to the new generation of gods, the earthly and heavenly ones. Apsu planned to kill his children, as gods of the Near East are wont to do, but was slain before he could carry out the theocide. In revenge Tiamat rose up, birthed a legion of monsters (see all previous entries), and sought to carry out Apsu's original plan. In her possession she had the Tablet of Destinies, which granted the holder dominion over the cosmos, a clay "crown" of the divine right to rule. Tiamat was a terrible force to reckon with. The earthly and heavenly gods needed a hero to save them. So they called upon Anu. Or was it Enlil? No, it was Marduk! Marduk came as slew Tiamat with a club in a gruesome fashion. Her armies were summarily bound and shackled to his feet. Forevermore they would serve his as the demons and monsters of the new age. For, after the battle, Marduk took the Tablet of Destinies and Tiamat's body to make the Earth as we know it. Ribs became the firmament of heaven and earth, eyes became the gushing Tigris and Euphrates, and her coiled tail became the Milky Way. Despite being called a primordial goddess, Tiamat was probably never worshipped. She has her origins with the older Sumerian goddess Nammu. Nammu filled a very similar role to the Sumerians but never as a monstrous figure. Salt water is their connecting force, which the combined Mesopotamian religion considered both instrumental to the formation of life, as well as dangerous and terrible. Freshwater, apsu, was considered life-giving and sacred, a whole ocean of it was said to lie beneath the earth to supply it with life. Saltwater meanwhile was complementary but less inviting. It can't be drunk and it kills crops, it does not serve humanity. The life that comes from it is similar: numerous and terrifying demons. Tiamat's name is literally derived from tāmtu, meaning sea. A similar concept sharing the same origin can be found in the "tehom" of genesis. 

Several recurring themes show up in Tiamat's story: that of the father of the gods looking to slay the new generation, the primordial being slayed and divided up to make the earth, but arguably the most famous, that of the god-hero slaying the primordial serpent. A theme known as "Chaoskampf" in German. Here the serpent represents /chaos/: the shapeless buildings blocks of the universe, the wide expanse of the uninhabitable cosmos, every part of the world too harsh and dangerous for humanity to survive in. As the ocean incarnate Tiamat is a perfect example of this chaos. But is she a serpent? It's a little unclear. In the Enuma Elish her form is specified once and is ambiguous. She has "a tail, a thigh, lower parts, a belly, an udder, ribs, a neck, a head, a skull, eyes, nostrils, a mouth, lips, viscera, a heart, arteries, and blood". Which... isn't all that descriptive. Excluding the udder, all those things can be found in nearly every land mammal and most reptiles. The inclusion of the udder, however, leads me to believe Tiamat is a cow. Or possibly a goat. Kidding aside (although... her being a primordial cow who brings forth saltwater from her udders wouldn't be that out of pocket for comparative mythology...), the shape most given to Tiamat is that of a serpent. Unfortunately, there doesn't appear to be any definitive depictions of her. The one most identified with her, a cylinder seal from the Neo-Assyrian period, depicts a classical usumgallu, but does not offer any positive indication that it is indeed Tiamat. Because of how unclear the description from the text is, it's unlikely the mystery will have a satisfying conclusion. In keeping with every other appearance of the chaoskampf theme and her offspring, it's probably that she assumed a serpentine form and that it was in some way a combination of many different animals as well. Though slain like a common wyvern, Tiamat remains at the forefront of the Mesopotamian religion in the modern world. Though the sea is dangerous and merciless, and the things that dwell within it are plentiful and scary, it was from it that life sprung from all those eons ago. Without Tiamat, Marduk would not exist, nor would the demons of the mountain and forest and sea, nor would I or any of you reading this. She may never have been worshipped as a proper goddess in her heyday, but she at least deserves our thanks for that most universal of gifts, life.

-- And here she is! I've drawn Tiamat once before in 2018 as part of a school project about Chaoskampf, but never her serpentine form. Unsurprisingly, it gave me a bunch of trouble. How do you draw something as huge and complex as a primordial serpent? My idea was to use a sea serpent as the base and have all the other demons represented as parts. A sort of big monster that's constantly changing, made up of the parts of all the others animals and monsters. You can sort of see her sea serpent head is based on a pike's. My initial idea was to make it in two versions as a gif, one with her "goddess" form colored in, the next with her monstrous form colored in. But it sucked. So I'd rather give the central piece the spotlight and leave the details of the sea serpent up to your imagination. 

This has been a very fun, albeit slow series. Almost the most research done for a single series of anything I've done here. What's next? Probably not another long-form series, at least for a while. The actual first installment of TDG Acronym Pending is what I theoretically should be focusing on, but we'll see. Got to figure out the title before though... Have a safe holidays.

