#something about how the characters are all so incredibly influenced by their personal history that stripping that from them leaves little

[muninnhuginn]

putting the mob psycho cast in a severance au would legit be so fascinating

[vaguely-concerned]

I understand and agree with a lot of the frustrations about the shortcomings of Inquisition as a story. but sometimes when I hear people complain about the chosen one narrative in it I do want to just be like... you know it's a deconstruction of the concept more than anything, right. the inquisitor isn't actually chosen by anything except stumbling into the wrong (right?) room at the right (wrong?) time because they like, heard a noise or whatever. or if you think they are chosen, as many do in-universe, that's something you have to take on faith, the maker-or-whoever moves in mysterious ways indeed-style. the Inquisitor isn't actually a Destined Chosen One, they're a Just Some Guy in a fancy hat, self-delusions of grandeur to taste as you'd prefer.

a running thread that goes through all of the personal quests of the companions is the concept of a comforting lie vs. an uncomfortable truth, upholding old corrupt structures vs. disrupting them, and the role of faith in navigating that. (blackwall the warden vs. thom rainier the liar and murderer. hissrad vs. the iron bull, or is that the other way around? cassandra and the seekers -- do we tell the truth about what we find, even if it means dismantling the old order of the world? and so on.) and your inquisitor IS at the same time a comforting lie (a necessary one, in dark times? the game seems to ask) and an uncomfortable truth (we are the result of random fickle chance, no protective hand is held over the universe, it's on us to make a better world because the maker sure as hell won't lift a divine finger to help anyone, should he against all odds exist). faith wielded for political power... where's the point that it crosses the line into ugliness? is it before it even begins? what's the alternative? will anyone listen to the truth, if you tell it?

interesting how you also get a mix of companion agency in this -- you have characters like dorian who ALWAYS choose one side of the comforting lie vs. uncomfortable truth dichotomy. he will always make up his own mind to go back to tevinter and try to dismantle the corruption of the old system no matter what you say, or how you try to influence him. meanwhile iron bull is on the complete opposite side of the spectrum -- so psychologically trapped and mangled, caught in an impossible spiritual catch-22, that his sense of identity is left entirely to you and your mercy. you cannot change dorian in any way that matters; you can be his friend or not, support him or not, but he is whole no matter what. you are given incredible and potentially destructive-to-him power over bull's soul. it's really cool (and heartbreaking) to think about.

this is a game about how history will eat you even while you're still alive, and shape you into whatever image it pleases to serve it, and for all your incredible power right now you are powerless in the face of the gravitational force of time -- of more than time, of History. you won't recognize yourself in what History will make of you, because you belong to it now. you don't belong to yourself anymore and you never will again. the further you were from what it needs from you to begin with, the more you will find yourself distorted in its funhouse mirror. (why hello there inquisitor ameridan, same hat!)

and to me this is so much the core of what Dragon Age is about right from the Origins days -- how and by whom history gets written, the inherent unreliable narration of it all. I hope you like stories, Inquisitor. You are one now.

I do think it's probably still the weakest of the games narratively, and it's hampered by its structure and bloated systems. but I also find it disingenous to say that there's nothing deeper or actually interesting going on with it, thematically. if you're willing to engage with it there is Some Real Shit going on under the high fantasy-tinted surface.

[fushiglow]

Gojō Satoru and Ryōmen Sukuna: symbols of celebrity?

What does it say about Jujutsu Kaisen's influence and popularity that it could convince the two leading national newspapers in Japan — rivals and competitors — to run a joint marketing campaign where readers must buy both papers to complete the set?

The attention to detail is incredible, too! Asahi — Sukuna's paper — is one of the oldest in Japan. Meanwhile Yomiuri — Gojō's paper — has the largest newspaper circulation in the world. Such a brilliant way to illustrate "the strongest sorcerer in history vs the strongest sorcerer of today" in promotion of the new volume. Extra points for the fact that the two newspapers have opposing political leanings, too.

I'm really fascinated by this — so, some thoughts on celebrity and the fourth wall in Jujutsu Kaisen below the cut!

One of the things I love most about this series is how self-aware it is at times. I feel like Gege Akutami is quite purposeful is how he uses his characters to speak directly to the audience, especially in recent chapters. Along with the 'tickets' for Mei Mei's livestream and the promotional video that's reminiscent of a wrestling announcer bigging up the event, the entire campaign for the release of volume 25 feels like it's breaking the fourth wall in a way that's perfect for Jujutsu Kaisen.

It also makes me even more hopeful that 'The Battle of the Strongest' is going to be a film, if only for the meta effect of the audience 'purchasing tickets for the livestream'. Imagine if they market it so you feel like you're actually paying to watch this fight between two gods unfolding in real-time on the other side of the world? Considering how successful the first one was, I have no doubt the film would perform incredibly in the box office too, further adding to the meta effect.

The potential for hype is enormous and I actually feel like they won't disappoint, simply because Gojō is too much of a money-maker — look at the DVD sales drop off from the Hidden Inventory arc. I know I bang on about the chapter all the time, but this is spawning all kinds of additional thoughts to my analysis of Gojō in 236, especially regarding how he's written as this almost unknowable character.

I feel like Akutami's interest in the dark side of the entertainment industry actually shines through in Gojō the most out of all his characters, because he's practically a celebrity both in-universe and out — people made an actual shrine for this character when he died, as though he's the People's Princess or something!

Everyone knows who he is, but no one knows who he *really* is. He's beautiful and isolated and powerful and lonely, and it makes absolute sense that he sought understanding from Sukuna, because he's kind of like the blueprint for Gojō — a legend about whom everyone has a story, but no one really knows anything at all.

I promise I didn't make this post just to plug my fic, but it's a neat little coincidence that the precarious power dynamic between celebrities and the general public is a big theme in the most recent chapter of my idol fic, Over the Threshold. The reason I started writing a music AU in the first place is because this topic is something I have a personal and academic interest in, and the parallels between the 'strongest' and a music industry legend are simply too good to ignore.

Perhaps it's because it's on my mind as I'm writing the fic, but the marketing for the new volume got me thinking about the symbiotic relationship between artists and their fans, and I'm wondering if Gege is going to bring this into play somehow. Could it have something to do with the source of Sukuna's strength and therefore the key to beating him? Conversely, could it have something to do with the loss of Gojō's strength if he returns without it, making his death a symbolic death of celebrity instead?

I love the idea of the death of the 'strongest sorcerer' (the celebrity) bringing down the veil that separates him from the people around him (the public), allowing them to see Gojō Satoru for the very first time. No longer 'the strongest' or the Six Eyes or the one-man Gojō clan — not a symbol or a power ceiling or a weapon or anything like that — but simply a person, which is all he really is at the end of the day.

Am I coping by twisting myself into knots hoping that Jujutsu Kaisen is about the deconstruction of celebrity? Maybe, but at least I'm coping in a very smart and sexy way!

Just kidding, I'm still undecided about whether I think a Gojō comeback is likely. However, I completely disagree with people who say his character arc is finished or there's no space in the narrative for his return. I also disagree with those who say there's no evidence for it, because I think if it happened it would seem incredibly obvious in hindsight. It's a bit like Sukuna taking over Megumi — very few people saw it coming at the time, but when you look back, the clues were sprinkled all over the place.

Time will tell, but this story is really special to me whatever happens in the end. We all love to shit on Gege Akutami — and sure, he's not a perfect writer and I don't like a lot of his decisions — but when he gets it right, it's genius level stuff. Considering how overworked and commodified and exploited mangakas are, I think he deserves a lot more credit for the stories and characters he's weaving, and his art has never looked better if you ask me.

Anyway, I rambled a bit at the end, but here's my idol fic if you want to deconstruct Gojō as a celebrity some more. It's *so much* fun, I promise!! Did I make this post just to plug my fic after all? You can decide.

[thepumpkincorsair]

So, I watched the first episode of “Those About To Die” on Peacock.

I enjoyed it, and Im willing to do write ups if folks would be interested…

Since I wana talk about details, and I dont wana spread spoilers, everything is below the readmore.

What I liked: 🔵 And what I disliked: 🟠

Total Ranking: 8/10 - very good, worth the watch 👍

🟠 It dove into the Intrigue right away, which made it hard to watch while doing other things, but I can appreciate a show that grabs you by the shoulders and shoves you down into the couch to pay attention.

🔵 It wasn’t boring, quite the contrary, I felt fully engaged throughout the episode. Theres a lot of small moving parts to the story, and it orchestrates together incredibly well so far, even for Episode One. The writing is very well done, which is a lynchpin for me on a show like this. You cant pretend to be an intrigue type series without a proper plot. And, in my opinion, they’ve set their plots well right away. Tenax getting those shares in Blue was a great con, which had clearly been going a while, but we only saw the tail end of it. I see this little setup as a great look at how the writers DO their work. Connections matter, money does more than talk, and if you play the game wrong, you die. Don’t trust anyone.

🔵 I REALLY enjoyed the historical aspects of the first episode. Like, yes, this plot happened, its a historical fiction and a number of these characters exist in history, but its not just that. Its the small details, the different knives in different cultures, the veterinary care of race horses, the deities from more than just the main roman pantheon, the drinkware, the VARIOUS clothes from various cultures and climates…. And yes, women often went topless when they were a sxwrkr. Gotta advert.

🔵 ON THAT SUBJECT: can we talk about “3 sesterce… and Im tighter than both of them.” MY BOY, YOU ARE RIZZIN TOO HARD AND I LOST IT. Please, please let him be in future episodes. Omfg….

🟠 I am forced to concede the accuracy isnt PERFECT, the horses wore modern driving bridles to go with their ancient styled chariots. However, Im realistic about how many horses are trained today to pull anything without blinders, and how much safer modern bridles are. I’ll also note: I absolutely saw the animal handler grab the horse differently (calmly) before the riot surrounded it, then direct the horse to dance in the crowd. Great training with the horse! Bad camera angle. Lol

🔵 I also really like this cast so far. Everyone fills their roles incredibly well.

Hopkins doesnt even need an introduction, the mans a legend and brings all his experience to the stage with him every time. -chefs kiss-

Rheon was great in GOT, he plays calculatingly unhinged exceptionally well. But I wont lie, seeing him in a more commanding, level headedly calculating person?

Hashim….. HASHIM!!! Im SO excited to see where his character goes. We haven’t seen much of him in Ep 1 just yet, but he’s clearly going to be one of the main players. Im not familiar with him as an actor, but I’ve enjoyed his performance so far, and I REALLY appreciate the story being told.

Martins is also incredible. She does a fantastic job of knowing the danger her characters children are facing, but also knowing she HAS to play her cards right to save them. She personifies the strength and determination of a mother perfectly.

