#this is not really relevant beyond that scope

[a-polite-melody]

On tumblr lately:

A sexually harassing copypasta goes around to trans women/fems and suddenly all trans men/mascs are the transmisogynists responsible for this.

When a similar harassing copypasta went around to trans men/mascs, people refused to care because we’re “transandrophobia truthers” anyway and deserve it. Or, at very least, if the issue mattered even slightly at all, all trans women/fems weren’t to blame.

A handful of posts from trans men/mascs about how trans men and women shouldn’t be fighting and “should be fucking/making out” get made. All trans men/mascs are being held responsible for this, and any discussion of transandrophpbia should be dismissed even harder as a result.

But when there were trans men/mascs and trans women/fems against transandrophobia saying THE SAME THINGS in posts as a way to dismiss transandrophobia? No, that’s a good thing. Dismissing trans men/mascs as sex objects is fine, but if they make the same posts to dismiss our dismissal they’re wrong for treating trans women/fems like sex objects.

I’m not seeing the supposed “extra grace” that gets afforded to trans men/mascs going on here.

[batsplat]

hello!! i hope you're having an amazing day 🥹💗 do you have any vale's races masterpost?? thank you so much in advance!!

*takes deep breath* *cracks knuckles* *cracks knuckles again for good measure* *rolls up sleeves* *cracks knuckles one more time* yes of course anon. no problem. let's do this

going to forgo any extended intro as this post will be long enough as it is - though it wasn't always easy to both represent the scope of valentino's career and make picks based on actual race quality. there will be a skew towards the early years of his time in the premier class and there are a few obvious fallow spells, but I hope I've adequately done justice to most of his very, very long career... and used the asterisk system to do my quality control for me

speaking of - another rec post, another escalation of the asterisk system (luckily, we have reached the final boss of motogp and it is impossible to escalate beyond this - here are the casey and marc/dovi lists). * means check it out, ** personal fave, *** classic, **** if you watch nothing else please watch these

I also need to mention mat oxley's 'valentino rossi: all his races', which is an excellent reference book that I consulted a fair bit when compiling this list. it's especially invaluable in making sense of the early years - where the archives unfortunately are sorely lacking and I'm grateful for every bit of additional context I can get. about those early years, a little bit of housekeeping with the codes I'll use to indicate in which form these races are available:

ITA: only italian commentary, which means I've found them on youtube. this is relevant only for the very early races. there's upsettingly few of his 125cc and especially 250cc races available even when you include these (though I haven't included all the ones that are available)

HL: only highlights, which is specifically about some of the 2000-01 races. there's only three full races of valentino's first premier class title available in their entirety on the motogp website, which is unfortunate (technically four including valencia, but who would want to watch that). now, the highlights they provide for all the other races aren't actually bad - they're around twenty minutes long for the race themselves so you will see most of the exciting action and the overtakes and all that (though it does raise the question of 'why don't you just upload the full races')

NC: no commentary, and is mainly an issue for the 2002 races that are all uploaded in their entirety but... well, only a few with commentary. obviously not ideal especially with older races. my recommendation would be watching the very short highlights (aka 2-3 minutes of actual race footage with commentary) available on the website for each of the 2002 races - either after or even before watching the race - to just give yourself a better sense of what you're watching

as ever, the descriptions will frequently provide spoilers for the result. my spoiler-free top ten recommendations are: donington park 2000 suzuka 2001 phillip island 2001 brno 2003 phillip island 2003 welkom 2004 donington park 2005 laguna seca 2008 catalunya 2009 assen 2015

and here, ten more spoiler-free recs because it really is a bloody long career: sachsenring 2003 mugello 2004 phillip island 2004 jerez 2005 sachsenring 2006 sepang 2006 catalunya 2007 motegi 2010 argentina 2015 assen 2017

**brno 1996: I find it very charming when riders have early career races that tell you everything you need to know about them. this is valentino's first grand prix win, achieved from his first pole position. he has an awful start, ends up way down the order, fights his way through, is eventually caught by this 34 year old former world champion who he does not like, fights him for a bit, stalks him and lets him draw them away from the pack in what the commentators consider remarkable confidence and poise from a seventeen year old, loses touch enough with the race leader that it looks like he's surely lost the race before pulling out a crazy last lap with some hard racing™ to overtake that other bloke. after he crosses the finish line he's so excited he almost rides into the wall. deeply excessive celebratory fist pumping that just goes on and on and on. angelic smile on the podium as the bloke he's beaten looks rather peeved - and apparently complained about valentino's riding afterwards. what more is there to say, really

^driving his elders to drink. here's a video where valentino is talking about the race: "and from there a fight to the death came out because we didn't get along very well. we weren't very nice to each other because we were bothering each other throughout the championship". like I said, tells you everything you need to know about him. just watch this one and call it a day

nurbuergring 1997 (ITA): an early strong wet weather performance, at a time when he was still a bit of a wimp about the whole riding in the rain thing. granted, he was a little lucky when the runaway race leader had a mechanical dnf, but he got into a nice little scrap with a few other riders to claim his fourth consecutive victory

rio 1997 (ITA): the thing about 125cc/moto3 races is you kinda know what you're getting, and more often than not what you're getting is a fun time watching them go at it. valentino's first, he's third, he's first again, they're having it out... and then on the final lap, he's taking advantage of the backmarkers to secure the victory. which is so sneaky and so valentino that it obviously deserves to be mentioned here. incidentally, his last ever win at assen 2017 had a controversial involvement of a backmarker on the last lap, which is a nice little full circle moment twenty years later

brno 1997: in many ways, this was a more impressive ride from his title rival ueda, who came back from thirteenth on the grid to take the win. which meant that valentino had to finish on the podium to claim his 125cc title at the same venue where he won his first race... and he just about managed it, with the entire leading group of riders headed into the final corner together

there are race highlights in the 5-10 minute range from his 250cc race years which... well. since they're not anywhere close to full races and this is a race recs list, I can't exactly give them their own bullet points, but I'll just rattle through a few highlight videos here I enjoyed from 1998: jerez (features a nifty overtake with four blokes entering one corner together, also harada fucked with valentino despite being a lap down to help capirossi win?? anyway vale's first 250cc podium, to which harada showed up to clap for capirossi specifically???); mugello (featuring his controversial beachwear celebration); paul ricard (see below); catalunya (he spent a lot of that year crashing but towards the end of the season finally figured it out - works his way back from thirteenth place to win), argentina (controversial title decider claxon; valentino found the whole thing so "hilarious" he was giggling when the drama was going off in the garage. he also referenced the jerez incident in his post-race interview, because of course he did)

^the three protagonists of the 1998 250cc season: valentino, harada and capirossi, all part of the same nightmarish aprilia 'super team'. everything I've read about that season makes me want to break into dorna hq and get my hands on the full race footage. both images are from the paul ricard race, in which valentino was trying to figure out how to stop harada from continuously outsmarting him. they kept slowing down the pace further and further, with harada running his bike comically wide to let valentino through and valentino doing a massive wheelie down the straight (image on the right) to force harada to go back past - but harada still eventually managed to best him on the final lap. valentino was heavily criticised in the press for wanting to 'humiliate' capirossi by letting capirossi catch up to the pair, but really he was just getting creative in his tactics. I may not have been able to 'watch' this season but I love it dearly

donington park 1999 (ITA): the ONE 250cc race I've been able to watch in its entirety. it was stopped and restarted due to the weather and the final outcome was decided on aggregate time across the two races (yeah, this does feel weird but they used to do that). a close fight especially in the first part. not too wet, presumably, given his 250cc performances in the soaking wet were often. hm. not great

1999 highlights I enjoyed: catalunya (was riding with a suspension glitch but kept his main title rival ukawa behind him anyway); sachsenring (won an intense battle with capirossi, admittedly you do not see much of him in the highlights); brno (another intense fight, this time mainly with an older rider in waldmann after they both worked their way through the field); phillip island (worked his way to the win from seventh on the grid and one of those phillip island races)

jerez 2000 (HL): valentino's initiation to the premier class wasn't... the most dignified thing you'll ever see... two dnf's in the first two races by which point he was so bloody terrified of the bike he was just very slow in the third. in his defence, those 500cc bikes were pretty scary, but also it was time to get his act together. which he did in jerez! this was another one of those weird ones where the rain interrupted the race and then the whole thing was decided on aggregate time, but a good ride to bag his first premier class podium

**donington park 2000: maybe it was the bikes, maybe it was experience, maybe it was a mindset thing, but eventually he would get over his moral objections to 'getting wet' and develop into an excellent wet weather racer in the premier class. this was his first premier class win - and a pretty neat way to seal it too. had an awful start, took a while to figure out the grip conditions, and then he was off. the second half of the race involved a fun fight between valentino and both roberts jr and mcwilliams for the victory

^almost gave the commentators a heart attack by running a defensive line through the final corner that took him completely off the dry racing line

rio 2000 (NC/HL - as in, both are available): valentino's second win of the year and his first in the dry, the race after his late charge to a rookie title was scuppered by a crash in valencia. he made some adjustments to his riding style after the valencia fiasco and really started to get to grips with the 500cc, which would stand him in good stead the following year. as is traditional, he makes a truly horrendous start, dropping back from the front row to find himself briefly outside of the top ten. from there, he gets to work. it's confident stuff, getting himself to the lead by about half distance and pulling away from there

**suzuka 2001: the first race of 2001 and a clear statement of intent. as ever, valentino had to work his way through the field... which took him right into the path of max biaggi, a man who had already been his enemy before they started actually racing each other. now, it has to be said, biaggi is a dick here! quite literally elbows valentino while running him off-track and could easily have caused vale to crash (as valentino said afterwards, "I had to learn how to ride motocross-style at 140 mph"), he continues using various body parts rather creatively in defending his position. when valentino finally gets past, he sticks out his middle finger. set the tone for that season rather nicely

jerez 2001: this is the cool-headed, calculating valentino who would prove such a formidable foe over the years. having already won the first two races of the season, he's high on confidence as he engages in a duel with the man who had so captured his imagination as a teenager: norifumi abe. valentino takes his time - but when he finally makes the decisive pass, he pulls clear so easily it feels like valentino may have just been toying with his hero all along

^valentino and norick, the inspiration for 'rossifumi'. in 2008, valentino paid tribute to the other man a year after his passing: "norick for me was a hero. I grew up watching the suzuka 500 race in 1994 with the great battle he had together with schwantz and doohan. last year was a shit year for me when I heard of the death of norick and colin mcrae, for me it was not a great year. I think it is possible to dedicate this championship to norick”

catalunya 2001 (HL): I don't care if there's only highlights - I am not leaving out a race that sparked a fist fight. honestly if I were biaggi I'd be pissed about this race too. valentino was twelfth at the end of the first lap and ended up winning... painful, truly. a really good scrap, plenty of fun to watch as valentino always is at catalunya, and obviously you've also got to watch the presser clips with the knowledge they were throwing hands a few minutes earlier

assen 2001 (HL): this one was low-key kinda stolen from valentino. it's good fun - y'know, one of those assen battles, valentino's doing the stalking and lurking thing and it starts raining and valentino takes the lead and... whoops! time to call off the race due to the rain so let's take the results from the previous lap! biaggi win! imagine getting into a fist fight with someone and losing the very next race to them on a technicality. oof

^post-fist fight handshake to show how it's all fine. they're totally fine. completely fine. no problems here

*donington park 2001 (HL): I'm gonna be so real, if I'm on pole and my title rival starts eleventh and he ends up beating me to the win by 1.8s, I think I just call it a day after that one. valentino had a bad crash during practise where he was lucky to not really hurt himself and then obviously had a pretty terrible qualifying, so a great opportunity for biaggi to claw back some points. worst bit is, vale didn't even make a good start - he was still in eleventh place halfway through the first lap. good fun to watch him pick his way through the field, and in his autobiography he ranks this race near the very top in terms of ones that gave him the most "satisfaction"

****phillip island 2001: look, if you've seen one of those classic multi-rider dogfights at phillip island, then, here, I've got a version of that for you from 2001. it's just so much fun to watch, with so many different riders and rider constellations and run orders at various parts of the race, riders looking like they'll break away and getting caught again etc etc etc. and it is also a match point race for valentino - a relatively comfortable one given his formidable championship lead. he didn't need to win the race to take the title, but would you want to see your greatest enemy take the spoils on your big day? in the most dramatic fashion possible, valentino ends up right behind biaggi on the very last lap and makes a daring overtake for the victory. hard to beat that as a way of sealing your first premier class title