[linkspooky]

Nobara and Gojou

Nobara and Gojou have suffered similiar defeats in the Shibuya Incident Arc. They both lost, despite being clearly stronger than their opponent. Every single one of the main trio (Nobara, Megumi, Yuji) parallels a member of the flashback arc’s trio in some way (Gojou, Shouko, Getou), but while Nobara’s most obvious parallel may seem to be Shouko I would also argue she parallels Gojou quite a bit. Both Gojou and Nobara are characters that focus on individualism and duty above all else, in ways that Megumi, and Yuji don’t. Nobara parallels Gojou in the worst ways, she shares all of his flaws. 

1. Strength Isn’t Everything.

Jujutsu Kaisen has always been a manga about nuance and balance. There’s more than one way to skin a cat (or exercise a curse). Which is why we’ve seen the story introduce two seemingly opposing ideas. Number one, we don’t live in a world where you win just by being strong. Number two, you can’t close a gap in strength through petty tricks alone. 

These ideas seemingly contradict one another. The second establishes that if there’s an absolute difference in strength then strategy won’t even matter. The first establishes that strength isn’t that you can’t win a fight just by being strong. However these ideas are not opposites, they’re complementary. What they suggest is that the world is a complex place, and there’s no way one single strategy will win every possible fight. There are times when strength wins the fight, there are times when strategy is the way to go. The solution isn’t to favor one or the other, but rather to find the balance between the two. 

Before Nobara gets into her fight we’re shown a fight where Megumi has the starring role. The world view of the shaman Megumi is fighting against is important for this. 

The shaman that Megumi fights has a world view of “being strong makes me free to do whatever I want.” He believes strength to be permissive. Being strong means being competent enough to accomplish whatever you want, in any situation. 

If you want to do something, and you have the ability to do it, you should be abel to do it. That’s why it’s permissive. Strength grants permission. Getou brings up the idea in Premature Death. Gojou technically has the ability to slaughter every single human that’s not a shaman on the face of the earth. If he’s able to do it, then why can he tell Getou that it’s impossible? If the world really were as simple as Getou suggested it to be, then being strong really would be enough. Gojou would be capable of doing anything, like some kind of god. 

However, even the shaman’s own cursed technique reverses this idea of strength. Attacks that are strong around him become weak, whereas weak counters become strong. There is no idea of absolute strength. No person is going to be strong in every circumstance all the time. 

That shaman is beaten not by Megumi’s decision to face his head on, but rather by his choice to make a tactical retreat and rethink the situation after figuring out his cursed technique. Strength is not the absolute decider of everything. More than that, Megumi and Yuji were both choosing to cooperate with one another, even though cooperation was harder for both of them at this point. 

They both admit the hardest part of the fight isn’t even fighting against an enemy. That it would be easier if they were just strong enough to fight everything individually on their own, however, the fight is won by Yuji listening to Megumi, and Megumi choosing cooperation. 

This is also the exact opposite advice that Gojou gave Megumi. Megumi’s tendency is to sacrifice himself, and defer to others because he has no confidence in himself and his own individual strength. However, once again this reflects the complex nature of reality there’s no advice that applies to every single situation in the world. Gojou’s advice won the fight in Origin of Obedience, but if Megumi fought like Gojou did he would have lost this arc. 

We see Maki, and Nobara who are both characters who parallel strongly to Gojou and think they are people who can accomplish everything they want with the power of individual strength, make several critical mistakes. First, Maki doesn’t even consider the possibility Gojou could have lost. Because, Maki’s world view is the same as Gojou’s, the stronger opponent should always win. Maki is a character trying to overcome her family circumstances just by becoming the strongest possible shaman she can be to prove them wrong. 

Nobara makes a similiar mistake to Maki. We see her lose the fight because of the absolute confidence she has in her own strength, that she can win every situation by being strong enough to fight on her own. 

Rather than keeping the person she wants to protect close to her, Nobara sends her away so she can fight on her own. She assumes the weaker person will only get in her way and is safer farther away from the battle. Which is also literally the premise of Gojou’s entire fight in the subway, he goes in alone because he assumes that any other jujutsu sorcerer would only get in the way, just like the innocent civillians were there solely existing to get in the way of his techniques.

Nobara gets arrogant and refuses to analyze the other person’s jujutsu techniques and gets critically wounded. At which point we see Nobara run against the flaw of her own world view. That if she can only accomplish things with strength, then the situations where she’s weak she’s completely helpless. Nobody is strong all the time, and if she’s weak then there’s nothing she can do. If everything is decided by strength than the weak have no choice. 

2. Nobara and Gojou, Broken in the Same Way 

During Nobara’s introduction chapter Gojou says that Shaman’s have to possess a sort of craziness, to jump into battle risking life and limb like it’s nothing at all. 

