#take what works and reject what doesn't

[vajrapoet]

tabletop role-playing games, as a medium i think, are predisposed to crafting reals, on top of it being largely an exercise of language.

i'm using "real" right now as a basic "something that is completely true thing." in a sense, role playing game design is reality-crafting.

this means that every mechanic and every word used in the game, down to the language, is a way of crafting a real wherein the players must accept that is real (within that space). the reality is the bounds of the fiction and also the major expressive influence into the player's minds. however in a very weird positivist way, what mechanics exist in a game reify what the game says is real, and what doesn't exist doesn't exactly mean something isn't real. so instead of a real/unreal dichotomy we have a real/real (in fiction)/implication(pseudo real)/unreal

so for example: a game might have Stats, Classes, and mechanics for making attack rolls. all of these are Real, and they inform the fiction (a high STR might mean your character is strong, being of a FIGHTER means you're good at fighting and you can pull off maneuvers, making attack rolls is you committing physical violence on another). So they're both real and real in fiction. the localized reality around player characters now exist and they interact with the game through these reals.

now these things might be non-diegetic (frex, a FIGHTER (CLASS) might not actually exist within the game setting, they're archetypical representations, which is something D&D 4e and D&D 5e do), but that doesn't matter: those things are now real due to game design. this means there ARE fighters in your game, even if there is only one kind of fighter that the PC is, there are still fighters.

going further, these Reals also imply something about the established game world. these are not yet the pseudo-reals: so for example, a game that has CAP Skills (skills that cap any other skills you might use while doing something within their field, such as Horseback Riding [a Riding Skill 3 might mean you can only add +3 to when you're doing Melee Combat despite your Melee Combat being at +7, etc.]) this presupposes then that someone who isn't good at Riding cannot be as effective with their martial skill despite having been skilled at martial skill for years.

is this realistic to real life? it doesn't matter: with that established within the game mechanics, that is now what's Real there. and in role-playing you must follow along the Reality crafted there. this has a number of pseudo-reals (implications) such as (cavalry are all good at horseriding, etc.) but the importance of pseudo-reals is that these are things the table (the player aspect) can interface with as they wish. those things which the player has no choice but to interface with are the highest of reals in a roleplaying game

your choice of language informs this even further. not just the fact that you choose to write it in english (tagalog, spanish, etc. expresses things and imposes different priorities when it comes to real) but the wording choice you choose. frex: having INTELLIGENCE as a Stat can be somewhat ableist. what does high INTELLIGENCE mean? aren't there different kinds of smarts, is knowledge the same? or is this an abstraction? but is it a meaningful abstraction or an abstraction brought about by historical momentum (it's what D&D used). why is INTELLIGENCE a meaningful abstraction but STRENGTH and CONSTITUTION are split? these are all arbitrary until it isn't, and you must establish a real to live in the imagined space (that is, the fiction). i'm not saying the 6 stat array is a bad thing mind you but i think it's useful to understand why you have it in there in the game. if it's just because it's the most well known stat array then that's fine i guess

finally, what reals you put into the game is inherently informed by your own worldview. it actually doesn't have to be (that's the point of creation) but commonly game designers simply inject their worldview into the games as real and recreate that real into their tabletop rpg (frex, misogynists who think its realistic for men to be stronger than women, capping women's STR stats etc.) so choosing what is real and what isn't is a matter of paradigm shifting and realizing that not all realities irl are the same (not to go into metaphysics and sociopolitical philosophy)

[solarpunkani]

"Oh no, someone's attracted to the aesthetics of my -punk movement but doesn't know the praxis and history behind it like I do--"

OK. Tell them. Make it a teaching moment. Everyone who's in your movement learned the background from somewhere at some point, maybe this is that point for that person. Give them a jumping off point that they can dive into later.

