#wheres the examination of the characters in differing situations?

[woolydemon]

they're reccing sans au posts to me now ...

[tobi-smp]

one of the stranger discourses I've ever seen on this website is one that was relatively inconsequential and harmless, but nevertheless lives within my mind rent free

the mob psycho 100 fandom had a push where they reminded the fans that a lot of mob's traits are very much so autistic coded (intentionally or otherwise), and of course that one of the main themes of the story is about mob's growth as a character and his Coming Of Age. and so we (meaning the fandom) should be aware of and avoid infantilization.

and while on the one hand I do think that's a good point that should be said. but on the other hand mob was very much so a middle school boy.

I do get the feeling that there's a disconnect between people who watched the show as teenagers who see mob as on the cusp on adulthood and people who watched the show as an adult who are very much so aware of his age and how it impacts basically everything about the story.

finding mob Cute In A Kid Way is not inherently infantilizing on account of he is 14 years old

[ghostfacd]

THE KING AND HIS QUEEN, — king george iii

pairing: king george iii x fem!queen!reader

summary: your new life of being queen has been quite a struggle adjusting to. thankfully, you have the perfect king to stand right by your side.

genre: royal!au, fluff, mentions of arranged marriage, reader said to be a princess from france but ethnicity is not specified, plot kind of differs from queen charlotte: a bridgeton story, talk of wanting children

author’s note: the plot is different from that of the netflix series so don’t come at me ! wanted to write for george because his character is very intriguing to me and also bc the actor for young george is so mighty fine 😋😋 enjoy!

“Are you alright?” The king asked you. His face examined yours, locking his eyes onto your frame.

“Yes my king,” you say, staring down at your plate with a forced smile. In all truths, you were not alright. You had just wedded the week before, and the life of a queen was taking much more of a toll on you than you’d expect.

You remembered like it was just yesterday. Well, technically, it was. It was barely a week ago.

“Will Her Royal Highness, Princess of France, take His Majesty, The King as husband, from this day forward; for better, for worse, for richer, for poorer, in sickness and in health, to love and to cherish, till death do you part; according to God's holy law?”

“I, Princess of France, in the presence of God make this vow, from this day forward; for better, for worse, for richer, for poorer, in sickness and in health, to love and to cherish, till death us do part; according to God's holy law.”

“Very well, you may kiss the bride.”

And just like that, you were proclaimed Queen of Great Britain and Ireland.

“You’re spacing out,” George inquires, face filled with concern. You almost wonder why he cares. The two of you were not inlove. The marriage had been an arranged deal between your father and his since the day you were both born. Your fate had been sealed as soon as you came out your mother’s womb.

“Leave us.” He motions to the guards standing. They obey him like robots, leaving at his command. Now, it was just the two of you alone.

“YN,” for the first time since the two of you met, he had said your first name. No ‘my queen’ but just YN.

“Yes, my king?”

“Please, just George.”

You sigh, finally deciding to look him in the eyes. “Very well. George?”

“You know you can always tell me what is wrong, right?” He looks almost saddened. Or was it pity? You didn’t know him very well—the two of you rarely communicating since the marriage had been finalized.

“Of course my king,”

“George.” He corrects.

“Apologies, it was out of habit.”

He stands up, motioning you to come over to him. With raised eyebrows, you do as he wants, your long gown flowing onto the marble floor beautifully.

“Come with me,” he says, taking your hands into his. “To our chambers.”

You flush up at the feeling of George’s hands holding yours. You hadn’t had a boyfriend before marrying him, your father being very keen on keeping yourself innocent and pure for the King of Great Britain.

When you two arrive at the large tall entrance of the chamber, George waves off the two guards standing in front.

“Marital duties?” One of the dukes asked. “Great job Georgie, knew you had it in ‘ya.”

The King rolls his eyes at this, though he makes sure the duke hadn’t caught it. When you’re both inside the chamber, George finally lets out a breath of relief, situating himself onto the large mattress.

It was even larger than yours back at your palace in France. It was meant for the King and Queen, you and George, to sleep in at night and perform your marital duties.

“Sit, please.” George says, patting the empty space next to him. You sit down awkwardly, not sure where to look.

“Listen, I know it’s hard,” George lifts up your chin with his finger. “Adjusting to your life as my queen. The Queen of Great Britain and Ireland. But I assure you, as long as I live, I will make sure nobody will ever lay their hands on you or our future children, and that I will provide you with my love and support as I do with our country.”

Your eyes softened at his mini speech towards you, and your heart fluttered with joy. You were scared the two of you would end up in a loveless marriage like your Father and Mother had been—only together to provide the next heir of France. The heir ended up being your brother, your parent’s firstborn, King Charles of France. Second in throne was your other brother, Prince Louis, the spare. The only reason your parents had you was because your father had wanted a daughter to spoil, not because they were “inlove”. God no.

“Thank you my king. I appreciate this greatly, you have no idea. The stress of being Queen has taken quite the toll on me, and I was afraid of confiding in you about my worries.”

“You have no reason to be afraid,” George takes your hand, placing a soft kiss on it. “You are my wife, and I am your husband. You should never be afraid to confide in me. We promised that only death can do us part, and that we will love each other in sickness and suffering.”

“You are right my king,” you say, placing a peck on his cheek. For the first time, you were making a move, not him.

The two of you stay in each other’s embrace for the next hour, a comfortable and comforting silence fulfilling you both.

For the first time since you’ve step foot into Britain, you felt safe and loved. Loved by the King himself.

“You mentioned protecting me and our future children?” You tease him as you pull away. He bashfully looks down, letting out a small embarrassed laugh.