While Yuji feels absolutely nothing putting his life at risk to an almost suicidal degree, I would say Nobara is the one who’s actually the closest to what Gojou describes. Just like Gojou she has the single-mindedness to believe that is she’s strong enough that she should be capable of anything. 

Nobara and Gojou assert their individualism over everything else. They don’t bend to the world, they bend the world to the way they want it. Yuji’s strong and confident in a similiar way but he always puts the wants and desires of others over himself in every situation, but Nobara is always about what she wants first and foremost. However, there are two parts to Nobara and Gojou’s world view it’s not just about strength, but also about duty. Gojou and Nobara are extremely selfish people but that doesn’t mean they don’t care about others. They see their absolute strength as an obligation to use it to protect others.

If the situation is to go all out and kill the enemy, or save the life of a person right in front of them they’ll always make the choice that spares the innocent life. They are strong, but their strength is duty bound, it’s something they tend to use for others rather than themselves. Even in Nobara’s choice to send away the aide that was with her, she was using herself as a distraction so she could get away safely. They’re selfish people, but they don’t necessarily put themselves, and their well beings over others. 

Gojou is technically able to get out of the Shibuya situation is he just massacres every human on the inside of the curtain, but he’d never make that choice. So we have Nobara and Gojou caught between the same rock and a hard place. They can’t sacrifice others, but they can’t cooperate with them either. For Gojou and Nobara the most important thing is their own individualism and their world view. 

What Nobara hates is being told she’s wrong in any way. She views her world view as absolute. What she refuses to do is revise her opinions. She can’t be wrong. She cannot accept the fact that other people might have views that contradict hers, and that multiple points of view besides her own can coexist at the same time. 

If you look at the way Nobara judges the difference between Maki and Mai. She accepts Maki because Maki is more similiar to her and she likes Maki, and refuses to accept Mai because she doesn’t really like Mai. If she doesn’t like Mai than she doesn’t even want to bother thinking about her world view. It’s a narrow minded and flawed way of thinking. Gojou and Nobara tend to push other people away from them for two reasons, one they believe they can accomplish everything they want to do alone because they have such absolute confidence in themselves, and two they think they already see everything. Gojou assumes so because he has the six eyes and perceives the infinity, and Nobara because she thinks she’s smarter than the judgemental country people she was raised around. 

Gojou and Nobara lose in a similiar way. If it’s a contest of sheer strength they’ll never lose. Gojou pulls off a miracle and activates his territory for mere seconds, and slaughters thousands of curses at once. Nobara is so crazy, she wins a game of chicken against a literal demon and is completely willing to light herself on fire and let herself burn if her opponent burns with her. They don’t lose because they’re weaker than their opponents. They both get surprised by what they didn’t know. They specifically didn’t know it because Gojou, and Nobara already assumed they knew everything. 

Gojou is blindsided by the fact that Getou’s body still exists in some form and because of that his brain completely stalls in a critical moment. Nobara loses because she doesn’t really understand the cursed technique of the person she’s fighting against so even though it might be weaker than hers she’s still overcome. 

Gojou and Nobara are both people who assume they should be able to accomplish anything with their own strength. They both have inhuman levels of strength and determination. Which is why we see they’re similiar even down to the way they move their bodies, they act and move like inhuman puppets when pushed to their absolute limits. Hunched shoulders, stiff zombie like movements, it’s a clear parallel. 

If everything in the world really was decided by strength and determination than Gojou and Nobara would never lose. Neither of them are lacking in strength, or their determination to help others. But as Gojou says towards the beginning of the manga he has the ability to just murder all the higher ups in the Jujutsu world but that won’t really change anything. Gojou and Nobara are both fundamentally unable to accept other people, and are always distancing themselves from others and trying to fight on their own. That’s why for both of them, it’s not enough for Nobara, or Gojou alone to be strong. 

[thecleverdame]

Gods of Twilight - 13

Alpha!Werewolf!Sam x Human!Reader

Master List (posting schedule is there as well)

Summary: You marry Sam, The King of Lebanon, as part of an alliance between two lands. You soon discover that nothing is as it appears and that your husband is hiding a secret that may end your relationship before it can begin.

Warnings: smut, dub-con, canon-level violence, domestic discipline, spanking

Beta:  @ilikaicalie​

*This story is complete. All 27 chapters are available on Patreon. To get access to this and many other stories, subscribe for a pledge of 2.50 per month. CLICK HERE

-

The long dining table in the great hall is packed with your esteemed guests and their advisors. Sam is seated at the head of the table with you to his left, and Dean on his right. Katherine is seated next to you, and Luther next to Dean, followed by your parents and then various cohorts and so on.