"Oh but I shouldn't be responsible for teaching baby -punks about the history and the how-tos and--"

OK. Then don't tell them. You don't have to be responsible for teaching people with a budding interest in your group the ins and outs and how-tos. That's fair and valid! It can be a lot of work. Someone else will handle it

"But I'm annoyed that they would try to claim to be part of/be interested in my community without knowing all the details that I know after being in it for months/years/decades, they're dumb, they're posers, they're--"

OK. Then don't engage with them, if it's that bad. Maybe someone else will come around and tell them the history, maybe they'll pick it up on their own, maybe they'll just enjoy the fashion elements for awhile.

"But they shouldn't claim to be part of the -punk community if they don't know the--"

I feel like we have a few options here. People can either talk to them, share the history, share the values, share the praxis. Or they can just chase off anyone who even thinks about dipping a toe in their community, and then wonder why it's dying off later down the line.

I dunno, maybe I'm too naive and patient or whatever. But if people are entering your -punk spaces without knowing The Rundown of what you feel they need to know, maybe being nice about it and informing people instead of immediately assuming stupidity and malicious intent could help you make a new friend. Even the loudest voices in a space had to learn from somewhere, and not everyone has the luxury of being in the space as the History was Happening--whether it's an age thing or a not being aware of the space thing. Or maybe I just don't see what the big deal is behind people hating people who like the aesthetic of something and don't know the behind the scenes history about it yet.

Because I believe in the word 'yet.' No one comes into this world knowing everything about everything, and we're all constantly learning new things. I'm not gonna degrade someone and call them a poser for not knowing what I know. Because if it were me, interested in a scene but getting chased out and called a poser? I wouldn't hit the books and study up, I'd go 'that fuckin sucks, those people sucked' and then avoid anyone and anything having to do with it.

So chase people off and call them posers if you want. But if your community starts dwindling, don't be fucking shocked.

[stairset]

I think the portrayal of Spider-Man 2099 in Across the Spider-Verse is in-character in that aside from like Shattered Dimensions he's always been portrayed as a bit of an asshole who slips into anti-hero territory at times and generally has a "needs of the many over the needs of the few" mindset and given his specific circumstances in the movie it's not unreasonable to think he could take the actions he does. However it does kinda suck that since like 99% of moviegoers had no idea who he was before the movie came out their first impression of him is when he's in an antagonistic role and people think "antagonist" and "villain" are synonyms so now I'm gonna have to listen to people who've never read a comic saying he's a villain or isn't a real Spider-Man for the rest of time or at least until he inevitably changes his mind in the third one.

[feline-evil]

Dick or no dick confirmation Pickles was always going to be trans to me anyways; if he's swingin' somethin that's phallo babes, if he's not then his t-dick fat. What's not to get.

[nostalgia-tblr]

speaking of doylist explanations, i do tend to default to one on the question of why missy has a(n interrupted) redemption arc when the other versions of her don't, which is definitely down to the fact that all the new who showrunners seem to go with the view that master as a character exists to be a dark mirror of the doctor, and moffat's the one who doesn't view the doctor as fundamentally good but as someone who has to continually choose to not be terrible. so if the doctor can choose to be bad then by extension it must be true that the master could choose to be good. it's like poetry, it rhymes!

[sublux]

i'm so mad i don't have private insurance through an employer so i could get any kind of therapy or medication or anything. tags are a rambling rant

[theflyingfeeling]

yes it's just me whining about the same thing for the billionth time, pls just scroll past nothing new to see here 👋

[potionwine]

Oooh, you’ve also seen Nirvana in Fire?!? That was SO good. And as inspiration for PF?? That, explains some things, dang! It works

My friend. My dear. My lovely Cimi—

WHAT in the world—

Have I seen the drama that bloody changed my life; my favourite comfort c-drama; the series that I rewatch yearly the way I rewatch lotr every Christmastime; that exquisite story with the most incredible breadth and variety of characters with impeccable character work and amazing themes and an ending that respects its viewers which however tragic is thoroughly earned and identity porn and politics and pride and grief, god, so much grief—and an Emperor who is shakespearean in his tragedy and—

Okay. Okay, no, you could not have known, tis a failure of my part if I have not spoken enough about it—I probably mostly reply to other people's posts as they liveblog their watching but. BUT. God when I saw your ask it felt like you came up to me to remark "hey wow so you also ship PF?" that's how gobsmacked I was lol!!!

