#this opera is kind of obscure

[biromanticwritergal]

What if my booktok was just a front to get people to read Anne Bronte? :)

[avelera]

A strong case could be made that Jayce is actually the sapiosexual one.

I think the fact that Viktor and Mel are objectively two of the most people beautiful people in the world kind of obscures this, but Jayce first heart-eyesed at Viktor when he said he wanted to help Jayce's research, he first gave Mel a rather stunned/considering look when she likewise bought in enough to Hextech to be willing to buy them a night to prove it.

But Jayce didn't sleep with Mel until after he called her a, "good teacher" and expressed how he was impressed by how she taught him to work the room at the opera, how he couldn't have done it without her.

Obviously, I think looks are a factor too, how could they not be with two stunning people like that.

But I can't help but wonder if for someone like Jayce, I dunno, he's so gorgeous himself I kinda wonder if he really doesn't see appearances as much? The people he wants to spend time with aren't, "the beautiful people" of Piltover, he wants to spend time with people who believe in Hextech and who are as smart as him if not smarter.

I also think from a fanfic perspective, it would be kind of objectively hilarious if Viktor wishes he was only sapiosexual but he isn't sapiosexual, he wants to lick Jayce's muscles so bad it sends him into a full villain arc, and it's Jayce who is the demi one who is just really into smart people who get him and that he can talk to, so all this time Viktor's been measuring himself up against this impossible standard of male beauty that is Jayce fucking Talis, he doesn't realize that it never mattered to Jayce at all, he could have looked like anything (or even like the Machine Herald?) and Jayce would have been into it because he really does love Viktor's brain more.

(I also think this would be rather hilarious in a heartwarming way for Objectively Most Beautiful Woman in the World Mel Medarda to learn that Jayce liked her looks ok, but it was really her being into Hextech and being smarter than him that won him over. I genuinely wonder how she'd process that or if it would lead to a whole extra spiral of, "Oh no he's actually a really nice person and I'm kind of falling for him what have I done?")

[shysuccubusstuff]

Boyfriend! Caleb:

Content: SFW headcanons; jealousy

Note: Thanks for this one fanart of Caleb falling for MC's tactics just cause he loves her too much. Have you all noticed that I'm now turning to more SFW content? I feel as if I'm turning from a crow into a dove--. Btw, thanks for all those who like, comment and reblog my content, it makes me feel very happy!! Hope everyone is having a great week.

Caleb, who suddenly returns after his apparent death, face just as handsome as the one you saw every night in your dreams. He returns to you just as suddenly as you both met, and as you go rushing to hug him, you notice something strange in his demeanor. His face is smiling, yet it is apparent that there is something else in his gaze... some kind of hunger, something primal that he had been trying to lock away.

Caleb, who starts to act cold towards you, trying to run away from every little physical contact you tried to do, his mind still conflicted as he was now aware of what had truly brought the two of you together. It wasn't Josephine's love for the two, but something much more obscure... something that he was trying to keep hidden from you as long as he could try, at least.

Caleb, who starts to warm up to you. He starts to allow your touches, even if these are just minimal, but what starts with light brushes between each other's fingertips, soon turns into the both of you holding hands, with you creating excuses such as: "being afraid of getting separated in the middle of the Glint Photoboot" or "needing some comfort as you have grown scared of the darkness". Despite Caleb's head moves in disagreement, he does as you ask him, taking your hand and enveloping your whole hand with his as he lets a whisper escape his lips: "You never change...".

Caleb, who starts to go back to his old ways. Caleb's hands are always there for you, reaching out in case you trip while walking. Other times, his hands are held out for you while the two of you share a little treat together, his hands playing with yours as he listens to you speak about how today's work was much more difficult than usual, or how you really wanted to check that new place that had recently opened in the city center.

Caleb, who almost falls to his knees the moment he hears your confession. The two of you were drinking some tea at your place while watching some corny old soap opera, when you suddenly spoke those words: "I wouldn't mind us becoming a couple." He looks at you for a few seconds, his shock being apparent as his hands start to shake a bit, he moves closer to you, just enough for him to see your full face. "...What... what do you mean by that?" Caleb's purple orbes lock with yours, face slightly flushed as he tries his best not to burn his hand with the recently boiled water that he was carring inside the teacups. "I love you, Caleb, wasn't I clear enough during all these months?" Caleb's face becomes even redder, his hands start to shake even more, quickly leaving the cups in case he would actually spill them. "I... I just thought you were still thinking about our childhood--- I never imagined that you would actually--..." Caleb's words start to blend with each other, his mind rushing as he tried to understand everything that was going on at that moment. Irritated, you suddenly approached him, your hands locking behind his neck just so you could pull him closer, your lips crashing against his in a fast kiss.

B! Caleb, who finally surrenders to your approaches, allowing himself to become more and more starved. His hands start to move from your hands to your hips, his thumbs making small circles over it as he waited for you to stop talking with that grey haired man that lived nextdoor. Caleb standing behind you as he keeps glaring at him with an unamused look, his arms wrapping around your waist as a less threatening way of showing his closer position as not only your childhood friend, but your boyfriend.

B! Caleb who loves posting things with you. He is the kind of guy who loves having a private yet public relationship, the one that loves posting photos of the two of you, always avoiding showing your face in case someone of his work tried to get a bit too close to you. he just can't help it you know? Having a pretty girlfriend is so hard when he has to keep restraining himself from trying to get you as attached to him as possible.

B! Caleb who loves sharing the bed with you, his hands wrapping around you as he nuzzles against the crook of your neck, his hair tickling you as he starts to doze off, his breath slowly steading as he is finally able to rest. After twisting and turning for over ten minutes, you were about to get up, but just as you were about to do so, Caleb started to grunt, his nose scrunching as he started to hug you with more strength as you kept trying to get him to release you. "...Don't go... I love you." Caleb's grip only tightens, one of his legs suddenly wrapping around yours as if he was some kind of trap. "Just sleep... shhh." In the end, you have to surrender, moving a bit just so you could hide your face on the curve of his neck, his comforting scent making you feel at ease and slowly making you drift to sleep.

[sluttyquarantinetheory]

My one problem with Star Trek is that no one is ever consuming contemporary media. As in media that's contemporary for their time period. Everyone is always reading old novels and practicing classical music. They study Klingon Opera or read old Cardassian mysteries. No one is ever like really into obscure Klingon Nightcore. Nobody is reading shitty Ferengi pulp novels. There's no kids media of any kind. Where is space Sesame Street or junior novels about gaining superpowers from a warp core accident? What about comic books? Nobody is playing crappy indy holodeck games. It's always some recreation of a historical battle or just lounging in a mud pit at some alien spa. Someone give me angsty Bajoran protest music. I need some rebellious teens producing the worst most cacophonous death metal techno that they recorded in an empty cargo bay. I need contemporary pop culture in Star Trek.

[pinkcreamypeach]

A glimpse of my princess peach redesign ❤️ 🩷

+

Story if you wanna read lol.