The first course is a bit awkward as you struggle to make polite conversation, but after a few glasses of wine everyone livens up and the interaction seems to come more easily.

“It’s rather hot in here.” Katherine shifts beside you fanning herself, looking uncomfortable in her own skin. “The fire is blazing.”

You look across the room at the flames licking in the enormous hearth. As far as you’re concerned the castle is always cold. Some days it feels as if you’ll never get warm.

“We’ll have someone open a window,” you offer, raising your finger as a servant girl scurries to your side. “Have that window opened and please bring Queen Katherine a glass of cool water.”

The moment the window is cracked Katherine breathes a sigh of relief and you shiver, forcing a smile. Dean’s been watching the entire interaction and looks at you for a moment before gesturing his glass in your direction.

“If you ate more you wouldn’t so cold all the time,” he observes as you focus on him.

Somewhere along the way you and your brother-in-law found yourself at constant odds. You’ve tried, you really have, but Dean doesn’t care for you and makes no effort to hide his disdain.

“Thank you for that helpful advice.” You glare at him.

“You’re too skinny,” Dean continues, attracting the attention of Luther, who’s been making conversation with Sam.

“She looks fine to me.” Luther grins and out of the corner of your eye, you see his wife cock her head.

“She is fine just as she is,” Sam pipes up, eyes honing in on you. “Leave her alone.”

“It’s alright,” you offer, looking down the table desperate for someone to take the focus from you.

Your mother catches your reaction and smiles, all too pleased to take over the conversation.

“Samuel,” she raises her glass in his direction. “I can’t tell you how grateful my husband and I are that you and our daughter seem to be such a complementary match.”

You’re not sure where this is going, but you don’t care for it one bit. Sam seems to sense your unease, he always does. His hand curls over yours where it rests on the table giving you a gentle squeeze.

“I am lucky to have her.” Your husband offers a grim smile. Sam is generous with his affection behind closed doors, but he’s well aware of his appearance, especially in front of Luther.

“What kind words,” she bats her eyes, flicking from you to Sam. “I know all too well how challenging she can be. It seems you’ve been able to instill a level of expectation and discipline in her that her father never had the stomach for.”

You choke on your wine, covering your mouth as your eyes go wide. Dean lets out a boisterous chuckle before gaining control of his demeanor. Your mother has unwittingly touched on the most divisive aspect of your marriage. Heat rises in your cheeks as you stare at your goblet.

“My apologies,” she smirks, looking around innocently. “Have I touched on a sensitive subject?”

“You’ve no idea-” Dean adds.

“Enough,” Sam intercedes, setting down his drink. “We haven’t heard from you Luther, how are you faring with such a cold winter settling in?”

“It’s awful, isn’t it? Frigid, awful white everywhere. And the villagers always complain, they’re never happy with what we give them.”

“This year it’s the rationing of firewood.” Katherine waves her hand, disgusted. “One would think we don’t give them anything.”

“Rationing firewood?” You’re unsure of what that means. “Why would one ration firewood?”

“Perhaps ration is not the most accurate.”

“They tax the people for cutting down the trees,” Dean interjects. “Isn’t that right? Every log comes at a price.”

“It’s fair recompense,” Luther explains calmly. “The trees belong to me, not to mention the services and protections I offer in exchange. But to hear them tell it, we’re heartless.”

“What do they do if they can’t afford the tax?” you press, feeling your loathing of the man rise into your throat.

“They usually find a way,” he sighs. “They always over dramatize the situation. It’s important not to get caught up in the hysteria.”

“But what of families with children?” You look at Sam, who’s wearing an unreadable stare. “And the elderly? Surely it’s dangerous for them in this kind of cold without easy access to kindling?”

“What a bleeding heart your wife has.” Luther is speaking to Sam but looking at you with a look of pitied amusement on his fat face. “There are always deaths in the winter, it’s part of living in a hard country.”

“Deaths?” You’re horrified, trying to understand why everyone else at the table isn’t as appalled as you are. “That’s utterly unforgivable,” you sputter.

“Oh my,” Katherine chuckles, entertained by your reaction.

“Y/N,” Sam’s hand on yours again. “I think that’s enough-”

“I certainly wouldn’t want to make anyone uncomfortable,” you spit, looking around the table. You lean forward to see your father, who’s watching you carefully, his eyes darting to Sam to gauge your husband’s reaction to this outburst. It’s a gesture that makes your blood boil.  “Wasn’t it you, dear father, who always told me that the measure of a man is how he treats those most in need?”

“Well, I-” Alexander looks to Luther who’s still in good spirits. “That’s true but-”

“My wife has a soft heart,” Sam intercedes again.