I have dragged everyone in my life into watching this show! I have mutuals on here who can testify to my introducing them to it omg. I just checked and the earliest NIF post I reblogged was in 2016 so I have been watching it every year since 2016 hahaha!!! Although it's pretty complex chinese, and since so much of the show is made up of characters sitting around talking the intricate plot into existence, it's not really a beginner-friendly c-drama either!!!

NOW I DIDN'T KNOW YOU'VE WATCHED IT TOO???!!!

I. have. been. going. UTTERLY MENTAL. at the lack of anyone with whom I could talk about it? OR SO I THOUGHT. So many times I thought of going into our discord to be like "has anyone ever heard of NIF because hhhhhhh the phoenixflare resonance" or like "so is anyone into TGCF perhaps perchance mayhap???"——because heh. hehehehe. heheheh??? My fic is practically a NIF/TGCF mashup, it's a Lin Shu+Xie Lian!Joshua Rosfield & Jingyan+Hua Cheng!Dion Lesage——and I CANNOT TELL YOU HOW MANY TIMES I wanted to ask god please does anyone else see my vision please god does anyone?? but no one would even understand the references, and I couldn't even ask in areas (asian fandom) where there would be a higher chance of people knowing what crack I'm on because asian fandom is all about that...you know...that I loathe—and I have been in pain and I thought right well fine I'm writing the fic anyway it's fine if I have no one to scream about it with because I'm writing it and then I'll find fellow competence porn+politics enjoyers if they find my fic and—and.

God. What an earth-shattering message to receive in my askbox! You are some sort of miracle <3

Do you see it??? Do you see it? A boy who burned to death in an inferno as an innocent betrayed youth in a catastrophic event caused by his own family, his father slain, his entire clan (and all the troops under his banner) wiped out or scattered. A boy reborn after extensive and horrific injuries after an agonisingly long period of recovery: a ghost who crawled his way out of the gates of hell, the last of his broken once-noble house.

That boy's transformation into his new identity of Mei Changsu/Margrace. His off-screen discovery of the truth that led to Meiling/Phoenix Gate and his continued on-screen quest to learn more. His determination to hold the true culprits accountable at immense personal cost and suffering. His dogged persistence despite incredible odds and visibly failing health. Being surrounded by people who love him and want to protect him, and himself constantly undermining their efforts because his goals are more important than his health. (Because in truth he knows perfectly well that he won't survive, but he can make a difference while he is alive.)

Something that amuses me hugely is how Lin Shu and Joshua literally both come back as 宗主? I love it so much! They come back with the same title! Both of them come back as clan leaders of an organisation that obeys their every command! Margrace is the 不死鳥教団の宗主(=leader of the cult of the undying bird) and Mei Changsu is 江左盟的宗主(=leader of the Jiangzuo alliance).

AND. Hooooo yea this PF fic is just JingSu at this point because oh, a handsome, principled, prideful, and stubborn prince who is a decorated warrior famed for his numerous military accomplishments and the man who is essential to the success of Lin Shu's/Joshua's plans? The resurrected boy barging into his prince's life: no matter how insane it is to choose your side, still "I choose you, Your Highness Prince Jing"??? The fact that the undervalued prince has a history with our secretive ghost protagonist? And (arguably) frequently thought about and missed the bright boy he knew once upon a time in happier days—"I know you," says Dion Lesage without a shadow of a doubt, extremely normal of him to instantly recognise a dead boy he met 20 years ago?

Mutual admiration of each other's integrity and capabilities? Reciprocal faith and remembrance? The foundation of deep respect and enduring friendship, their shared goals and shared family??? I froth at the mouth. JingSu are cousins, PF are stepsiblings by their parents' marriage. Each pair is bound by destiny and by choice—other people have made choices that permanently entangled each pair's lives together forevermore (Joshua+Dion and Jingyan+Xiaoshu), and the choice they themselves personally made to choose each other—

DO YOU SEE THE VISION.