“I wouldn't change a thing about you.”

(Peach x Mario)<-- Mario centered

TW- Body dysmorphia (Making Mario having my problems too😈)

@keylovesstuff @bberetd @peaches2217 @supergay-64

“…Principessa…?” Mario murmured, his voice barely above a whisper as Princess Peach guided him along the winding path of the mushroom forest.

Towering mushroom trees stretched high into the sky, their thick trunks rising like ancient sentinels draped in a breathtaking palette of warm hues deep reddish ambers, soft pinkish oranges, and golden yellows. Their massive caps, speckled with whimsical spots, were adorned with tufts of cloudy moss that clung to them like nature’s own delicate embroidery. Above them, the sky was wrapped in a gentle veil of cloud-like wisps, their soft embrace diffusing the sun’s golden glow. A flock of tiny birds flitted through the air, startled by the distant laughter of Toads who dashed merrily through the sun-dappled forest, their carefree joy blending seamlessly with the tranquil beauty of the scene.

Peach walked beside him, radiant in her rococo-inspired gown, a vision of elegance in soft pink silk. The dress cascaded in delicate folds, adorned with dainty bows at its hem, each ribbon catching the light with the subtlest shimmer. Her lips, painted in a perfect shade of heart-shaped pink, curved into a serene smile, while her sapphire earrings tinged with just the faintest touch of rose swayed gently with every graceful step.

In her hand, she carried an exquisite lace parasol, its intricate design a masterpiece of craftsmanship. Made from the finest ivory satin, it exuded an air of regal sophistication, the fabric’s luxurious sheen complementing the ornate floral lace that traced its edges like a whispered promise of romance. A polished metallic handle gleamed beneath her delicate grasp, its smooth surface cool against her gloved fingers. The parasol’s weightless frame allowed her to twirl it effortlessly, casting a soft shade over her as she hummed a quiet melody.

Mario felt her fingers entwine with his her dainty, gloved hands, silk-soft and gentle, mingling with his own, roughened by years of work. Her touch was light, almost featherlike against the calloused leather of his palms. The contrast was stark yet harmonious, their hands intertwined like two mismatched puzzle pieces that, against all odds, fit perfectly together.And as they strolled through the forest, bathed in golden light and the laughter of the wind through the leaves, Mario couldn’t help but wonder if this was real? Could someone as graceful, as ethereal as her truly hold his hand so effortlessly?

Her dainty, round fingers intertwined with his rough, bulky ones. Her soft, silky opera gloves met the worn, weathered texture of his leather palms, a contrast so stark it made his stomach tighten.Peach’s delicate face was partly obscured by the shade of her parasol, but the moment she smiled. His heart pounded as he looked at her… then at himself.

His overalls stained, frayed at the edges, the burn marks on the pockets standing out like scars. His boots, scuffed and old, gave him a slight lift, but next to Peach, he still felt unbearably small. Too short. Too broad. Too… wrong.

He always knew he wasn’t conventionally attractive. His nose too big. His arms too thick. His stomach no matter how much weight he lost, it never looked right. Spike had the kind of presence Mario never could. Tall. Intimidating. Assured. And Mario? He had tried. He had tried so hard.Diets. Exercise. Even considered surgery anything to fix what was broken, to smooth out the ugliness he was certain others saw.

Luigi did what he could, reassured him when the thoughts got too loud, but it never lasted. No matter how much he tried to convince himself otherwise, the truth was clear. His body was something to be tolerated, not loved.And as he stood there, hands clammy, heart sinking, he realized something bitter..Peach would never see him the way he saw her. No one would. Not when he looked like this.

Mario's eyes fluttered as Peach suddenly stopped him, her grip tightening around his hand. He barely had time to process before she leaned down, her presence closer, more immediate.

His breath hitched.

Her parasol, now closed, rested elegantly over her arm, but her focus was entirely on him. Her soft lips curled into a gentle frown, her brows knitting together in quiet concern. Her sapphire eyes, always so bright, searched his face with the kind of tenderness that made him feel both seen and unbearably exposed.

“…Mario,” she murmured, tilting her head. “Why do you look so sad?”

He swallowed. Of course, she would notice. She always did. No matter how much he tried to bury it, hide it behind laughter and bravado, Peach could read him like an open book.It would be best… to be honest.

He lowered his gaze, his thumb absentmindedly brushing over the delicate curve of her knuckles. If he had been paying attention, he might have noticed the way her cheeks flushed at the touch. Instead, his voice came quiet, hesitant.

“Principessa…” He hesitated, then looked up at her, searching for some reassurance, maybe. “…If you could change any part of me… what would it be?”

.

Peach blinked, her expression unreadable for just a moment. Then, without hesitation, she closed the distance between them, pressing a soft, lingering kiss to his forehead.Mario’s eyes widened.

When she pulled back, her smile was warm, unwavering. “Nothing,” she whispered, her voice laced with certainty. “I wouldn’t change a thing about you.”

For a second, Mario just stared, as if his mind couldn’t quite catch up with his heart. Then, warmth bloomed in his chest, spreading through his limbs until he couldn't contain it. His laughter bubbled up, loud and unrestrained, a joyful snort escaping before he could stop it.

Peach giggled at his reaction, her fingers still laced with his as she pulled him closer. She rested her chin atop his head, nuzzling into his hair with a contented hum. Mario barely had time to register the softness enveloping him, his face gently squished against the plush warmth of her chest. His heart stuttered, and for once, it wasn’t out of insecurity just… comfort.

His eyes fluttered shut as Peach released his hands, her fingers slipping into his hair, massaging slow, soothing circles. Without thinking, he let his own hands drift to her back, tracing lazy, affectionate patterns over the fabric of her gown.

They sighed together one slow, deep breath in… and out…

For the first time in a long while, Mario didn’t feel small. He didn’t feel like he had to be anything more than what he already was.

Because in Peach’s arms, he was enough. Just as he was.

[metalhealth-willdriveyoumad]

Hottest Drummer Tournament Round 1

Nick Mason

Band(s): Pink Floyd // Nick Mason’s Saucerful of Secrets

Albums/EPs as drummer:

The Piper at the Gates of Dawn (Pink Floyd) A Saucerful of Secrets (Pink Floyd) Soundtrack From The Film More (Pink Floyd) Unmagumma (Pink Floyd) Atom Heart Mother (Pink Floyd) Meddle (Pink Floyd) Obscured by Clouds (Pink Floyd) The Dark Side of the Moon (Pink Floyd) Wish You Were Here (Pink Floyd) Animals (Pink Floyd) The Wall (Pink Floyd) The Final Cut (Pink Floyd) A Momentary Lapse of Reason (Pink Floyd) The Division Bell (Pink Floyd) The Endless River (Pink Floyd) 1965: Their First Recordings (Pink Floyd)

Nick Mason’s Fictitious Sports (solo) Profiles (solo with Rick Fenn)

Propaganda:

He doesn't act the way you'd expect drummers to act- he's the most stable and the only sane man of the band, and the only one who's been there the whole time. Plus, he's a sweetheart, and coming from someone who's not a big fan of facial hair in general, he rocks a mustache like no one else can.