🔵 Quite honestly, I have to give points to that whole plot-line in general. That point of view is something we’ve had hidden from us (in America) for so long, that I think a LOT of people have… become calloused. I hope seeing it will potentially help others come to an empathetic understanding. This isn’t glossing over what happened, or whats likely to happen to any of the three children.

🔵 I also want to gush over actually SHOWING the wider Roman Empire, we get to see the direct effect of their influence in both Africa and Spain so far. Egypt was their bread basket, and without that grain, youve got problems. The Berber Coast has animals, and people they want, and we see money exchanging hands for the purpose of those ends. We see how the locals were told they’d be treated fairly, paid properly, and even eventually become citizens, like the Spaniards, only to have those promises thrown aside as soon as the Romans have better money to make. These people gave the Empire everything it wanted, but the Empire is never satisfied.

We also get to appreciate how far west the empire went when the Spaniards are trying to sell their horses. (Plot-bunny: Andies are dancing horses, exceptionally athletic, and a prime choice for chariots, though, a standardbred is the usual choice for modern cart racers)

🟠 I will say the CGI isnt the best. You can tell exactly when they change from live action to CGI. But this is a minor issue for me tbh. Its passable CGI, and they use it to avoid putting animals or people in danger which, obviously, I appreciate. A chariot wreck was shown, annnnnd it was pretty darn accurate to how messy those would have been. Not good times y’all. Not good times. Also, the ramifications of a major concussion. Oof. At least the guy would have barely knew what was happening? Still.

🔵 The sound effects were enough without being over the top. Often times when theres gore to show, theres all these extra squelching noises and gratuitous blood… not this time. It’s actually… pretty durn accurate. Don’t ask how I know. I don’t wana tell you, and you dont wana know.

Overall, it was a really solid first episode, and I plan on watching the rest.

[exilethegame]

i've been having an itch to write an if game, do you have any tips? i feel like its a very bad idea to jump straight in head first yk?

So much of it is a "figure it out as you go" kind of thing, but here's what I've learned, personally, and how I usually go about things!

1.) Figure out the kind of story you're trying to tell. That goes with any form of media. Is it a comedy? A tragedy? Is it meant to read like an old fairytale or a YA novel? What makes writing good is incredibly subjective, so it's important to find your genre + voice as a writer and play into your strengths. You can't satisfy everyone, so aim to satisfy yourself.

2.) Figure out who the player character is. What is their history? What's their role in the story? Why are they the player character? Figure out how much variation you want for them-- what's solidified about their past, and what's open for headcanons, and what's open for choices in-game?

3.) Treat MC with as much dedication as your main characters-- don't separate them from everyone else. People want MC to feel like an active part of the story. This is a generalization, of course, but I know myself and others enjoy an MC who has agency and feels just as fleshed out as the other characters in the story. I don't want MC to feel like a "observer" but rather an active character in the narrative.

4.) Plan out your game mechanics + the affinity system ahead of time. This is something I didn't fully do, and while it wasn't earth destroying, it has made coding unnecessarily messy at times on my end. Is it a stat heavy game or choice heavy game? What are the important stats, and how often will the player be able to influence them? I find the second part of that to be the most important, as you want to pace stat increases/decreases with the length + pace of the game. For example, in The Exile, MC's personality can only change in the first three chapters. Once MC is brought to Plaithus, their personality is locked in. This goes for other variables too-- sometimes there are only "windows" when they're able to be influenced. This helps me keep track of what's what and not be overwhelmed by the amount of stats I have.

5.) Plan out your cast, and make sure everyone has a purpose to the story. If you can't defend the presence of a character in your story, you might need to rethink their presence, or otherwise change the character. This doesn't mean they need to have a giant, crazy character arc connected to the main story, but rather that they bring something to the table that other characters don't. That being said, it probably is a good idea to make sure every main character in the story has some sort of personal story arc. It can be small, but it's nice to see how characters change over the course of a narrative, otherwise they might feel "static."

6.) Know why you're making your story. Is it for yourself? Is it for fun? Is it to make money? Is it to make art? Will it be public or private? If you're making the game public, prepare yourself mentally and emotionally for critique and external opinions. I think we, as creators, sometimes underestimate (especially in IF and on Tumblr) just how crazy things can get with reader/author interactions.

And, my final piece of advice...

7.) Learn to set boundaries and say no with a full chest. Your game is your game at the end of the day, no one else's. Do what makes you feel happy and fulfilled and write the kind of story you want to read. And, of course, be easy on yourself. Writing takes time and effort, and sometimes you'll hit hurdles. The most important thing is to be patient with yourself and learn to keep on going forward, even when the going gets tough. As I always like to say, writing slowly is better than not writing at all!

Best of luck if you decide to make the jump and write a game!

[esmecarmona]

ben being the "only adult" hasn't actually mattered since the crash. it was subtle at first but then laura lee essentially tells him to shut the fuck up and the energy has a noticeable shift. there's a similar moment in 1.10 and all of that just solidifies it for ben: his "authority" means nothing out here. i do personally think some of it stems from the loss of his leg and his having to rely on the girls (i don't think any of them recognize that/outwardly think bad about him because of his disability, but it's a survival situation and it's impossible to not have that influence so much of their dynamics) but regardless, "adult" is a qualifier that's been meaningless for months now. we never really see ben have any interactions with the kids besides nat and travis (no, i will not be mentioning misty since she assaulted him, thanks!) like. he has spent his entire life being Othered. and he is still Other out here. because of his age. his gender. his disability. he is so completely and utterly alone. he is in the process of a mental breakdown. i truly don't understand how people are reading these scenes with paul as "flashbacks" or acting like they're willing at this point and not the product of his incredibly fragile mindset. paul's home was the cabin in 206. he could still hear the screaming. his mind is breaking down. no, his "gay fantasies" were not more important than shauna. it's a psychotic break. did no one see him almost pass out? (he's consistently had physical reactions to blood/injury. btw) does no one remember he didn't eat jackie, and probably hasn't eaten much since then?

does no one realize he can't exactly kneel in front of shauna and do anything meaningful because he's disabled?

but really, what can he even do? he isn't a "health teacher." i'm going to assume a lot of the people acting as if he has some kind of educational qualifications aren't american. i feel like it's pretty common in america for "health class" to be taught by a PE teacher/coach with no background in it who just plays video and reads out of a book. he doesn't have a medical history. he literally says, "i just press play on a video." no, misty and akilah aren't trained, but misty clearly paid attention in class and akilah's sister had given birth. they do know more than ben.

and no, ben didn't look at shauna and go, "that's gross." the blatant homo- (and transphobia) in acting like a gay man was just "disgusted" by childbirth is just disappointing to see.

if you really want to be upset by ben's actions, obviously, you can be. maybe he could have done more to be comforting but i just don't think he could have "saved" the baby. it was already dead. to blame him, to act like he willfully killed the baby/did not care about shauna, is just silly. to say that the disabled gay man needs to kill himself so the girls can eat him now is an insane take. to act like he needs to be punished for something out of his control is stupid. to single him out when he was far from the only one being "useless" is just weird. why is there a sudden lack of critical thought re: his character?

and can we wait to see everyone's reactions before deciding everyone hates him for it?

[oscconfessions]

Right, so I watched the first episode of ION cause of the constant discussion of it on this blog, and... it's pretty neat!! I like it so far, and look forward to watching more episodes of it. While watching I kept in mind all of the complaints said here and yeah, I can certainly see why so many people are off-put by the show.

The artstyle is definitely... different. It takes some getting used to, and I suppose some aren't able to tolerate it at all. The way I think about it, I just see it as how solely the ION characters look. Like, objects within/from that universe have much more detailed/human-like faces, it's normal there. Now, if someone were to apply those faces to any other object show I would Absolutely Hate it. But within ION? It's fine!! That's how they're supposed to look, and their designs fit their personalities in my opinion. (Honestly I was expecting worse, thought it would be go-animate levels of uncanniness ahah).

Also, Cracklin's character is what I suppose some would call "weird". Really, he reminds me of a typical young anime character swooning and obsessing over a teacher/mentor figure. I do see why some people would call that annoying or creepy, but I'm personally indifferent to it. Chief doesn't seem incredibly bothered by it and the two of them seem to have a forgotten history that might be influencing some of Cracklin's behavior towards him.

Thinking about the entire debate on people's distaste or praisal for this show is a bit complicated, but I'd summarize it by comparing it to the parts of an animated MAP. Like yeah, people really like when different parts flow and mesh together (PPT2, YAG, OLO) and sometimes are amazed by really flashy or skilled parts that stand out (ONE, TNM, MO) but there's often one or two artists with particularly striking styles that... just aren't as popular. They're not the normal status quo and don't quite match the interests of all the viewers. And there's nothing wrong with any of that, really. Some people don't find some artstyles as appealing as others, and would rather stick to what they're most familiar with or change it little. Some artists want to explore outside the usual medium, and incorporate their own styles or experiment with something completely new. Both of those are okay!! It's good to have creativity in a community, and it's fine to only stick with the parts you enjoy most. The two sides of this discussion are equally valid, and there's no need to get upset at one another over them, yeah?

Anyhow, I'm excited to see how the story develops and what exactly happened at that power plant, the beginning bits of the plot are already very intriguing. The backgrounds are superb by the way, they add so much to the vibe of the scenes. I also quite like the animation too, it's not constant frame-by-frame movement but it isn't a simple slideshow either, there's lots of varied expressions/poses and tweening. Overall, I think this show has lots of great things about it and really does add a unique flavor to the OSC as a whole!!

.

[truetalesteam]

Week 2 of our Season 3 Crowdfund!

Hello Everyone!

Here at True Tales of the Illuminati, we are humbled and excited to announce that with three weeks left in the campaign, we are almost halfway to our crowdfunding goal. That means that we’ve been able to release the second of our four crowdfunding minisodes, and we’re rounding the corner towards the third! You can listen to them, and to our first two seasons, on our podcast feed now.

That’s right, our marketing strategy for asking you help us make a third season is to make a mini-season and hold it hostage! Find another podcast that does that! (Okay Wooden Overcoats, sure. Fine, we ripped them off, so sue us, they’re our heroes. No you shut up)

If you haven't heard of us yet, we're an audio comedy about conspiracies gone disastrously wrong, fruitlessly spinning the wheels of history like a car in park when you floor the gas. Inspired by (and aspiring to be) BBC audio comedy like Cabin Pressure and Hitchhiker's Guide, with rapid-fire jokes in the vein of Archer, Community and 30 Rock, we're proud to have been Audioverse award finalists for our first two seasons.