*suzuka 2002: you know how I said in the marc rec post that I found it tricky to pick out a few for 2014 because a lot of the races were good without being all timers? this is valentino's equivalent season - he's winning, life is great-ish, tricky to differentiate, and if you enjoy any of these races you'll probably enjoy them all. mostly I'm just going to include the ones with commentary available, even though I'm too stubborn to let dorna completely make my choices for me here. anyway, this one is available with commentary and it's a good watch... valentino hadn't had the easiest weekend to start off his title defence, crashed badly twice, bloodied his hands, all that. he had a sluggish start in the wet conditions and worked his way up the field, before sitting on the rear tyre of the japanese wildcard akira ryo for a while - who knew the track well and knew where all the puddles were. a smart and composed win and feels very typical of his wet weather performances over the years

jerez 2002 (NC): in my head, this is the sister race to le mans 2014. valentino is pushed down quite a few spots to ninth early on (kenny roberts jr just. shoves him aside and does the thing where he gestures back to apologise, but that doesn't really help valentino when half a dozen bikes have passed him) and then he gets down to business. that whole season really does have that 2014 vibe of 'right this is fun but also feels a little too easy' - but hey, the way valentino picks his way through the field is satisfying to watch. and valentino did always like to play with his food, so he sits behind barros for a fair bit before doing the inevitable

*assen 2002: so, the thing about 2002 is that it was the first year of the rebrand to motogp and the introduction of the four-stroke bikes... but you still had two-stroke bikes on the grid, which tended to be tragically outgunned. the circuits where they were competitive tended to be the ones where they could take advantage of how 'nimble' the old bikes were, with more corners and fewer straights - and honestly, if you go on a race-by-race level you could make the case that on-track barros on his two-stroke machine (for most of the year) was valentino's most important rival that season. this is a head-to-head duel with barros that nicely showcases the respective strengths and weaknesses of two such different bikes and riders riding them, and barros manages to mount a stern challenge to valentino for most of the race

*sachsenring 2002: I do find it a little funny that this is one of the ones with commentary they've provided, because there's a bit of an anti-climax close to the end and I'm not sure valentino should have won that race. anyway, similarly to assen, this is another week where the two-strokes can put up a proper fight, and it's an engaging scrap that involves a lot of riders and quite a few nice little shifts in momentum. like above, another interesting study in how the different bikes compare in direct combat

phillip island 2002 (NC): always fun when someone builds up a bit of a gap on valentino. as was so often the case that year, it was barros (now on a four-stroke) who served as valentino's closest challenger, and valentino took his time hunting him down. from there, it's familiar material from the rossi playbook, stalking and studying before making his move - but barros sticks very very close to valentino until he makes an error on the last lap

^is it a bird is it a plane etc etc... don't think this was supposed to mean anything, just being silly

okay we're now headed into the 2003-05 stretch and I should mention that most of the races in that era will also have been featured in this post, which might also be useful to put them into context

*le mans 2003: valentino tries to make a break for it, but the rain denies him. he raises his hand to get the race called off (you could do this as the race leader back in the day, or I suppose also not do that if you wanted to be an asshole)... and immediately almost falls off his bike so. uh. probably a good idea to get it called off. when the race resumes, it's a three-way tussle between valentino, barros, and new challenger sete gibernau, even if at times it's less tussling and more wobbling. in the last couple of laps, it's down to sete and valentino to have it out in the treacherous conditions - and the last lap is proper dramatic. sete had already gotten one over valentino in welkom... but this defeat, coming after valentino had led the race, must surely have stung even more

*catalunya 2003: I feel a little mean making my first three 2003 picks races valentino all lost in quite painful fashion, but, hey, it's character building and really set up his whole arc for the next season-and-a-half. this one is... well. it's both embarrassing and kinda neat from vale. most of this race consists of a duel with capirossi - and when valentino hits the front, you do think that's going to be it. capirossi keeps close, however, and valentino eventually makes an error, running wide to let him through. shortly afterwards, he makes even a worse mistake and runs off into the gravel. once he's fucked up it's a pretty fun performance, where he starts posting pleasingly insane lap times to recover from sixth back to second

***sachsenring 2003: this race will always be remembered for valentino's penultimate corner overtake followed by his last corner mistake that resulted in sete's unlikely victory, but the race before that is good fun too! valentino looks like he'll make a break for it, and obviously miserably fails in his attempt - this time he's the one to be slowly, slowly, slowly caught by a persistent rival who eventually manages to get the better of him again. after this race, valentino vowed he wouldn't be taking any more prisoners. he didn't

****brno 2003: after a horrifying four race losing streak and the humiliation of sachsenring, valentino came back from the summer break with new determination and hunger and a mission to not let anyone get in his way any more. he does not have an easy time of it at brno, with a classic multi-rider dogfight that features regular and dramatic shake-ups of the riders' fortunes. the finish is incredibly close, and vale could have easily been denied the opportunity to pull out his elaborate victory celebrations: dressing up as a convict to symbolise how he felt imprisoned by his own success. here is a more in-depth post about the race

****phillip island 2003: this starts off in classic phillip island fashion, with a bunch of riders having it out in the early laps. then, valentino takes the lead and makes a break for it, and it looks like the excitement of the rest of the race will be all about the fierce fight for the remaining podium positions... except there's a twist. valentino overtook another rider under yellow flag conditions - and unlike donington that year where he was retroactively slapped with a ten second penalty that denied him the win, this time he is informed of the penalty during the race. this race is about as exhilarating as it is possible for a race to get when you're watching someone riding alone in the front - and you'll be provided with some added spice with the scrap for the last podium place. in the end, valentino crosses the finishing line with an obscene margin of over fifteen seconds

^think I already posted these notes somewhere but I can't NOT mention the commentary for this race. bottom of this post I included the autobiography excerpt about how valentino channelled his fury to win this race - very revealing!

****welkom 2004: still perhaps valentino's favourite victory of them all, and with good reason. his first race with yamaha and one that the entire paddock thought he didn't have a hope of winning... until they hit the track that weekend. valentino led every single session and qualified on pole: he said the pole position felt as good as ten with honda. better yet was still to come, with valentino claiming a victory following a thrilling duel against his old foe biaggi that raged on until the very last lap. such was the pace that third-placed sete was seven seconds down on the top pair at the chequered flag

^valentino stopped at the side of the track after his win, kissing his bike and sitting down for a moment to soak in the moment. he says he was laughing into his helmet: "'and so in the end I was right!' I thought to myself. 'I can't believe it, I screwed them all... what a show!'"

****mugello 2004: this race has so much going on, and all of it is highly enjoyable. valentino might have won the last two races at mugello - but off the back of two fourth places and with mugello's famously terrifying long straight, it felt like surely the more powerful hondas would have the decisive edge. and this one is a hard fight for valentino. it's a hard fight with several riders, it's a hard fight with sete and, following an interruption due to the rain, it's a hard fight in mixed conditions where valentino initially drops back to seventh to figure out the grip levels - before speeding off to the win. all the best types of races rolled into one

***catalunya 2004: right after mugello, it's time to visit sete's home - and here valentino kicks off a bit of a tradition of memorable one-on-one catalunya duels... as well as a habit of beating spaniards at the track. it's hard fought, it's challenging, but again valentino emerges on top

***assen 2004: the third consecutive race that featured an extended duel with sete. initially involving barros too - but he crashes, and it's down to the familiar protagonists. this really works as the last episode of that mini-trilogy because you can tell how badly sete felt he needed to reassert himself in that title fight, and conversely how little interest valentino had in letting him do so. involves a hard last lap overtake that resulted in contact. sete was not best pleased, but valentino had secured the win and the championship lead

^left: catalunya, where valentino dons the doctor's garb to perform a series of 'medical checks' on his yamaha, feat. stethoscope and thermometer, before declaring it fit for duty. right: assen, where yamaha staff dress up as doctors to pay tribute to him

qatar 2004: a good old-fashioned hubris ride. valentino was slapped with a back-of-the-grid penalty for some midnight grid cleaning shenanigans and is furious about this. he gets quite possibly the best start of his career and is eighth after a few corners, continues charging and barging his way through the field... before crashing and mashing up his finger and reopening that year's championship fight. the race does get a little dull after valentino does his thing - here are the ten most relevant minutes of footage as well as some more details about the penalty and the race. the weekend that irrevocably damaged his relationship with sete

***phillip island 2004: an underrated spite ride. if you're in the penultimate race of the season and you know a second place is enough to clinch the title and you're over a second behind your title rival and you historically suck at the circuit where title deciders are held, the sensible thing to do is just ride home in second place when it becomes clear the third-placed guy is not catching up. obviously, valentino does not do this, not least because he is determined to stop sete from ever winning a race again. this goes down to the very last lap and it is either a very cool or a very dumb way to seal a title, depending on how you look at it

****jerez 2005: both protagonists make very little secret from the start of the race of just how much they want to beat each other: this is war. and it's a war in which sete has the upper hand for most of the way through (as much as you can really feel you have the 'upper hand' with valentino sitting on your rear tyre) - until valentino makes his move with three laps to go. it takes an error from valentino on the last lap to set up the dramatic and controversial finale, with the infamous valentino block pass that sent his bike careening into sete's. the actions of a man who had decided neither of them finishing the race was a more acceptable outcome than his enemy taking the win, and the relationship between the two riders manages to improbably deteriorate still further

^satisfied with a good day's work as the furious spaniards jeer. if anyone had any lingering doubts about valentino's trademark ruthlessness, they were dispelled that day

**mugello 2005: another year, another thrilling mugello battle. it's looking increasingly clear that this will be a one-rider title fight, but luckily that isn't impacting the race quality (think marc's 2019, where he was incidentally the same age as valentino is here). similarly to the year before, there's cause for concern whenever you're fighting more powerful bikes at mugello, but after a dramatic multi-rider fight valentino is not to be denied

**catalunya 2005: back on sete soil and oh god how much he would have loved to win this race. it's the tension and hatred and desperation that makes these races so exciting to watch - though sete is hardly helped out in his mission of revenge by teammate marco melandri who keeps sabotaging sete's attempts to defy valentino's curse. but melandri has whatever the opposite of main character energy is and the race ends up being another valentino/sete duel. some excellent riding by the pair of them, valentino is particularly fearsome on the brakes that day, and sete has truly taken his gloves off when fighting valentino. but of course, valentino denies sete once again and makes a break for it shortly before the end

****donington park 2005: the defining wet weather ride of valentino's career - even though it got off to a shaky start (literally) and continued to be pretty shaky most of the way. this race was held in truly appalling conditions that they probably would not race in these days, and it's reflected in the number of dnf's - one of which was courtesy of poor sete gibernau once again crashing out of the lead. for most of the way, valentino is wobbling his way into the lead and wobbling his way out of it again... but after some big scares and some time spent nicely sheltering behind other riders, he finally figures out the grip conditions - and he's off. it's one of those rides that is just demoralising for everyone else in how good it is, with valentino pulling insultingly far clear from the other riders with insulting ease

^valentino plays a violin after crossing the finish line. teammate edwards: "I looked at his data and it was scary. he was locking the front in the rain on a shitty track that was slicker than snot, at every corner. this guy's crazy!" not pictured - valentino hugging himself and shivering while parking the bike... and being provided with an anorak and gloves that he only very, very, very reluctantly relinquishes when stepping onto the podium

*le mans 2005: you realise fairly quickly that this one's building to something juicy. colin edwards, valentino's teammate, takes the lead and heads out on his own, as valentino sets off after him - eventually slotting into his favourite position sitting right on the leader's rear tyre. except, he can't afford to hang around - because sete is going faster than both of them and is rapidly catching up. this one really gets going when the inevitable happens and the three of them collide on track, and of course we end up with another sete/valentino duel. cruelly, it's another one where the winner is still not entirely decided when they enter the very final lap... but the curse will not be denied. valentino breaks the circuit record on the last lap

*sachsenring 2005: the problem with watching these races is that even if you would prefer not to know the result going in... well, every single time the race comes down to a duel between sete and valentino post-qatar 2004, however strong sete looks, however confident, however near he is to the victory... you know he's obviously not going to make it. my advice is to really lean into it - the joy/horror of it all is in discovering how it's going to go wrong this time. this race features another lovely duel between valentino and sete, at a track that suits the honda far better than it does the yamaha. valentino leads early on before sete manages to catch up and overtake him. two laps to go and sete is still in the lead as valentino stalks him around... you know how this story goes

*brno 2005: ah, the misery. listen, if you enjoyed the previous sete/valentino duels I listed, then you're going to enjoy this one too. it's the race immediately following sachsenring and it feels like basically they just continued the last one, and boy are they going at it from the very start. sete determinedly sticks with valentino and surely one of these has to go his way... includes a particularly cruel twist on the final lap

qatar 2005: one year on from the race in which valentino put his curse on sete, and it feels like this might be sete's best chance for the remainder of the season to free himself. he gets perilously close to making a break for it ahead of the battling melandri and valentino... but of course, he can never run far enough. another painful defeat (if one caused by melandri more than valentino) and eventually valentino claims victory at the circuit that had caused him such trouble the year before

qatar 2006: valentino's 2006 season got off to a tricky start when toni elias rode into him in the very first corner of the opening race, and his luck didn't get much better from there. still, the year featured plenty of excellent valentino rides - including the second race of the season, where he fought his way through from sixth on the grid. features his first tussle with the rookie pole sitter, one casey stoner, who defends sternly against his future rival. eventually, valentino faces off against nicky hayden in a decent extended scrap that went on for much of the race