Roger Taylor

Band(s): Queen // The Cross

Albums as drummer:

Queen (Queen) Queen II (Queen) Sheer Heart Attack (Queen) A Night at the Opera (Queen) A Day at the Races (Queen) New of the World (Queen) Jazz (Queen) The Game (Queen) Flash Gordon (Queen) Hot Space (Queen) The Works (Queen) A Kind of Magic (Queen) The Miracle (Queen) Innuendo (Queen) Made in Heaven (Queen)

Shove It (The Cross) Mad, Bad, and Dangerous to Know (The Cross) Blue Rock (The Cross)

Fun In Space (solo) Strange Frontier (solo) Happiness? (solo) Electric Fire (solo) - drums on tracks 3-5, 7-10 Fun on Earth (solo) - drums on all tracks but 10 Outsider (solo)

Propaganda:

i love him so much

[faruna]

I know they probably won’t meet in the game but hear me out

(spoilers for 4.2, furina’s story quest and faruzan’s hangout)

Two young (old) women who were trapped for centuries doing one specific task relentlessly and now, having been freed from that task, are having to adjust to normal human life even though things are different. They both used to hold lofty positions and now they’ve lost some of their celebrity status and fallen out of step with society to a certain extent, there’s a degree of separation there that wasn’t there before.

Furina spent 500 years performing a role in accordance to what her people wanted to see, I kinda like the idea of her being with someone who isn’t involved with the world of theater at all. Faruzan is so bluntly, unapologetically true to herself even though her academic studies and interests have fallen out of fashion and I think Furina would admire that about her.

And I think Furina could broach that century-wide disconnect Faruzan tends to have with most of the people around her. There is such a specific kind of loneliness and silent endurance that these two carry with them and it’s sometimes addressed but never fully unpacked in the game. I feel like it would be kinda sweet if they were able to slowly heal together.

They have such big personalities, I think their dynamic could be silly, especially at first.

Maybe Faruzan makes some easier puzzles for Furina to solve and Furina teaches her how to dance. Maybe they move in together and infodump about opera and mechanisms over simple, homecooked meals. Maybe they grow old together and the process of physically aging is a relief and a comfort to both of them.

I know this is such an obscure pull but I feel like they match each other in interesting ways and could maybe be cute together, thank you for reading!

[potol0ver]

Ask; Hello, I read you have your request open, and I really like how you write about Erik. So, if you feel in the mood, I like some scenario (GN or AFAB) in which y/n starts to work ato Opera House like an skilled effect artist and one night, when y/n finally has some time free and alone, Erik found her playing something like ROxxanne tango with the cello, because she play it but only for herself.

Tags; Fluff, GN reader (you and yours),

A/N; Hey, I’ve been silent for a while and I’m sorry for that. I wasn’t motivated to post any fics and was in writers block. Now I need to focus on my health because a serious health concern has come up for me, so I apologize for continuing to be radio silent. I’m a little out of it while I’m writing this so I’m sorry, Please injoy this fic, it will most likely be the last for a while. (You may continue sending asks just be warned I might not be able to get to it for a couple of reasons.)

With a heavy sigh you put aside your art peice, a stage mask that just wasn’t holding up to your standards. You’ve painted over your dried paint and wiped it off to many times to count already. Your hands had become shaky long ago as you sit at your desk that was in an obscure corner of the Opera house.

You push your chair back that gave a screech and sluggishly walked back to your small room in the Opera house. Thankfully it looks like none of your roommates are in the room which means you can properly relax and wind down. Most importantly in your mind, it means you can practice your cello without disturbing anyone.

Quickly you set up your space, adjusting your chair, setting up your music stand, making sure your bow has enough rosin. Flipping to your favorite cello peice you take a breath and start playing. Letting your fingers and how move on the strings fluently, you we’re getting entranced by your cello. Unknown to you, you weren’t the only one being entranced.

Somewhere deep in the Opera house, the Phantom can hear your playing faintly thanks to the echoing of the monumental walls. Intrigued, Erik quietly yet softly made his way to you until he could hear you clearly. Leaning against a wall he let his eyes shut and get wrapping up in your music, loving where you crescendoed and adding your own flare.

When you got to the end of the piece and pause your playing to find another to play, he finally peeked a look at you. He thought you would’ve been apart if the orchestra, but he didn’t recognize you, it also looked your your cello while well kept, was quite old to. Erik became very fascinated by you now, he started by “testing” you. Slipping new and harder pieces for you to try, and if you did play them he’d be happily surprised with how well you make the notes come to life.

Next, after you passed his “test”, he worked hard to see if he can find you a proper newer cello. Only the best for his new found talent, that day by day he was slowly falling for. The more he became infatuated with you he got more determined to find a cello to match your one of a kind soul.

After a while he did find a very good cello, a one of a kind, just for you. So, Erik made quick work to insure it’s yours. He personally polished and cleaned it, making sure no scratches were on the instrument. While you were working hard at your props job for the play, he made diligent work to set up the present in your new room. That of course was also a present from him. How could he let his musical muse share a room with a bunch of strangers?

Leaning the cello against the bedside table he placed a rose and a note next to it. Despite watching you for so long and being so devoted to you, he never got to the courage to say anything to you. Hopefully the grand presents will be a good first impression.

Groggily you walk back to your room, only to be told you don’t sleep there any more. Which after the long day you had of making props wasn’t good for your anxiety. As you followed the directions to your new room, you think about how you could’ve gotten on the bad side of someone to get an even more run down place to sleep in than what you have already had.

All of those thoughts quickly got washed away when you opened the door to your new room. It had everything you needed to live alone, a small kitchen/living room, a nice bedroom with a decent sized closet, even a space to practice your cello. You were so stunned at what you did to deserve this new room that you didn’t question how everything you own was already there.

Quickly, your eyes caught the sight of the luxurious cello next to your new bed. Gently you caressed it, looking over all of the fine details, it looked like a masterpiece that was specifically catered to you. The red rose next to the cello caught your eye next, along with the letter that had a skull stamp.

Carefully opening the letter you scanned the words, a mixture of your emotions sitting in your stomach as you read.

“My dear, I have heard you playing for a while now, and I must say the way you make the notes come to life is hauntingly stunning. You have caught my interest in the best way.

I know you haven’t seen me or heard me before, which is why I hope your new room and house warming gifts are a good first impression. If you wish, I can also arrange a seat for you in the opera’s orchestra so you don’t have to continue working in the messy arts department.

P.S. If it’s not to much to ask, I would like to hear back from you, so please consider us to be pen pals now. Also, if you ever need a quiet place to practice you can always come to my lair to whine down, maybe that way we can play music together.

~Yours devotedly O.G.”

A single thought ran through your mind as a mixture of unease and swooning butterflies ran through you…

What have you gotten yourself into?