Here are a few of the things we’re excited about in our third season:

New characters ripped from the real Enlightenment-era Illuminati! Watch Beck get drawn to this group of navel gazing nerds like a pannier-wearing moth to a flame! See Jackie fall under the influence of a mysterious new mentor figure! Listen to Ishmael swill coffee and make bon mots!

New Dal! Dared to find a hobby "besides murder," watch her harass and bully shop proprietors into giving her a personality a second dimension!

Five whole episodes with an explosive two-part finale that calls upon all of Ishmael's bravery, courage and brain cells!

Here’s where the funding is going to go:

Recording studio time rental! In the past we’ve recorded with our full cast all together at The Bridge Sound and Stage recording studio in Somerville, MA. Not only does that make our audio sound great, having our cast all together, able to bounce off of each other live as we record means we get our amazing cast chemistry bubbling away to make each joke land even harder.

Paying those amazing actors! Every one of our cast members is paid for their time and talent, and as we have a big cast and tend to pack character after character into a scene, that’s quite a large line item! Why do we keep writing scenes with 5 characters in them!

Sound design! We’re once again working with the phenomenal Beth Crane and Hedley Knight, who you may know from their show We Fix Space Junk. Beth and Hedley have an incredible ear for sound, and some of the finest comedy brains out there, and they use those gifts to make sure that when a character jumps through a pane of glass, that that is the funniest pane of glass that there is to jump through.

Administrative fees! Podcast and website hosting aren't free! Look, some of these are just going to be true, not fun.

Places where the funding does not go:

Our pockets - We make this show because we love making it, and because we want to make the funniest thing we can. Every penny we raise goes right into making this show better and making more of it. The only ROI we see is getting to put something we think is really good out into the world. Does this make us fools? Economically, yes! But spiritually? You decide! (Please say no we need a win so bad)

Local political contributions in New South Wales - (we’re only 80% on where it is)

Actual occult organizations - (We don't know how to join the illuminati, no matter how desperate or strange the marketing emails we get are)(we WOULD say this though, so keep trying!) PLEASE STOP ASKING US ABOUT THEM

Non-Fiction History Books About The Weirdest Shit We Can Find - We use the library, bitches. We didn't spend a cent on The Witch of Lime Street!

Intrigued? Generous? Cool? Please help us bring our next season to life over at truetalesteam.com/crowdfund

[pilferingapples]

Since you've read most of Victor Hugo's books, how would you rank them from best to worst, and why? I really want to know your thoughts. Always love to hear it <3

!!! THANK YOU THIS IS SO SWEET and also so hard but here we go!

Les Miserables yes it's my favorite but I also do think it's the best! The most ambitious of his works story-structure and character/theme density and frankly? He absolutely lands it. I have been arguing with and about this book for over a decade now and I expect I will be doing so for the rest of my life, because it's worth it. I probably don't have to argue hard for it in top spot on the Les Miserables Webbed Site, though, so moving on:

Ninety Three /Quatre-vingt treize Not my second favorite but honestly probably just as good as LM but in a different way? Much more compact and focused, and feels every bit of the influence of more recent political events in France at the time, but just as ambitious in terms of the arguments and themes it's trying to cover. The ending is something you can have eighty feelings about in an afternoon but it is always unforgettable. Deserves to be so much better known. Toilers of the Sea /Les Travailleurs de la mer  My actual second favorite Hugo novel! A big Romanticist nature-focused love letter to the Channel Islands and to the sea! A mix of delightfully unreliable Nature Facts and Hugo's own observations about the place, that Nature-focus is always convincing either way with Hugo's descriptions. It's so very different from most of Hugo's later novels, but also *so* good, if you're willing to just sit back and enjoy the view . Gilliatt is a Forever Fave. Please more people read Toilers, it's a delight. And it has an Octopus Fight! The Man Who Laughs /L'homme qui rit Victor Hugo's Revenge on English History! I could feel my knowledge of actual English History Facts peeling away as I read this. Incredibly described scenes, iconic central characters, Ursus is one of the best-written characters of all time (though I have learned that some people have apparently never met a guy like this?? he is such a Type though!) . There's a wolf and the wolf is named Homo. After Les Mis, some old Hugo fans were lamenting about how far he'd strayed since the days of Notre Dame , and I think The Man Who Laughs feels a lot like a return to that old , over-the-top Goth style of Hugo's,but stronger, in keeping with the way his writing had grown over time-- until the end, when everything kind of feels like it wraps up too abruptly. Which makes sense! Hugo was finishing it up while his wife Adéle was in her final illness, and it makes sense that it would show--but I think it does show, and keeps the novel from being quite all it could be. Notre Dame de Paris I know it's either Hugo's most famous or second-most famous novel, but I really do think it's not as solid as the others! Which isn't a roast on him, it's a good thing for an author to get better over time--but it still leaves this novel feeling kinda messy. I can see Hugo trying to do his signature move of pulling together multiple separate plot/themes into a triumphant grand finale, but he hasn't quite got the knack yet. Plus there's still a lot of elements here that feel like Hugo relying on tropes a bit (and horrible tropes at that, too) instead of entirely speaking with his own voice quite yet. (also ohman. the Issues. but I'm trying to keep this post from being nine million screens long) All of the above range from "absolute masterpiece" to "not an entire masterpiece but still iconic", and then there's Hugo's Early Stuff, so: Bug Jargal - honestly it's not fair of me to even include this, it was a novel he wrote as a very young person, on a time-dare. If I'd written a Nano novel in high school it would have been SO bad. And this is bad! It's SO bad!! But you can still definitely tell it's Hugo by the way he makes sure to tell us, AFTER the story is over, that EVERYONE IN THE WHOLE BOOK DIED, EVERYONE, EVEN THE PETS. Stunning. Peak Romanticism XD (again though. THE ISSUES. whooof.)

Han d'Islande: Í have not even read this one. HUGO was down on this one later in life. I Dare Not XD (I probably will someday). But it has a polar bear and drinking seawater from skulls and inspired some very questionable behavior from the fans (attempting to drink seawater from skulls!) so I gotta acknowledge it!

Honorable Mention: the novelas

Not quite in the same group as the novels, but I think both Last Day of a Condemned Man and Claude Geaux are excellent, super-focused stories about the injustice of the prison system and the issue of capital punishment. Obviously they can't have the range of his novels, but that's not the point--they are much more direct statements on a single issue and they're really intense and effective in that!

This was fun! thank you for asking! And I'd love to hear your own thoughts on this , if you ever feel like writing them up:D

[mann-walter]

I Strongly Dislike the Concept of Palpatine as Naturally Evil

I am a Palpatine fan because I like how fun he is on-screen being evil (largely due to Ian McDiarmid’s acting and the overall shallowness of the characters in the movies), but forty-something years after the Emperor (and I like him called that way better than “Emperor Palpatine”) first graced the screen, I do feel tired of the same tricks played over and over again, that Palpatine is basically a male evil witch. I’ve long been a supporter of a deeper dive into Palpatine the person as a solution to this fatigue. We don’t have to have a formally Palpatine-centric major story (i.e. something on-screen), just something explaining his personal philosophy a little deeper would be welcome. Sadly, I do think such a project is unforeseeable in the near future because there’s a shift in vision.

In Lucas’ era (pre-2013, let’s just say), Palpatine is incredibly evil but there are still gapes of humanity within him, there even—as some visual guides, interviews, and novels would indicate—an attempt to build some type of “molding the world according to what I see as good” character with him starting in the Prequels years up to 2012. As a digression, I do find this concept coupled with his pursuit of power fascinating, “he is selfish, but” but “he is for progress, but”. A rather brain-tickling fictional fellow if executed correctly. But, and I do sense it becoming more and more evident, the idea has never been advanced since. There’s a prevailing concept of Palpatine as naturally the personification of evil nowadays.

On a more laughable basis, I don’t like the concept because it prevents my favorite character from being something much more interesting through character study pieces or simply by not being always relegated to the role of Final Boss in a Popular American Sci-Fi Franchise. On a deeper note, I think that the core message of Star Wars is choices between doing the right or wrong things. The story of Anakin’s redemption is ultimately that, his fall too though within more complicated circumstances. Ben Solo made the decision to emulate his idealized grandfather, and so on. I do think it would be unfair to suddenly enact extreme predestination on one guy to be evil (but how does “the will of the Force” work, does it set a rigid roadmap for everything?). And more, it would erase the profundity of his evilness so much if you think about it.

See, you have this man right here, he is incredibly evil, billions suffer because of this single human being. But then you find out that he has a severe, undeniable urge to maim, to destroy, to oppose all authority, value, and system, to play God whatever the cost, all for his own natural satisfaction. I do think there could be arguments for him not fully out of his mind, intelligent and educated enough to know norms and values, and there are steps to prevent natural predispositions to become harmful, but I personally would be a little less harsh toward such characters compared to characters who without any internal or external pressure choose evil freely. This relates to accountability, how much can we attribute to his free will?

I like my villains soberly choosing evil. (this doesn’t mean I sideline the “nurture” factor or the more complex “nature” reasoning, only that I hold them to some extent lesser of a consideration when judging). If he is evil out of his own free will, the question would be “Why?” which would be answered with a multitude of interesting personal history, cultural influences, and beliefs, making the character interesting. Let’s compare that to a scenario where Palpatine is naturally evil. You ask “Why?” and the answer you’ll get is akin to “It is how it is”, which is an incredible bore for me. The more freely the person chooses evil, the better for me.

So, yeah, I don’t like Palpatine fixed as the Dark Side incarnate. I like him incredibly evil but still very much human. Note, I do not see his pursuit of power as something inhuman, it is terrifyingly human, but maybe couple it with something else (needn’t be redeeming or sob-story-ish). Or maybe, let him mature into the incredible evil with nearly all of his humanity absent. I can totally enjoy that, as long as it’s not him being born evil.

[overthinkingtaleblr]

My Jimmy Casket Headcanon Masterlist

I’ve seen a lot of talk about the world-renowned murderer recently, and apparently his birthday is coming up, so I figured now is as good a time as any to address this fan-favorite entity of stabbing and chaos. Jimmy Casket is an uncomplicated character in his core: he possesses people, he murders indiscriminately seemingly for fun, and he eventually goes away. He has possessed multiple people across time and space, he targets humans over animals, and he has a variety of secrets with uncertain origins that he’s dying to share. Or you’re dying for him to share them.

He is most likely something paranormal just because multiple people seem to be able to channel him, but what he is (ghost, demon, something else…) is completely up for debate. I’ll be sharing and attempting to justify my own idea, however alienating it may be… because seriously, I don’t think anyone else has ever had this take before.