“Yes, my queen. The future heir, our lineage.”

“I hope it’s a boy,” you blurt out. You wanted your firstborn to be a boy because you’ve always seen your big brothers as a clear example of well raised princes, and you wanted the same for your future children.

“A boy would be ideal,” George says, pulling you close to him, “but I wouldn’t mind a girl. Spoil her rotten and braid her hair.”

You laugh, nodding along with George’s words. “I suppose a girl wouldn’t be so bad. As long as our future baby will be healthy.”

“Yes.”

The next few hours are spent with you and George mapping out the future, forgetting all your responsibilities for just the moment. George wanted Edward for a boy and Marionette for a girl, Nette for short. He expressed to you how he always dreamed of a normal life, farming and doing astronomy. However, he was grateful for growing up in royalty, never surrounded by poverty.

And just like that, the night you and George connected had flew by and you were expecting your second child in a few weeks time.

“Edward!” You say, giggling at the boy running around your legs. Edward was five, and quite the rowdy one. He took after his father’s handsomeness and had the eyes of George, the same ones that had looked at you with concern 6 years prior on that fateful night.

“Mummy!” Edward shrieks in delight. His eyes brighten when he sees his Father, who picks him up in an instant.

“I hope you’re not giving mummy a hard time,” George says, booping the young prince’s nose. “Are you, Prince Edward of Wales?”

“Course not daddy!” Edward scrambles to be let down on the ground, making George grunt as he sets the boy down. “Just wanted to hang out with mummy, that’s all.”

“Yes, my handsome little prince was doing no harm dear,” you reassure your husband. He rubs your baby bump softly, admiring your beauty.

“Just worried about you and Marionette is all,” he says with a soft smile.

“Me and Nette are fine,” you say, “now Edward, would you like me to tell you the day I became Queen?”

“Yes mummy!” Edward grins excitedly.

George can’t help but admire his little family as you told the story to your son Edward, brushing small strands of his brunette hair out of his face. In a few weeks, little Marionette will be arriving, and he couldn’t wait.

He wouldn’t trade what he had now for anything, not even for the whole wide world.

[hamliet]

Derry Girls: A Masterclass in Detailed, Thematic Writing

Several years after the end, I finally watched Derry Girls, and it's become one of my favorite shows. Not only for the way it captures the absolutely unhinged aspects of Irish families (askmehowiknow) but for the sheer writing skill.

The vast majority of the episodes are laugh-out-loud hilarious, while also offering insightful commentary on the Troubles and on humanity's foibles as a whole. The characters are allowed to be human and act in unlikable, unsanitized ways, and to still be human and come back from that. (Almost like a metaphor for the Troubles or something.)

The story is also incredibly detailed; for example, when the girls are accused of killing a nun and Erin points out the nun was like, 98 years old and askes "might that shed some light on the situation?" there's an hourglass behind Sister Michael--emphasizing the idea that her time was up. Even more than that... the window is behind the hourglass, literally shining a light on it.

But that's a micro level. On a macro level, I also appreciated the way the story discusses the political backdrop that is part of its premise. Even as Erin, Michelle, James, Clare, and Orla grow up in a place that's been in a state of low-level warfare for decades, they live full lives. In fact, that's kinda the point.

Case in point: episode 4 of the first season, wherein Erin gets an exchange student from Chernobyl. The way the Northern Irish in general treat the Ukrainians is hilariously awful and patronizing, believing that they are giving them a respite from the troubles "over there" while Northern Ireland isn't in a much better state. But, as Sister Michael assures the Ukrainian students, the Irish troubles don't matter because "we're the goodies."

This line gets to the heart of what the episode is saying about political divisions and the way people view an "other." Everyone sees themselves as the "goodies." Because of that, they don't self-examine and wind up hurting the people they see themselves as wanting to help/save with their ignorance. It's a paradoxical egotistical (and frankly teenage) worldview that is also unwilling to look critically at oneself. The focus on their own perceptions over focusing on the actual humanity of the other results in ruining gifts that could come with cross-culture interaction, as seen in how Erin's misunderstandings and petty jealousy of Katya leads to her literally ruining a surprise gift Katya had prepared.

And the end of the episode also comments thematically on the story. One of the Ukrainian boys turns out not to be Ukrainian after all--he's actually Irish and from just down the road. He just didn't know how to say that. The ironic message is clear: despite differences in culture and views, they are actually all human beings, and assumptions make it hard for people to speak. If they could actually talk openly and without presumptions about who is "good" and who is "bad," they could prevent and solve a lot of problems.

This kind of background, symbolic commentary on the Troubles continues in just about every episode of the series. For example, even after the ceasefire, season 3 has an episode where it's discussed how negotiations are stalling, and the entirely of the rest of the episode takes place on a train that stalls between two separate places.

The Troubles are always something affecting their lives, but the only time the Troubles ever become the main story is in the finale episode. Which is also an episode that makes everyone cry. Michelle's brother is finally mentioned for the first time the entire series, yet it doesn't feel like a retcon so much as a recontextualization, and again mirrors how a lot of society (and Michelle's own family) have treated those who murdered others during the conflict.

Erin and James' relationship also works as a metaphor for the Troubles--an Irish Catholic girl and an English boy. Earlier in season 3, after they finally kiss, they're told they can't be together, that it's wrong, and that it'll create problems for everyone around them. Michelle doesn't want things to change. And Erin agrees that it's not good to pursue something.