[too-antigonish]

The Great S7 Rewrite

An attempt at summarizing the rocky ground on which we some of us stand following this rather epic post yesterday: Prophetic words from Morse in Oracle?

People had so many interesting things to say that I though it would be nice to keep this discussion public for now.

On the most basic level, Season 7 has two overarching storylines: 

Opera Storyline: The one with Morse, Violetta, Ludo,  and the mysterious accidental deaths

Towpath Murders: The one with Morse and Thursday fighting mainly over whether or not Carl Sturgis did it.

Then you have the episodic murders for each episode: 

Oracle: The math TV program, Dept. of Latent Potential, women’s lib conference, and  misogynist professors in Oracle

Raga: The Indian restaurant, restaurant critic, gay wrestlers, racist poker game organizing politicians in Raga

Zenana: The coming together of the opera storyline and the towpath murder storyline in Zenana.

If, theoretically, you wanted a do-over for S7, what would you need to consider? Below are some of the issues raised in discussion yesterday:

Bone of Contention #1: Opera Rules

S7 may or may not have been asking us to view its world according to “opera rules.” If it wasn’t, then the storylines were just outrageous. If it was, then they didn’t do an adequate job of either:

Signaling that we needed to see this world through that filter

Making the story robust enough that you didn’t *need* to see the opera references to “get” the storylines. (As Durian pointed out: Ride works even if you don’t realize that it’s Gatsby, but S7 doesn’t work if you don’t realize it’s opera. It doesn’t stand on its own.)

I think actual S7 tried to signal that we were in Opera World (#1) by: 

Using theatrical techniques (voiceovers, mise en scene/ tableaux, etc.) to signal that we were in opera world (i.e. heightened reality)

Using opera tropes

Using role reversal with the characters. I think that’s a big reason why the season feels so unsettling overall. Normally Morse is the one doggedly pursuing a hunch based on an obscure clue. This time it’s Thursday. Normally it is Thursday finding out that Morse didn’t check someone’s alibi. This time it’s Morse. Normally Morse and Thursday are calling the shots at the crime scene. This time DeBryn and Strange are having to put them in their place like squabbling children. Etc., etc.

Things in the show are “out of place” as well. (e.g. Thursday is at the early morning crime scene in Oracle instead of Morse. Morse is in Venice instead of Oxford.)

So the questions about Opera Rules are:

Do you keep the idea of Opera Rules for S7?

If you keep Opera Rules, how do you do a better job of signaling them?

If you keep Opera Rules, how do you make the story strong enough that people who don’t understand opera rules will know what’s happening? 

Do you just out-and-out tell people about Opera Rules?

Bone of Contention #2: Ludo and Violetta?

I have yet to hear from anyone who really likes Ludo and Violetta. If someone reading this does, I’d be fascinated to hear why. To say that I find them off-putting is being kind. Why is Morse attracted to two such unpleasant people? And not only attracted, but taken in by both of them? Normally Morse is attracted to girl-next-door types (Monica, Joan). Normally Morse has no time for snobs who name-drop and talk about themselves non-stop (Oxford Don stereotype). 

For me the disconnect lies not in the fact that he could be taken in. I think Astrid and Fanfic are very right about both Morse’s lack of wisdom when it comes to friendship and love, and well as his “secret” desire to have friends who perhaps share more of his interests. The leap I can’t make is that it would happen with these two specific people. Even taking into account that Morse is behaving “the opposite” of his usual way, I can’t see him being attracted to either of these two personalities. 

In the end, like Astrid, I like the *idea* of the Ludo and Violetta storyline but found the way it was played out too incongruous. So what to do? It seems like you can either retool Ludo and Violetta or replace them entirely. Which you choose I think depends on how you want to remake the story and how loyal you are to canon.

My first instinct is to replace them. I find both of them so repugnant, but I do find myself returning repeatedly to an idea that I had when I first watched Oracle, which was that Violetta might actually be more directly based on the Violetta from La Traviata.

She would be a woman from the “other side of the tracks” so-to-speak, but genuinely in love with Morse. You could also use Traviata’s bit where Violetta’s “betrayal” of Alfredo is actually self-sacrifice, etc. I’m not sure about Ludo, but it would definitely need to be someone that Morse would *actually* want to befriend and not someone as obvious as Ludo.

So the questions about Ludo and Violetta are:

Do you keep Ludo and Violetta?

If you keep them, how do you retool them? 

If you throw them out, what do you replace them with? 

Either way (new or retooled), how do you make Morse’s attraction to them believable?

Either way (new or retooled), do you use existing opera tropes/storylines as a basis for their story?

Bone of Contention #3: Towpath Storyline

It seems that there is pretty much universal agreement on keeping the Towpath Murders as a storyline. Also, there is pretty much unanimous approval for the idea of an earlier and more prominent role for Dorothea in the case. Durian points out that this could also have the side effect of reducing some of the tension between Morse and Thursday. 

Disagreement arises over two main elements:

Too many things going on in the storyline

How the conflict between Thursday and Morse is handled.

I’m in agreement on both of these things. In terms of the number of things going on in the storyline you have the whole is it or isn’t it a serial killer, the ESP angle, the flasher thing, the copycat killer, all of the animal imagery and later wolf imagery, the blood drinking, and much, much more. It could work if it all tied together coherently, but it doesn’t—at least for me. It feels like I can sort of see what they were going for, but that they definitely didn’t get there. There needs to be a unifying theme.

With the conflict between Thursday and Morse, my problem is not so much that they have the conflict, but that it comes seemingly out of nowhere. We jump from the reconciliation of Degüello to the petty arguments of Oracle with nothing in-between to explain the change. It’s not that I didn’t find the conflict between these two characters interesting or believable. It’s simply that there was nothing to explain it. Yes, you can say that Morse was becoming more of his own man, but that doesn’t seem adequate to me.

So the questions about the Towpath Storyline are: 

What elements would you throw out and what would you keep?

What would make a good unifying theme for the Towpath case?

What is the source of the conflict between Morse and Thursday? What sets it off?

How do we have Ms. Frazil on the case sooner rather than later?

How does Dorothea diminish tension between Thursday and Morse. 

Of the arguments between Morse and Thursday, what would you keep and what would you throw out?

Bone of Contention #3: The Episodic Storylines

I find it pretty telling that except for one brief mention, no one has strong feelings about the episodic mystery in Oracle. It definitely had less substance that the one in Raga, in part because it had to leave room for the establishment of the two big overarching stories. Personally, I found the sexism angle (the Women’s Lib Conference and Prof. Blish beating out the others for the spot on the tv show) more compelling than the ESP studies angle.

Durian mentioned that Raga, like the Towpath Murders, has way too much going on (Indian restaurant, Oberon Prince and his ex-wife, the gay wrestlers, the racist poker game, the return of the evil beautician, two stabbed teenagers, etc.) Fanfic raised the interesting idea of making the conflict in Raga more of a family conflict, using the political situation with East and West Pakistan (Bangladesh) as a focus.