“She certainly speaks freely,” Katherine sits back in her chair, sipping her wine. “I’m surprised you allow such an outburst.”

“An outburst?” You’re really fired up now. “Would you like to see a true outburst-”

“Y/N,” Sam says your name louder his time, his hand curling around your wrist and squeezing hard enough that you sit back, looking to him. “Let’s all take a breath.”

“My wife learned to hold her tongue a long time ago, perhaps you need to-” Luther can’t help himself.

“I do not need advice, Luther.” Sam’s angry now and it’s in large part to you not being able to hold your tongue.

“I’m just saying,” Luther gives you a look from stem to stern before looking to Sam. “If she was my wife, I’d set some expectations.”

“She is not your wife. This is her home and she’s free to share her opinions.” Sam grits back.

There’s an undeniable flutter in your belly to hear him defend you so ardently. You suspect he may not put up such a united front once you’re behind closed doors, but Luther is testing his resolve. He already sees you as Sam’s weak spot and he now knows exactly how to get a rise of him. Sam is quick to jealousy, he can’t control it and Luther has found the trigger.

“Forgive me,” you reign yourself in, taking a deep breath and setting a polite smile across your face. “I had no intention of souring the mood.”

“Of course you didn’t,” Dean chimes in, staring from across the table.

“Let us move on to happier topics, shall we?” Your mother moves the conversation along.

You sit quietly and listen to the chattering going on around you, still seething internally as you watch Luther make a pig of himself. Katherine is no better with her obnoxious laugh and an ongoing list of complaints. First, it was too hot, then it’s too cold, her pudding is much too firm and her wine not sweet enough. You suffer through course after course as the minutes turn into hours. Everyone is a bit drunk by the time the final round of spirits arrive and you want nothing more than to retreat back to your chambers.

“...and that’s how I knew she was married!” Dean finishes his story and the entire hall erupts in laughter. His tales never disappoint and expertly walk the line of humor and impropriety. He does have a way with people, you’ll give him that. Sam’s brother is an expert in disarming and charming nearly everyone, save for you.

Looking to Sam you find him fixed on Luther, his face blank as he’s lost in thought.

Behind closed doors, you’ve found Sam to be a gentle, patient man. He’s a combination of attributes that you would have never imagined could exist in one person. His sometimes gruff exterior and brooding demeanor are offset by a soft touch and his willingness to listen to you with genuine interest. He’s both gentle and fierce when need be, so it’s easy for you to forget that the husband you know intimately is not the same man that he presents to the world. He takes his position seriously, he considers his role as a commitment to the people he rules over.

“Alexander,” Sam speaks up and the entire room falls silent. “Tell me, have you ever had occasion to deal with poachers?”

Luther sits back, looking around the table as if he’s looking forward to another wild tale.

“Yes,” your father nods thoughtfully. “Some years ago, when Y/N was just a child we dealt with bands of men coming into our lands from Westfort.”

“Ah,” Sam nods, setting his wine on the table. “Hunters?”

“Fisherman. They would row across the channel and up in the estuary. They nearly fished us dry one summer.” Looking to Sam your father is not sure where this is going but you have no doubt as you glance up to catch Dean’s eye.

“And what action did you take?” Sam presses on, resting his forearm on the table.

“At first we issued warnings. I spoke with King Harold and we came to an agreement.”

“Will you share with us? I’m in need of new ideas.”

“Of course,” your father has really perked up now, always thrilled to contribute. “Harold announced to his people that the infraction would come with a severe penalty. That worked for a time, then he gave me the autonomy to dole out consequences as I saw fit. Some of the men coming to fish did it to feed their families, we just ran them off, gave them a good scare. But the men who came to poach and sell for profit? They ended up in the stocks when we could catch them.”

“I see.” Sam thinks on this for a moment. “Perhaps you could help me with my problem?”

“It would be my pleasure,” Alexander smiles softly from your husband to you.

“Luther’s men have been poaching wolves from our land. Encroaching further and further-”

“Now just one moment!” Luther cuts him off. “I don’t think this is-”

“It’s not just animals, there have been murders.”

“The culprits remain unverifiable!” Luther contends, thrusting a finger toward Sam.

“Ay, there is no way to be sure,” Katherine shrugs beside you, looking unphased despite everything going on around her.

“Let us not play, we both know they are your men!” Sam shouts, his fist coming down with a mighty bang that rattles the table. “I’m trying to be civil about this, but my patience is wearing thin.”

“I’m not entirely sure I like your tone,” Luther cocks a brow, it’s the first look of genuine annoyance you’ve seen from him.

“Good. I need you to understand how serious this is.”

“Your precious wolves,” Luther waves his hand dismissively and Katherine chuckles. Your mother remains silent and your father tries to keep the peace.