What is Jimmy Casket?

Instead of opening with a history discussion, we’re opening with an identity consideration, since What Jimmy is happens to be important conceptually to understanding where he might have come from. I’ll list a bunch of options before explaining my personal headcanon. There’s lots of options to what Jimmy could be, though, and some are more paranormal or dangerous than others. This list does not imply that something is likely, but rather that it is an option based off the evidence we have about who the character is.

- Casket is a Persona

Basically saying that Jimmy Casket isn’t real, but his affects still are. He is a name that people put on when they want to do something terrible, but it is still their own will and choice to enact. It says terrible things about every person who claims to be Casket, but could compelling in its own rights. Arguably the most possible non-paranormal option, especially if we believe Casket when he claims to be world-renowned and infamous.

- Casket is His Own Living Human Person

All of those things that looked like/sounded like possessions? We’re ignoring those right now, Jimmy Casket is a completely separate living and breathing human being from everyone who he was thought to have control over. They probably just step out or run when he appears or something. Or maybe we’re using canon as a suggestion in this case, and we don’t ever need to have Casket and his flesh bags in the same room.

Long story short, this man has his own vessel and boy does he use it.

This one is only likely because trying to cut all the supernatural elements out of something that uses it as a crutch creates some rather odd concepts. Because of how he’s presented in the series, it’s nigh impossible to suggest that Jimmy Casket is 100% his own, separate, human being who has never had supernatural influence over others. Unless he does have a supernatural influence over others. Maybe he’s a witch of some kind who controls others like puppets. Maybe he’s a vampire who can see through and control his vassals.

I did actually read a fanfiction that had this concept a looong time ago, and I won’t lie, I really enjoyed the earlier chapters and still think about them. It did a lot of things differently and really leaned into the kind of horror of Casket being so destructive. Also the Acachallas were a mafia crime family and Ghost and Toast only appeared once in a flashback.

- Specifically Ghost has DID, Casket is an Alter

I try not to state my own opinions with this, but as someone who does not have DID, my understanding is that you have to be VERY careful when handling this concept for a billion incredibly fair reasons. Idek if anyone uses this… I kind of hope not ^^;

With Casket as an alter in a system, even (maybe even especially) if Casket is ultimately trying to help Ghost, it perpetuates the “evil alter” trope because Jimmy Casket is conceptually a serial killer.

Ghost is seen as more threatening because upsetting him could trigger Casket. It makes Ghost justifiably be seen as terrifying in the narrative For Having DID.

The main reason why murderer with DID is a common trope in my experience is so that even the killer doesn’t know what they’ve done, creating an extra conflict where they don’t realize they’re the culprit. Additionally, it makes the investigation harder if they get involved. This is a problematic trope similar to the ‘evil alter’ one and there are non-paranormal ways to do this without villianizing DID, including regular amnesia.

Even if Casket is ultimately good and not a serial killer, to have him kill ANYone and then have Ghost forget plays into this trope as well and suggests people with DID are in some way actively dangerous.

I’m not going to police anyone who uses Ghost and Casket to express themselves. I will say be very careful with your portrayal. You can have Ghost as a system without Casket being one of the alters in it. Additionally, if you think I got anything wrong in this explanation, lmk. Whether or not Ghost has DID is not important to the other options after this, he could or couldn’t, this one is just “Casket is apart of a/the system”.

- Ghost and Casket are a Jekyll/Hyde situation

There are two ways I could mean this, but either way it means that Casket and Ghost share a mind and not a body.

1. Jimmy Casket is the evil inside of Ghost separated from the rest of his mind and embodied in a way that changes their external appearance. The origin would have to be supernatural in order for that to happen. Think Jackson Jekyll/Holt Hyde from Monster High. Technically, this could be mistaken for a really poor portrayal of DID so I do suggest being careful with this one. Changing between the two would not be an active choice on either of their parts.

2, and the answer more common to Jekyll and Hyde, Casket is just another body and face, but that’s still Ghost’s mind in there. Ghost is using the persona of Casket to commit “evils” that he desires doing but doesn’t want the social repercussions for. This implies that he has a potion of some kind that he takes in order to trigger the change, making it a willful act.

Be careful with this one either way because even if you expressly state ‘this is not DID’, it could be seen as a poor interpretation of how DID works. (Raises hand I did this in a fic once and I’m cringing at myself as I type this.)

- Casket is Tied to “Knifey”

Jimmy Casket is an entity of some kind who possessed not Ghost, but the knife that Casket carries around. This can double up with another headcanon in this list, more likely the paranormal ones. (Casket is a human person and he’s also a knife lowkey doesn’t work—)

If Ghost was able to fully get rid of the knife forever, he would no longer deal with Casket. However, this option would also imply that something about the knife is enchanted to make Ghost desire keeping it around, or it’s physically tied to him and appears whenever he expresses emotions it can feed off of.

This also explains how other people get possessed by Casket, specifically since most of them seem to show Casket signs after being given a knife that could very easily be cursed. He may not be the only character who can do this, too.

- Casket is a Ghost who has History with the Casket Family

This one is soooo varied it’s hard to encapsulate all the possibilities. Either way, Casket is a ghost who was alive at some point, and he is possessing Ghost because they have some connection through Ghost’s bio family. Are they siblings? Is Casket his uncle? Grandfather? Father? A distant ancestor of some kind? An enemy of the Casket family? Someone who was wronged in the Casket family? I guess attempting to list all the options was unnecessary— the important part is that Casket was alive, he’s dead now, and he’s latched to Ghost.

I know multiple people who use/have used this interpretation before, so it lowkey has a special place in my heart.

- Casket is a Generational Curse

Ghost is not the first person in his family to have dealt with Jimmy Casket possessing his body before, and for all we know T.Casket was frequently possessed as well before Ghost was born. This would have been a well-known issue within the family… if there was any family left to warn Ghost. Implies everyone who has had Casket possess them is related to the Casket family, and that Ghost has been a vessel since Casket’s last host died.

Seeing as Ghost is not the first person in the family with an inclination to the supernatural, I could see Jimmy Casket being something put upon their family a long time ago for fucking around and finding out. Maybe they had an overzealous witch in the family who fucked everything up for everybody? Who knows.

This curse is likely tied to someone keeping a very very serious secret, and speaking it into the world is the only way to stop him, but they died a long time ago so Casket isn’t going anywhere anytime soon.

- Casket is a Creation of the Housekeeper

This could double-up with another option, seeing as the Housekeeper seems to be able to manipulate a lot of supernatural things, or work on its own.

I specify this one just because it requires consideration on how Casket sees his creator. Does he like the Housekeeper? Does the Housekeeper have some level of control over him? Was Casket a normal entity before being exposed to the God of Chaos? Is Casket seen as the Housekeeper’s child (Demigod of Secrets Jimmy Casket, anybody?)? CAN Casket exist without Ghost for a host? Why did Casket react so violently upon seeing the Housekeeper face-to-face?

There’s a lot of options to consider here and a lot of them can really push a story forward.

- Casket is some Creature from Folklore

Anything with an obsession for blood, stabbing, and secrets and the ability to take over or control someone’s body. I’m certain there are a lot of options, knowing how wild a lot of folklore is (Chupacabra Casket, anybody?), and technically my own headcanon falls into this option.

This is a matter of specificity, and the only reason this is distinct from the other supernatural options is because it may change how evil/intentional his actions are, and it’ll wildly change how PIE would have to handle him.

If you want Ghost to be from a specific country or have ties to a specific culture, this could help immensely in connecting him to it. It also means that you could have a WILD design for what Casket looks like and how he differs appearance-wise from Johnny Ghost. Ppl who love monster designs and mythology research could do SO much with this.

Plus, most folklore are used as legends to warn children not to do certain things. If Ghost did one of those stupid things, it creates a personal explanation to how he got possessed without throwing his family under the bus, and gives you the opportunity to make your own story as to what happened.

- Casket is a Demon

Similar to a ghost, someone in the Casket Family history screwed up and now Ghost is facing the consequences. Demons and ghosts are very different and can be handled in very different ways. Maybe Casket’s a fallen angel and still has some good in him? Maybe Casket is evil to the core and LIVES to wreak havoc and ruin Ghost’s life, relationships, and more.

I’m sure there’s someone out there who better understands demons than me, be in-universe, they are powerful and horrific with a host or not. This makes Casket one of the most active threats in the universe.

Although unlike the ghost option, Johnny Ghost could have brought this upon himself by being a stupid moron and trying to summon a demon as a child and screwing up to a dangerous degree. He would do it.

- My Headcanon : Jimmy Casket is a Unicorn

Technically the same as Folklore but more specified to being an in-universe entity, Jimmy Casket is a Unicorn— a creature from the 13th dimension best represented by Stardust Sprinkleshine. I’m not sure how much of their history is canon and what was my own thoughts, but if you touch a Floating Gun that seems to exist outside of Space-Time, one will exit from a pocket dimension and possess your mind. Touching the gun again puts them back, and most seem to choose to return.

I think that Casket is a particularly crafty unicorn who managed to figure out how to not be sourced from the floating gun, either being tied instead to his knife or to a human body. He’s possessed multiple characters long-term throughout the series, and if he’s able to burrow deep enough into someone’s mind, he could completely take over their body.

I also think he was Mothman in a video where a young Johnny Ghost is terrorized by Mothman on a Halloween Night. I think that Casket somehow lost his old host and needed to find a fresh one, grabbing the first human he could find. I don’t know if the mothman is his true form, Casket mutating an animal body, or the dying body of his old host falling apart while Casket tries to operate around rigor mortis. (Spoilers for my ask blog 🤫)

Casket is not a creature who can be reasoned with outside of secrets, fun, and violence. He can possess anybody in PIE, won’t show up on ghost sensors, and can’t be warded away with most options. I think this is the primary reason why Johnny Toast hasn’t attempted to ward him off, despite seeing how much Casket hurts Ghost. Additionally, Casket can easily possess anyone on the team, including Toast, if they get on his nerves enough.

Horrifically, as a unicorn Casket can also largely bend the logic of the world, making him hard to catch and even harder to handle.

… He may eventually be somewhat defanged if treated with humanity and compromise, but he’ll always be kind of terrifying if he gets riled up. He’s like a wild animal if zoomies meant death. I can’t imagine he’d be that helpful in an investigation though.

There we go, ten options and my personal opinion! Hope I encapsulated everyone’s idea <3

History Headcanons

This is how I personally see Casket’s story up until the general point in canon where I tend to place things, and I’m not really considering videos in this. This is what I, personally, think and it may not have any basis in canon whatsoever.