But, in the final scenes, as Erin prepares to vote in the Good Friday Agreement and talks to James, she directly states she thinks things can't stay the same forever--thereby countering what she said to reject James earlier:

There's a part of me that wishes everything could just stay the same. That we could all just stay like this forever. There's a part of me that doesn't really want to grow up. I'm not sure I'm ready for it. I'm not sure I'm ready for the world. But things can't stay the same, and they shouldn't. No matter how scary it is, we have to move on, and we have to grow up, because things... well, they might just change for the better. So we have to be brave. And if our dreams get broken along the way... we have to make new ones from the pieces.

Symbolically, also, given that we know the outcome of the Good Friday Agreement, I think it's pretty clear Erin and James end up together even if we're not directly shown it.

That the last shot of the episode (besides the funny epilogue) is Grandda Joe, one of the eldest characters, helping his youngest toddler granddaughter Anna leap over a threshold as they leave the voting station, is also incredibly clear in its symbolism.

Erin: People died. Innocent people died, Grandda. They were someone's mother, father, daughter, son. Nothing can ever make that okay. And the people who took those lives, they're just gonna walk free? What if we do it, and it's all for nothing? What if we vote yes and it doesn't even work? Grandda Joe: And what if it does? What if no one else has to die? What if this all becomes a--a ghost story you'll tell your wee-un's some day? A ghost story they'll hardly believe?

I dunno, I think this is a sentiment we need more of in the world. A peaceful future means taking risks and accepting that punitive justice will not be perfectly doled out; however, if you allow more people to be hurt, is that not also injustice? It's a paradox that the story leaves us without a dogmatic answer to (for example, we never find out if Michelle's brother gets released), but it's also hopeful--because we know that the Good Friday Agreement largely worked.

(For further analysis of the final scene, I recommend PillarofGarbage's analysis on YouTube!)

[millenianthemums]

just rewatched all of hlvrai (in one sitting. i’m doing fine mentally btw) and it made me think about the fine line between comedy and horror. because those videos constantly dance back and forth across that line, which is funny in itself, but also there’s some scary-ass implications in that series. most of them involving Dr. Coomer, of course. because the fact that he’s a normal NPC with flashes of sentience and tiny moments of scary behavior that he immediately moves on from is a joke. it’s funny. but then there are the parts where it isn’t.

like, as an example. there’s that one moment near the end when Gordon goes back in time and talks to a past version of Coomer. he’s frantically begging Coomer to help him get back to the boss fight he just came from while Coomer’s still just trying to give the usual NPC spiel that the scientists give at the beginning of the game. but then Gordon says that Coomer can take all his PlayCoins™️ if he just helps him get back to the other dimension. and Coomer (who i just realized was probably not self-aware yet at that point, and maybe even woke up because of this conversation) is confused at first, and then pauses and whispers “Why do i know what those are…?”

and maybe it was just Holly’s delivery that made that moment in particular stick out in my head (i’ve really gotta give her credit, she’s a fantastic performer and her incredible improv is the whole reason this character is so great) but it’s just such a haunting moment. it’s far from the first or most blatant example of Dr. Coomer being confused by his own knowledge of the mechanics of the game he’s in, but the subtle horror in his voice contrasting with his chipper demeanor right before that really gets me. i also think part of it is because it happens in a quiet, mostly serious scene for once, and they actually linger for a second on the concept of Coomer realizing his world is fake

to tie it back into the “line between comedy and horror” thing, i feel like that sums up the difference between the two. a lot of people say horror is comedy with no punchline, and i think that’s mostly true, but it’s also a little more specific than that. i think comedic works will sometimes make it part of the joke that a situation is creepy, but they’re not dwelling on it. the fact that something’s freaky but everyone’s brushing it off is funny. but that same work can become straight-up horror when you make the audience sit with those implications. when you say “no, we’re not moving on from this. we’re examining this. we’re looking straight at this. you don’t get to look away.”

[eliciana]

Reverse SAGAU: The Weird Door At My Café

Chapter 1 | Chapter 2 | Chapter 3 (here) | ...

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Tw: Reverse!Isekai!Sagau, Normal Au, Café Au, a bit of cussing like this bit 🤏.

Reader: Gn!Reader, Adult!Reader, Café Owner!Reader

Characters: Reader, Paimon, Traveler

Note: Restaurant to Another World animanga inspired au. There is a taglist if you want to be tagged. Also, I may say that the characters other than the reader may be a bit OOC cause it's been a long time since I played genshin and I'm just finishing all of my works with my knowledge left from playing the game. So sorry about it 🙏🙏.

ALSO, sorry for the inconsistent updates. I'm busy with uni and my job so, I have very little time to write.

____________________________________

'Oh no no no. It's the Traveler and Paimon. Shit! What do I do? What do I do?' You're heart is beating so fast that it might just pop out of your chest anytime. It felt like eternity, just looking at both of them, it's as is if time is slowing down. 'Should I just fake dead? No, that will make them worried then come up to me and then- OH NO!' You eyes widen in horror as the two come near you with worry etched in their faces.

"Uhm. Hello? Are you okay?" Paimon with her high pitched voice asked you. "Are you hurt somewhere?" The Traveler extended a hand, offering to help you up from the floor where you were sprawled upon.

[Reader.exe has stopped working. Brain circuit has malfunctioned. Attempting to restart... Failed. Reloading...]

You looked at them absentmindedly, your brain struggling to process the situation. "Huh?" The Traveler, noticing your distress, gently carried you and placed you back in your chair. They wiped the tears from your face with a handkerchief, their touch warm and comforting.

"Hmm. Traveler. don't you think that this place kind of resembles a restaurant of some sort? Or like Puspa Café? But just more... uh advanced???" Paimon flew around the Café, examining each and every corner. "And it smells so lovely in here." She kicked her feet in the air while giggling as she looked at the pastry you had on your plate hungrily.