“Perhaps we could sit down later and talk about this.”

“We have talked, and then we talked more. Talking has gotten us nowhere.” Sam's eyes are on fire, boring holes into Luther. His reaction seems disproportionate, leading you to believe that there’s more to the story than he’s shared with you.

“Dean,” Luther turns to the eldest son. “You need to talk some sense into your brother. This is not the way to make friends.”

“Enough!” Sam shouts again, standing with both hands on the table as he leans in. “My brother isn’t the one you should be worried about appeasing. If you refuse to handle this, I will. I’m ordering any man not a citizen of Lebanon to be shot on sight.”

“Sam,” Dean starts but one look from his brother and he falls silent.  

“That’s a bit of an overreaction don’t you think?” Luther tips his head, remaining calm and collected.

“We’ll find out.” Sam looks down the table at the rest of your guests, glancing at your father. “Please stay, eat and drink until you’ve had your fill. I’m retiring for the night.”

Sam looks to you and you get up, smiling weakly. “Goodnight.”

--

“The man is a tyrant!” Sam mutters, pacing back and forth in your chambers.

“I am so sorry. I think I’m the one who set the tone for the night.” You sigh. “But I couldn’t hold my tongue. He’s such an awful man I don’t think it’s acceptable for everyone to act like that. Even if the things he does are-”

“I’m not upset with you,” Sam steps closer, placing a hand on your shoulder. “You once told me that you were afraid that being married to me meant that you’d be seen but never heard. That couldn’t be further from the truth. While it wasn’t the best time to express your displeasure, I won’t ever silence you. At least not on matters of ethics and compassion. You are entitled to an opinion as much as anyone.”

You sigh, smiling up at him in relief.

“I never thought I’d say this, but I agree with your brother. Luther doesn’t serve to live.”

“You think I should have him killed?” He raises an eyebrow. “I didn’t take you for such extremes.”

“By allowing Luther to live, others will die, innocent people.” You can feel the anger returning. “He’s a bad man.”

“Yes, he is,” Sam cups your face, examining thoughtfully as if the physical contact calms him. “I’m going to take care of him, one way or the other.”

You’re not sure what that means but you don’t ask for clarification. Everything surrounding Luther is unsavory and you wish to forget about him.

“I was so looking forward to tonight and now I wish I could erase it from my memory.” You confess.

“I might be able to help with that,” he chuckles, the hand on your face sliding down your neck, his thumbs pressing lightly at the side of your throat.

“You’re staying with me tonight?” You’re genuinely surprised. “You were so upset. I thought you would want to go with Dean, run under the moon.”

“No, not tonight,” his thumbs stroke the soft skin under your ear. “Tonight I want you.”

“Well,” you smile, standing on your toes to get closer, whispering, “you better have me then.”

He smiles, leaning down to kiss you. It always starts as a simple kiss, blossoming into something deeper as his arms wrap around to pull you close. After several minutes he pulls away, breathless, eyes shining as he looks over your face.

“Turn around,” he commands and you spin, allowing him to take your dress off, then pulling the shift over your head leaving you stark naked. He presses against your back and your eyes flutter shut as he leans down to kiss your shoulder.

One of his hands cups your breast, squeezing gently as his other hand sweeps over your belly, finding its way between your legs. Two fingers curl into your wet flesh, dipping inside then up to find your clit with a soft touch. You moan, arching back against him as his touch grows more insistent.

“Will you let me knot you?” he murmurs, nipping right below your ear.

He’s only done it a few times over the last month. While you’ve certainly been intimate on a nightly basis, he understands that you’re not capable of taking his knot too frequently. So he waits, giving your body time to heal. And he always asks permission.

“Yes,” you gasp, nodding as his fingers slip downward, scooping into your cunt as the heel of his hand presses over your bud.

“You’re already wet for me,” he observes, fingers pushing deeper, opening inside you. Whimpering you rock forward, head lolling back against his chest.

“You have quite an effect on me,” you whisper.

“Get on the bed,” he instructs placing a kiss at your temple before playfully swatting your backside.

You crawl to the bed, sitting in the middle on the blanket to watch him undress, then happily lying back, welcoming him between your legs. He prefers to start like this, his weight pinning you in place while he fucks you slow and even. Tonight is no exception as he fists his cock, lining himself up and thrusting in to the root.

“God,” you gasp, clutching at his shoulder as he moves inside you.

His hands are everywhere, holding your leg over his hips, grabbing your breast, stroking your hair. And his kisses are just as all-consuming, his thick tongue sliding deep to silence your moans.

The thrusting of his hips grows faster and then he stops, placing a kiss between your breasts before pulling out.