***mugello 2006: boy, did valentino get himself involved in some banger races at this circuit during his time. sete tries to escape at the front, and even in a tough year like 2006 valentino will not allow that man a moment's rest. a duel between sete and valentino ensues (featuring melandri and casey), then valentino suddenly drops down to fifth, then the race turns into a three-way encounter between capirossi, hayden, and... still valentino. he emerges from the feisty fray with a much-needed win

***sachsenring 2006: you could copy paste 'much-needed win' any time valentino won this year, and sachsenring is no exception. not traditionally his strongest track, valentino's urgency produced one hell of a race ripe with tension throughout. the yamaha's struggles made for a difficult qualifying and he fought his way through from eleventh on the grid. even when he caught the leaders and passed them, he couldn't just clear off like in times past, dragging three dogged riders along with him - but he just about managed to hold them off for the win

****sepang 2006: one of the best valentino duels, this time featuring one of his oldest rivals in the form of loris capirossi. part of his remarkable late season charge that brought him within kissing distance of the title. the entire race is enjoyable but the final lap is one for the ages, with valentino vicious in both attack and defence

^no hard feelings: capirossi hugs valentino while vale is still on the bike. 2006 is a rare title fight in which valentino genuinely liked most of his major rivals. vale was exhausted after the battle in the gruelling sepang conditions and had a little sit down after hugging his team

phillip island 2006: the first bike swap race and quite frankly the whole thing is a mess. a lot happens and it's classic late season chaos where the championship standings and implications are chopping and changing by the lap. when the dust settles, valentino has snagged third place on the last lap off poor sete gibernau and chips away a little more at hayden's championship lead

***estoril 2006: sure, valentino lost the 2006 title when he crashed at valencia, but he also lost it by .002s in estoril. this race featured a dramatic twist in the title fight when rookie dani pedrosa wiped out his teammate hayden, and suddenly valentino had to consider just how much risk he was willing to take. he had mostly decided to play it safe - but then couldn't help himself and ended up attacking toni elias on the very last lap. if he had managed to bag the extra five points, then even with the valencia crash he would have won the title on countback

valencia 2006: everyone thought valentino would be winning the title again headed into the weekend, and they became even more certain of it when valentino qualified on pole. but in the end, it was not to be. valentino got a poor start and felt something was wrong with the bike (or maybe it was the tyres, if one casey stoner is to be believed), but admits the mistake that left him on the ground was his own. a bitter pill to swallow after a season plagued by misfortunes, though valentino had always gotten on well with title winner nicky hayden and was sincere in his congratulations

****catalunya 2007: from the start of 2007, it was clear that new ducati hire casey stoner would be a problem. with yamaha's struggles continuing into the new 800cc era, ducati had gotten it spot on at the first try... even if it was only casey who could completely tame their troublesome bike. for a while, it seemed easy to dismiss casey's victories as built primarily on the back of the infamous ducati horsepower, but at catalunya casey proved he was far more than just a powerful engine. one of the true classic catalunya duels, with both riders displaying dazzling race craft, and one of casey's finest career victories

***assen 2007: valentino's season wasn't getting any easier - the yamaha was one thing but his continued struggles with the michelin tyres if anything frustrated him even more. he qualified in eleventh place and doesn't get a particularly good start while casey streaks off in the front. casey is over five seconds clear at one stage, but valentino manages to hunt down his title rival anyway. it's studying and stalking and lurking and all the rest of it, and as ever casey doesn't make it easy for him - but eventually valentino manages to pass him and pull clear

*estoril 2007: casey's championship was more or less wrapped up by this point, though valentino was able to deny him just a little longer at the first match point race. this features a nice scrap between casey and valentino, and then an extended duel with dani that is perhaps the best fight the two of them ever had. it was a much-needed win in a rough patch for valentino on- and off-track - and he dedicated it to one of his idols, the rally legend colin mcrae who had just passed away

**catalunya 2008: yes, okay, I know he won the three races before that one - but this one's a more fun race! after an initial adaptation period to his shiny new bridgestone tyres, his season had finally properly kicked off with the aforementioned three race win streak. at catalunya, valentino only qualified in ninth, and pedrosa streaked off in front - but valentino and casey engaged in a highly enjoyable rematch of the previous year's duel. in the end, it was valentino who prevailed, but casey and ducati had clearly gotten their own house in order...

^the version of valentino that marc first met, before vale's race in his special football-themed livery and leathers

****laguna seca 2008: after catalunya, casey stormed on to win the next three races on the trot, typically by ominous margins. heading into laguna seca, a race casey had dominated with ease the year before and valentino had never gone particularly well at, valentino knew casey might be in danger of running away with this championship... and he was determined to do something to finally conduct this rivalry on his terms. nobody expected there would be a contest for the victory, let alone one valentino won - but he did, in a brutal encounter that served as a masterclass in psychological intimidation. the relationship between the two rivals did not emerge unscathed

*indianapolis 2008: another race, another mediocre start, if this time from pole. it sets up a fun (to watch) race in worsening conditions, as valentino takes his time to get comfortable with the grip levels before slowly and surely working his way through the field and stalking first casey then nicky hayden around the track. he makes it to the front before eventually the race has to be called off - and, in a rare moment of unity, valentino and casey are seen briefly talking to ezpeleta together, presumably to tell him they have less than zero interest in going out again in that weather. they get their way and the race is called off, with valentino bagging his fourth consecutive victory - a streak he of course started at laguna. his second and last win on US soil

motegi 2008: the title-sealing race and fifth consecutive win - not the most exciting entry on this list, but earns its place by featuring a bit of a duel between title rivals casey and valentino for the lead (after they both get past dani, casey in a rather rude way that he apologises for with a hand gesture) (not that he gives the position back and valentino immediately swoops through too). motegi had always been one of vale's weakest tracks, and it must have felt extra sweet to clinch the title at the home race of his perennial enemies at honda (as he miserably failed to do in 2005 in a deeply embarrassing performance)

^'scusate il ritardo', or 'sorry for the delay': this title was special given the heartache of the two previous years. all smiles with casey and jorge (who comes to parc fermé to congratulate his teammate)

*sepang 2008: as was sometimes rare in that era, this race involves several good fights going on simultaneously down the order. the fight for the victory ends up coming down to valentino and dani, and it's a nice little duel they put on - plus there's also dovi's dramatic fight for the final podium position to enjoy

jerez 2009: dani and valentino's young teammate jorge lorenzo are the clear pre-race favourites and there's a slight fear one of them will run away with it... but jorge never quite finds his groove and ends up crashing, while dani very much does not run away with it. valentino finds something extra after being absolutely nowhere all weekend, as he had a habit of doing. features valentino shadowing first casey and dani - and a particularly nifty contact-free block pass at the infamous final corner on casey. valentino's first win of a tough season

****catalunya 2009: one of valentino's finest career victories - and another example of his ability to wrest control of a season when he needed to. off the back of two tricky/embarrassing races at le mans/mugello, it felt like the time had come to demonstrate he was a serious contender in that year's championship... as well as assert himself within yamaha over his increasingly troublesome young teammate. the stakes are clear: jorge sorely wanted to win in front of his home crowd and valentino sorely wanted to beat him there. after a strong start, the physically ailing casey falls back, letting jorge and valentino soar off and fight it out as they take turns to tail each other around the track. a duel for the ages and the victory that transforms his fortunes in that season (some more details in this post)

**sachsenring 2009: a few races after catalunya, it was once again jorge and valentino to fight it out for the win - unusual for two yamahas at that track. it's a duel that has been overshadowed by catalunya, but this is another gem: a close and dramatic battle at a time when it felt like jorge was the one who had something to prove. but valentino demonstrates how hard it still is to best him in head-to-head combat, and he ends up beating the number 99 bike by the pleasing margin of .099s (listen I have no evidence for this but in my heart of hearts I 100% believe he noticed and appreciated this fact)

misano 2009: this race followed valentino's massive error in indianapolis, crashing and reopening the championship fight at a time when it looked like he had things perfectly under control. his traditional special home race helmet is dedicated to taking the piss out of himself - featuring a donkey because of how "stupid" he had been. but in misano he was the "flying donkey"... look, it's not the best race you'll ever watch, but after a poor start (surely not), he does do quite a nice job to overtake dani for the lead. in parc fermé, his team dons donkey ears, and he gets his own pair to wear to the podium as he greets his ecstatic fans

**sachsenring 2010: valentino's early season was troubled by a motocross shoulder injury he'd picked up after qatar, and he had to push harder and harder to keep up with an ever-improving jorge. eventually, he pushed too hard and broke his leg in mugello. this was his first race back, returning sooner than anyone had expected (except casey, who thought people were making too big a deal out of the whole thing) - and he immediately was on the pace, to everyone's surprise (not casey's, who thought valentino's main problem was just losing a bit of muscle mass). this race features an excellent duel between casey and valentino in the closing stages for the final podium position, with casey stealing it from valentino at the very last gasp. it was an impressive performance by the pair of them, a heartwarming demonstration of how mediocre bikes and broken legs can be overcome by the power of mutual contempt

***motegi 2010: do you ever feel overcome by the sudden urge to watch someone be an absolute asshole for no good reason? if so, then I have the perfect race for you. jorge is very close to clinching that year's title, and in truth it's a pretty sure-fire thing given dani is out with injury. still, it's generally not considered good form to ride into your teammate at the best of times. valentino continues to struggle with his fucked up shoulder late into the season, but spite will do all kinds of magical things for you. it's a race-long battle for third place between the yamaha teammates, and the last few laps in particular are uh. intense. features valentino dangling out his leg to increasingly comical extents - whether to try and mitigate the shoulder issues or whether to physically block jorge is anyone's guess. jorge basically rides right into the leg more than once. there are at least three separate extremely dubious moves valentino pulls on jorge. you can tell jorge is losing his mind. you can feel the sheer concentrated malice radiating off valentino. when valentino gets off the bike, the mic picks up how he tells the yamaha team that it "was fun". not everyone would agree

^you'd think a season in which valentino had broken his leg might be one where everyone lays off the dramatics a little, but somehow this year was the one in which valentino's relationships with both of his main rivals soured considerably and made the final step from 'rivalry' to 'feud'. there'll always be a slight air of unfinished business to the casey rivalry in particular, but 2010 did end up unwittingly providing us with a few gems. in the motegi qualifying press conference (pictured above), vale talks about how he knows he needs shoulder surgery - but is determined to delay the surgery until the end of the season. it wasn't a good decision for his shoulder

**sepang 2010: the race that immediately follows motegi. valentino doesn't qualify particularly well and starts worse, dropping back to 12th during the first lap as jorge and dovi set out in front. but valentino determinedly sets after them - and when he catches up, they engage in a lovely three-way scrap in the race in which jorge can seal the championship... as long as valentino doesn't knock him off. this doesn't reach the viciousness of motegi, but it still involves three riders who clearly really want to win and also really want to beat each other. his first victory after the broken leg - and his last one for a long time

jerez 2011: thing is, right, if you just ignore the bit where he wipes both himself and casey out and then has to pick the bike up and start again, it's actually a really good ride! can't fault it! did his thing in the wet again! just one little. uh. blot on the copybook. I wouldn't even say the ambition outweighed the talent as much as it was his patience, given he knew it might be the only chance he'd get for a big result for a while on the struggling ducati. it's the kind of misjudgement he makes relatively rarely in his career, and speaks to his frustrations with the continuing shoulder problems as well as the underperforming desmosedici. casey was less than sympathetic

le mans 2011: it's le mans, it's raining, you know how it goes... these conditions were pretty much the only times valentino could manage a decent pace in his ducati years. this one should've gone on the dovi list too actually, not least because jorge executes an extremely rude move on dovi I feel confident in saying dovi did not appreciate (he gets jorge back with a far more polite and civilised move). casey runs off with the win by a fairly obscene margin but behind him there's plenty of talking points - not least the hugely controversial clash between dani and sic that leaves jorge, dovi and valentino fighting for the two remaining podium spots

*le mans 2012: valentino might have expressed mixed feelings over the course of his career about riding in the wet, but it sure did its job during the ducati years as the great big equaliser. now, point of order: in my casey rec list, I described this as 'not a great casey race', which I don't stand by at all. the last casey/vale duel (that also heavily features a vale/dovi/cal crutchlow tussle), with valentino stalking and harassing casey both at the start and the end of the race - though he did exercise some advisable caution... initially. involves a last lap overtake and is valentino's best ducati performance