The Traveler nodded but their attention was still on you who looked like as if their soul was going to heaven. 'As expected, they do seem familiar and their aura... Where have I felt this?'

As you sat in your chair, dazed and just all in all trying to process what is going on, the Traveler placed their hand in your shoulder. the warmth in their hand seemed to have had woken you up in your stupor. "Take a deep breathe. You seem quite overwhelmed by the situation." Gently their voice was. They noticed your drink in the table and slowly pushed it towards you. "Drink first, water would have been better but I can't seem to find any."

"Sorry for startling you. We didn't mean any harm." The Traveller smiled as friendly as they could. "I'm Traveller and she is my companion, Paimon. May I know your name?"

"Uhm... My name is... (Reader)..." you introduced yourself, voice still shaky. "(Reader)... That's a lovely name!" Paimon chipped.

"Oh, yes. I almost forgot. Can we know where this place might be? This place is quite different from what we are used to and as you have seen earlier, we came from that door. The door appeared during one of our commisions and our curiosity led us here. It will be quite helpful to know where we are as of now." The Traveler slowly told you, thinking that you still might be startled at the moment.

"Ah. This is a Café and I'm the owner..." you explained, trying to regain your composure.

"I see." The Traveller nodded and seemed to be in a deep train of thought at your answer.

"WAHH! Traveller! Look! Look!" Paimon squealed. She flew to the Traveller and urged them to come with her. "Wait! Paimon! Slow down will you-" Silence. An eerie silence washed over your building. It was getting awkward so you had decided to walk over to them and try to explain the very advanced planet you live in.

As you approached the duo, you coughed, albeit awkwardly, and cleared your throat. "Uhm yeahh... As you can see outside of the window, this world is not the same as your world. It's quite baffling, right? I was also the same when I saw your world on the other side of the door." You scratched your cheek.

"What is this place?" Paimon said in awe, continuing to look at the scenery outside. The Traveler just continued looking outside speechlessly, eyes darting to one thing ot another. Then suddenly your eyes widened at a realization but you still kept yourself calm.

You explained to them softly, "The planet where you are in is called Earth and we are currently in (country name) situated in (where your country is)." While they where admiring the scenery, you took a quick silent run towards the shelf where the standees of genshin impact where situated at and roughly shoved them inside an unused cabinet.

"Oh yeah, what's your planet called?" You feigned ignorance of knowing who they already are. After all, if you somehow learned that you were just a game character, what would you feel? Wouldn't you feel so detached? or something along those lines and you don't want the both of them to go into a spiral of depression and continuous questions. It's also because you don't know what kind of excuse you will make if they ever saw the standees. It's only a miracle they didn't see it earlier.

"Oh uh, we're from somewhere called Teyvat. We're currently staying at Mondstadt due to some personal bussiness." The Traveler replied.

"I see. Teyvat... I have never heard of that. Come, sit here. Choose anything you guys want, except for the *cough* pastries cause they are only going to be delivered tomorrow. Also, my treat!" You winked at them as you gestured for them to seat at a table.

"You don't have to treat us to this. We will pay you for your service." The Traveler quickly told you. "Oh please, I insist. Besides, you guys are my first customers. Now, choose what drinks and snacks you would want in the menu." The Traveler wanted to refuse again but refusing twice would be quite impolite and you seem quite the person who would not go against what they say and stick to it no matter what so, they accepted their defeat with a soft sigh and begun browsing through the menu.

"WOAH! All of the drinks and foodsin the menu look and sound so amazingg! I can't choose!" Paimon squealed. Actually, you were quite suprised that Paimon has her very first voice and not the new one. Her squeals are more tolerable and she doesn't sound like a pig going to be butchered.

After minutes of them painstakingly choosing what they want and consulting you on what some of drinks are, they finally decided on what they want. Creamy Caramel Mocha for Paimon and Hazelnut Coffee for the Traveler.

(Note: I just randomly choose what I think they would want from the drinks I have already tasted so it might contrast with what you guys think they would like.)

You went behind the counter and proceeded to make their orders while you guys talk and ask each other about you guy's worlds, of course with you feigning ignorance even though you already know most of the lore.

_________________________________________

Without any of you three knowing, you lost track of time and soon it was evening. You had so much fun teaching them about Earth and listening to their tales of adventure on Teyvat. Paimon even provided you with an extensive list of her favorite foods from each nation, in case you ever decided to visit Teyvat. Nonetheless, you feel grateful but you don't know when you will go to their world but probably when you have a glock in hand would be the best time to go there. For now, you were content to cherish the memories you had made alongside them.

It was now time to say goodbye. You feel kind of sad since you have bonded with them much more in this short time but it's time to let go. Maybe there will be another next time or maybe not but, you are sure that you will wait again for the time they will come back again even if it's a long time. After all, they are still looking for their sibling so they may not have that much time to be able to visit you.

With a heavy heart, you packed some of the leftover pastries to give them as a farewell gift. "Wahhh! Thank you (Reader)!" Paimon exclaimed, tackling you in a grateful hug. "The next time we come here, we'll be sure to bring some delicious treats from Teyvat!"

The Traveler looked at you warmly. "Thank you (Name). I'll make sure to bring the finest sweets next time we meet." They stepped forward and embraced you gently. "Although our time together was brief, I cherished every moment."

"Me too..." you replied, your voice tinged with a hint of melancholy. Standing before the door, you gently waved them a farewell as they prepared to depart. The Traveler and Paimon returned your wave, their faces reflecting the same emotions you felt. With a deep breath, they turned and stepped through the threshold, embarking on their continued journey.