So the questions about the Episodic Storylines are: 

What elements would you throw out of Oracle and what would you keep?

What elements of Oracle would you change entirely?

What elements would you throw out of Raga and what would you keep?

What elements of Raga would you change entirely? (e.g. changing to internal family conflict)

OK. I'd love to hear thoughts on all of this!

[princesssarisa]

Nicolas Isouard's "Cendrillon": a semi-forgotten "Cinderella" opera

My latest project related to both opera and fairy tales has been an interesting one: I've introduced myself to the 1810 French opera Cendrillon, with music by Nicolas Isouard and a libretto by Charles-Guillaume Éttienne.

Without this obscure opéra-comique, Gioacchino Rossini's more famous Cinderella opera, La Cenerentola, wouldn't exist. In 1814, its libretto was adapted for an Italian opera, Stefano Pavesi's Agatina, o la virtù premiata ("Agatina, or virtue rewarded"), which was staged at La Scala. Two years later, when Rossini and librettist Jacopo Feretti were commissioned to write a new opera for the Teatro Valle in Rome, and they chose Cinderella as the subject, Feretti evidently used Agatina's libretto as the springboard for his own, and the quickly-produced result was La Cenerentola.

I haven't read the full libretto of Agatina yet, just skimmed over it, but it looks like a faithful adaptation of Isouard's Cendrillon, while La Cenerentola makes some creative departures from both. So for now, I'll just focus on discussing the Isouard/Éttienne version.

@tuttocenere, @ariel-seagull-wings, @adarkrainbow

*The plot's basic outline is very much the same as in Rossini's more familiar opera, as are the characters' names, albeit in French forms rather than Italian. The setting is Italy, and Cinderella's love interest, Prince Ramir, is the Prince of Salerno. The traditional wicked stepmother is replaced by a stepfather, the impoverished yet arrogant Baron of Montefiascone (although he's not named Don Magnifico in this version, but just called "the Baron"), and her stepsisters are named Clorinde and Tisbé. As in Rossini's version, the Prince spends most of the opera disguised as a squire, while his servant, Dandini, masquerades as the Prince. And the traditional Fairy Godmother is replaced by Alidor, a wise gentleman scholar who serves as the Prince's tutor. He disguises himself as a beggar at the beginning, and is turned away by Clorinde and Tisbé but shown kindness by Cinderella, and so he resolves to wed her to the Prince.

*Unlike Rossini and Feretti's "realistic" comedy of manners, however, this version is still a fairy tale. Alidor is a magician as well as a scholar and tutor, and he dresses Cinderella in finery and transports her to the ball by magic. He also gives her a magic rose to wear, which makes her unrecognizable to anyone who knows her (so all the confusion in La Cenerentola about the mystery lady's "resemblance" to Cinderella is a Feretti/Rossini invention) and which gives her new confidence and ladylike grace. I find the last detail interesting, because La Cenerentola also has a striking difference, in both the text and the music, between Cinderella's demeanor in her rags (so innocent, awkward, and vulnerable) and as a well-dressed lady (dignified, confident, sweetly commanding). In Isouard and Éttienne's version, this change has a magical explanation; in La Cenerentola, without any magic, it becomes psychological.

*This version also includes the traditional lost slipper, not the bracelet of La Cenerentola, because the French were less squeamish than the Italians about letting women show their ankles onstage. It's described as a green slipper, not a glass slipper, however. I assume they made this change because no one can wear glass shoes safely and comfortably onstage, but the word "vert" (green) is similar enough to the word "verre" (glass).

*In La Cenerentola, I've never been sure if the setting is meant to be the medieval principality of Salerno, meaning that Prince Ramiro is already the reigning monarch (which would make sense, since his father is dead), or if he's the crown prince of the Kingdom of Naples (whose crown princes were titled "Prince of Salerno" much like the British crown prince is titled "Prince of Wales") and just hasn't been crowned king yet because his father's will requires him to marry first. Most Cenerentola productions seem to take the latter interpretation, since they set the action around Rossini's own time, in the late 18th or early 19th century. Isouard's Cendrillon more clearly takes place in the medieval principality of Salerno, however. Prince Ramir is explicitly the monarch already, and referred to interchangeably as "the prince" and "the king" by the other characters. Another medieval touch, which La Cenerentola omits, is that the ball includes a jousting tournament: there, the disguised Prince champions Cinderella as the most beautiful of all the ladies, fighting several opponents who champion Clorinde and Tisbé on behalf of Dandini, and defeating them all.

*Cinderella also shares a scene at the ball with her stepfamily, who don't recognize her. She gives Clorinde and Tisbé gifts of her own jewelry, much like the gifts of citrus fruits in Perrault's version, and gives the Baron a jewel as well to take home "for his stepdaughter" (which of course he doesn't).

*As in La Cenerentola, the Prince and Cinderella first meet at her house before the ball, when he comes in his squire disguise. Unlike in La Cenerentola, however, Alidor is present and immediately tells the Prince that Cinderella is a member of the family, and Cinderella then articulately tells the story of her mother's marriage to the Baron and subsequent death. Nor, unlike Rossini's Don Magnifico, does the Baron ever lie that Cinderella is just a servant or that his stepdaughter died: both he and his daughters freely acknowledge her as their stepdaughter/stepsister. It seems to have been a Feretti/Rossini invention to have the Prince not know that Cinderella is of high birth. Which leads to the next point...

*When the Prince meets Cinderella in her rags, he pities her and remarks on how pretty she is, but he doesn't seem to fall in love with her yet. They don't sing a duet at this point; Cinderella sings an aria telling him about herself. Nor does he get angry or try to defend her when her stepfamily refuses to take her to the ball. It's only when she's dressed in her finery at the palace that they they sing a duet and fall in love. This is another difference that stands out from the Feretti/Rossini version. In La Cenerentola, it's Cinderella in her rags whom Ramiro falls for; their great moment of connection is in their lengthy duet when they first meet, and their interactions at the ball are minimal. He only seems to fixate on "the beautiful unknown" because she looks like the "servant girl" he met earlier, whom he presumably thinks he can't marry because of her "low birth." This changes the essence of the Feretti/Rossini version almost as much as the decision to remove magic does.

*Dandini's portrayal is a bit more mean-spirited than it would be later in La Cenerentola. He's portrayed as stupider and more incompetent, and both the Prince (with whom he barely interacts) and Alidor emphasize that he's the crudest, most idiotic man at court. This is obviously meant as social commentary, since everyone overlooks his faults and fawns over him anyway when they think he's a prince. But considering his actual low status and the glorified portrayal of the real Prince, it does feel a little too harsh at his expense. I prefer his wittier and more cunning portrayal in La Cenerentola, and his rewritten dynamic with Prince Ramiro where they co-conspire and confide in each other like friends (even if Ramiro does still call him "idiot" now and then). Not to mention his hints of flirting with Don Magnifico that the original Dandini doesn't have with the Baron. :)

*Cinderella's departure from the ball is different from both the classic tale and the Feretti/Rossini version too. After the joust, in front of everyone, the Prince and Dandini offer Cinderella the crown and the Prince's hand in marriage together, but without yet revealing which of them is really the Prince. Cinderella still thinks Dandini is the Prince and doesn't want to marry him, so she runs away, accidentally losing her slipper. Again, Feretti/Rossini made a significant change by turning this into a private scene, having Cinderella openly admit that she loves the "squire," and then having her test his love by giving him her bracelet and urging him to search for her.