^the last podium valentino and casey shared, in the race after casey announced his retirement. usually it's a bit easier to tell when a valentino feud is at its worst, and the two of them joked in the press conference about how they were thinking back during the race to their 2011 jerez clash. ducati were in such a miserable place in those two years that in truth, nobody could have done much with that bike - casey certainly could have done more, but by 2010 the bike so awful that valentino outscored casey that season even after fucking up his shoulder and breaking his leg. vale's sole dry podium in the ducati seasons came at an emotional home race in misano the year after sic's passing, though unfortunately it's not a particularly watchable race. there are some other rides in those two years that are strong in isolation, but valentino isn't the star of the show - and really, it'd be a waste of our precious time to talk any more about two years that were a waste of valentino's precious time

qatar 2013: the first race back with yamaha and the first race of a 'qatar trilogy' of sorts, i.e. 2013-15, where valentino just keeps executing extremely watchable races by qualifying poorly/dropping back at the start and then fighting his way through. by the time he catches up with the pack, race winner lorenzo is long gone - but valentino can still have his first fight with the next big thing in motogp, the rookie marc marquez. there's an optimism to this race, the hope of new beginnings in a series that perhaps needed some life breathed back into it... and so did valentino. all three men on the podium have good reason to be delighted, and show it. valentino truly had not known if he could be competitive again after the dark ducati days, and he looks happier here than he has in ages

*assen 2013: his first victory in the post-ducati days and a track at which he had always been strong. partly helped out by jorge's collarbone injury (though assen had always been a bit of a bogey track for jorge), valentino overtook stefan bradl, marc and dani for the win. it's not the most thrilling of races, but is still perfectly enjoyable - and you can tell by valentino's reaction how much it meant to him

qatar 2014: bar a few high points, valentino's 2013 season had been troubled and frustrating as he found himself unable to match the top three in the championship. he decides to make one more big move - this time not by switching teams, but instead by firing his long-time crew chief jb. the start of 2014 is all about seeing if he can become competitive once again... and if he cannot then he will retire. qatar is a promising start, coming back from a poor qualifying to engage in a tightly fought duel with marc that lasts until the penultimate lap

misano 2014: valentino clearly stepped up his game this season, making him decide to continue on racing in motogp in a year in which marc was dominating the competition. race wins, however, remained elusive - but there is nowhere valentino would have rather emerged victorious than his own backyard. the opening stages are a proper fun three-way tussle between valentino, marc and jorge. valentino gets to the front and marc pursues him, so doggedly determined to get the better of valentino that he ends up crashing. the rest of the race isn't all that exciting, but it's notable as the first race in which valentino directly outperformed both marc and jorge when they were fully fit. the ranch visit happens after this race

phillip island 2014: never the most gifted of qualifiers, valentino would continually struggle to get to grips with the new qualifying format introduced in 2013 - and his grid position of eighth was typical of the time. but you can't fault him for his ability to pick his way through the field as he does here, which culminates in his enjoyable duel with jorge for what was then p2. he got lucky with marc's crash out of a sizeable lead, but it was still a good ride to ensure he would be the one to take advantage

***qatar 2015: it takes one corner for the 2015 championship to be blown wide open, when two time defending champion marc marquez goes off and drops to the back of the field. for much of the race, it looks like jorge will be the primary benefactor, battling it out with two revitalised ducatis. valentino starts badly and drops to tenth, but he works his way through the field - and eventually it is he who fights the ducatis for the win. this is actually a really nice marc comeback ride too, even if he never comes into victory contention. it is also a statement victory from valentino. game on

^valentino started the season on a high, daring to hope that the elusive tenth title might finally be his. the optimism would last roughly until they got to europe and jorge hit his stride, after which it was a gruelling defensive campaign to try and cling onto his points lead

**argentina 2015: the thing is, right, qualifying poorly isn't great. starting poorly also isn't great. but if you want to be fighting for titles, you should maybe pick a struggle and stop doing both. valentino's championship bid that year has all these charming races where he's still at the fuck end of nowhere after the first lap before heroically picking his way through the field, which feels needlessly exhausting but there we are. it is, however, exciting to watch how he creeps closer and closer to marc - and he eventually catches up on the penultimate lap. the resulting duel is short but memorable

****assen 2015: a duel that will always be remembered for the controversy surrounding the final chicane, but the whole race is a fantastic watch. valentino needed a result after jorge had won four races on the trot and had led 103 consecutive laps - and he played the weekend perfectly to achieve it. his only pole of the season and, excitingly, actually a good start too... but marc quickly slots in to sit on his rear tyre and it's a fight that continues the entire race. did valentino know what marc had been intending to do at the final chicane, given marc had admitted to repeatedly executing the move during that weekend's practise sessions? or was it just quick thinking that allowed him to read marc's move and realise he only had one counter available? we'll never know for certain - though marc was suspicious of valentino's motives and eagerly made his thoughts on the matter known in the post-race press conference. the beginning of the end

**silverstone 2015: after brno, valentino had surrendered the championship lead for the first time that season on countback and it was obvious he was in serious trouble. silverstone had proven a fairly happy hunting ground for jorge over the years and it looked like he would continue doing his thing that weekend... but then the rain came to the rescue. valentino spends most of the race with fellow wet weather expert marc stalking his every move, until marc goes down and valentino is left managing the gap to a late-charging petrucci. one of the finest wet weather performances of his career - and in several ways jorge got lucky to limit the points damage

^valentino's shadow, until marc pushed it too far and crashed. was marc more determined to beat valentino here than he would have been anyone else? valentino sure seems to think so - he later references both this race and misano as ones where marc aroused his suspicions. who knows, he might be right, but there's still a sizeable difference between competitive fervour and conspiracy

****phillip island 2015: one of the classic multi-rider fights. what valentino lacked in outright pace, he made up for in wheel-to-wheel skill and fighting spirit... except in the end, he couldn't completely make up for the deficit. all year, valentino had been fighting against the odds to keep his championship dreams alive - but at last, they were truly slipping, slipping, slipping away

**sepang 2015: one last roll of the dice, classic rossi-style... but this time it all goes horribly wrong. when the duel between marc and valentino arrives, it has an air of inevitability about it - as, perhaps, does the final outcome. but the fight itself is captivating to watch, in a raw brutality that befits the tragedy we are watching unfold. the penalty that valentino receives after the race is what truly dooms any remaining title hopes

valencia 2015: another doomed title decider, though valentino's race itself cannot really be faulted. he picks his way through the field from the very back and makes it to fourth, but he could never have hoped to catch up to the top three. quite a boring race afterwards bar some late marc/dani scrapping

jerez 2016: it is admittedly hard to vouch for the quality of this race precisely because it is such an extremely non-valentino way to win. clear and complete domination of the race - in a way he had otherwise been incapable of doing post-2009. while the title fight ended up being a bit of a dud for various reasons, early 2016 held promise that this year valentino would be able to match his two enemies on raw pace

***catalunya 2016: after the dramatic closing stages of the 2015 season, everyone was of course waiting for the first proper on-track duel between valentino and marc. it took a while to get going at catalunya, with valentino getting a typically poor start and having to ruthlessly work his way through to even get to the marc fight. but it's worth it once he gets there - like all their on-track encounters, it's a fierce battle of wills nicely complemented by the contrast in styles, and you can tell how ferociously determined they are to get the better of each other. the race that prompts the slight rapprochement between the pair of them

silverstone 2016: maverick vinales ran off in the front to claim his first premier class win, though the fight behind him is well worth watching - and warranted a mention on the marc list too. the first part is good, but the final laps are what it's all about, as the multi-rider scrap distills into another vicious little encounter between valentino and marc. as ever, with these two it's personal, and they're hardly shy in their ferocity fighting each other. but valentino makes clear afterwards he has no complaints... even if marc always reserves a "special treatment" for him

cota 2017: a lovely whiff of controversy to one of the better races cota has produced. valentino is involved in a feisty clash with the rookie johann zarco, who was well on his way to acquiring a certain kind of reputation within the premier class. it's fair to say valentino was not a fan, and he's certainly not a fan of zarco's attempted overtake that valentino argued forced him off-track to avoid taking them both down. he's slapped with a three tenths penalty his team decided against informing him of - which he's still unaware of when closing up on dani with a few laps to go

^not quite the hand-holding of yesteryear, but it was something. the pair of them disagreed in the post-race presser about zarco's aggressive riding - and, perhaps, valentino's off-track excursion that supposedly granted him an unfair advantage reminded marc of a certain other previous incident. riding standards remained a major talking point for all of that season, most notably in assen and phillip island (though valentino himself ended up coming under some criticism, in particular by pedrosa after aragon). the two rivals agreed more often than not, even if valentino still had his reservations. after phillip island: "all riders are very aggressive, so you have to be more stupid than them"

**assen 2017: his last grand prix victory and it's as true to him as brno 1996. a rough, bruising tussle between riders who aren't afraid to exchange paint, with plenty of high quality racing on offer. some rain adds to the excitement - and valentino still faced a sturdy challenge on the very last lap. he remains the only rider in history to have recorded a grand prix win over twenty years after his first. he said afterwards that "sincerely I race with motorcycle for what you feel the five, six hours after the victory". in many ways, it feels like a scarcely believable amount of commitment for so fleeting a reward

****phillip island 2017: multi! rider! scrap! in! australia! valentino's strongest result after a broken leg in a motocross accident took him definitively out of the title hunt (the second serious motocross-related injury that year for him). anyhow, they're at it again and it's a brutal battle between several protagonists who are happy to get their elbows well, well out. valentino's leathers were marked by rather a lot of rubber by the end of the race - but the most important thing is that everyone had fun!

sachsenring 2018: valentino's 2018 performances were generally stronger than the results would suggest, with yamaha increasingly out at sea in a new era hurried along by the return of the michelin tyres. still, he put together a strong first half of the season and was marc's main challenger points-wise. even this late in his career, he demonstrated his willingness to continue to learn and improve by studying satellite yamaha rider jonas folger's performance fighting marc the year before at the circuit, joking after the race that nobody had ever told folger the yamaha wasn't supposed to be good around there. while in the end valentino couldn't really pose a significant challenge to marc, he gives it a good go and gets involved in a fun fight with jorge along the way

****assen 2018: one of the classic multi-rider dogfights, and valentino contributes very nicely to the drama of the race - not least as a result of his deep love for the final chicane. while the winner always had something extra in his back pocket, a rather unfortunate late coming together ends up (probably) depriving valentino of what would have been a deserved podium place

argentina 2019: marc disappears the moment the lights go out, but the battle behind him provides plenty of excitement. there's a bunch of riders fighting for the remaining podium places, elbows nicely out, but eventually valentino and dovi have it out in an entertaining contest that goes down right to the very last lap

^winning a last lap duel against andrea dovizioso... what, like it's hard? a year on from an eventful argentina grand prix, marc memorably likens his handshake with valentino to kissing a girl. the last podium the two of them share

andalusia 2020: some silly good defending against his teammate throughout the race that mainly had the effect of allowing fabio to escape. valentino's result was quite the heroic feat given the gruelling physical conditions: 36 degrees celsius with horrendous track temperatures, with only 13 of 21 riders making it to the end. the blistering heat also hardly helped with the tyre preservation that plagued this portion of valentino's career; managing these tyres was one development too far for his ever-evolving riding style to adjust to. two academy riders could have denied valentino's final career podium, but both their bikes had the decency to break down

^three yamaha's stood on the podium that day for the first time since 2014 phillip island, and presumably for the last time until around 2064. valentino celebrated enthusiastically to the empty jerez grandstands, 21 years after his infamous visit to the portaloo at the same circuit. valentino's decision to retire was complicated by the pandemic, his past ability to bounce back from rough patches and - most of all - his inexhaustible passion for racing, but eventually he called it a day after the 2021 season

[apotelesmaa]

I’d always assumed they were all a part of the same country, yharnam being like the capital (?), but I can definitely see more parallels between Cainhurst and Versailles than Cainhurst and the English system of nobility/English monarchy. I don’t remember if the game ever specified that Cainhurst was an entirely different country though & I honestly cannot for the life of me remember the hemwick lore beyond Two Crazy Girlies And Their Pet Nightmare Creatures.

Do u think yharnam is like surrounded by normal also Victorian era countries that are full of normal people who are like yeah I took a vacation to yharnam and an angry mob tried to kill me but the scenery was beautiful.

[collapsedsquid]

So anyway – the reason that this is on my mind is that a lot of people tend to assume that productivity growth (the annual change in output per worker-hour, which we economists heroically assume to be representing the limitless Whiggish march of technological progress) is in some way a mean-reverting process.  Specifically, that it reverts to a trend which, since the war, seems to correspond to roughly two per cent real GDP growth per year.  Why?  Economists tend to put it down to technological progress, but personally I think it’s more likely to be pixies. Trouble is, this productivity trend used to be a very well-established empirical fact, but then it ceased to be so.  Basically, there have always been temporary deviations from the trend associated with booms and busts in the business cycle, but the deviation in the great financial crisis in 2008 never got mean-reverted.  Instead – well, look at this chart, which also shows the expectation of the consensus of mainstream economic thought, as summarised by the Office of Budget Responsibility, that the mean reversion imps would come along to do their stuff.