How difficult it is to pursue justice when everyone involved is family and how impossible it is for Lin Shu the nigh-extinguished Chiyan fire for Joshua, the guttering flame, to indict Jingyan's father the Emperor of Liang Dion's father the Emperor of Sanbreque of his crimes against Joshua's family without opening old wounds and hurting many loved ones in the process including Dion himself. The people directly responsible for the tragedies are related to the protagonists in one way or another! If Lin Shu Joshua ever wants resolution for his grief unending, he has to strike at his beloved's father, and plot meticulously to avoid all of the dangers of attacking such a powerful enemy.

(Of course, I acknowledge the critical difference in Jingyan's versus Dion's feelings about their respective fathers.)

Now if only Joshua had done the famous blizzard scene with Dion instead of letting him go off to carry out his ill-advised coup—"Xiao Jingyan! You stand where you are! If I don't stop you today, what are you going to do? What do you think you can possibly accomplish if you charge in to challenge imperial power like this? Do you think you can simply force the Emperor [to do what you want/change his mind about Anabella Wei Zheng]? You have honour and valour but why do you just not have brains! How many more people must be hurt, you tell me!"

Anyway Joshy doesn't have the insufferable smugness of Xiaoshu but he does absolutely have Xiaoshu's pride, the sort of pride that is not just personal pride but familial pride too (after all Joshua comes from extremely prestigious lineage)—just look at how he speaks to Ultima in every scene, his lordly manner. Joshua I think has more Consort Jing to him, and Consort Jing is only my favourite character in all of NIF, in a drama where I love every character to bits—steel in softness, ever gentle ever polite yet not to be bullied and not to be underestimated and also extremely perceptive and learned and patient. Extra sweet bonus that Consort Jing is also a healer. Elegant, restrained, and very repressed. Who knows the depths of Joshua's Consort Jing's grief and loss?

But you know, Jingyan, near the end he is completely in charge—the prince who was always a great and respected general on the battlefield is now more than that, he's directly taking responsibility for all of his people as their future ruler—that means thinking on multiple fronts and exerting control over all of the key governing officials, not merely his military officers. He's leading with confidence, and there's that little scene where he apologises to Xiaoshu for taking action on several plans without consulting him, and Xiaoshu says no, this is the way it should be, this is the correct state of affairs: you are the crown prince, and this is rightfully your arena. You lead, you decide, you command.

Jingyan now sees clearly, he's found out and accepted the truths of his father's role in the atrocity at Meiling and everything that happened back then. He rightly perceives the failings of his family and seeks to redress past wrongs and avoid repetition of past mistakes, he weeds his court of the corrupt and the cowardly, he's become the best possible version of himself: stronger than ever, not just a powerful wartime commander-in-chief but an inspiring leader in the imperial court, careful, thoughtful and politically up-to-speed, finally stable in his sense of self instead of being permanently stuck as that angry and lost and hurting child. He has renewed purpose, he possesses hope for the future, he is able to dedicate himself fully to what he truly believes to be right and act in furtherance of righteous causes—

Critically, this is the man he becomes only because Xiaoshu came back into his life to shake it up. Without Xiaoshu he wouldn't even have the opportunity or means or knowledge. The radiant and fiery boy who Jingyan missed all his life came back to save him. From the outsider prince without contacts or support within the imperial court->to the crown prince who has the court subdued within the palm of his hand. From his pitiful existence as a neglected, unfavoured prince, his lowkey constant simmering resentment, his half-dutiful half-forced obedience of paternal orders that chafe at his conscience->into the steadfast and self-assured prince who is capable of fighting for the betterment of his country and the rallying point for virtuous officials who share those aspirations. The drama shows the audience that Jingyan is unquestionably ready to assume rulership, and together with the person he loves most, they achieve their goals, they save each other and their country (by arresting its downward slide due to the rotten state of its governance).