As you watched them depart, you couldn't help but feel a bittersweet longing. But you knew that their paths would cross again, and you would be waiting, ready to welcome them back with open arms and a fresh batch of pastries.

_________________________________________

Taglist:

@kameyo-kumo

@esthelily

@haru-tofuu

@udretlnea

@shining-nebula2000

@ifeellikejumpingoffacliff

@resident-cryptid

@allblognamesaretakenlikereally

@leilakaro

@stvrbrighttt

@chericia

@evaline-ethan

@ra404

@mmmhyperfixation

[eschergirls]

And after a few days break, here's the third and final part of the "Let's Draw Manga Sexy Gals" posts (here are parts one and two if you missed it).

These pages are just kind of strange: the arbitrary distinction between "anime" and "manga", apparently anime girls are all just little children compared to manga girls, the differences between male bodies and female bodies, that women apparently just vanish after age 40 (and they become space aliens as teenagers).

But my favourite is the "coke bottle" page where a) that's not what a coke bottle is shaped like, but also 2) the actual woman drawn there is the OPPOSITE of the shape they depict (which again, isn't what a coke bottle is shaped like).

The bottle they drew is wider in the hips than in the chest/shoulders, the woman they drew is wider in the shoulders than in the hips. xD

This feels like another situation where the person writing the text (or who drew that coke bottle) wasn't on the same page as the person doing the figure.

I also love "women can be depicted as four circles", that should be a meme. And the four circles woman looks kinda like a bunny.

Anyway, I hope everybody learned a lot about drawing manga sexy gals.  I know I did.

For those interested in the uncensored versions of the first 2 images, there are links in the EscherGirls.com post.

(Cover and snippets from Let's Draw Manga Sexy Gals by Heisuke Shimohara)

I've included descriptions for text readers in the images, but the longer commentary on each page is too long to fit the description boxes, so I'm including the transcription of just the text below:

Transcription of image 1:

Depicting Softness of Form - Part 1 The bottom line for drawing an attractive woman is to effectively project the softness of her body. No one likes a rock-hard body on a girl! Here are some techniquest o use for bringing out a soft form. The curves of the female form can be represented as four circles. The "coke-bottle figure", long used to describe the ideal female form, is characterized by a small waistline and rounded buttocks.

Transcription of image 2:

Differences Between the Male and Female Form - Part 1 The male and formale form exhibit several distinguishing features. These differences are often exaggerated in drawings. Generally speaking, the male form is based on an inverted triangle, while the female form is based on an upright triangle. Shown below are the three body parts that most distinguish men from women. Shoulders Give this portion some mass. (pointing at male shoulder) Make the neck thin and long. (pointing at female neck) Chest The male chest should have a square, rigid appearance while the female chest should be curved and soft. Waist and Leg Bones Straight waist (pointing at male waist) Slim down the torso for a pinched-in waistline (pointing at female waist)

Transcription of Image 3:

A comparison of Manga and Anime Characters - Part 1 There are too many differences between the two artistic styles of manga and anime to describe all of them here, but we can examine each through erotic illustratoin. Here are some examples typical of this genre.

Transcription of Image 4:

Manga: Mature facial features with realistic eyes, nose and mouth Anime: Eyes are comparatively large in relations to other features. The ears have a simple shape. Comparing Body Proportions: Always keep movement in mind. A typical anime character is designed with simple lines, making it easier to draw in action poses.

Transcription of Image 5:

Facial Differences in Women According to Age A conservative hairstyle with somewhat subdued facial features 30 to 40 years old: Sharper facial features with a more provocative hairstyle. 20 to 30 years old: This face is borderline anime style. Notice how the unnaturally large eyes extend further down the face. 10 through teens: Like an anime character, the eyes are unusually large and positioned just below the center of the face.

[misscrawfords]

I was listening to Pride and Prejudice on my drive back from my mother's today and it's been so long since I've actually read the novel as opposed to engaged with one or other adaptation...

Goodness, it's good, isn't it? And Elizabeth is so much more complex a character than she is often presented in adaptations.

The thing that was standing out to me today - I was listening to from when Mr. Collins proposes to Charlotte and I stopped just when Elizabeth was talking to Colonel Fitzwilliam at Rosings - was the chapter which is just Jane and Elizabeth talking about Bingley. This gets cut from adaptations or so condensed to be meaningless, but it's incredible. It's just a whole chapter of the sisters chewing over why Bingley ghosted Jane (for lack of a better term) and what Caroline's motivations were and the thing that gets me is that they're both right. Jane is right that Bingley can't be blamed for being a friendly young man and that he had no malicious intentions but Elizabeth is also right that young men can be thoughtless in their dealings with women who have less freedom than them and their thoughtlessness can do real hurt. (She's also right about Caroline, of course.) It struck me as such a modern issue. Maybe I've just been thinking about the unwitting hurt that thoughtless young men can cause recently, but everything is so complicated. Bingley is a flake who makes a mistake with regards to Jane but he's also a genuinely lovely young man who makes it right in the end - he's still on his own journey through life which he will continue with Jane. Jane herself lets her desire to see the best in others cause her to see friendship where it isn't, but being deceived in a friend is not so uncommon, is it? And she's not stupid or weak. Heck, she endures her heartbreak being talked about openly by her mother in public for months silently and without rancour. And she does it all without ever resenting Bingley! Jane's the strongest character in the whole novel and an inspiration to the rest of us - FIGHT ME on this!