*Clorinde and Tisbé both have bigger roles than in Rossini's version – each one has her own aria to sing, as well as a few duets with each other – while the Baron's role is much smaller than Don Magnifico's. In keeping with this fact, the comic scene where Dandini finally reveals that he's not the Prince is a reveal to the sisters, not to the Baron as in La Cenerentola. In a "romantic" scene with Dandini, whom they still think is the Prince, the sisters both assure him that they love him for who he is, not for his status, and that they would still want to marry him if he were a poor peasant. But then the Baron bursts in, having learned Dandini's true identity offstage, and reveals everything to his daughters. Then the real Prince arrives too, and proclaims that since the sisters "love" Dandini so much, he commands one of them (the choice is theirs) to marry Dandini that very day. The sisters, of course, refuse to do such a thing.

*The climactic scene is also entirely different from La Cenerentola's version, and a creative twist on the fairy tale's ending too. The morning after the ball, instead of traveling in search of the "beautiful unknown," the Prince invites all ladies of noble birth back to his palace, without explaining why. (This supports my theory that many early stage adaptations of Cinderella had the slipper-fitting take place at the palace, as some early screen versions do too.) Cinderella hears the proclamation and comes to the palace without asking permission, surprising her stepfamily when they meet her there. In her, Clorinde and Tisbé see what they think is the solution to their Dandini problem: they tell her about the whole Prince identity deception, then order her to marry Dandini in their place, but Cinderella refuses. Next, she happens to meet the Prince, who recognizes her as the Baron's stepdaughter he met earlier, but not as the lady he loves. Cinderella pretends to have had a dream where she saw all the events of the ball, and she assures him that "the unknown lady" loved him and only fled because she thought she would have to marry Dandini. The Prince now bitterly regrets having disguised himself, while Cinderella privately laments that the Prince doesn't recognize her and only loves the lady she pretended to be. But then Alidor gathers all the visiting ladies together and announces the reason they were summoned: whoever fits the green slipper will be the Prince's bride. Cinderella then speaks up and insists on trying the slipper on, despite the scoffs and protests of the chorus. Of course the slipper fits, and then Alidor transforms her rags back into the ballgown in front of everyone.

*A general observation, about more than just this opera: French adaptations of Cinderella seem especially prone to have Cinderella come out of her shell in the end, discard her submissiveness, and actively seek the slipper and the prince. We see it in this opera, where Cinderella goes back to the palace in her rags despite knowing her stepfamily will disapprove, flat-out refuses her stepsisters' command that she marry Dandini, and then openly insists on trying the slipper on in front of the court. We also see it in Massenet's later opera, where she calls on her fairy godmother to transport her back to the palace to try on the slipper. Maybe this is because Perrault's Cinderella openly asks to try on the slipper; maybe it also shows the influence of Madame d'Alunoy's bold Finette Cendron. But it's very different from La Cenerentola, where, when she realizes Ramiro is the Prince, she tries to hide her face and run out of the room, only for Ramiro to spot the bracelet on her wrist. Or, as another example, from Russian adaptations like Prokofiev's ballet or the 1947 film, where she not only hides her identity from the Prince, but even tries (under orders) to help one of the stepsisters fit the slipper, only for the truth to out when the other slipper is accidentally discovered in her possession. Not to stereotype different countries, but I somehow suspect this is a cultural difference, with the Italian and Russian writers more concerned about keeping Cinderella "modest" than the French writers were.

*Cinderella forgives her stepfamily in the end, but it's briefer and gets less dramatic emphasis than in La Cenerentola. I suppose several of the changes Feretti and Rossini made – their expanded role for Don Magnifico, for one thing, and their general framing of the story as a morality tale rather than a fairy tale – led to their choice to make Cinderella's forgiveness of her stepfamily a bigger emotional climax than her marriage to the Prince.

Unfortunately, the one complete recording of the opera is out of print, but bits and pieces of it have been uploaded onto YouTube. The musical score is very sweet, lyrical, elegant, and gentle – again, very different from the sparkling florid sound of Rossini. As I mentioned at the beginning, it's also an opéra-comique, meaning there's spoken dialogue between the musical numbers.

I've found it fascinating to explore this opera, both as the forerunner to the more familiar La Cenerentola and as an interesting and charming Cinderella opera in its own right. I think it would be nice to see it revived onstage more often.

[ygoartreviews]

Magical Musket - Crooked Crown

For an archetype that's been out for eight entire years now, it sure feels very obscure for some reason. I only know about it from one of you guys mentioning it a while back, and even then, I've never once seen one of these cards organically. Which is sad, because I think they're interesting, especially when paired with the context that one of the inspirations for them is the German opera Der Freischütz, with this card being an excellent example of that. Magical Musket Mastermind Zakiel (background) and Magical Musketeer Max (foreground) are directly inspired by the characters Samiel and Max from the aforementioned opera. But more than that, this appears to be a rendition of one of the last scenes of the opera, where the final magic bullet is shot. Zakiel would have full control over the trajectory of this bullet (his intention indicated by his finger gun to the head), which has a tragic outcome for Max (shown by his superb expression and posture). The subtle detail of the white rose petals blowing across is what undeniably indicates when this scene takes place, even though you don't get to see what Max is shooting. Those diagonal blue speedlines in the background create a very convincing foil card illusion that it's kind of scary. This card was only ever released as a common, but I have to imagine that it would look amazing with an actual foil effect. I also must say, the glowing x and circle (and faint electricity bolts) really sell the "magic bullet" angle. Well, that and the fact that you can't see any part of Max's right arm (barely any of his right hand either), which I feel enhance the idea that he has no control over it. I'm genuinely surprised that this card (and archetype in general) doesn't have any edits made to it for the TCG version. Changing hand positions is not unusual for them, and I feel like a "finger gun to the head" pose would be an obvious edit, but I guess not! Same goes for the pistol here, and any other guns used in these cards, really. Maybe they look just demonic enough that they didn't feel a change was necessary? Idk! Just feels a little weird to me when they'll literally edit the smallest things ever.

Rating: 10/10

[ryuichirou]

Halloween is coming up! Who do you think would be the type to do couples costumes and what do you think they'd dress as?

Anon! Halloween is coming up indeed. And this is a very good question, considering we get to see boys going through Halloween every year… well, kind of sort of. Of course, technically, we’ve only seen them wearing one proper Halloween costume, and even then it was pretty much one costume per dorm, but that first ever Halloween event was very helpful in showing the boys’ attitude towards costumes and Halloween in general.