Something has gone on here, it would appear.  Getting into questions of policy and structure is definitely beyond the scope of this post, so let’s presume for the moment I’m right and the problem with the series is simply a lack of activity on the part of the relevant supernatural woodland spirits.  There’s basically three possibilities: 1)        This is the new normal, we’ve mortally offended the pixies and the new trend rate of productivity growth is much lower forever. 2)        We just had a run of bad luck with the pixies; there’s no particular reason to believe that they won’t come back really soon and we’ll go back to the good old 2% a year. 3)        Same as 2), but when the pixies come back, they will realise that they’ve been slacking on the job and we’ll have to have a period of higher growth to get us back to the trend. You can tell various stories with more economic content to them obviously, but I think it’s important to be clear here that the really optimistic 3) is not at all something you can rule out as nonsense.  If a country has, for one reason or another, fallen a long way behind the maximally efficient frontier, then it’s perfectly reasonable to expect a period of “catch-up” growth, as there is more low-hanging fruit around in the form of good investments which should have been made but weren’t.  This matters to me because I think it’s quite likely that our Chancellor believes in mean reversion pixies.  Partly because, as I say, the theory of productivity as a trend-reverting process is quite orthodox (for the heads, it’s known as “the unit root debate”, for even more annoying historical reasons that don’t tell you anything at all about the problem than “regression to the mean”).  If one takes Napoleon’s maxim seriously that to understand someone’s worldview you need to think about what the world was like when they were in their early twenties, then this was, I think, the house view of Former Bank of England Economists at the start of the century.

Sometimes my post is just an inadvertent rip off post of a post someone else made that I read but partially forgot about, oops

[aihoshiino]

Between Akane, Kana, and Ruby, which do you think is the best written, and has more depth outside of their relationship/crush on Aqua? The argument I’ve been seeing most often from diehard fans of any of the three girls is that the other two (or one of the other two) don’t have any depth beyond liking Aqua. Been seeing this especially from people who hate Kana, but also from Akane haters and Ruby haters

Anon I truly believe you sent this with nothing but good faith in your heart but never before have I received an ask that looked more like the internet equivalent of someone handing me a baseball bat and pointing me in the direction of a hornet's nest. AND BROTHER, I'M ABOUT TO START SWINGING!!!!

In order from best to worst I'd say right now, it goes Kana -> Akane -> Ruby. If you'd asked me this question in a pre-123 world I probably would've said it's Ruby -> Kana -> Akane but… well i'll be getting into what existing in a post-123 world has done for ruby's character soon enough anyway lol.

I fully expect to be hit with accusations of bias in this regard both because I just have generally always liked Kana and fandom lately has been so fucking weird about her but the reason I like Kana is because I think she's the most consistent and fleshed out beyond the scope of her relationship with Aqua. Like, to be clear, all the girls definitely revolve around him way more than they should - to a degree, this is just kind of the nature of the beast in a story like OnK where a lot of characters' foothold into the story are their personal relationship with the protag. But so much of their screentime and story relevance is eaten up by the romance subplots that it ends up coming at the expense of giving the viewer a strong sense of who they are outside those relationships.

This is the trap I think Akane falls into, to the detriment of her character writing. On paper, she's a super interesting character with a lot of potential to add to the story's themes and overall commentary but her actual role in the story and the context within which she's allowed relevance is purely just Being Aqua's Love Interest. Hell, her foothold into the cast period is just that she and Aqua are fake dating and Akane is catching both feelings and a sense of indebted gratitude towards him, so she's totally down to match his freak about it. There's a reason I think Tokyo Blade is her best post-LoveNow arc and it's because while the developing relationship between her and Aqua is an important part of the story, it's absolutely not Akane's focus when compared to everything else she's got going on with Kana. After this arc, though, she's given basically zero plotlines or things to do that aren't wholly predicated on Being Aqua's GF and the interesting underlying issues suggested to exist in her character go largely ignored in favor of her serving Aqua's story. She doesn't really have any relationships with the other cast members outside of Kana and even that ends up devolving into love triangle slop. The result is that, based purely on what exists in the text of the story, Akane is isolated from any other character that she could interact with to create a sense that she has a life and interior world unrelated to Aqua.

This is also why I say Ruby is the worst hit by the Love Triangle Brainrot Disease out of the three heroines because she had an interesting, lively character with a full world and social life that had nothing to do with Aqua only for 123 to come along and infect her with terminal love interest brainrot. Honestly, Ruby being Like This with Aqua right now is probably the biggest singular issue with OnK at the moment, because it means one of the series' primary protagonist is stuck in this malformed relationship cul-de-sac where the feelings we've spent the entire series building up and fleshing out have somehow simultaneously taken over her entire character at the expense of all her other ongoing plotlines while also going entirely unaddressed by the narrative. 123 essentially wiped Ruby's slate clean of anything that wasn't the AquRuby stuff and then proceeded to treat it like a massive joke for literally 20 entire chapters - once again, at the expense of what was a genuinely really necessary arc for her. Ruby's so-called 'revenge' peters out with a wet fart because all the moments leading up to it that should have given any of it weight are offscreened in favour of yet another panel of Ruby splooging over her brother. But despite this being like the one singular thing her character has going on right now, Akasaka is simply refusing to address the massive incest elephant in the room, which means that both Ruby as a character and the story as a whole are robbed of opportunities to develop and be developed by an exploration of how that massive taboo intersects with and affects… literally anything! Since 123, we've gotten exactly one chapter that bothered to even pretend it was taking Ruby's feelings seriously but despite it ending on perhaps one of The Biggest Status Quo Shifts in the whole series… it too has gone entirely unaddressed!!!

Both Akane and Ruby are trapped in this bog of having their entire characters reduced to revolving round Aqua while being disallowed from meaningful development that would probably advance or give closure to that relationship. Akane… sort of gets this with her whole "i'm his mom now btw kana you should suck him silly" thing and her big dramatic haircut but even then, she's still orbiting Aqua and his revenge quest because apparently she has nothing better to do. Ruby, meanwhile, is in this baffling place where the story is having to twist itself into so many pretzels to avoid addressing whatever the hell is going on with her and Aqua before the Akasaka ordained Most Dramatic Moment that she is not getting any moment-to-moment development that might even risk letting her address or untangle any of this stuff. She and Aqua are not allowed to have any direct on-screen interactions and even when they did in 157, it just felt plastic and artificial and honestly kind of forced because of that failure to so much as acknowledge UH, HEY, REMEMBER WHEN RUBY STUCK HER TONGUE DOWN AQUA'S THROAT?

anyway. ALL THAT UP ^ THERE ^ is the reason I think Kana is the character who feels the most fleshed out beyond the bounds of her relationship with Aqua, ironically because of having comparatively less romantic focus and explicitly romantic interactions with him. Because less of her screentime is taken up by romance drama, it allows her to just breathe and exist as a person without her entire role in the story being Aqua's Love Interest. Her major moments of development are all built on Kana's own backstory and baggage which has basically nothing to do with Aqua and everything to do with her own insecurities, her history of abuse and abandonment, her obsession with acting and her fervent desperation to cling to the entertainment industry even when it has made clear that it doesn't want to make a place for her anymore, because so much of her personhood is warped by and tangled up in her childhood growing up in the public eye. That's not to say Aqua isn't involved in Kana's arc and he has an undeniably huge impact on her, but when you look at the ways his interactions with her push her story along it very much feels like Kana is just having her own arc that Aqua is serving and sometimes intersecting with rather than the other way around (as it feels for Akane and Ruby).

WITH ALL THAT SAID… it is just blatantly a bad faith reading of the series to the point of flat out lying about the contents of the story to say any of the three heroines have nothing going on outside their relationships with Aqua, even if we don't get as much focus on that stuff as I'd like. Ruby has her whole history as Sarina and the experiences of abuse, disempowerment and abandonment that have created the bullheaded high-energy Ruby of the present day. Akane struggles with low self-worth and tendencies towards creating narratives for herself and other people in her head that don't always survive impact with reality. Kana has… well, I rambled about all that up there lol. In fact, all three of the heroines are interested in Aqua for imo, at least hypothetically well developed reasons that have observable and tangible roots in their own histories and personal baggage and how Aqua, as a person, has impacted them.

The issue is not with the girls themselves or their feelings for Aqua. The issue is that Akasaka is a romcom guy flying by the seat of his pants trying to write a murder mystery character drama and it's just not what he's cut out for. So he falls back on what he knows - the romance stuff - regardless of how it does or does not cohere with the arcs of the characters involved or the wider story at large. He simply doesn't have the chops to balance both halves of the story at once and his clear interest in playing shipping drama for all its worth has ultimately compromised the integrity of the surrounding story, to the detriment of the characters involved.

[fipindustries]

btw, if anyone is curious.

i used to be one of the skeptics, i have made it pretty clear, i used to be one of those people who scoffed at the one piece fandom saying "there is no way a story can take 1000 chapters to be told". and i believed it!

i was convinced it had to be a zombie simpsons situation, i was convinced it had to be like supernatural or one of those mexican telenovelas with 40 seasons where after a while they just keep rehashing the same plots over and over and the characters have gone beyond flanderization and straight into empty husks of themselves, i was convinced it had to be meaningless meandering pointless filler and chapter after chapter of nothing happening, i was convinced it had to be a homestuck act 6 situation, pure nonesense worthy of henry darger.

and who knows! there are still 400 chapters left but at 700 chapters in i gotta say, it's staying remarkably focused, relatively speaking. yeah there are a couple of arcs here and there where they will spend 20 chapter fighting some villain you dont care about, there is SOME meandering here and there and many characters do take a bit of a backseat as it goes along but... there is a clear sense of progression, we are not trapped in a house of endless mirrors here, we are not spinning our wheels going nowhere. the plot advances, both in the micro and the macro, the scope of the world has been well established, the worldbuilding has remained consistent, is not like oda is revealing new previously unkown bullshit without any way it could fit in what was already told. there is lore that is being consistently revealed and it makes sense, there is a clear objective and the heroes ARE getting closer to it, everything that is introduced does become relevant one way or another eventually and it is used to build up toward new things. oda doesnt seem to run out of interesting ideas to explore and in fact the ones that were already presented have not been fully milked of all its juices yet

this is not dragon ball, where power levels and escalation keeps getting more absurd as time goes on to the point nothing matters anymore. this is not doctor who where the world has to be soft rebooted every five years just to keep the illusion of freshness, this is not marvel or dc where continuity is whatever and character arcs dont matter and there is a sliding time scale.

this is a story with a well defined middle beggining and end, this is a long journey and we are damn well see every stone and branch and blade of grass across the way and it will alway be an interesting stone or a cool branch or a really fun blade of grass but every foot we plant on the ground is decidedly in front of the previous foot.

[familyabolisher]

Sorry to ask something somewhat related to the recent discourse, but do you have any advice to someone trying to teach themselves lit analysis or lit theory? Seems like most online advice ends at "get an English degree lol"

first of all sorry for leaving this for so long, between work and various other Demands in my life i didn’t really have the time/energy to sit down and write up a proper answer for a while. anyway: imo, what’s more important than working your way through a long list of critical theory is honing an ability to respond to a text yourself; being able to take notice of your emotional responses, being able to ask questions about what the text does and what it responds to and whether you think it succeeds or fails. questions like ‘what is the text about?’ are often too vague, and assume that critical practice is a task limited to investigating the ‘correct’ metaphysical properties of a text that we have to uncover, as well as presenting literature as wholly utilitarian (under this framework, a text becomes a vehicle for a ‘theme,’ and nothing more.) in the list below, i’ve tried to be a little more precise about the kinds of questions that can help you become a more confident + critical reader.