The other thing I really picked up on was what an important moment in Elizabeth's character development Charlotte's engagement is. It actually kind of breaks my heart - her best friend makes a life choice that she can't support but has to and nothing will ever be the same again between them. It's the first dent into Elizabeth's world view that forces her to see that people are different from her and can make different decisions and this is okay and not just something she can laugh at. It's so relatable in terms of life events - when a close friend marries and then when they have a baby, these things absolutely still do alter friendships. Elizabeth gets over it and even enjoys seeing Charlotte in Hunsford but we are frequently reminded by the narrator that the previous confidences they enjoyed will never be the same again. It's a really big moment for Elizabeth and really the first event in the novel to start to shake her foundations of her comfortable existence. The other two are Bingley's desertion of Jane and Wickham's decision to pursue Mary King over her. By the time she goes to Hunsford, she is prepared in a way for the final massive shock to the foundations of The World According to Lizzy Bennet, not that she knows it. Such is growing up.

And OMG Lady Catherine is SO vulgar and inappropriate! She is a direct parallel to Mrs. Bennet and the rest of the Bennets. Just as Elizabeth feels accute embarrassment at the Netherfield Ball, Mr. Darcy is feeling exactly the same at Rosings. Beautifully done. But their awareness of what is appropriate behaviour is something that unifies Darcy and Elizabeth even if Darcy massively fails to behave like a human around Elizabeth. Pride and Prejudice is such an expose and examination of "how to behave in social situations". There is nobody who doesn't come under scrutiny and pretty much every type of behaviour is gone over with a fine tooth comb.

Sometimes I feel almost ashamed when people ask me what my favourite novel is and I say "Pride and Prejudice" because it's such a damn cliche. I should say something heavier or more obscure or at least I should say it's Persuasion, the "thinking girl"'s favourite Austen. But P&P is so special to me on so many levels and you know what? It is a MASTERFULLY written book.

[cjrae]

Tragedy of the Jade Nightingale. Or: My thoughts on Vol. 11 of the Apothecary Diaries.

Given that this volume just came out in English a few days ago, spoilers under the cut!

I usually think of the Apothecary Diaries volumes as pairs - usually two volumes make up an arc. If so, Volume 11 will be the first half of the arc with 12, but it also functions beautifully as a tragedy in it's own right.

** I will be only discussing information appearing officially through Vol. 11. Yes, I have read the fan translations of the web novels, but given that details can change, until it appears in official English translation, I won't yet be including it here.

The Hero

Gyoku-ou. Talk about someone who thinks he's smarter than he actually is. We knew this guy was a threat all the way back in Vol. 8, with how Gyokuyou reacted to her brother's letter and his veiled insult of sending a younger version of herself to catch either her husband's attention or the Imperial Brother's. Now we get to see him in action and he's scary - right up until he's not.

This man is charismatic as anything - he understands what makes people tick on both an individual level as well as a social level. His ability to wield a mob effectively makes him extremely dangerous, but I'm oddly put in mind of Lakan's initial impression of Fengxian. "This woman is strong, but she only knows how to fight in her own, small world."

The world Gyoku-ou inhabits is a very small, petty one. You can see it in his conspiracy theory about Jinshi's birth.

Jinshi is one of two people Gyoku-ou fails to read. When he brings Lakan and Jinshi to his puppet council to gauge support for attacking Shaoh, he thinks he's got a young malcontent in his hands, someone who wants power and is prone to the flashes of temper and insult that often drive young men. Someone who is easily manipulated. Instead, Jinshi mops the floor with him in that meeting, cutting Lakan's support out from under Gyoku-ou and making it clear that his priority is peace above war.

This doesn't take away from Gyoku-ou's political genius - this meeting teaches him that Jinshi has to be maneuvered around, rather than maneuvered directly. If the Imperial Brother doesn't want to play his part, then too bad. Gyoku-ou will see to it that Jinshi is hedged in all directions except where he wants him to go - which is to war. And even then, he's got a fight on his hands as Jinshi fully takes advantage of Empress Gyokuyou's information to undercut Gyoku-ou's support within his own family.

It's a mark of Jinshi's political skill that Gyoku-ou's move in that family council is to flirt with treason. If he can't maneuver the Imperial family through Jinshi, then he shifts tactics to turn Jinshi (and the rest of the Imperial Family) into the villain of his piece - a prince born and raised into utter depravity.

Let's just sit with what Gyoku-ou suggests to the rest of his siblings (minus the Empress) in that meeting. He implies that the Emperor impregnated his own mother in order to produce an heir. A son that he loves so dearly (and unnaturally) that he would willingly look the other way while Jinshi murders his other children in order to make sure that his brother-son-lover succeeds the throne.

This is a brilliant examination of how the bare facts of the situation can be construed by people with very different motivations to fit whatever worldview is most convenient for them. I'm a fan of the palace politics in this series because they feel very real.

Gyoku-ou doesn't lie once. But boy does he create a narrative that suits his purposes and dares anyone (namely Rikuson) to tell Jinshi. He is escalating the situation and he's doing it fast, while also challenging the legitimacy of the Imperial Family. A fact which, if it does get back to Jinshi (or the Emperor), could get the entire new You Clan wiped out just as fast as the Yi Clan was. This scene functions as a microcosm of Gyoku-ou's two fundamental character flaws; his short term thinking and his utter self-absorption.

Becoming The Wind

Since Rikuson was introduced in Vol. 5, he's been a mirror for Jinshi. He's a "pretty boy," calm under pressure, fundamentally kind and decent to other people while also being extremely competent at his job. Unlike Jinshi, he's also a bit older and more mature. He also clearly admires Maomao and sees the qualities that make her exceptional, despite her various masks.