Now who would wear couples costumes… for some reason this part of your ask is much easier to answer than the second part lol But I’ll do my best and share my thoughts!

Thank you for your ask.

Ace and Deuce would do accidental couple’s costumes. They would work on their costumes separately, being very excited about Halloween and all, and then somehow they’ll end up matching perfectly lol They would be so weirdly embarrassed and a little bit pissed about it. Even though they would be dressed as Batman and Joker or something (maybe something less mainstream than that but), their roommates would call them Tweedledee and Tweedledum.

Trey wouldn’t necessarily do it right now, but he probably has a vision for his future when he and his partner (Riddle…) would feed trick-or-treating kids with homemade candy (some of the candies are yucky as a little prank!) while wearing couples costumes. His would probably be unapologetically cheesy and/or punny, maybe a little cringy. I feel like Trey is the type to do a “I’m a toothbrush, he is a toothpaste” type of shit lol It’s Trey’s dream, let him have fun in his head…

Kalim spent his entire life wanting to do a costume with Jamil! And if they were to start dating (or just sleeping together, or anything of this sort), Kalim would insist so stubbornly that Jamil won’t have a choice. “I can’t wear the same Halloween outfit as the Asim’s heir” doesn’t work anymore, and Kalim could even throw a little tantrum… anyways, they’ll end up doing couples costume! It would also probably be a very cheesy idea, but overly luxurious execution. Like ghosts, but the white sheet is bedazzled with Swarovski crystals. Well, with Jamil’s help, they could come up with something cooler. Like a doctor/scientist and his project, or a serial killer and his victim, or a tomb raider and a pharaoh’s mummy, or a king and a jester… somehow, Jamil always comes up with costumes with a very distinct and troubling power dynamics lol

Rook and Vil would absolutely do it, but they would also probably drag Epel into their little play, as they always do lol Not every single time though, so sometimes Epel gets to be the tiniest Jason Voorhees in the world. Meanwhile, Vil’s and Rook’s costumes are either a reference to a type of media that is kind of obscure for mainstream audience but very iconic for them (something more obscure than Beetlejuice and Phantom of the Opera, but less obscure than John Waters movies…), or very intricately done “original character” (idk how to call it) costumes: similar to their canon Vampire ones. Don’t ever doubt that these two came up with an entire lore for their characters while they were working on costumes. It’s never just some exorcist and some imp. It’s never just some investigator and some rich widow. There is always a story, and you don’t always want to know it lol Also, I feel like saying something about Morticia and Gomez is a must, but knowing how much Vil loves to overthink things, he’ll feel like these two are too obvious of a choice.

Ortho and Idia ABSOLUTELY do couple’s costumes! They’ve been doing it for their entire lives, and these days Idia is kind of anxious that Ortho will get bored of it one day and want to do couples costumes with someone else :( But Ortho wouldn’t! It’s super important for these two, and he loves doing it! They start planning their Halloween costumes very early, and always work on them together. I think the absolute majority of their Halloween costumes are either straight-up cosplay of their favourite horror characters, or their own take on some other characters. But Idia wouldn’t be Idia if he didn’t flex his design and craft skills, so whatever they end up doing, it looks so incredibly impressive… We’ve seen what he can do with his Pumpkin Knight costume with the sound effects and all. Like, these two would recreate a scene from Uzumaki with their costumes somehow. You wouldn’t even know what you’re looking at at first.

I also think Lilia would like to do a couple’s cosplay with Idia if they were dating… Maybe he would watch Idia and Ortho work on their costumes and feel like he kind of wants to have this much fun as well! But his costume with Idia wouldn’t be as complex, and he would probably go with something cute and silly and maybe a little bit provocative. For some reason it’s very easy for me to imagine Lilia going with a choir boy costume and making Idia dress like a priest lol Or a doctor with a nurse, or something like that.

Ironically, if he was to wear couple’s costume with Silver or Malleus, I think he would pick something else for himself. Something cute, but something less provocative~

[devildomditzy]

Dates I think these mf’s would take you on

Lucifer

I ain’t gonna lie probably the opera 😭

Or like some kind of symphonic orchestra

Even if you’re bored as hell he’s sitting there with a small smile on his face looking pleased with himself

He’d probably take you to a really fancy dinner before or after

The kind that’s so fancy it makes you uncomfortable you feel me

If you’re walking beside him, you’re going to be hanging off his arm

you have no choice in the matter

But at least he’s the perfect gentleman!

(I am a little scared of him)

Mammon

Love of your life he will literally try to snoop into your stuff/eavesdrop your conversations to figure out what you like and try to plan a date around that

But he also likes to be really spontaneous with it, so his two styles clash, he doesn’t really ‘do’ planning

Honest to god he will bring you along with him to one of his schemes and call it a date 😭

But he also really likes just taking you for long drives, he gets to have you alone, all to himself, and you can go anywhere and do anything

Makes him feel so, so happy when he sees you all excited

When he feels important to you, that’s when he gets all cocky

I want him so bad

Levi

Listen…

Y’AINT leavin the house

He wants to lock you in his room to marathon your favorite shows or finish the latest video game in one sitting

He’d bring you into one of his immersive video games as a date, cause he can make any scenario you’d like happen, and he doesn’t even have to leave the house!

If he ever does take you somewhere outside…

Sorry, it’s to an idol meet and greet

Or a movie premiere of some obscure title you’ve likely never heard of

MAID CAFE YOU HAVE NO CHOICE

At least he’s cute 😭

Satan

I ain’t gonna lie probably the opera 😭

Okay jk definitely a bookstore or coffee shop he’s one of THOSE nerds (but we been knew)

He just wants to read peacefully and quietly, book in one hand and yours in the other

CAT CAFE YOU HAVE NO CHOICE

But it’s so so so cute to watch him light up

This man’s reaction to orange cat activities? priceless 😭

Asmo

It’s to some fashion show or makeup product launch party

He’s your arm candy and you’re his

He wants to take you somewhere where he can doll up the both of you so you can show each other off

Probably would take you to a spa, even if you’re not dating you’re the number one person he’s dragging to the spa

Wherever you go, getting into a photo booth is a MUST

Beel

Another boy who just wants to take you somewhere you’d like 🥺

He’d want to take you to one of those couples cooking classes but lbr you’d have to put a muzzle on him 😭

He likes to take you to do outdoorsy stuff, even if you’re not an outdoorsy person, he thinks it’s important that you get out sometimes

Likes to go on walks, simple strolls where he can hold your hand and talk

If you get tired he will piggyback carry you

You don’t even have to ask, he’s hyper aware of when you’re getting tired because he’s so used to Belphie

Sweetie 🥺

Belphie

Not to be an basic bitch with him but - stargazing, you know it’s stargazing

He loves observatories, he loves just laying down on the grass and staring up, and he loves doing it with you

He doesn’t get tired of explaining the same constellations over and over

He especially enjoys pointing out him and beel’s your star

He also loves nap dates!