[disclaimer: i am not any kind of expert, i have studied english lit at degree level and i do read a lot / make a habit of talking about what i read, but i would not consider myself especially ‘qualified’ and nor should you. i’m explaining a process that works for me, not providing a one-size-fits-all solution to the question of analytical methodology.]

the essence of literary practice is that a text has a terrain where it has to be met with, and where it will be accountable to forces that are often beyond its control or beyond its immediate borders, and a terrain where it asks to be met with, and towards which it will attempt to navigate the reader; the reader’s job is to meet with it on both terrains, synthesise them, and respond to them. so, some of the questions you should be asking about a text include:

what is its context? this can mean a lot of things: when and where was it written, and how might the conditions contemporary to its creation be informing the inner working of the text? is it considered part of a particular literary movement; how does it interact with the core characteristics of that movement? does it invoke other works; if so, how does it respond to them? what biographical information about the author might be relevant to the piece? some books will come with an introduction which, if written well, would cover at least the outstanding details on this list; you can also have a look on wikipedia or other such websites to get a feel for the conditions under which the text was created.

how does it respond to this context? rather than assuming a text to be a passive body onto which its external conditions are exerting their unilateral force, we should always understand a text as being in active dialogue with the context that shaped it. what are the questions typically posed within the movement or genre to which it belongs; how does it answer these questions? does it build on its predecessors in any way? if it’s a responsive text (ie. consistently invoking an earlier text), what does it have to say about the text to which it responds; how does it develop or contravene the template from which it was building? how might it be responding to the questions of its time; which paradigms are challenged? which are endorsed, actively or tacitly? what goes unmentioned? i emphasise critical engagement with context so heavily because it’s often where the meat of the text can be found. 

what are the conditions which made this text possible? this is a little different to questions about context, which have a far broader scope; this is a question which seeks to treat a text not as a thing that came into existence of its own accord, but as a thing that emerged as a result of a process of material production that depends upon particular conditions. is it a mainstream publishing house, or an indie press, or self-published? how does this affect its authority, or the standard to which we hold it? how does this affect its relationship to narratives of cultural hegemony? what can that tell us about what hegemony can and cannot absorb? this is me being a big marxist about it but i think this question is woefully neglected in literary studies lol

why did the author make the choices that they made? one of the most important things to remember when it comes to literary analysis is that every choice made in a text is deliberate; every choice about what happens, what a character says and does, what a character looks like, how particular characters interact, how scenes and objects and settings are described, what prose style is employed, what word is used in a sentence, etc., is a deliberate choice being made by an external agent (ie. the author, sometimes/arguably also the editor, also the translator if a text is in translation), and those choices are accountable both to the deliberations of the author and the external cultural narratives with which they necessarily enter into a dialogue. ‘why does a character behave in a particular way’ is not a question that invites you to treat the story like a riddle for which you can find an ‘answer,’ but a question that engenders the following: what does their behaviour reveal about the character, and how might this be situated within the discourse of the wider text? does this behaviour reveal any biases on the part of the author? what sort of expectations does this behaviour establish, and are those expectations met or neglected or subverted? the same process can be applied to themes, settings, plot beats - anything, really. why is this particular adjective used - does it have other connotations that the author might want to draw attention to in relation to the object being described? why does this chapter end here and not here? nobody in a novel has agency that extends beyond the boundaries of the novel itself; part of the practice of analysis means discerning which choices were made and why, and whether those choices were good or bad. 

what is your response? analysis is a misleading term for this practice; it’s less about dispassionately picking at a text in search of an ‘answer’ and more about evaluation - assessing the text’s successes and failures and cultivating your personal response to it, which means paying attention to your responses as you go along. some people would argue that ‘did you like/dislike this’ is a juvenile question, but i would disagree - knowing whether you liked or disliked something and being able to describe why it evoked that reaction in you is crucial to an evaluative practice. a text can be conceptually excellent, but falter if its prose is clunky or uninspired or unimaginative; being able to notice when a text isn’t engaging you and asking why that is is an important part of this evaluative process. similarly, what do you make of the themes and developments present in the text; does it dissect its themes with precision, or does it make broad gestures towards concepts without ever articulating them fully? is it original? does it have sufficient depth to it? do you agree with it? are you compelled by it? if you were asked the questions that the novel tries to respond to, what would you say; do you think that the novel misses anything out? has it challenged your own perspective? what are its limitations?

literary analysis is a learned skill, but by its nature of being a skill it gets a lot easier over time, and some of these questions will become intuitive. a good way to hone the skill and develop a greater intimacy with a text is through close reading; this refers to the practice of selecting a passage (or even just a sentence) and picking it apart line by line (word by word, even) to describe in intimate detail exactly how the sentence(s) came to be formed in the way that it/they did. i’ll use the first few sentences of daphne du maurier’s rebecca as an example.

Last night I dreamt I went to Manderley again. It seemed to me I stood by the iron gate leading to the drive, and for a while I could not enter, for the way was barred to me. There was a padlock and chain upon the gate. I called in my dream to the lodge-keeper, and had no answer, and peering closer through the rusted spokes of the gate I saw that the lodge was uninhabited.

so a close reading of these sentences might identify:

‘last night i dreamt i went to manderley again’ is in iambic hexameter; this rhythmically satisfying invocation makes for a smooth opening sentence, and contrasts with the longer, more complex sentences that follow on. the change in rhythm through such a contrast helps to maintain momentum throughout the paragraph.

the first sentence also introduces a few key pieces of information - that this story is being told from the first person, that we are opening with a dream (and that the narrative places stock in the significance of dreams), and that the speaker is going to manderley ‘again’ - ie. that this is opening after an event in which manderley was significant. that the speaker going to manderley ‘again’ in a dream holds importance implies an exile from manderley in the ‘real’ world; this already gives us hints at the broader shape of the narrative. 

the speaker’s intimacy with manderley and disregard for ‘telling’ the reader what it is (we do not get, like, ‘manderley is a house’ or something - the passage continues as though we know what manderley is already) helps to develop our sense of immersion in the dreamscape. it also sets manderley up as a place of immense significance.

both ‘it seemed to me’ and the later ‘i called’ have a matter-of-factness to them, a certain dry reporting of the events of the dream which, rather than situating the reader within the texture of the dream itself, refortify us as outside of it, listening to it be explained after the fact.

‘for a while i could not enter, for the way was barred to me’ continues the theme of implied exile that the first sentence gestured towards. the iambic trimeter on ‘the way was barred to me’ creates a lilting cadence which, along with the use of the passive voice, detaches the speaker from an emotive response to this being ‘barred’; it is a reported dream that will not consciously acknowledge the speaker’s feelings about being exiled from manderley at this time. (we instead infer these feelings through how the chapter develops.)

‘there was a padlock and chain upon the gate,’ as a short sentence, falls into the same matter-of-fact register as that which i alluded to above, partly through the use of the passive voice, and - as i explained earlier - varies the length of sentences such that the paragraph retains a particular buoyancy. 

the development from the speaker calling to the lodge-keeper to not getting an answer to seeing that the lodge is uninhabited tells a story wherein the speaker at first has authority such that a lodge-keeper would respond to her and let her in; this authority is negated by the lack of response; the lodge-keeper is found to be absent in a development that took place whilst she was herself away, presumably in the state of exile that we have inferred her to be in. ‘uninhabited’ is the kind of word you would expect to be used for an area of land, often with a colonial connotation; this introduces a theme that this chapter (& the book as a whole) goes on to develop, of manderley being a site of colonial decay; as reinforced by the ‘rusted spokes.’

in my experience, close reading is a technique best practiced on poetry, but it’s a very helpful skill to develop in general, and implementing it with prose can elucidate the nuances of a text far more clearly than you might initially realise. in a well-written novel, language is very deliberate and precise!

i think the best thing you can do to develop your skills as a critical reader is to read carefully, and to keep track of your responses to a text as best as possible. keeping a note of what you think a text achieves and how you respond to it each time you read one can be a good way of sorting your thoughts into something coherent and developing your ability to articulate a response. anyway, hopefully this has provided something resembling a guide for how to develop the thought processes that go behind critical practice!

[artbyblastweave]

Curious if you'd say you've ever seen a superhero work that genuinely deserved the alt-history genre classifier, and otherwise at what point its even possible to use it vs going 'this has decades of in-universe history but doesn't deserve to be called alt-history for [REASONS]'

Only one I can think of off-hand that has enough granulated timeline-development would be Wild Cards, but curious if you think others qualify and/or if you think WC doesn't qualify

I can't really comment on Wild Cards extensively (haven't read that much of it) but I can comment on a few other works. To briefly be the guy who talks about the same three works all the time:

Watchmen I think totally qualifies- Nixon is on his fifth term, electric cars are ubiquitous due to Dr. Manhattan's ability to synthesize lithium, Vietnam is the 51st state, the zeitgeist is consumed by pirate comics, and everyone in New York got murdered by a giant fake squid. And superheroes are real.

Unfortunately I also have to note that The Boys flirted with this; among other things, superheroic "intervention" resulted in the Brooklyn Bridge getting destroyed during 9/11, Prescott Bush and some of the other Business plot guys got wiped out during an attempted superheroic field test in World War 2, The War on Terror is being fought primarily in Pakistan, and Dakota Bob is president because George Bush Jr. killed himself playing with a chainsaw. The fact that none of this really pans out into a tangibly different society is deliberate, as part of the comic's drumbeat that superheroes, while roundly bad, also fundamentally don't matter, and are at best able to make things bad in different ways without really changing the shape of the structures that produced them.

Worm is in kind of a weird spot here- it objectively is an alternate history, countless things are different, whole nations are gone, we see a lot of alterations to the culture- but it gives limited airtime to a lot of the specifics of how things got to where they are, beyond the broad clusterfuck generated by the parahumans. To some extent, the fact that the world is radically different is downplayed until the back half because society at the start of the story is Stepford-smiling through an immanent apocalypse- and, you know, the immanent apocalypse is ultimately kind of the relevant difference from our world. But on the whole, I doubt there's a really tight worldbuilding document documenting all the ripple effects on the dramatis personae of history. The story's pretty vague about, for example, what the American presidential lineup has been since Reagan, what electoral politics look like in a world of Capes. It's vague about basically everything else in that nitty-gritty, concrete-details vein.

I do think that all of these, Worm in particular, highlight a major issue you're gonna run into when trying to do alternate universe stuff with capes, and it's that, first of all, doing really robust, thoughtful and fleshed-out alternate history is already really fucking hard, requiring a strong command of the history and culture of maybe up to the entire world, depending on the scope of your project- and superhero stuff already suffers from really strong American provincialism, so the depictions can get stupid fast if you aren't careful. Then on top of that the nature of the cape genre is that you're going to be following a pretty pared-down central cast; authorial and audience bandwidth will be tied up with what's going on with these specific guys over the course of their story, which can get in the way of a birds-eye view of their world, unless you're specifically structuring the story in a way to dodge that issue (which, you know, I get the impression Wild Cards did.)

I also think a commonality in the above works is that a lot of the alt-history changes are instrumental, included not as the result of the author trying to hyper specifically model falling dominoes from a specific point of change, but because they help the work to make its point. I doubt Alan Moore has a one-hundred-page forum thread detailing the fallout of America winning the Vietnam War, but such a thing would be beside the point- which is that God being an American Agent would fuck shit up geopolitically, regardless of the specifics. I mean a lot of this is vibes-based already, right? In objective terms the MCU has been an alternate history for years, but it doesn't claim that label, doesn't market itself as such, so it isn't. I think it comes down to whether you decide to wear that outfit on the runway, and how well it hangs on you once you've opened yourself to judgement on those grounds.

[bullet-prooflove]

Back In Town: O.A. Zidan x Reader

Tagging: @trublu2u @mrspeacem1nusone @greenies-green @rosaliedepp @whateversomethingbruh @anime-weeb-4-life @daydreaming-belle @burningpeachpuppy @scarlettsakura @brownskinbaby22 @@divergent146 @crazy4chickennuggets @kmc1989 @withakindheartx

It’s been three years since Omar laid eyes on you, since the day he dropped you off at JFK airport.  You’d had to catch a flight back to Delaware in order to care for your father. He’s thought about you often since then, wondering what you’re up to, how you’re doing.

When he sees you again at a crime scene in Brooklyn, he can’t believe it. He had no idea you were back in New York. The Human Trafficking Task Force operates out of their Brooklyn-Queens residency, they’ve been called in because Omar’s case has developed into something unexpected. Back in the day that’s where you’d been assigned, it looks like you’ve returned to the position.

For a moment it feels like the world stands still. Your eyes meet and it’s like the past three years haven’t happened. It comes back in a rush, all of those emotions chasing through his body, His feelings haven’t changed, not really, he’s still as in love with you as he was the day he dropped you off at the airport.

You don’t get a chance to talk, you’re busy interviewing the victims, reallocating them to the relevant resources. Part of your work is to ensure that each victim receives the support they deserve, in both an immediate and long-term capacity. This is the thing that you excel at, victim support. You have a dedication that goes far beyond the normal scope of any investigator he’s ever met. Your empathy is one of the reasons he fell in love with you in the first place, your ability to instil a sense of peace in the chaos that surrounds you.

It becomes a joint operation; you end up in the JOC discussing the details of the trafficking ring you’ve been investigating over the past few months. The story you tell is harrowing, he can tell it’s made it’s mark on you, you wear it on your features as you describe the conditions that you found the girls in, some as young as eleven. It sickens every single one of them.

He catches up with you in the breakroom afterwards. You’re trying to stifle a yawn behind your hand as you stir four sugars into your coffee mug.  You usually take one.

“Burning the candle at both ends?” He asks as he picks up his own mug and decants coffee and hot water into it.

“I’ve been on this case for the past thirty-six hours.” You tell him, rubbing the space between your eyes. “Your crime scene wasn’t the first one I’ve been to in the past few days.”

It goes like that with human trafficking. If the smugglers get even the faintest inclination that they’ve been compromised, they move the stock or dispose of it.

“I didn’t know you were back in the city.” He says quietly as he stirs in the creamer.

You lean against the worksurface alongside of him, your shoulder brushing against his.

“I got back a few months ago.” You say as you raise your mug to your lips. “I kept meaning to reach out, but things got a little busy.”

Omar knows how it works. You’d come back to New York, hit the ground running. He knows you would have wanted to move on after Delaware, immerse yourself in the work. It’s how you dealt with a lot of things.