- 13th Dimension to Freedom -

Before the Unicorns entered the floating gun, they existed on their native world in the 13th Dimension. They might have even been less crazy than they tend to be in the modern day, existing mostly as creatures of magic and a type of technology unfathomable to humans. Not quite “Jimmy Casket” yet, the unicorn who would one day become our point of focus didn’t have much reason to be considered differently than other unicorns outside of just being his own “person”. Maybe he has a specific emphasis for honesty, maybe he’s more likely to turn to violence, either way he isn’t a public figure or anything. He’s just a normal guy in his own society… I think Unicorns may also somewhat be a bit of a hive mind.

Then everything changed when the “Fire Nation” attacked. In all seriousness, Prince Fang and his family have been conquering dimensions for an incredibly long time. Their approach wasn’t subtle, and the unicorns took their chance to run when they realized what was coming. Tying a doorway to an item from a dimension the dragons wouldn’t be able to reach for a long, long time and tossing it through, the unicorns basically funneled into a pocket dimension tied to the doorway to escape. However, they didn’t think too hard on where they’d end up, and the doorway ended up in a position where no one could leave for literally years, kind of driving most the inhabitants to insanity.

I don’t know if the unicorn who would become Casket just used a different exit from the others, or if he took the first chance he got to get as far away as possible. Either way, the unicorn or focus managed to get away from the trap they accidentally built themselves, but still had really nowhere to go. Managing to tether his spirit to a human host long-term and eventually a blade whenever the human didn’t work out, he was free to do whatever he wanted. Not at all socialized to human cultures, that mostly led to murder while he learned how to co-exist with a host. Having as many hosts as he did, it kind of gave him a bunch of secrets to inherit as well as he moved from person to person. I imagine that any secret Jimmy tells is one that previously belonged to someone he lived as, usually picking someone who might be known to the victim.

While in the beginning, I think he tried to be in control 100% of the time, but kept either wearing himself out or breaking his victim’s mind or body, which is why he only pops in when something interesting happens now. How long this took for him to realize would be difficult to decide, since I’m not even sure at what time Jimmy entered the world. Either way, he’s a boy with a bladed weapon and a desire to wreak havoc.

- Wild West -

I don’t know how many other hands Casket found himself between before a young Johnny Ghost, but I know the identity of one. In spite of his generally cagey nature, Casket found his host dead after an encounter with the Acachalla Gang in the Wild West, but survived solely out of luck. Either due to an interest in a knife at the campsite from one of his attackers, or latching to the first one that seemed to be susceptible, Jimmy came to possess one of the gang members as his old host passed away without anyone noticing. Craving freedom and realizing this body would live for an incredibly long time, he decided to take a bit of a different route then usual.

To the rest of his family, Kermit Acachalla developed a new and passionate interest in knives, specifically one knife. And then an increased tendency to turn to violence. Maybe if they weren’t literally a gang, they would have picked up on the red flags sooner. It wasn’t all on them to notice, though, as Kermit frequently traveled one-on-one with a close friend who Casket would sometimes possess instead, depending on what he wanted to do when they separated. One was a lot more likely to bend to his will, the other one could literally travel through time, often giving Casket the opportunity to wreak havoc on the future. Eventually, the time traveler grew wise and Casket figured that was as good a time as any to stick with Kermit long-term… and also lowkey drive the man to insanity.

Kermit the Claw became a well-known serial killer, one who eventually killed Johnny Ghost Senior in a skuffle but got mortally wounded in the process. It took Casket an uncomfortably long while to find a suitable host after living easy for almost a hundred years, and then when he thought he had one, some stupid ghost hunter tried to banish him. He wasn’t picky though, and found someone else soon after.

- Johnny Ghost -

This is why you don’t go out alone, kids. You never know when mothman will corner you in an above-ground pool and possess your face. While I don’t think Ghost was specifically targeted, I think Casket’s old host had been in the area for long enough to know that Ghost and the “ghost hunter” that attempted the banishment were living in the same house. What he did Not know was that he was also the son of the Johnny Ghost who he murdered a year or so prior, really giving Casket a goldmine of trauma to work with. Weakened from a lot of crap that happened, including the attempted banishment and possessing someone with experience in keeping someone out of his head, Casket could only really take control if Ghost was feeling enough of a heightened emotion, rather than just whenever he felt interested. He found it didn’t really stop him, though, Ghost being Incredibly passionate.

He’s basically been living easy ever since. Whether it be Johnny Toast or Peewee Ghost trying to hold him back, they’re ultimately his biggest enablers of all time. Between the hilarity of Ghost’s stress and the effort his loved ones put into cleaning Casket’s messes, he can do whatever he wants whenever he wants it. Casket was basically out 24/7 while Ghost was in college, and he’s more resting now that Ghost has graduated. He’s grown rather fond of this life. Mostly because it constantly gives him the means to leave bodies in his wake.

Relationships

Johnny Ghost

“This kid can fit SO many problems into him!”

DAMN he has issues, and Casket is obsessed. Sometimes he likes to just sit and watch Ghost fail at being a human being without any intervention whatsoever. It’s just that hard for him on his own.

Casket has a lot of control over Ghost’s memories, and he finds it funny to just eat as many of them as possible. There is no telling what Ghost does or does not have an understanding of thanks to Jimmy Casket. This is why Toast wrote the book out of the two of them.

Kind of holding Ghost’s body together Venom-style, and if Casket ever leaves Ghost will both experience a rush the of memories that Casket was suppressing and possibly an organ failure. It’s now because of this that Casket does not jump possession, even though he sometimes really, really wants to.

Johnny Toast

His first choice for someone else to possess if the opportunity presents itself, Jimmy thinks it’s hilarious that Toast seems to be under the impression that he can be in any way shape or form “held back”.

Thinks that there’s more going on with him than he makes obvious, mostly because Toast absolutely has ‘latent but incredibly strong power rests inside of me’ vibes, and Casket can tell.

Weirdly enough, he does not approve of the drug dealing.

Peewee Ghost

Jimmy found it hilarious how much effort Ghost’s father put into trying to get rid of Casket without Ghost noticing. Sometimes he’ll still poke out when Ghost visits home just to taunt him. Hard to attack him, though, the house is covered in safety wards and curses and stuff to stop Casket from getting to feisty.

As much as Peewee hates Casket, he and Ghost are a package deal, meaning Peewee will clean up any mess Casket is too lazy to take care of himself, so long as he’s willing to sit through a lecture and multiple threats.

Fred “The Spooker” Soup

Thinks that Spooker would be his favorite person on the team if he were to just go crazy go stupid. It’s why Casket will jump out and kill Spooker all the time— he’s kind of hoping the guy is going to snap and try to get Casket back some day.

It hasn’t worked yet, but come on, how much longer can the guy have before his patience wears thin?

I think Spooker x Casket is a viable crackship bc i find it funny. Maybe not if the Casket is as murder-motivated as mind, but I could see it happening otherwise!

Chris “Colon” Ghostie

Colon hates that the team harbors Casket from justice, Casket thinks Colon’s righteous indignation is hilarious.

Casket will sometimes admit to cold cases that he might not have even done just to get Colon upset with him for getting away with it. Colon is the most invested in looking for a way to banish Casket for good.

Katrina

“The power of love failed you? Better Luck Next Time!”

His first victim after possessing Ghost that didn’t happen to be an animal or something like that. He was kind of hoping it would be enough to emotionally destroy Ghost, but found that others in her family took the loss a lot worse.

If she survived, it would have been a good lesson not to trust everyone who claimed to be your friend when you knew he was hosting some kind of evil spirit. She was a little too optimistic for her own good.

Johnny “Roast”

Jimmy genuinely considered switching from Ghost to Roast, feeling like Roast had a bit more of an underlying violence to him.

After seeing how poorly he took his sister’s death, and how much misdirected anger he lashed out with, Casket decided it would probably be more rewarding to watch this kid spiral on his own. At this rate, there was no way he was going to develop “Healthy Coping Mechanisms” or whatever that means.

If given the opportunity/if something ever happens to PIE, Roast will absolutely be his first pick for a new host.

Gavin Toast

“What do you MEAN there are two of them?”

Since Casket possessed Ghost after Toast moved back to the UK, Casket didn’t meet Gavin for a loooong time, and their meeting what a very confusing experience for specifically Casket.

Gavin is, weirdly enough, a little bit too normal for Casket. Casket can also tell that out of everyone, he’s the most likely to get Ghost arrested so that Casket faces justice. Mostly because every vengeful spirit will bombard Gavin any time the two are near each other, begging for retribution and Gavin does not think Ghost’s freedom is worth it.

Plus, Ghost has means to get out, he’ll be fine.

Johnny Cranky

“I dunno what your deal is, but you had me at joining a team named DIE.”

Exactly what it says on the tin, Jimmy is ready and willing to be apart of Cranky’s weird club so long as it means he gets to do some stabbing.

He doesn’t really consider Cranky to be anything other than a conduit for murder, he’s barely even a person to Casket. Casket frequently ignores him, talks over him, walks out of the room mid-conversation, and other things that really show that he does not care about Cranky’s existence.

Cranky only puts up with it because he thinks Casket is too dumb to realize he’s being rude. He’s not.

Cardboard Friend

“Back off! You already gave up on this one, it’s my turn!”

No matter what CBF is, no one ever said that Jimmy Casket had the common sense not to pick fights with demons or vassals of gods...

CBF, whether good or bad, is emotionally distressing for Ghost. While Casket appreciates the easy exit into the world, he does NOT want CBF to be near him. Either because CBF is a threat to the body (that Casket lives in) or CBF loves Ghost and is a threat to Casket, they do not get along at all.

Trivia

I do think he met T.Casket at some point, but I think they got out alive mostly out of dumb luck, and Casket still hasn’t realized that he’s the same person as Ghost’s dad yet. He probably knows a secret or two about the guy.

Jimmy is probably afraid of old people because he finds old age to be one of the most disastrous things to experience. He wants to be able to move around as much as possible, and an ailing body is probably an uncomfortable one to be in if you have the chance to move between them.

Could also be memento mori, a reminder of death would be uncomfortable to a being that is just barely not immortal.

Going by a bunch of other names throughout the time he’s had on the world, the name Jimmy Casket mostly came to spite Ghost’s family. Feeling bad about Ghost knowing so little about himself, his dad (Peewee) tried explaining his bio family and the CBF incident to him, and at the time Ghost understood and though he needed time to process it, he didn’t take the news horribly. Casket basically ate the memory of that conversation and took the family name specifically to mock Peewee’s efforts.