It's just a strong headcanon of mine (albeit one that I can absolutely present extensive arguments for) but to me Joshua Rosfield is the one and only character able to perform that same abovementioned function for Dion Lesage. Catalyst, turning point, spark that ignites the fire—whatever you call it, this is salvation. It is beautifully poetic that both Lin Shu and Joshua are characterised by fire. They are the fires of change that burn away the old life: before their arrival, the two war princes exist in a state of wearying routine, long-suffering and almost hopeless. Both Jingyan and Dion are shackled by their stations and duties, both are unloved sons with virtually no chance of their circumstances improving without drastic action, and both are trapped in precarious situations where they are subject to the whims of their father (if their imperial fathers turn on them, it will result in irrevocable loss of their status).

Dion's position is weak in the Oriflamme imperial court—pretty sure this point isn't up for debate, since no one ever speaks up in support of him despite the obvious injustice of his ill-treatment. His degree of influence in the court is much, much, so much less than any reasonable person might expect someone who is literally Bahamut and crown prince to have. The Council of Elders and other officials stand by haplessly while he is progressively stripped of power in favour of Olivier. Nobody defends him, nobody objects. (Or maybe some did, and were eliminated.) Even Dion himself submits to the abuse despite inherently superior abilities. Career politicians know which direction the winds blow—they don't defy their Empress, meaning they are either her cronies or too fearful of her to make themselves a target by any raising any opposition. Added to that is the implication that Dion was often away for long periods—and as Xiaoshu explicitly tells Jingyan in the drama, the crown prince cannot leave the imperial capital untended because that is the surest way to lose power. Dion may be Sanbreque's mightiest weapon and revered by the populace, but in practice his political sway is almost negligible. He is not able to leverage himself effectively.

Don't get me wrong, for these reasons I extra extra love the canon portrayal of J*** obeying Joshua against her wishes and T****** obeying Dion against his wishes—I absolutely think their obedience is, to them, the truest and highest and final demonstration of their love and understanding of their respective masters. And both Joshua and Dion expected no less from them. [I've not typed the names out just in case the search function ends up capturing the post and putting it in their tags, not because I hate those characters; I just don't want to be uncivil within fandom.]

But the very point here is that, you know, sometimes you aren't supposed to leave someone just because they say so. Sometimes it is the worst possible course of action to obey someone just because they command it. Sometimes it is undesirable at best and disastrous at worst to support someone's every decision out of unchanging (if uncharitable, one might even say unthinking) loyalty. That is a fundamentally unequal relationship, and while beautiful in its own way, is also uniquely doomed. The truth is, Joshua was always going to pull that trigger, and Dion was always going to pull that trigger: the master was always going to sever the relationship. Those pairs were doomed as soon as they began, because one party can only ever say yes, and yes means the end, you see? That is The End, that is the final break. By their very subordinate nature and by their established personalities within the game, "yes" is the one and only answer J*** and T****** can ever or will ever give. Their master will say, "Leave me", meaning it is over, and they will reply, "Yes, I obey". Because this is the only answer that proves their devotion, leaving them totally incapable of changing the script. Both J*** and T****** knew it and played their parts to perfection, and my heart hurts for them.

In NIF terms, I reckon J*** is Gong Yu, and T****** is Lie Zhanying. Zhanying will follow Jingyan to the end, whatever it may be—in fact in one episode he explicitly says so, and his loyalty is never in doubt. He will go to his death if Jingyan orders it. He will always support Jingyan's decisions. He and the rest of Jingyan's men have been following Jingyan even when the prince was out of favour and cold-shouldered and constantly dispatched to safeguard the country's frontiers—inconvenient places where comfort is low and the environment harsh. Jingyan's favoured brothers live in the lap of luxury within their palaces (like Olivier), while Jingyan himself (like Dion) has always been at war. And as with Zhanying, T****** will never be able to change this status quo on behalf of Jingyan (Dion). For all his boundless dedication to his lord, Zhanying will never be able to improve his prince's standing in the court, never be able to secure more political power for his prince (unless his prince decides to revolt/coup), never be able to make his prince's father love or prize his prince.