“I’m sorry about your dad.” He says softly, studying your features.

He sees the sadness in you, you’ve done well to hide it but the grief it clings to you like a well-worn coat.

“We had a good couple of years together, but he declined quickly towards the end.” You shake your head as you clasp the mug to your chest. “It’s the nature of it you know?”

He does know, his uncle had died of the same thing not long before he met you. He’d seen the toll the treatment took, how quickly things can change and go downhill. That’s why he never begrudged you leaving, he wanted you to have as much time with your father as you possibly could. His hand takes yours as he meets your eyes.

“I do know.” He says, his thumb tracing over the hollow of your wrist.

You give him a watery smile, squeezing his fingers before the door to the break room opens and you release it.

You’re exhausted by the time case is over, it’s been over seventy-two hours and you’re running on fumes. He can see the weariness in you, it’s in the way you rub at your red-rimmed eyes, the single tap pf your finger on the keyboard as scroll through the report checking for errors. He knows what the aftermath is like, when the adrenaline leaks out of your body and the fatigue crashes in on you.

“Let me take you home.” He says, his hand coming to rest upon your shoulder, his thumb chasing over the nape of your neck. He massages that tense little knot between your shoulder blades, and you make that noise, the one he still hears in his dreams. “You’re too tired to drive.”

He walks you to your apartment door, fingertips brushing yours as you walk side by side. That connection between the two of you, it’s still there thrumming just under the surface, the way it always has been.

When he steps into your apartment, he can’t help but smile. The essence of your personality emanates from the walls, his fingertips run over the blanket that’s folded over the back of the couch, the one your mother quilted. He remembers it draped over the bottom of your bed in the last place.

“Come to bed with me.” You say softly, your fingers entwining with his. “I know you’re tired too.”

There’s such tenderness in his gaze as you undress each other, his warm hands drawing the fabric from your form. His thumb chases over the line of your jaw.

“All I want to do is to climb into bed and hold you.” He whispers as he looks into your eyes. “The way that we used to.”

“I want that too.” You tell him.

When you get into bed, Omar wraps his arms around you and draws you close. He buries his face into the curve of your throat, inhaling the scent of nectarines that clings to your skin.

“I’ve missed this.” He whispers as his lips ghost across your ear. “I missed you.”

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Like My Work? - Why Not Buy Me A Coffee

[goblins-riddles-or-frocks]

I know this is a very watered down version of what you talk about portraying things in media, but nowadays even reading a random trashy romance manga for fun (or any media... yeah sometimes I feel like reading them, kinda like when you crave junk food idk), can be exhausting, because the comment sections and communities are now full of people complaining about the "correct" portrayal of relationships, and how much they hate the FL or the ML, because "they should just see a therapist" or whatever, and I'm just sitting thinking that if I wanted to read about the perfect portrayal of a relationship, I'd be reading a psychology book, I don't know maybe it's just me.

All love and light but I think that’s a different topic altogether. As a dark fiction enjoyer, I do generally share the dissatisfaction with how much focus there is on moral correctness in fiction, but specifically here I’m talking about how people are so uncomfortable with real, often gendered, violence that they prefer to act like it doesn’t exist— and that the people who’ve experienced it also don’t exist, because they’ve been tarred by that same distasteful brush

I’m vague because the umbrella is frankly broad, and that’s part of my point. Plenty has been said about the concept of the perfect victim, and how difficult it is to meet those standards. That very much includes what kind of trauma we’re talking about. The scope of acknowledgement (not even acceptability, that doesn’t really exist) is so narrow that it’s really easy to fall beyond it to just straight up not being taken seriously. People stop pretending at any sort of gravity because they don’t think these are things that actually happen!

And if the assumption is that “unrealistic” trauma doesn’t exist at all, then the conversation surrounding it in fiction turns into “Why are you being needlessly gross?” when faced with it. Or on top of that, there might be accusations of misogyny, because you have to hate women if you acknowledge that gendered violence happens and portray it beyond whatever is an individual person’s metric for tastefulness

This circles back around to edging out victims, because… guess who’s the most likely to be talking about trauma. And beyond the usual explanations of using fiction to cope— which is fine, to be clear! Though I do dislike how that’s marched out as a justification, as if one is necessary— I think it’s also just a matter of relatability? Like it’s common and value neutral to identify with and be interested in narratives that are relevant to your experiences lmao

[invested-in-your-future]

My two cents, but the lack of Ruby's thoughts and anger on Emerald and Mercury, the White Fang, and Adam, the man who ruined her dear sister's life which indirectly deteriorated their relationship, is really disappointing. Same with Raven.

(yet again IDK if show or fic so I'll answer both)

Within the show yeah it's a bigger issue with how non-reactive Ruby is overall - there are many instances where Ruby is within a scene where she has narrative reasons to react, but the writing doesn't allow her to. We don't have much on her thoughts beyond her being "vaguely distressed", which is a mistake.

Within the rewrite though, for me, Ruby is the type of person to fixate on specific aspects of her trauma - few at the time - to get "stuck" on a specific thought, specific regret - and replay it repeatedly in her mind.

She's on a journey to honor a fallen friend, surrounded by teammates of said friend, so thoughts of what happened to Pyrrha and Penny are "closer" for now - and so is Cinder. And Ruby hasn't even really dealt with Penny's fate yet.

She's holding onto the idea that she could possibly track Cinder down and that's what has kept her going - she's "keeping herself busy".

I don't think she even fully processed the scope of what had happened at this point and doesn't allow herself to - her mind has been going in loops dealing with deaths she had witnessed firsthand.

She's struggling to accept what happened to Pyrrha and what transpired with Roman, and that kind of information and emotion overload "bottlenecks" the rest. Only with events in Nemea - meeting Pyrrha's mother and everything else - does she let Pyrrha stop haunting her (although not completely).

Most of her thoughts jump back and forth between Pyrrha and Cinder till that point.

For example, she didn't really focus much on Neo until Neo actually became relevant. It took a confrontation for her to realize why Neo might be "a little bit" pissed with her.

That said, the one moment when she briefly lets herself spiral into her thoughts (before Nora stops her), she touches upon Emerald - so it is there. Not to mention - when something weird happens, her mind first jumps to the idea of someone creating illusions.

Emerald and Mercury will absolutely come up when the time is right. (I also didn't want to dilute the Pyrrha situation for now because making character's thoughts jump around too much can mess up the scene)

As for Raven and Adam - Ruby isn't really aware of the role they play - in her mind Raven is merely this vague image of a scary lady from her earliest memories and she doesn't even know she's involved now - she never got to see her in the present day, remember? Even on the train in V2, only Yang got to see her or connected the dots. And the only person Yang told about it was Qrow. I don't even think Ruby realizes how much Raven plagues Yang's thoughts.

Not to mention - Adam, I don't think anyone except for Yang and Blake even saw him there, and only Blake(and Yang, but only due to the context given and the situation they were in) could recognize him or know who did this to Yang.

Ruby also doesn't really have time to place blame onto others because she primarily blames herself for what happened to Yang - she wasn't there to prevent it, she wasn't there to help and she couldn't even comfort her after. For now, that takes priority in her mind.

She does have thoughts about White Fang, though. That will come up in due time.

[bodycountgame]

Idk if this is a spoiler, but are there any ros who would end up together (beyond just needing to be paired up for a switch) if they don’t end up with the mc?

in my mind, yes, although with varying degrees of long term success. i think there would be 3 non-MC couples at the end of the story (if none of the relevant parties were being romanced) but i only think one of those would really stand the test of time.

whether those relationships will make it into the game or not remains to be seen, and i haven't really made a final decision yet. obviously which characters actually live to the end is a big factor, but also i'm generally mindful of scope. i'm waiting until MC's relationships are locked in (and i Think relationship lock is going to be in chapter 7 or maaaaybe 8???) to see where things are at around then before i make a decision, although you may still notice the groundwork being laid in the upcoming chapters!

[gemmahale]

Hii Gemma!

I consider righteous fury to be the mother of all fix-its but my question is actually more about the.... Scope of what's been posted so far, if that makes sense. Obviously you'd have to write The Scene, but did you know going in you'd cover it so thoroughly? You're phenomenal at writing action so I guess I'm wondering how excited you were to delve into the meat of it or if it was something you were kinda nervous to tackle?

-gouge 💛

@pricegouge, I love that you asked this question. 😀 (Also massively flattered on your consideration for it as such a high place of honor.)

I had to sit on this question overnight to gather my thoughts. I have a lot of them. 💚 This has suddenly become my baby of all babies.

Righteous Fury was never meant to be more than an explanation for something John/Soap does in Museum Muse. I never meant it to turn into the behemoth it is now.

I was nervous to tackle the scene - because I had decided that the best way to fix it was to just rewrite what existed. It took me three tries to get Soap's voice right and beyond just reciting what happened in the script/playthrough. Spoiler: video gameplay does not translate well to the written word, so there was a lot of adding and re-watching and fudging that had to happen.

I was exceptionally afraid of being called a cheat - because none of the dialogue up until "the incident" is mine. (That might be wrong - I think I tucked in a few lines or changed the speaker.) None of the action is mine. But all of the emotion, John's backstory, his motives, are mine.

It was an interesting challenge to work with a framework of existing media and expand upon it. Would I do it again? Maybe, if there was another scene so poorly developed and written.

Spoilers for my version below the cut. I pontificate on some specifics and how I made some artistic choices. 💚

It was also hard to choose where to start - do I start when Price is down and Makarov is standing over him? No, I need more lead up. Do I back up to when Soap and Gaz are feigning disinterest in the hacker? No, that's too far back.

Thankfully, the mission brief provided a perfect point - it established John's hatred and resentment for Makarov, and allowed me to ramp up to the point everyone was dreading.

Now, when it comes to making the choice as to how things go down? I'd seen a post about how it could have gone (can't find the reference, if I do, I'll update this). So I started there.

But really, when you live with someone with similar training, you might as well ask them. 😅 Enter: Kallen.

Hoo boy showing him a playthrough of the mission was a choice. (See #Kallen Kvetches for similar commentary, including the time I showed him Triple Frontier. Man had OPINIONS. Half of them on butts and pecs. 😉) But it also spurred on a conversation of what could happen post-Makarov.

We walked through (we're about the same height, like John and Makarov) the shots. Where the script failed and how - John would have had a knife on him. He would have been better trained to respond. Makarov shouldn't have - well, that's not relevant. Sorry. Basically it boiled down to: John's training would have taken over and he would have acted somewhat closely to what I wrote.

I could have written him getting out unscathed. Genuinely nothing more than a few scratches. Kallen thinks that could have been the more likely outcome as we wrote the scene, had Makarov's finger not tightened around the trigger of his firearm as he fell.

But again, I needed a reason for John to be on modified desk duty for Museum Muse. So...uh...sorry bud. 😅 Might as well use my resources for everything, including surgery. (Yes, Kallen went through a similar surgery in his time in. Yeesh.)

Sorry, I think I got way off tangent. I have a detailed outline of what happens as a result of the first two chapters of Righteous Fury, and a rough idea of how things play out in Museum Muse. It's really going to be interesting seeing the same events from two vastly different POV's. (That can also hopefully stand individually.)

But again, this all started out as a way to justify Soap being on bedrest/desk duty and bored out of his mind, messaging a stranger on a message board. 🤷‍♀️ Oops, instead I retconned, world-built and got feelings everywhere. My bad. (I'm not sorry.)

Me, creating this universe:

Also - I haven't said this out loud yet, just implied it. (But if you've gotten this far in my ramblings, you deserve to know it.)

This is also a memorial fic in a way. A lot of inspiration and information comes from Kallen and his experiences in country (obviously, changed locations and names and such). There's a whole swath of people I never got to meet that were family to him, and he's given me permission to include them. 💔

You might have noticed an Officer Hale in Ch 2. Yeah, that one was a blatant insertion of Kallen. I promise the rest probably won't be as heavy handed and obvious to you - it was just too good of an opportunity to pass up!

[askanallo]

Hi! I don't know if this ask will make any sense, sorry if it doesn't.

I'm asexual, aromantic and agender and there is something i don't get about hetero/homosexual and romantic attraction.

Gender is a social construct and is something you feel on the inside (I'm guessing here, correct me if I'm wrong) and gender presentation is the way you present to the outside world (clothing, mannerisms, etc.). So how can you be attracted to a specific gender, what is the difference between a masc presenting man, woman or an enby. Have you ever been attracted to someone who you thought was a man, but later learned wasn't? and if so did that information change your attraction to them?

Thank you in advance! This has been in my head for a while and I needed to get it out.

Jesus, this is not an easy question. I feel like there's probably academic literature on this topic, or at least a few articles by people with Gender Studies PhDs. You might be better off looking up that stuff, as this goes quite a bit beyond the scope of one person's experiences.

I don't really know whether to put a content warning or what here? Just be aware this is a cis person talking about gender.