Jimmy taunted Toast about killing his wife once and got shot to death for his efforts. Jimmy considers this his most rewarding interaction with Johnny Toast of all time and doesn’t bring up Mary just to not spoil the memory of that interaction.

CBF and Jimmy might’ve met before Jimmy could possess Ghost but after Gregory ran away. Jimmy probably attacked it at the time, and it was likely in a weakened state, which is why it’s genuinely kind of afraid of him, even if its more powerful than he is.

Started a diary and wrote in it whenever Ghost stumbled upon it just SPECIFICALLY to scare Toast when he eventually stumbled upon it.

Would absolutely spill the secret about the Destroyers of the Investigators Extraordinaire existing and Spooker being offered a membership roll if he thought it would tear PIE apart.

Has had rabies before.

Bites.

[brandtner]

As an Eastern Euro yourself how would you make the entire East Euro? (Since you said Himaruya screwed the whole region up). As someone who’s not from the region, my current thought is that if it were up to me there would be less blonds lol. Also: specific opinions on Russia, Ukraine and Belarus?

Yes, yes :D Less blonde I agree.

Russia - for me as a person who lives among them he's just... Too nice? Too well-behaved? Something like that. He needs just a little bit of spice, not too much. I would've also incorporated his sense of humor in some way, because it's a thing that is absolutely unique and IMO Russians have the best sense of humor in the world. And cartoons. Also his lack of organisation and general incompetence in EVERY SPHERE, I never saw that in Hetalia. Only his brutality. Shallow really. It must be there, that's what the Russians are mostly known for. Their main stereotype. He lacks carelessness

Belarus - I do get it. She's cold because of political reasons, only country in Europe to have death penalty... But I wish that she could also be warm. For example, yes, cold in the international arena, but comically warm and jolly among her friends. Belorussians are INSANELY nice and good people, like, I never met anyone on the same level. I absolutely love them and I am forever grateful to God for putting so many in my life. It's a miracle. I don't deserve this lol Also maybe a bit more play with Lithuania and Belarus, how he used to rule her, how she stole his coat of arms (xD), they're just a lot alike (same national bird etc). More spice in their relationship, not just Lithuania having a crush on her, but maybe accusing her of things, etc. Conversing about their love for potatoes. You know, things from everyday life that happen there.

Ukraine - Terrible. First of all, never met a Ukrainian without a tan in my life. They're reasonably positioned in southern Europe, the black sea... They're pretty dark although not all of them but I think it would be awesome if Bel and Russia were so pale and white and Ukraine tan but maybe still with blonde hair. It would contrast nicely. Tits, agreed. Poor gal? I don't think so, Ukrainians are quite strong and DEFINITELY NOT pushovers. What her design lacks are main events of Ukrainian history: Issues with Poland, nazi collaboration. Some edginess to her character. They're a bit nationalistic, but you can't blame them for it since how Russians and Poles treated them. (albeit they weren't exactly goodies either)

Latvia - I wish someone just read latvian history at least once in their lives. Just, one person, please. Hahaha. So basically, making Latvia more weak than Lithuania is a CRIME. At least more morally weak. Latvia had COLONIES, a great fleet, they were influenced with Germans, hence the better the development of his than that of Lithuania who was influenced by Slavs, LATVIA was the ONLY baltic state who fought the Nazis, who defended their country when they occupied them. Lithuania just let them in. He's just incredibly underrated, you can't just base his entire design on how he looks in 21st century. I'm not saying he's supposed to be buff and strong, because he is weaker in terms of military and sovereignty, but making him a woman I think would be very cool? Since the Latvian girls are the tallest in Europe. So making her tough in medieval times then making her weak in modern times would be pretty easy. They're way better than Lithuanians morally and behavior wise. Latvia is more liberal and easy going when it comes to ethnical issues, they don't really care that they're getting assimilated into Russia when Lithuania is really mean about it.

Lithuania - His name doesn't exist. The national clothes he's wearing in his design are incorrect, they look Ukrainian. Hair colour is very on point. Other than that, he has no right to be as nice as portrayed. They're usually mean and very passive aggressive. Terrible sense of humor. They're called the Italians of the North so that would be cool to see, making him the most emotional or in-your-face attitude out of all northerners. It's not good that his love for singing, the entire basis of that country - singing, was never put into spot. I think it should be mainly based off that. More pagan stuff, they had remaining pagans up until the 19th century which is unbelievable, and that religion still exists now, people practice it. Also its a bit hard to speak of it as one country because there's like 5 regions there and people in each one of them differ a lot. Samogitians don't even consider themselves lithuanian.

Hungary is way too nice too. Their politics or history are not nice at all, they have an attitude of an oppressor. She looks too normal, there's not much hungarian about her, give her some special features. Should be made into a duo with Poland since they both call themselves brothers.

Slovakia - should never exist and should never deserve own design and appearance in the series. Die Slovakia

Poland - Gay weak inconsiderate irresponsible annoying and lame. So 100% accurate. Very nice, I agree, good job Hima.

Also it would be cool to see Königsberg in the series!

[conostra]

Griffith's Relationships (6)

The White Hawk. The White Phoenix. The King of Falconia. The Savior. Femto. The Blessed King of Longing. Once, the greatest mortal to ever wield a sword. The bane of the Black Swordsman. The most beautiful man alive. Him with a stature nothing short of pure magnificence. You know him. You love to hate him. I’m talking about one of the greatest characters not just in manga, but in all of fiction: Griffith.

Griffith is one of many examples of how masterful Kentaro Miura was with a pen, be it pressing against a notebook or a panel. An incredibly written character, as complex as they can come, with some of the most complicated, deep, and tragic relationships I’ve ever seen put to any form of media.

Today, I’ll be discussing what is inarguably a core tenet of Berserk: Griffith’s relationships. With two exceptions, there is no dispute that Griffith’s relationships are not the singular most important part of the media he resides in, there is no debate over whether or not they are still crucial parts of understanding both Guts’ disposition, and the world of Berserk itself. Griffith’s different approaches to interacting with those in his vicinity warps the very world itself, and his whims shape the very nature of the conflicts the protagonist engages in.

Here, we will be discussing Griffith’s most important relationships through Berserk, how they shaped him, and what they explain about who he is and how he got to where he is now.

Part 1: The Boy, and The Hawks

Part 2: The Governor.

Part 3: The King.

Part 4: Charlotte.

Part 5: The Wings of the Hawk (1)

Part 6: The Wings of the Hawk (2)

______________________________________________________________

Part 6: The Wings of the Hawk (2)

Love. Hatred. Love and hatred and a burning, smothering, suffocating desire. Those are the things that define how Griffith felt about Guts. There is no other way to put it. There is some amount of discourse around whether or not Griffith’s attachment to Guts is platonic, romantic, sexual, or whatever- I am here to tell you that it does not matter. (but to be clear, it is at least a little gay. Sexuality and attraction are a spectrum, and something can be homoerotic without necessarily being homosexual. But the undertones and subtext in much of Griffith’s interactions and feelings towards Guts is there. It’s pretty clear.) Griffith’s emotions are so garbled, his feelings, how he perceives the dynamics of lust, love, affection, appreciation, power, and control are so tangled up and destroyed by even the time he meets Guts, that every single interaction involving any of those feelings has to involve all of them. They are so inextricably connected through trauma and his history that their influences on each other must be taken into account. 

Like at their very first meeting. While Griffith had spotted Guts when he fought against Bazuso, noticing the insane, borderline-suicidal tactic that Guts had used to best him, their first real exchange is after Guts killed some of his men, and was about to slaughter Casca and Corkus. Griffith bears no ill will towards him, merely asking, “Would you lower your sword?” When he sees Guts’ reaction, he reluctantly continues, “I guess not…” before parrying his swing and relatively gently disarming him with a strike to the armpit. A few days later, after Griffith ordered Casca to assist him in staying warm, as was, supposedly, her duty, his first words to him are to compliment his strength and swordsmanship, admitting he could never wield the way Guts does. Later on, in the same conversation, Griffith puts all his chips out at once with a single statement, point blank: “Because I realized I want you, Guts.” Guts rebukes this because of his own personal issues, and Griffith’s response is casual, asking what Guts will do, and admitting that he does not dislike violence as an answer when that response is violence. It’s all laid out here. “I must obtain the things I desire.” Whatever Griffith thinks this means, however he intended it, it’s perhaps the most honest summarization of himself in the series. 

And then, they fight. And all this does is improve Guts’ status as an object of Griffith’s desire. He is unwavering, willing to put life and limb on the line with every swing. He has incredible spur-of-the-moment plans that work in his favor, incredibly absurd strategies that somehow sway the tide to play to his strengths. He even manages, if only for a moment, to flip the script on Griffith, getting some very solid hits in before Griffith ultimately incapacitates him. And from here; Griffith is certain. Guts is his, and Guts will be his, and Guts will be the best thing he has ever had. Despite Guts’ issues with Griffith at this point, Griffith immediately begins entrusting him with very important, vital parts of the Hawks’ survival. The next mission, he is assigned to head their rear guard, making sure the Hawks are not overrun by enemy soldiers as they flee from the raid they are to perform. Most people think Griffith did this on purpose, as Guts would either run away or get slaughtered. But a few understand what this assignment really means- Griffith trusts Guts 100%, already. Later in that mission, Griffith even returns to save Guts after he put his life on the line to save more men. They play together, and Griffith strikes a chord deep in Guts as he proclaims he will one day have his own kingdom, sparking something that will lay dormant for years, but eventually fire back at him. And he puts more faith in Guts all the same, entrusting him with 10 men after his first mission, the number only increasing as Guts proves more and more why Griffith’s faith is not misplaced. 

They play off of each other very well. Guts is reckless, but fierce, and loyal. His skill with a sword is matched only by his willingness, an almost insatiable itch, to swing. And Griffith is just as skilled, just as fierce, but his strength lies not in his strength, but in his ability to plan, to account for Guts’ ferocity as part of his overarching goals. And together, they ascend through Midland’s army, Griffith becoming nobility as they begin to turn the tide against Chuder. The relationship reaches its ultimate test when Griffith puts his life on the line to assist Guts against the legendary battlefield hurricane, Nosferatu Zodd, the immortal mercenary who’s torn war fields to shreds for over a century. Risking and losing soldiers by the dozen, his own life hanging by a thread after the fact, forcing Casca to take the others and retreat, Griffith cements here the idea that Guts alone is worth the risk, and potential forfeiture, of his own life. But Griffith counts on their combined will to see them through the day, the combination of their strength, endurance, and the combined fate they both share. And as the Crimson Behelit drives the creature with the inhuman name Nosferatu Zodd off the battlefield, it only ascertains to Griffith that he and Guts stand above in terms of what they are capable of, and what they are fated for. Only the two of them could have possibly survived long enough for the Behelit to come into play as a deciding factor for their lives in the first place.