It is not a problem of character or willpower or desire. It is, simply put, a problem of power. It is a problem of class. The servant rises as their master rises, and falls as their master falls. In other words, the servant's status is determined by their master's status. Zhanying is Jingyan's deputy. When Jingyan's status was elevated, Zhanying naturally also assumed commandership over more troop divisions because those were allocated to the prince by the Liang Emperor. (There is no doubt in my mind that T******'s status as second-in-command is because of Prince Dion. He's too young to have earned that position by gradual promotion through meritorious accomplishment. Unless you're telling me that the knights dragoon don't have a single officer above age 30.) Zhanying is invaluable to Prince Jing in security, in warcraft, and in a variety of generic daily tasks. However, he is part of the rigid imperial system and lower in the hierarchy. He may persuade his lord, but he cannot order him. He may disagree, but he cannot defy. He may privately despise the Emperor/Empress, but he cannot show it and cannot act on it (literally treason). His role is to follow and obey. If he does not perform that role for whatever reason, he fundamentally negates his utility to his lord.

Ergo, endgame Jingyan is only possible because his true equal and soulmate, his real zhiji, came back to challenge the status quo. In fact, came back to challenge him. It is not merely the fact that this person understands him above all, it is also the fact that this person has the ability to act on that understanding. Jingyan is technically also Xiaoshu's prince, master, and eventual Emperor—so where is the difference?

The difference is, Lin Shu is comparable in nobility. Lin Shu is the cousin of princes and the incumbent Emperor's nephew, Lin Shu was raised amongst the imperial household, and played and studied and fought and hung out with them as peers of roughly equal rank. In this respect Joshua actually outstrips Lin Shu: Joshua is a prince by blood, and had Rosaria not fallen (especially if Sylvestre had not risen to the throne), would have been higher status than Dion. It's a massive pet peeve of mine that so many fans in XVI fandom don't seem to realise that Joshua was crown prince? Everybody knows Dion is crown prince, but do they realise Joshua is the original? In the English version prologue, the knights do call him "prince" and "your highness". The Rosarian throne is Joshua's by right of birth. At the time of their meeting as children, Joshua outranked Dion. They were equals as Dominants of their nation, but Dion back then was the child of a Cardinal and not the child of Sanbreque's ruler at that time; i.e. he was not a prince and not in line for the Sanbrequois throne.

The other wonderful similarity is Lin Shu's and Joshua's statuses as outsiders to the system when they reintroduce themselves to Jingyan/Dion. As Jingyan's strategist, Lin Shu has more leeway with regards to making his prince listen to him and take his advice. But importantly, he is now Mei Changsu, and that means he is able to play outside of the system. The imperial system effectively cast him out when it killed him. The strict codes of imperial conduct no longer chain him as they chain those confined within its structure. As a free agent unlike Zhanying, he has the right and privilege of choosing his own master. That includes the right to leave or to change his mind. And although the prince's strategist is supposed to be subordinate too, Xiaoshu would never truly be subordinate in the same fashion no matter how many times he bows his head, because at his core he is still high nobility and it still shines through despite everything. His manners are still perfect. He still navigates life with the easy expectation that people will serve him. He grabs the Duchess' hand and yells at Prince Jing and gloats at Marquis Ning. It's all the little ways that remind the audience, over and over, that this man was raised as a posh lordling. You can remove the boy from the upper class but you can't remove the upper class from the boy. It's the same with Joshua. His manners are still court-perfect. He still moves through life accepting that he will be served. He may bow his head to Dion and call him "your highness" but he also takes the liberty of throwing himself at Dion for a hug. Because to him, the prince is not some lofty and untouchable figure to be addressed with unfailing deference, he's just a friend.

(I know T****** is minor nobility, to be honest Zhanying definitely is too. The deputies of high level royals aren't going to be commoners. But I don't think I have to explain the gulf between ruling class/a close blood relative of the monarch versus lower nobility.)