A closeted trans woman and a cis man look the same. I could be attracted to someone who's actually a woman without knowing, despite being heterosexual. I don't think the internal feeling people have of their gender is actually very relevant to attraction, which is a process that goes on in another person's head.

I'm also not super sure about gender presentation. My boyfriend has definitely been into me even when I had no make-up on, was completely unshaved, and was dressed head to toe in men's clothes (...that I took from his closet lmao), including boxers. About the only feminine thing on me was my semi-long hair, and I don't really style it. If it was mostly about clothes and styling, I don't think he would have liked kissing me while dressed like that.

…so what's it really about? I'm not really sure whether I can actually answer this question. I'm not sure how gender-based my attraction even is. If my boyfriend came out to me as nonbinary but looked the same, or maybe experimented with fashion a bit or something, I'd continue being attracted to him. But if he started changing his (visible/percieved) sex through hormones and surgery while still identifying as a man then, I don't know. I don't think I would be into him? But I couldn't say that with 100% certainty.

Doesn't help that I'm in a regressive society where attraction is absolutely viewed through the lens of sex and where I don't really get into contact with trans and gnc people. Everyone I've talked to and been attracted to has been cis to my knowledge, so that probably informs the way I view my attraction in more ways than I consciously know. There is very likely queer literature about these topics, and there's definitely a few Tumblr posts - I'd probably go looking there if you want more experiences. Ones with way more perspective, probably. If you are genuinely interested in this topic, you will have to continue looking if you want a conclusion. I'm sorry.

[catboybiologist]

Wait, you're Slavic?

Any perspectives on how that interacts with queernes, that is definitely not a thing I know a lot about. (feel free not to answer if it's too personal).

Not really. I'm American born and raised. My parents are technically immigrants, each from a different eastern european country. But they each came over here when they were kids, and have had interesting on and off connections with their home countries. Neither have accents, and typically don't look or act much different than standard white americans. I have noticed some pervasive quirks and values, however, and talking to my more fully Slavic friends, they seem rooted in the same place.

I can absolutely comment on how this has affected me, but I want to be abundantly clear: I cannot speak to an actual, lived Slavic queer experience. I'm not even bilingual (thank you, weird desire of my parents to make me "more american" by not teaching me their languages). I can comment on the cultural norms that it seems like my family has passed down, and the small amount I've seen in the immigrant communities they're a part of here. However, its pretty much impossible for me to untangle these from the quirks of just my family and family friends. That's my disclaimer, and if actual Slavic people want to comment about this (especially with what's happening in Russia) I would love to hear it.

Obviously I'm also not going to completely air my family's dirty laundry as well, so hopefully this won't get uncomfortably specific for me. I do want to talk about it though.

If there's anything I *can* comment on here, I can divide it into two things: atheistic conservative social values, and immigrant academic culture.

As I've said, I was raised atheist. While the orthodox church and other local Christian branches are still culturally relevant forces in Eastern Europe, from my understanding it hasn't been near the level of Catholicism or various Protestant movements in other countries. Most Slavic immigrants I've interacted with are atheist. They do, however, still carry extremely strong conservative cultural values despite that, and are often politically right wing as a result. The most strong and deeply rooted representation of this is the vehement protection of the "family unit" above all else. Which, as I'm sure you all will agree with, sounds nice on its surface but has a lot of branching consequences. Resolving conflict between family members is more paramount than actually resolving the hurt of individuals. There's a sense of forced closeness much of the time. And of course.... queerphobia. Anti gay marriage sentiments, regressive opinions about reproductive rights, anti-trans opinions based on preservation of the ability to reproduce.... yeah there's a lot to unpack there. A lot of this is a common theme, but most of the time, it's rooted in religion. This is very easy to completely excuse in your head. Slavs, however, typically seem to frame the root mentalities that drive these in terms of "survival", the stability of society and the societal purpose of these values, and also weird, lopsided scientific explanations for them (eg, I've heard multiple times independently that gay people are "evolutionary errors"). Which, I'm sure someone way more qualified than me to comment could write a book about how this relates to post-war and post-Soviet collective trauma, but that would be WAY outside of my scope. This makes it... always just a little different than the types of homophobia that people talk about in more classic american families, and its interesting to compare and contrast.

The other one, which I talked about more in my previous post, is high academic standards. This I think is a shared experience of children of immigrants from many places, even a couple of generations out. The stereotype of the "Tiger Mom" is the typical example, even though the scope is well beyond that. But there's a very simple explanation: the United States put harsh immigration restrictions on many countries that were seen as non-allies for the majority of the 20th century. The best way around them was, and still is, being highly educated. It's no accident that my educated family was allowed to immigrate to this country during an arms race with Eastern bloc countries. Brain Drain policies were a factor, and the cultural expectation for immigrants to be "useful" was another. What this creates is a massive cultural message to immigrants: education is the key to everything. When someone's entire current life is dependent on being high achieving and well educated, its going to create some fucky expectations for their kids. I've compared this experience with some of my East Asian friends growing up, and there's a lot of unexpected parallels.

Of course, my parents are a lot more Americanized than most immigrants, so this also falls under the umbrella of "if I'm speaking on something I actually have no idea about please correct me".

Together, I think this manifested in me not as classic internalized queerphobia, but more as a distinct sense that I shouldn't care at all, and shame for wanting to develop an aspect of myself. I didn't really hate the queer aspect of myself specifically, I had a nonspecific distaste for any aspect of my being that didn't comply with the things I said above. I haven't had that much queerphobia directed at me specifically- moreso, its a topic thats not talked about at all, as if its not real. I can only infer an opinion when loose lips start saying things after some alcohol. Which of course, there's a lot of.

Politically, I'm actually very proud of how my parents and grandparents act. They vote in left leaning ways- but they're oddities in their communities because of it. They also do so very begrudgingly (except my grandma, who has strong progressive whoop-your-ass vibes [I love her so much]), and I'm pretty sure its more about the current state of the Republican party as opposed to their actual values. With everything I've said as well, I also have very little idea how they would react to my queerness on a personal level. I'm not out to them, and I know that there's a huge difference in many people's minds between supporting queer rights as a political movement, vs how you engage with a queer person in your actual life. I've heard some very nasty things said by my parents in that regard, and the way there's a rift between "consenting adults doing whatever they want with themselves" vs actually evaluating people as... yknow. People. The "family unity above all else" aspects are particularly scary for me, and I have no idea how they'll react if I ever bring a man home to them, much less when I come out to them about gender. But that's a tangent.

Would love to hear more experiences related to this!!!! Again, its very difficult to untangle how much of this is Slavic cultural values trickling through the generations, and how much is just quirks of particular people I know.

[natlacentral]

DANIEL DAE KIM: BEACON OF FIRE

Daniel Dae Kim, a paragon of versatility in the entertainment industry, continues to enchant audiences with his rich and compelling character portrayals. Esteemed for his significant roles in landmark television series such as Lost and Hawaii Five-0, Kim has also made waves with his reflective insights on the finale of the Good Doctor, where he served not only as an actor but as an executive producer. As speculation mounts about his character's return in the show's concluding season, Kim's artistic reach extends further with his riveting performance as fire lord Ozai in the much-anticipated live-action adaptation of Netflix’s Avatar: The Last Airbender. In addition to his work on screen, Daniel Dae Kim's return to Broadway in the production of Yellow Face by David Henry Hwang is a venture into the comedic genre, offering a fresh perspective on relevant cultural themes with a timeless appeal. 

In the heart of Hollywood's ever-changing landscape, Daniel Dae Kim stands out not just as an actor and producer but as a visionary leader dedicated to reshaping the narrative around Asian American stories and beyond. Founding 3AD, a production company that underscores his commitment to amplifying diverse narratives within the industry, Kim ignited a movement towards inclusivity and representation, drawing inspiration from the overlooked and undervalued voices at the proverbial high school party of life. His mission, grounded in the belief that entertainment should both captivate and challenge, has already borne fruit with successes like the Good Doctor. Yet, Kim emphasizes, 3AD's scope transcends any single community, aiming instead to spotlight a mosaic of untold stories, thereby enriching our collective cultural tapestry.

Kim's commitment to portraying multifaceted characters that challenge stercotypes and his explorations beyond acting into producing reflect a continuous pursuit of artistic growth and contribution to the cultural dialogue. Beyond his on-sereen prowess, Kim's advocacy for greater diversity and inclusion in Hollywood has made him a pivotal figure in the push for a more equitable entertainment landscape.

With a career that spans critical acclaim and a fervent dedication to cultural change, Daniel Dac Kim remains a beacon of inspiration and a force for progress in the ever-evolving world of entertainment. Read on and get inspired by this slice of Daniel Dae Kim's thoughts on his life as a father, an actor, a producer, and more.

How's the Sunrise House Event at Sundance? How did it go?

They were really fantastic. We had some really informative panels with some industry leaders from every sector. We had a great fireside chat with Steve Yeun. And we had another one with Lucy Liu and that seemed good. 

The Fireside Chats seemed to go really well. The feedback was really good. We threw some banging parties. And so you know, it was a little bit of substance and a little bit of fun.

 

And it's really great and inspiring that you guys are doing this, because I'm seeing a lot more mainstream visibility, especially in Sundance as well for AAPI.

Yes. 

It's really cool. 

What's funny is that AAPI filmmakers have been on it for a while at Sundance, they just have never had a home, you know, somewhere where they can be celebrated and their achievements can be spotlighted. And also, I think there's just a broader movement toward multiculturalism. And that's an emphasis of our house as well. It's not just for the AAPI community, we took specific efforts to do outreach to other communities of color and I think that's really important.

 

That's amazing. Especially how you guys are extending your arms to the communities, building and growing it.

That's what it's about, that's what it's about. We had a dinner one night where we invited all the other major communities of color, and we broke bread together, we talked and hopefully, that's just the beginning of broader initiatives among our houses. 

How did you approach the complex character of Fire Lord Ozai?

As a dad. You know, I have two kids and just thinking about the ways that he's actually in his own way trying to guide his children to their best future is what I kind of keyed into. We may make mistakes as fathers, some intentional, some unintentional, but it doesn't mean... I don't think Ozai doesn't love his children. I think he does, but his love comes out in ways very different from the way I express it.

 

The intention is there. It's just expressed in its own ways.

Yes. And, they can be damaging. They are damaging- physically, in the case of Zuko, but we damage our children without knowing it. We've been damaged by our parents without them knowing it. It's part of the cycle of life and that's kind of how I found Ozai's humanity.

Now, speaking of Zuko and Iroh, and Ozai's family dynamics. How were you all able to explore this complex family relationship on screen?

One of the ways that we did it was to just get to know one another. I've known Paul Sun-Hyung Lee for a while, and I'm a big fan of his work. And so there was a natural bond between us right from the start, and I really enjoyed seeing Lizzie's work as Azula, and watching Dallas' work as Zuko was fantastic, and just seeing what they brought to the table allowed me to kind of see who my children were. Because we were coming together as actors, and we were seeing what each actor brought to the table. But I was able to use that to inform my relationship with the children. What are they good at? What do they need help with? Where do we want to guide their future? Where do I want to guide their strengths and their weaknesses? So things like that, and a little off-camera bonding was really important.

You played pivotal roles that defied stereotypes. How important is it for you to portray complex characters that go beyond just one archetype?

It's just interesting as an actor, you know. I never want to be doing one thing forever, I've been in situations where I played a character for six years, seven years, but, in the case of Lost, I'm so grateful that there was so much growth in that character. So it never became boring. But if I'm lucky enough to have the opportunity to work a lot, I want to use those opportunities to explore things I'm interested in as an artist. And part of that is just kind of finding a variety of kinds of people to play with.

And you've produced, you've acted, and you've explored all these other avenues in terms of creating art. What other things do you want to explore in the near future, aside from those realms?

Producing has been really interesting, the process of creation of television and film and theater has been something that has intrigued me for a while. Yes, I think, to have a holistic view of how one makes entertainment and how it affects us as a society and vice versa, I think it's a really interesting question. How entertainment reflects the cultures of our time and at the same time, pushes it in one direction or another.

What's the most valuable piece of advice you received from someone either in the industry or out of the industry that you always still carry with you?

That there's no room in show business for you, you have to make room. I keep that in mind because it encourages me to think that nothing is a given, nothing should be taken for granted and anything that I'm looking to do will probably require work because no one is asking me to do it.

What's the one thing people will  remember you after the credits roll? What do you want to be remembered as?

First and foremost, a good actor, because that's my life's passion, and I would say, second of all, someone who tried to use his platform to bring us together as a society.

What kind of book will Daniel Dae Kim be?

Well, I will tell you that I'm working on a project right now based on a book by Chang-Rae Lee, his first major novel - Native Speaker that came out in the 80s. And I have a real connection to that novel, because Chang-Rae and I are of the same generation as Korean Americans, and a lot of the issues he wrestles with in that book are issues that I've wrestled with my whole life. It's a beautifully written book. His prose is so eloquent and poetic. And it was the first time I'd ever read a book that kind of felt like he was talking to me.