And this is Casca’s issue when she argues with Guts, asking what exactly it is that Griffith sees in him. Of course, she recognizes that this only happened to Griffith because of Guts. But what she fails to accept in the moment, and what even the two themselves don’t quite know or understand, is that this would not have happened to Griffith if it was anyone but Guts. When the rumor of Zodd’s appearance is shared, it is no one but Guts who is Griffith’s primary concern. Not all the men in the castle. Not all his warriors on the field. Not the others he has deemed as captains around him, who would have to fight the beast should Guts fail- it is Guts alone which occupies Griffith’s mind.

And after Griffith heals from his injuries enough to walk, what does he do? He goes straight to Guts, who is training despite clearly still being injured. And he does something he has never found reason to do- he justifies his behavior, and explains why he is doing what he is doing. If Guts does what he must on the battlefield, Griffith does whatever he must to gain favor, approval, and less prestigious advantages, but advantages nonetheless, as the face of the Hawks. He must navigate the battles of political intrigue, the shifting tides and domineering armies of the royal court, the same way Guts must lead the raiders to a battlefield where blood is spilled instead of secrets and gold.

And once again, Griffith is frighteningly transparent to Guts here. And once again, Guts does not understand. 

Why, he asks, does Griffith continue to stake his life over one, single, lone soldier, out of his army? 

And Griffith’s answer is clear:

“Tell me…

Do I need a reason each time I put myself in harm’s way for your sake?”

It could not get any more obvious than this. Griffith is a man of a million reasons, a man who juggles complex logistics the same way we might a pair of fruits. And yet, here he is, admitting that despite the facade of logic, and cold, calculated reason that he shows, there are things he values beyond that. Rather, his language makes it clear. A single thing. One thing, beyond all others, that he is willing to put himself at death’s door for. Guts. And still, Guts does not understand the weight behind the words. And, in his fairness, Griffith is a man of shocking truths behind muffled and insulated airs. He hides each dagger behind a smile, and each motive behind further motives still. And yet, this here is the unadulterated truth. Guts is as valuable to him as his own life.

And this continues for a long time. Guts is told Griffith’s plans, his information, things that he has shared with no other soul, given glimpses into plans years in the making, even let in on and participating in Griffith’s plans to assassinate many of the nobles and royalty that stand in, not his, but their way to prominence. And during these missions, Guts makes decisions that he regrets, that cause him to spiral, that cause him to question his allegiances and his devotion to Griffith’s dream. And one day, he hears Griffith wooing Charlotte, and Griffith says something to her.

“What I think a friend is, is one who is my equal.”

This something is what finally widens the schism in Guts’ heart. He feels as though he is not Griffith’s equal, that he has no greater aspiration for himself, that he currently just is not worth being Griffith’s friend. But what Guts does not understand here is that Griffith is blustering. Guts is already the closest thing Griffith could ever consider an equal. Guts is already the thing Griffith can consider closest to a friend, a soulmate, a partner, a lover, whatever you can call what Griffith would truly regard as an equal. Whatever Griffith says here about his stance, there is nothing that Guts can say or do that can advance himself any further in Griffith’s mind. 

And this is proven on the fated day. The day that Guts finally decides to challenge Griffith once again. To Guts, this is the first step in a long journey, a journey to prove not only to Griffith, but to himself, that he is worthy of being held in the same regard as the lofty ambitions that occupy the primary space in Griffith’s heart. But to Griffith, this is nowhere near the same. This is not Guts attempting to prove his kinship- far from it. This is treason. This is near-blasphemous. This is the ultimate betrayal. He is attempting to remove himself from not just the Hawks, but from Griffith. Guts is rebuking everything that Griffith has extended towards him, and in turn, Griffith himself. Griffith’s poisoned understanding of relationships makes this as seething and burning as it is heart-wrenching for Guts. For Guts to denounce Griffith’s only true feelings amongst a sea of affectations that Guts alone should be able to see through? Why, this is the same as spitting in his face and asking to be apologized to. And as Griffith once said, he is not a man who dislikes violence as a solution. So, the two stand off. And in a non-verbal exchange between all the characters present, something is made absolutely clear once again: This is, far and away, the most devastating misunderstanding that could have possibly occurred here. But the fault does not fall solely on either of them individually.

Guts has, at this point in time, made his goals in leaving very clear. Very clear, that is, to everyone except the White Phoenix General himself. The man before him, Griffith, has no understanding of the true motivation Guts has besides the fact that Guts indeed wants to leave. And that is the only information Guts gives him. And on Griffith’s end, he can see no other reason that Guts wants to leave, other than to simply be rid of him. While they are stanced, readying themselves to engage, Guts is thinking about how, at the very least, Griffith being willing to fight him means he is still willing to spill blood over Guts, including his, and including his own. Griffith, on the other hand, is having a meltdown. His focus wavers. He spirals out, thinking to himself: 

“Do you want to go? 

Is this how badly you want to leave my grasp? 

You can’t. You can’t! I won’t have it!

 I won’t let you!” 

As he thinks on how to defeat Guts, he falls on a single option that might potentially end his life here. But in this manic state, the first time witnesses besides Casca acknowledge that Griffith’s usual poise is completely deserted, he acknowledges this and continues on: 

“Even then… if I can’t have him, I don’t care!” 

But, he does. Oh, so obviously, so clearly, he does. And when Guts beats him, calmly, without harming him at all, Griffith collapses, dropping his rapier. He is completely, utterly broken with this single swipe. Guts simply tells him, “Take care.” And he leaves the Hawks. And he leaves Griffith, alone. Sure, the other commanders, the other relevant members of the army are there by his side. But what does that matter? Griffith has finally been bested. Not just bested, humiliated. It has been asserted in no uncertain terms that he does not have the sway he thinks he does. And that, in his eyes, his camaraderie, his trust, his faith, his love, is not worth holding on to.

So he goes off. That same night, he gallavants with Charlotte, taking her virginity, and during the whole act, despite him almost claiming Charlotte, assuage her fears and pleasuring her, it is Guts who dominates his mind. It is Guts he sees as Charlotte orgasms, and it is Guts’ voice he hears as she cries out. All he can envision as he asserts himself onto this girl, who is in completely and utterly helpless love with him, is the only man he truly cared for, giving him one final good-bye. Charlotte does not notice his thousand-yard stare, his vacant eyes. But we do. And we see that it is Guts that rules his decision-making. Even after they make love, all he can do is caress the mark on his shoulder that was left from Guts’ blade, and cry in Charlotte’s bed. Griffith is arrested for this act of high treason, and sent to rot with the torturer in the deepest dungeon in Midland. And with all of this happening, throughout the entire year of his torture, slowly being driven mad, trapped in the darkness with only his thoughts and the torchlight of the thing hired to bring him naught but suffering, chained and strung up, he has no words besides the last he had uttered. 

“...Yes. Worthless. This is worthless.”

And in that infinite darkness, when time flows as it stagnates, when brightness flashes dull, there was a single thing, not keeping him sane, as his sanity was up for question long ago, but keeping his consciousness anchored to this mortal coil- Guts. every time he envisioned his face, every feeling he could still feel stirred within him.

“Malice, Friendship, Jealousy, Futility, Regret, Tenderness, Sorrow, Pain, Hunger… So many recurring, yearning feelings. That giant swirl of violent emotions in which none are definite but all are implied.” 

Griffith even finally acknowledges that, at the end of this raving speech in a madman’s perpetual dying gasp, perhaps… perhaps his goal was no longer the castle on high. Why, he asked, in this vision in his light, did the castle’s glow reduce to a pale shimmer compared to the sight of his face, the sound of his voice, the mere idea of his presence? Since when did Guts get the grip over him that he had so firmly, so soundly, over Guts instead? 

Since when did Guts become Griffith’s dream?

And who else could lead the charge to save him from this endless nightmare, but his waking dream himself? When Griffith’s eyes open, and there is not pure darkness, there is Guts. After a long, brutal year, the first thing he sees is none other than Guts. And his first instinct after all this time, after all the suffering, and prolonging in turn, Guts has caused him, Griffith seeks to choke him. And what does Guts do, after seeing the man to whom he aspired, crippled and weakened to the desperate state he was in? He cries. He cries over Griffith, who softens his grip, and instead grabs his hand.

After their escape, where each of the commanders of the Hawks puts their lives on the line to save Griffith, killing the Bakiraka and the Black Dog Knights, finally, Grifith is returned to the light in peace. But through it all, Griffith realized his body was in tatters. He had no strength left to hold a sword. He could barely mouth words, and speaking was out of the question through the loss of his tongue. And through it all, he saw Guts perform. He was a demon in battle, his strength incalculable. He tore through man and Apostle alike. His every word carried the gravitas of a leader for decades. He did not carry the same incredible airs as Griffith, but every word carried with it a domineering force. The men respected him, and they would follow him to the ends of the earth. With or without Griffith to lead. In fact, they insisted. And Griffith had even overheard the very moment that Guts truly had stolen away Casca- evidence abound both before and after she vented about how pitiable his fragile form had become, and how much time would be needed to gently nurse him back to health. If he could even return to a state where he could live on his own again, of course. And only after the horrific embarrassment, the final stripping away of Griffith’s mystique, his humanity, at the hands of Wyld, the leader of the Black Dogs. 

And somehow, motivated by a hallucination, or perhaps a waking dream, Griffith manages to take off with a carriage, before being vaulted into the air, and landing in the lake. The lake where he attempts to take his own life. The lake where the Behelit lies. The lake where, after all this time, the Eclipse occurs. 

And we know what happens in the Eclipse. We are well aware. And we know what happens with Casca, and Griffith, and Guts. And during this transformation, where Griffith supposedly reaches this ascended, emotionless form, he does but one thing. He still, after all of this, wishes to put Guts through the same torture, same repulsive emotions that he went through in that dungeon. By taking away from him the one he loves. By stripping him of his aspirations. After all, the only thing that can equal the loss of a dream, is the stripping of a dream in turn. But through this act, he shall never have the one thing he had wished for. He is the Blessed King of Longing, and forever shall he desire. 

______________________________________________________________

Griffith is a complex, multi-faceted, tragic, broken character. More occurs later on with him, and with Guts, and Casca, and with the straggler of the Hawks who was saved by the Knight of Skull, but all of it is rooted in these interactions. As the series draws on, an inevitable march towards its ultimate conclusion, I can’t help but wonder just how Kentaro Miura was capable of writing such a captivating story, with such realistic, gripping motivations for such realistic, gripping characters. Every character is worth having as a favorite. And every character is worth wishing for a happy ending. Except, of course, for a few. But even then, I wish he achieved his dream. I just dream that other means were taken. Rest in peace Miura. And thank you. May your dream live on through Kouji Mori, and through us.