Joshua too is an outsider that isn't beholden to Sanbreque's Emperor in the way that all of Dion and his knights owe their fealty. Again in this respect Joshua has it better than Xiaoshu—Joshua is his own sovereign master, and that should impact his perspective, his sense of self, and therefore his behaviour with others and how he navigates the world.

Gong Yu... I think anyone who's watched NIF will know exactly why I say that J***'s counterpart is Gong Yu lol. I think the s/h/u/a/t/e/s want her counterpart to be Princess (Duchess) Nihuang and they certainly produce fanwork in that vein, and I respect them for it because fans be doing what they love and hooray for that. But..... she's Gong Yu.

For all these reasons I am utterly obsessed with a Joshua that pushes back at Dion. The person able to challenge the status quo and challenge Dion. An equal who listens to Dion's absurd speech in the palace at Twinside and calls utter bullshit, who says, "A matter for the imperial family? are you joking? that's my mother, that's my younger brother. an imperial matter for you to resolve? say rather, our family, OUR problem to resolve. You don't get to go off half-cooked to arrest or kill my mother without actual political strategies, notwithstanding your military capability to launch a coup. And also, what about your dad? However much I love you, my darling Dion, we have to talk about the way that you insist on poor little meow meowing your awful father because my dear old mum didn't do Phoenix Gate alone and she for sure didn't immaculately conceive Olivier."

Endgame Dion isn't satisfactory in several glaring ways and it annoys me hugely that even unto the end he never grapples with and confronts the truth of his father instead of the idealised version that lives in his head. It's a little bizarre how Dion's arc is often praised by fans, since it feels very incomplete to me. Or, well, fine, perhaps just unsatisfying (since XVI simply isn't his story). His deep-seated need to be loved by his father prevents him from seeing anything clearly, which is so ironic for the only character to possess a third eye in canon? His honour and his might have been squandered in service to a selfish, uncaring, and objectively bad monarch, yet despite how earnestly Dion wants to be a good prince to his people he seems wholly incapable of recognising this fact? His mind repeatedly shies away from his father's shortcomings. In one scene he calls his father out for words befitting a tyrant, yet ultimately he persists in the belief that his father simply needs to be saved from Anabella's evil influence as if Sylvestre Lesage isn't a 50-year-old adult man who schemed his way to the throne and killed a woman's whole family and happily married that woman to beget legitimate offspring with her.

Soooo....... I've just spoiled the whole plot of my fic but it's really just NIF nonsense as usual and that is actually extremely predictable of me. But honestly the spoiling is not a big deal, because as with NIF, fundamentally my story is not meant to be plot-twisty and suspenseful—the real storytelling skill of the NIF drama is that the audience should be able to quickly grasp the overarching plot with no difficulty because the pleasure of this particular type of story is to watch the protagonist achieve their heart's desire, step by delicious step. The objective of this type of story is to properly pay off what it promises. NIF=the wronged protagonist seeks justice. We already know Lin Shu will obtain justice by the end of the tale, what we are here to enjoy is the journey! Same really for IEM I reckon; by the end of chapter 1 Joshua's goals should be really obvious, and since my little fic will have the happy ending tag because I only ever write happy endings, the audience basically knows he'll succeed—it's very much a journey not destination kind of story.

Ooof the post is crazy long and took me 3 nights to compose an answer and I haven't even managed to go into any TGCF elements but that work mainly contributes to characterisation instead of plot. One of the craziest XVI scenes was the Hideaway's sickbay after Twinside, the genuine regret Joshua expressed and how he blamed himself for not reaching out to Dion sooner; now the Empire and her prince lie in ruins etc. Surely he remembers this is the country that destroyed his own? Surely??? What kind of person, robbed of home and throne, can find it in himself to respond with so much empathy and kindness? Sanbreque has now experienced pretty much the same tragedy they inflicted on Rosaria two decades ago, and isn't that just the funniest parody of divine retribution? Instead of viewing this as Sanbreque's just deserts, Joshua Rosfield pities them and wishes he could have helped them avert this disaster.

!!!!!!!!!!!!!!!!!!!!!