“Roll over,” he instructs, one hand stroking his wet cock.

You’ve come to know this position well. Once on your hands and knees, you feel him nudge between your calves, then a hand between your thighs smacking them wider. With one hand at your lower back, he presses inside, stroking deeper than before. This part is almost more challenging than what comes next. In this position, he can bury himself right up to your womb.

One of his hands curls under your belly in search of your bud, which means he’s getting close. Right on cue, you feel the thick ring of muscle around the base of his cock swell, fighting to get inside you again and again. His finger moves harder, grunting with each stroke of his hips.

Two fingers gently press together over your clit and you cum, writhing on his cock as he holds himself inside. His knot pops and he yelps in pleasure, rutting into your backside again and again.

You cry out, open hands curling into the bed, holding on for dear life. You breathe through the pain, deep lung fulls to stay calm. It’s not nearly as bad as the first time, you don’t cry anymore. Now that you know what to expect you just close your eyes and try to think about how this could be the time that he puts his child in your belly.

His timing has gotten better, your pleasure takes away from the shock of it all, leaving only the dull, uncomfortable ache of him inside you.

“My God,” he groans. His heavy, sweating body curls over your back, knot tugging inside you.

“Careful,” you hiss, reaching behind you to grab his hip.

“I’m sorry,” he’s still panting, wrapping both arms around your stomach as he moves the pair of you onto your side. “Did it hurt?”

“It gets easier each time,” you explain, wiggling back into him. “I don’t mind this part.”

“No?” He nips at your earlobe, grabbing your breast again. “There is nothing better than feeling you around my knot.”

“I wish I could do this for you every time.”

“That is something we need to talk about.” He nuzzles behind your ear. “Perhaps now is not the best time but you should know my rut is coming.”

“Oh,” you turn your head trying to see him. There’s an uneasy feeling in your stomach, as you wiggle with his knot still firmly lodged inside your cunt. “What does that mean? When?”

“Soon. A week or two,” he explains, rubbing his nose into the hair at the back of your head.

“And you’ll stay with me this time?” You ask hesitantly.

“That is something we need to decide together.”

“What alternative is there?” You're growing increasingly uncomfortable, feeling the ache bloom between your legs. He’s silent but you already know the answer. The alternative is Ruby. “I want you to stay with me.”

“I don’t want to hurt you,” he whispers as his hand strokes up the outside of your thigh.

“You won’t. You never hurt me.”

“That’s not true. You’re in pain right now, you’re just not vocalizing it.” he retorts, shifting behind you.

“How do you know that?”

“I can hear your heart speed up. I can smell it on you, like fear,” he explains. His knot is lessening, and he gently tugs it from your body, rolling you onto your back so he can look you in the eye. “You can barely walk after we’re together once. I’ll need this again and again.”

“Then you can have me again and again,” you insist, searching his expression for understanding. “I couldn’t bear it if you were with her. Not after all this.”

“I know,” his mouth twists in displeasure, dipping down for a kiss. “Don’t be upset. We’ll find a way.”

“You swear?”

“I swear.”  

[wazafam]

The first Dungeons & Dragons modules and campaigns that Gary Gygax created back in the day were inspired by literature, specifically the Lord of the Rings books. Dungeon Masters and players alike still use their favorite books as templates for their campaigns, but there's a lot more to choose from when it comes to media these days. Modern Table Top Role-Playing Gamers (TTRPGers) not only have volumes of books but also a myriad of video games and movies when they need new ideas.

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There are a lot of fantasy movies out there that would make great D&D campaigns. They include a team of characters with different but complementary abilities, a quest, some nasty enemies to fight, and maybe even a magical object. All of the elements combine to make a great story and a great D&D module. Contemporary movies have the added benefit of mixing up the setting and genre, with some space opera and superheroes thrown into the mix.

10 The Avengers (2012)

Fantasy isn't always about sword and sorcery, but there's even some of that in there through the Asgard connection that features the god Thor and his sorcerer brother, Loki. The Avengers plays out like a stereotypical D&D module, complete with a quest, a magical object, a sworn enemy, and various people with different abilities that have to learn to work together for a common goal.

The fantasy movies of today are dominated by superheroes, and the success of the Marvel movies attests to that trend. Several entries in the franchise could inspire a TTRPG, but recognition goes to the one that confirmed the franchise was a pop culture force to be reckoned with.

9 Star Wars (1977)

It's not exactly science fiction, although there are plenty of tabletop games that specialize in the genre, but a combination of sci-fi and fantasy known as space opera. This is where snarky descriptions of Jedi Knights as "space wizards" come from, and you can easily assign other D&D classes to the other characters, like Rogue or Barbarian. The question of whether Jedi are Wizards, Sorcerers, or Clerics could be a source of interesting debate.