[andyxcds]

babel rant

okay so i read babel by r.f kuang and i really cannot stop thinking about it.

like i wrote a long piece of my mind and anyone can read it but it might uhm, ruffle some feathers...

anyways im going to reread this soon, if anyone wants to talk literally dm me or reply.

Babel by R.F. Kuang is a literary masterpiece which explores the concepts of racism, and the consequences of elitism, and can be compared to the likes of the Secret History.

“That's the beauty of learning a new language. It should feel like an enormous undertaking. It ought to intimidate you. It makes you appreciate the complexity of the ones you know already.”

To some extent that seems to be the issue I face when I begin learning a language. There is often some battle in my mind because I am made up of only one tongue. When I speak in English, I think in English. Therefore, when I am told something in the tongue of another, I have no choice but to turn it into something I understand. There is hope that some underlying knowledge is made clear to me when faced with a foreign tongue.

“That's just what translation is, I think. That's all speaking is. Listening to the other and trying to see past your own biases to glimpse what they're trying to say. Showing yourself to the world, and hoping someone else understands.”

When Kuang takes it out of the context of speaking, translation becomes something of objectivity. It is transformed into a means of understanding in which topics such as feelings, emotions, ideas, and values are given a new perspective. I could elaborate on my feelings to a stranger in hopes they can understand how I feel. I could express my observations to a friend and hope they have observed the same. I could share my ideas to a classroom and pray that they can easily grasp and memorize them. I could proclaim my opinions and values to the world hoping they may be able to act in the same way as I.

“How slender, how fragile, the foundations of an empire. Take away the centre, and what’s left? A gasping periphery, baseless, powerless, cut down at the roots.”

This is where Kuang revealed her prowess. Her plotting was ever so brilliant in the sense that she decidedly recreated the falling of Jericho, Babel, and Egypt. Three of the most influential venues in the Bible. She begins to paint Robin as Joshua, the soldier of God who was an important part of bringing down the walls of Jericho, in the context of bringing down the British empire from striking against those of China. However, she also creates a contrast between the Babel of the Bible and the Babel of the Great Empire of Britain. Finally, she paints Robin, not as Moses, almost rather close to God inflicting plagues upon those of Britain.

As all these come toward the end of the book, it should be observed that Kuang has a habit of inflicting tragedy as a form of hooking the reader. From the beginning of the book, our main character, Robin has already gone through many hardships, although very little of his life before Lovell was reduced to nothing short of a bad memory he prefers to hide from himself. Even his name, his birth name, was something he did not seem to have much reverence for, seeing that he rarely mentioned it to his friends. From my understanding, his personality was extroverted but shy, and level-headed and could walk away when he knew he was close to anger. Careful but painfully addicted to and obsessed with the idea of punishment and being punished. The abuse he faced in Lovell’s home could frankly be blamed for the violence he displayed towards the end. His anger towards his father, himself, and his friends impacted who he chose to become in the face of inevitable death.

“English did not just borrow words from other languages; it was stuffed to the brim with foreign influences, a Frankenstein vernacular. And Robin found it incredible, how this country, whose citizens prided themselves so much on being better than the rest of the world, could not make it through an afternoon tea without borrowed goods.”

Back to the context of Britain, Kuang refers to English being Frankenstein vernacular, imposing that English is a language made of many other languages. Some of these languages include the romance languages– Romanian, French, Spanish, Portuguese, and Italian– which originally stem from Vulgar Latin, a language most to all scholars were required to fluent in to work in Babel. She later goes on to establish through the mind of Robin that the Britons were nothing short of hypocritical or rather ignorant to the actions of colonialism. But just as she lets Robin have these opinions of the British, I was equally struck when she wrote further about Robin’s addiction to survival. That was when I tried to put the two together. Robin’s need for indulging in the splendor Babel had offered to him, while understanding that what they were doing was wrong, was almost similar to the British scholars and citizens being aware that they were exploiting resources and knowledge they desperately needed from places they believed were below them. It could also be seen in contrasting tones being that Robin was already self-concious in the way the Britons were greedy and selfish.

“So, you see, translators do not so much deliver a message as the rewrite the original. And herein lies the difficulty - rewriting is still writing, and writing always reflects the authors ideology and biases.”

Here, Kuang brings her story out of a page and into life. She is tackling the understanding that often, pieces of fiction written in foreign languages is more than often given new meaning when translated into another language. This often is impacted by current world issues or bias and the ideologies of the translator. Take the Bible for example, so many editions have been published in English from the original Hebrew; the KJV, NIV, NSIV, and the rather blasphemous Gay Bible (I despise this one personally.) Most people love to argue (some atheists) that the Bible was altered so many times for any of the words in it to be true, and some believe that regardless of what it says, the meaning still stands the same. However, in all the versions I have listed, one doesn’t particularly sit right amongst the rest because it is said to go against some of the principles the other Bibles uphold.

Another example would be the Illiad which I am currently re-reading! I have tackled two different versions of it and somehow one makes more sense than the other, but I feel as though the other is somewhat closer to the original Greek version. Altogether, I mean to say that Kuang has addressed what she may have found to be an issue she may have faced when writing. She states in her Author’s Note that the issue with historical fiction and written history is tht some writers get dates and important things wrong. Imagine how bad that would be when translated fiction was brought into play.

[so-i-grudgingly-joined-this-site]

I don't get why Dream found his purpose so hard it's not like dreams are that fundamental and they don't have any real power. They are just dreams. I could understand if he was any of the other six. Delirium is in charge on the human mind, Desire and Despair in charge of the human emotion, Destruction is in charge of destruction itself, Destiny is in charge of everyone's fates and of course Death who is in charge of death. What is Dream in charge of the unreal.

Lol this sounds more like a question for Neil Gaiman, since he's the one who put the guy in the situation to begin with. But, I think I can offer a bit of an explanation/analysis.

I do agree that Gaiman's choice of division for the Seven Endless is a bit odd and arbitrary. I would've had Death/Life and Destruction/Creation all be one person, for example, and given the whole "defines their opposite" thing I have no idea why Delight was ever a separate person from Despair (since wouldn't the opposite of despairing over something be delighting in it???). The reason he named Dream "Dream" is partly due to deciding on a "D" theme for all their names (Destiny was a preexisting DC character he used, so presumably it all came from there), and partly because The Sandman started as a reboot of an old dream-themed superhero comic but ended up very, VERY different by the time it actually went to print. Dream's weird helmet is likewise a leftover from that superhero's mask design.

As for why he's important and why his job is hard: he doesn't just handle dreams as in "the crazy shit your brain projects when you sleep." I would define him more as Ideas, or Culture, or maybe Mythology, or Social Constructs. He handles the intangible aspects of human society that nonetheless have MAJOR impacts on how humanity functions. If Destiny handles the bare bones "what happened" of history, Dream handles the more complex "WHY did that happen?" of history. He handles the societal values, religious myths, and really popular stories that affect people's actions beyond simple emotions. The human mind is more than just emotions or base sanity/insanity (which is more how I'd define Delirium's realm), and that's what Dream's purview is.

And as for why that's depressing? Oh god. Listen to some humanities majors talk about what they're studying sometime... historians, cultural studies majors... it's depressing as FUCK. It's one thing on its own to learn about some horrific historical event, like, say, a genocide (pick any of them really, there's a lot...). But then to find out why so many people died horrific deaths? Nothing more than an idea. A construct. Someone had the idea that the other group was inferior, and needed to be wiped off the face of the earth, or permanently enslaved. You'll read primary documents by genocide perpetrators or enslavers, and where you expect to find frothing hatred you instead find just plain, basic, disgusting belief. "It's a fact of nature" or "god willed it" or "this is how we've always done things"; they don't consider it their fault, it's just fallen to them to continue this system and they aren't going to question it. It's a comforting story to tell themselves.

We see this aspect of Dream at the Cereal Convention, where he is able to strip the serial killers of their beliefs/constructed narratives to make them realize how horrific their actions are.

And Dream has had to deal with that horrible side of humanity as his job, never having any day off because he IS his job, for all eternity. As much as I point out that he's an asshole a lot of the time, it's honestly a miracle he managed to be as relatively kind and balanced as he is. Some of the worst things humanity has ever done were based on ideas and social constructs alone, and he has to deal with that, and possibly BE that. No wonder he's depressed as hell.

Things that are "unreal" do not lack importance or influence in reality. Ideas are incredibly, terribly powerful, and it is unwise to forget that.

[bittersweetblasphemy]

hey just really quick because im seeing this happen across multiple blogs i follow.

as a satanist and as a fan of Helluva Boss, please don't go into actual religious (theistic and atheistic) satanist blogs, or artists who make references to demons assuming they're into the show.

i love Stolas the character as much as the rest of yall but please don't conflate him with the demon of the real world Lesser Key of Solomon/Ars Goetia. it's incredibly insulting and annoying and honestly you have no idea how gentle and polite people are being in asking you to stop.

as someone who likes the show and the characters if someone asked me if the Vivziepop Lucifer and Asmodeus are the versions i worship, or assumed my religious blog is a fan blog i would be ready to rip out your goddamn throat at the assumption.

yeah, characters like Blitz and Stella are OCs. but a lot of the big guys are based on *actual demons that people like me look to for guidance. please take a step back before jumping into ask boxes asking if people are fans because they post "content" of your favorite blorbo on there.

*actual as in they have existed in literature for a lot longer than vivzie's shows. belief in their literal existence varies from person to person.

even as a writer that writes horny stories about demons and plans to include some of the big guys, not only are they going to be my personal interpretation, but they will also be completely fictional as they interact with my OCs. the versions in my own stories will be based on and not literal depictions of my personal interpretations of demons i worship. me including Lucifer does not automatically put my work in the Hazbin Hotel universe any more than someone with an online altar is a fan blog to my version of him.

if you're at all interested in the history of the demons these characters are based on, multiple PDF versions of the Ars Goetia as well as the Pseudomonarchia Daemonum are available online for free, and Dr. James Justin Sledge has some wonderful videos on the histories of these and other books, as well as the history of demonology in general on his youtube channel, Esoterica, that i highly recommend.

if you want something a little less daunting here's a link to a list of theological demons so you can learn about where your blorbo comes from.

i'm not going to tag this because i don't want to be immediately nuked by the toxic fandom, but i will leave reblogs on for this to spread in my little sphere of influence. please be civil in the replies and my ask box.