Wonderfully Xie Lian-coded. Something something someone who has been through the worst and nevertheless chooses goodness and kindness. Someone who intimately understands the ugliest and lowest depths that people sink to, yet refuse to lose themselves in that temptation even when vengeance would seem perfectly justified.

You've known for a long time now that I love a Joshua who is very similar to his mother. This is why lol. It's about that delicious, delicious contrasting foil. It is the difference between Jun Wu & Xie Lian, as it is the difference between Anabella & Joshua. That the indestructible integrity we see from Xie Lian or Joshua didn't come easy, they weren't born perfect, their ethics were tested and forged and earned through suffering the likes of which most people will never know. The person that they have each become is the sum of their choices actively made. In the canon of TGCF and XVI, both of these ex-crown-princes live on in disgrace, in circumstances best described as reduced and humiliating, their respective kingdoms fallen, their wealth and glory spent—but they are better and braver human beings than everyone around them, they are beautiful and noble souls, quiet and unacknowledged, and only Hua Cheng and Dion truly see and fully understand that (and therefore cannot help but love them utterly).

I've a few more thoughts regarding Joshua swirling around as captured in other Xie Lian posts: here, here, here, and here. Not sure if you know TGCF or are into it as well, but just leaving links to those posts here for my own benefit too. I've been gravitating towards phoenixflare comparisons in various hualian meta posts since early 2024 so clearly these concepts have been stewing in my head for some duration, but I haven't fully teased out what it is about these two ships that gives me that niggling sense of connecting similarities.

^ Whereas I clearly know exactly what it is about JingSu that makes me point and holler "THEM!"

[tardis--dreams]

I was so concerned with the horrors of making a doctor's appointment and the horrors of finding a job that i completely forgot about the worst horrors of them all. Finding an apartment.

[advisorsage]

I honestly can't remember the last time I wasn't nauseous. Was it five days ago? Seven? Who knows. Certainly not me.

[ahollowgrave]

We are entering that weird part of the year where my work is slow af until there is An Issue and then I am sooooo busy until the Issue is Fixed and then I'm back to being bored again

[shikai-the-storyteller]

After took two weeks of ADHD self-sabbotage, I finally wrote the massive article I've been agonizing over for work (I wrote the entire thing in one sitting). I'm actually really happy with it, and it will never cease to amaze me how good of a writer I am when my brain actually cooperates with me.

[literal-ghost]

am i really about to start plotting out a script for a video essay talking about labyrinth and its themes of overcoming childish selfishness and growing into a compassionate and responsible adult?

[snowshinobi]

hanahaki disease trope captivates me because (as I interpret it) the call is coming from inside the house. bc you see, the solution is easy. the flowers stop trying to tear their way out of your body if you confess your affections or get over them. go do stuff other than hanging out with your doomed crush for a while or speak your feelings: let the flowers see daylight. but sometimes ... catharsis ... is worse.

it's like when Fall Out Boy said "I'll keep my jealousy close 'cause it's all mine" and when Taking Back Sunday said "if it's not keeping you up nights, then what's the point?" these warm, bloody, one-sided feelings might be as close to reciprocal love as you're gonna get. if you flee or confess and aren't loved in return ... you're healed. free of pain. free of flowers. that precious thing you were holding onto so fiercely, for months ... vanishes.

hanahaki studies the compulsions that drive self-destruction. that turn pain into the means to its own end. human resilience is our greatest strength and an agent of literal body horror. hanahaki paints an intentionally romanticized picture of how vital wanting to get better is to actually getting better. as the adage goes, you can't control how you feel, but you can control what you do about it.

healing is terrifying. watching a character reject it until their death is sobering. watching a character choose it when they are at their most scared and sad and hopeless is ... devastating. it makes me press my hands against the walls of my consciousness.

[fatespalm]

solemn vow to never be complacent or meek around things i feel strongly about again — to at least start the conversation even if i don’t have the words to talk back exactly to a poisonous idea — in kind, to pick up the thread if someone else does the same — tired of letting evil shit unfold —