The concept of a campaign that takes place in outer space, or even in a setting that features interdimensional travel, can follow a similar plot as the original Star Wars. The campaign could include a mentor, training, party formation, and working together for a common goal.

8 Ninja Scroll (1993)

Imagine a module that has elements like a secretive plot that the characters must team up to discover despite opposition from malevolent and supernatural forces, and that's essentially the plot of Ninja Scroll. The setting can vary, but a DM can take some inspiration from that as well since "medieval" doesn't always have the go with "European."

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Ninja Scroll was part of the anime wave of the mid-1990s that brought on cyberpunk and psychological horror along with this movie, a chilling tale of ghosts and demons from Japanese history. At the time it was a unique example of an anime film that took place in the past as opposed to a movie about the future.

7 The Last Unicorn (1982)

A book that's been successfully adapted into a movie can also be adapted into a campaign. For players that are more concerned about character development and roleplaying, especially as it relates to class progression, The Last Unicorn is the ideal inspiration.

The quest and plot are simple, relying more on the interaction between the characters than any complex storyline. Players and DMs alike can see where archetypes come from and how they can be subverted, different ways that character progression can work, and how they are combined as part of RP in gameplay.

6 Conan The Destroyer (1984)

The first Conan movie could also be in this space, but the oft-overlooked sequel, Conan The Destroyer, has a much better party dynamic.

Conan, of course, a Barbarian, is joined by a Cleric, a Druid who might be a Fighter multiclass, a Monk who might be a Barbarian herself, and of course his sidekicks from the first movie, the Rogue and the Wizard. They're on a quest to find a magical artifact for a queen who seems to be Neutral Evil so she can resurrect an old, angry god. If there's not a D&D module for this already, there should be.

5 Spirited Away (2001)

Sometimes a whole module can take place in a relatively small space, like a castle keep, a large house, or a prison compound. This movie is more about creating and playing in a unique and perhaps enclosed setting since there's little to see regarding party dynamic with one character being the focus of the plot and action.

RELATED: Spirited Away: 10 Ways It's Actually A Horror Movie

The enchanted bathhouse of the witch Yubaba is where most of the action takes place. DMs will appreciate the detail and difference that each of the various levels has, with the lower levels furnished for public viewing and the upper levels for employees and Yubaba's private quarters, with the addition of secret routes along the perilous exterior of the massive building.

4 Ladyhawke (1985)

The quest still has to be at the heart of any D&D campaign and that's also what makes Ladyhawke such a great movie when DMs and players need inspiration. Every good D&D campaign needs a plot, which is the quest, along with a realistic antagonist complete with minions and magical powers.

That's not to say a few interesting characters are included, and they have some interesting arcs, for those interested in character progression. For example, the main character, Philipe, is a Rogue who seems to take a turn towards multi-classing into a Cleric as the story comes to a close.

3 Dragonslayer (1981)

This one seems too obvious at first, and the script plays on those fairytale tropes on purpose only to surprise the viewer later. Although Dragonslayer is missing a lot of that essential party dynamic, the main character has an interesting mentor and character arc, thus it's more useful to players when it comes to putting together a good backstory than building the ideal campaign.

However, what seems like a typical story ends up subverting some old archetypes in clever ways, and a good D&D campaign would find some ways to do the same.

2 The Dark Crystal (1982)

A unique setting can make a simple, even stereotypical storyline a lot more interesting. The journey starts with the search for and the acquisition of a magical item that must be delivered to a precise location, complete with a ticking clock, which is also a nice plot for a DM to guide the party through.

RELATED: 10 Fantasy Movies That Were Groundbreaking For The Genre

Aside from all that, there's a wealth of details in The Dark Crystal for those that are interested in designing a unique campaign with a lot of lore, which includes creative destinations and compelling villains with interesting backstories. It's also an interesting example of progressing through a campaign where one player starts on their own, with a brand new character, and grows their party as their initial quest progresses.

1 Guardians of the Galaxy, Volume 2

The first movie was more about how Star-Lord and his gang initially got together, a story that's useful for beginners, so Guardians of the Galaxy: Vol. 2 for players and Dungeon Masters that want some inspiration for more advanced characters. These are gamers from both sides of the table who have already formed a solid party dynamic and are ready to face a more formidable challenge.

It's also a nice twist on the conventional fantasy genre, with a variety of settings that include Ego's planet and some creative space monsters, including the final boss himself. All of this is set up with some easy-to-follow character progression, and if viewers are paying attention, there are Barbarians, Fighters, and Rogues aplenty if players that favor those classes need inspiration for their own individual gameplay.

NEXT: 10 Pro Tips To Running A Large DND Group

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