Get cozy 😚

Oh, you wanna get up? He wishes a bitch would try

You are glued to the mattress until he says so

[marypsue]

Reblog game: 10 movies you gotta watch if you want to be a freak like me.

I was tagged by @gretchensinister!

This list is not about your favorite movies (though some could be). This list is not about movies that have had the most artistic influence on you (though some could be). This list is about those movies that helped give you your specific kind of freakiness, whether you watched them once or a hundred times, 20 years ago or 1 year ago. Good? Bad? Popular? Obscure? Could be any of these things. Freakiness can form in a person from any source. Definition of freakiness intentionally left vague.

It was tough to settle on a list, because it was tough to settle on a working definition of 'freakiness' for the purposes of this post, but I think I got there in the end! The ten I picked ended up being:

Treasure Planet

The Lost Boys

Labyrinth

Halloween 4: The Return of Michael Myers

Ravenous

But I'm A Cheerleader!

Repo! The Genetic Opera

Renfield

Crimson Peak

Prom Night II: Hello Mary Lou

And I shall tag...@thelibrarybat, @forthegothicheroine, @titleleaf, @maddie-grove, @amethystunarmed, and also

@bixxelated and @aethersea. As well as anyone whose name isn't here but who'd like to give it a shot!

[evil-robot-cat]

Is the inspire!reeve thing actually canon? Is it something that was scrapped but hung on to? Was it just said at one point but never brought up again?

Are. Are you proposing to me? 😳

This one drove me nuts for ages because it's one of those things that- okay first off, yes, it's 100% canon.

Inspire was part of Reeve's scrapped story, which was much more dramatic and big. I don't dwell too often in the What Almost Was information, other than to occasionally dust some of it off and go, "Hey, this would be neat in a fanfic." So I don't have it thoroughly memorized. But if I remember correctly, he was supposed to have a psychic connection to the reactors, and be able to control them to try to save the day. All of that was taken out... except they didn't get rid of the ability, just the reactor thing.

Inspire is never mentioned anywhere in the game. It's only named in outside sources like the Ultimanias, interviews, and the trading card game. Some of the information in older sources is outdated and retconned, so Inspire was in this weird limbo for a while, with some people saying it was, and some people saying it wasn't.

In-game, Reeve has a very good reason not to tell anyone about Inspire - it's the kind of ability that would land him in another department of Shinra, and not as the director. (Poor Chadley, we didn't have a clue what you really were...)

Though the generic term "inanimate objects" is written in its description, we only know that Reeve uses it to control Cait Sith. He can and does control multiple Cait Siths at a time, but he says it's difficult.

Cait Sith has a certain amount of his own autonomy. How much is Reeve, how much is Cait Sith, and how much is they're-both-the-same-person-in-multiple-bodies is playfully obscured. Cait Sith says that he's a living being, an unliving robot, and that he's not sure what he is. Reeve refers to Cait Sith as both his friend and other self. The Gi call him "hollow" and openly don't trust him. In Opera Omnia, both Cait Sith and other members of the FF7 cast say vague things when asked about him. They're either not sure, or they don't feel comfortable sharing.

OG Cait Sith implied each one had a different mind, but they seem to have gotten rid of that in Rebirth, and have just one soul(?) bouncing from doll to doll. (OG Cait Sith #2 introduces itself to them as a new person, and has no idea what's going on when Aerith dies. Rebirth Cait Sith refers to what he just went through, then does a dogeza for his betrayal.)

Will they explain it further in the next game? I strongly, strongly doubt it, because half the fun of Inspire is its ambiguity.

But to sum it all up, once again, yes, Inspire is canon.

[starfleetteddybear]

Damn. This honeymoon opera chapter is really long. I keep questioning if I should just split it into two but I feel like the flow would be off. I was hoping to be done tonight but…not realistic.

It’s got a lot of feelings in it too. Sexy, possessive feelings. Silly feelings. Angst. Hurt comfort. And Rook is hiding a secret from herself.

Here is a sneak peak of Ch5 the flame eternal. Not final and still WIP. 🏗️

————————

“How in the world were you able to swing a private box at the opera on such short notice?” I queried in bewilderment.

Emmrich smiled serenely and squeezed my hand, but said nothing. The attendant lifted the curtain to usher us inside away from the curious gazes we made every effort to avoid.

“P-please ensure everything is to your satisfaction, your—your excellencies!” The teenage attendant tripped nervously over his words, and looked at us like we were the second coming of Andraste herself. “We are so pleased to serve the saviors of the realm and welcome you both as guests of honor.”

“Oh, please don’t call us that.” I complained petulantly. “We’re just people. And not even that impressive ones at that.”

“Oh, but you are impress—!” The boy gushed. He kept his eyes firmly planted on my face and not the plunging neckline of my dress.

“Goodness, my dear boy. You have been so kind to us.” Emmrich’s hand was a warm balm on my exposed back, his placating tone a gentle reprimand for my poor manners. “My bride and I simply must thank you for your hospitality after such an appalling scene. Such a thoughtful gesture to remove us from the rush. Escorting us through the staff entrance was such a gracious favor and an inspired idea. We simply must remember to request it the next time we visit, right my darling?”

I exhaled a long breath through my nose, searching for a drop in the dry well of my patience. Our entrance into the throng of people at the opera house entrance had left me rattled. An unexpected, roaring ocean of voices, questions, and rabid supplicants from all levels of middle and upper class Nevarra had accosted us when we left our rented carriage. The sheer amount of attention from Nevarra’s well-to-do and nobility had been unnerving. It immediately made me regret ever agreeing to such an outing before we had even set foot inside the doors.

This anxiety compounded when a nobleman’s greedy fingers wrapped around my forearm in an attempt to yank me off course. He only retreated when Emmrich’s firm grip around my waist held fast. My husband’s rebuking glare that was both menacing and polite in the equal measure. It never ceased to amaze how Emmrich had a way of reminding people to mind their manners without a single word of correction.

As we waded further into the private box I centered myself on the here and now. The room itself was spacious, holding enough seating for an intimate crowd. A sunken circular sectional resembling a conversation pit filled the space, and overlooked a breathtaking view of the entire stage below. In front of the sectional was a small feast of a cheeseboard, filled with an assortment of jams, crackers, cheeses, pickled vegetables, and sliced fruits. My mouth watered at the sight, but I resisted the temptation to stuff my face. For now.

I sunk into the plush cushions with a weary sigh, propping up my aching feet on the remaining space. An unladylike sprawl perhaps, but in the relative isolation of the room appearances didn't matter so much.

Emmrich raised a disapproving eyebrow when I shifted and the slit in my gown rode indecently high on my left thigh. Then his expression shifted into something hungry. His fade-touched glance lingered like a brand and sent a thrill of hot pleasure barreling through my chest.

Then he turned about-faced, shielding whatever of me could be seen in the dim candlelight from the eyes of our guest.

I tuned out their conversation, stretching languidly in the relative obscurity of the high backed furniture. My feet were tired from running all across Nevarra city’s shops and city streets.