As it turns out, Rikuson mirrors Jinshi in another important sense too - he also has a secret identity. The Yi Clan were the de facto royalty of the Western Capital and Rikuson is one of the direct survivors of the clan. He was never in the line of succession given the Yi Clan's matrilineal structure. But they were quick enough to save some of the children, namely Rikuson and Empress Gyokuyou's three ladies in waiting, Haku'u, Koku'u and Seki'u.

Rikuson, who was Gyoku-ou's excuse to trick His Former Majesty into giving him the authorization to destroy the Yi Clan. Rather than truly being an bastard Imperial prince, he's a young pawn in Gyoku-ou's hands to whip up an armed mob to hunt Rikuson down - and his mother and sister give their lives to ensure his survival - not for vengeance, but so that the Yi Clan's mission of protecting the west will live on even if the named clan itself dies. So, like Jinshi, he is dedicated to the welfare of the people above all else.

The trouble with relying on an unruly mob is that it's sloppy. Gyoku-ou left multiple survivors and they have absolutely no love for him. He's left weapons at his back.

Rikuson is the other person Gyoku-ou utterly fails to read. He spends well over a year back in his homeland, working for Gyoku-ou as an aide ostensibly from the central region, patiently waiting for an opening - even as Gyoku-ou, who knows that Rikuson has to be assigned to the west with some kind of ulterior motive, is so blind that he thinks he must be a secret member of the La Clan, rather than the Yi boy he tried to kill seventeen years earlier.

Rikuson represents the culmination Gyoku-ou's short term thinking in that he doesn't bother to think about the threat of any surviving Yi clan might pose to him.

He will not insult his mother's memory, or his sister's. But if his mission of protecting the west coincides with vengeance for his family? Sure enough, Gyoku-ou's insistence on going to war (and dragging the Imperial family's legitimacy into his motivations) gives Rikuson his opening; especially because he isn't a vigilante.

He is acting under orders.

The New You

Rikuson's point about Gyoku-ou's life being a tragedy hits home when you consider Gyokuyou's thoughts of how she knows her father loves her - but would also abandon her in a heartbeat if she is no longer valuable to him. Unlike her older brother, she has a very clear-eyed view of how their father operates and focuses on making sure that her value never drops in his eyes.

Gyoku-ou's value to Gyoku'en plummeted the day he destroyed the Yi Clan - Gyoku'en's family. He was given a second chance to show that he could still perform the single function of the men of the Yi Clan - to protect the west. When he endangered it instead, Gyoku'en sent the weapon he'd spent seventeen years preparing (Rikuson) with an execution order.

By first destroying the Yi Clan and then following it up with a proposed invasion of Shaoh, Gyoku-ou proved to Gyoku'en that he was no son of his. Given how desperate he was to be his father's son, this whole book is a tragedy in the classic sense. The Jade Nightingale was so desperate to reinvent himself as a Jade Eagle that he destroyed himself in pursuit of the one thing he never lost - his father's love. But, to be his father's heir, what he needed was Gyoku'en's trust and respect, not his love.

And he killed that seventeen years ago along with the Yi Clan.

Ironically, the foreign born girl that he despised and attempted to undermine at every opportunity, emerges as their father's true heir and mother of the nation, with the rest of the surviving Yi clan as part of her loyal retinue.

In her triumph, the Yi Clan is reborn as the You Clan as Gyoku'en, a Yi man, is given a clan name on the strength of Gyokuyou's role as Empress. So much of their history has been lost, down to the matrilineal succession and family records, but their mission lives on through the Yi men who will continue to protect the west, no matter the personal cost to themselves. There is no room for self-absorption here, therefore Gyoku-ou has no place in their new clan.

Also, a parallel to pay attention to is how the destruction of the Yi Clan and the Shi Clan are mirroring each other with the children being saved. The Yi Clan is reborn with a new name, which leads one to wonder what the consequences of saving those Shi children will be long term.

A Dagger In The Dark

Gyoku-ou sucks up a lot of air in Vol. 11 because he is driving the action - Jinshi, Maomao and their party are all stuck reacting to him, except for one character; Chue.

We see Chue attach herself to Maomao starting with the ship and it's not difficult to guess that just as Lihaku is serving as a discreet bodyguard for Maomao on Jinshi's orders, Chue is also there as protection. Chue doesn't try to conceal that she is clearly trained in espionage either.

Rikuson's proposal to Maomao is not a serious bid for her hand, but nor is it a joke - it's a message to Chue that Jinshi needs to tighten security around Maomao. As he puts it, he knows the "hyper protective" elements around her will close ranks. Because he's foreseen a strategy that may not have yet occurred to Gyoku-ou (who tends not to pay attention to the bit parts of the play), but if it does would almost certainly push the country into war.

Maomao is the lever that could move both Lakan and Jinshi.

All he has to do is kill her and make it look like a foreign attack. Lakan's instinctive ability to read a situation and Jinshi's formidable investigative skills would likely be dulled in the face of their rage and grief. Especially since they are technically Gyoku-ou's guests and don't have freedom of movement to push the issue.

Rikuson seizes his opportunity before Gyoku-ou can continue to escalate, but he realizes quickly that Chue arranged the stage and was there as both spy and backup assassin. (I think it's safe to say that Gyoku-ou's conspiracy theory AND that Yi family ledger will be reported, given that we know there were ladies-in-waiting at the meeting and that's how Chue was disguised - and she didn't actually promise to dispose of it).

Gyoku-ou doesn't bother to think that while the Emperor may be far away and the Imperial Brother is a manageable threat, that the people surrounding Jinshi may not be bound by his strictures. Hence, Chue was on standby. No matter what, Gyoku-ou was never going to make it to that ritual. He was never smart enough to realize that his crossing the line would be never be forgiven.

While Jinshi would order an execution if necessary (and has in the past), he would never order an assassination. Therefore, it's evident that Chue reports to someone else. Who that someone is, we don't know, but there's only one person further up the Imperial tree than Jinshi, so it would be reasonable for Rikuson to assume that the Emperor has placed additional protection around not just Jinshi, but Maomao.

Exclusive: Baby Swap!

Jinshi's birth is not a secret to the audience and while Maomao doesn't have confirmation, she's pretty certain of her suspicion. This volume made it patently obvious that there are others out there who are perfectly capable of putting the pieces together, even if the details are twisted.

Let's return to Gyoku-ou's conspiracy theory.

He's put together all the correct pieces. The Emperor's attitude toward Jinshi makes no sense in a traditional palace setting - a much younger, handsome, charismatic and competent brother? That's a threat to the Emperor and his direct line. But Jinshi is never treated that way - instead he's indulged on many fronts.

He's allowed to duck most of his official duties as Ka Zuigetsu (except for a few he can't, where he appears masked).

He's allowed to pretend to be a eunuch for six years and run the Rear Palace.

When he finally reveals himself to the court to put down the Shi Rebellion, he's described as "hale" and "just as proficient in the military arts as the administrative." (More proof that Jinshi is NOT the best judge of his own abilities). He emerges fully formed into court politics - a perfectly trained Crown Prince - only to have a newborn given the title instead.

Gyoku-ou deliberately put the worst possible spin on these facts. I suspect the rest of the You siblings are going to keep their mouths shut about Gyoku-ou's ugly theory, but if he could think of it, if Maomao could think of it with just seeing Jinshi standing next to Lady Ah-Duo, then so can others.

Maomao can be mad about Jinshi branding himself all she wants, but it's currently looking like an absolutely BRILLIANT move on Jinshi's part. Whatever doubts Gyoku-ou managed to plant about Jinshi and the Emperor's motives with the rest of the You clan siblings, Empress Gyokuyou is not likely to entertain it.

Also, it got the Emperor to essentially "banish" Jinshi to the edges of the Empire shortly after his new Crown Prince was born, which makes it look to other members of the court like the Emperor is taking steps to rein in his younger brother and balances the factions that have to be forming back in the capital.

This is not a secret that can be kept forever. No matter how careful Ah-Duo and Anshi were, the information is starting to leak out around the edges, as we see that the Empress' ladies in waiting that were dismissed clearly had eyes and ears - and in at least one case, a loose tongue.

The next arc is being seeded and Jinshi is inching closer and closer to that throne. He ran the Rear Palace for years (essentially managing the nation in microcosm) and as of the end of Vol. 11, he's now stepping up to govern a province and gain actual ruling experience while also having suppressed a war.

I've said before that Jinshi ascending the throne is the bad ending - if there is a single person who is more trapped by the palace than the prince, it's the emperor. We'll see what happens!

[rikusahoge]

"But be safe. No reckless stunts."

On Sora and Riku's respective recklessness as showcased in the series, and what it means for their relationship

Under readmore because i am going to talk a lot

As an aside: Im going to be pulling from the Japanese text, though I am not a native speaker or really any kind of speaker, so take what I say with a decent amount of scrutiny. I'm more than willing to be corrected on these conclusions!

One line that has stood out to me in kingdom hearts is the repetition of "no reckless stunts!" and similar phrases. If you examine the original text, three slightly different words have been used to mean "reckless", which I'll include below (pulled definitions from Jisho, mostly)

無謀 (mubou): reckless, foolhardy, rash, ill-advised, mad (scheme)

無茶 (mucha): reckless, absurd, unreasonable, ridiculous

無理 (muri): impossible, unreasonable, unjustifiable

Importantly for what i want to talk about is how "muri" is used in situations where a character wants to express that something is impossible (think of a character giving up all hope due to an insermountable obstacle in front of them, they may mutter something like "muri da...") keep a pin in this, it will matter toward the end.

Also note that each of these words starts with "無" (mu), which usually means nothingness or absence of something. The definition of this kanji isnt super important, it's more important that its presence ties these three phrases together in a really unique way as i hope to demonstrate.

what i propose is that both Sora and Riku are depicted as reckless characters, albeit in different ways. The established pattern I've noticed is that Sora: "mucha" & Riku: "muri". I will tentatively refer to "mucha" as "rash" and "muri" as "impossible" (despite that it does also mean other things in some cases! bare with me it'll make sense)

Dialing back a bit, we have seen countless moments of Sora acting rashly. It is one of his key character traits and it tends to get him in trouble. He has a big heart, and is quick to anger.

Sora's response to loved ones and helpless innocents that have been put in harm's way is to repetitively bash things with his keyblade (and ask questions later).

It's Sora's rashness that allows Org 13 to use him to complete kingdom hearts. The extreme end of his rashness is showcased when he stabs himself to release Kairi from his heart.

Tldr. I think it's pretty well established and easy to argue that Sora is one to leap before he looks.

Now, Riku might be a little harder to sell as reckless, because of how well he tends to hide it. He carries himself as a role model for Sora, and tries to be the responsible friend. But if we look at his patterns of behavior, despite how he carries himself, he is quite reckless!

Without thinking of the consequences, he rushes the open door when destiny islands falls to darkness, eventually succumbing to it himself. He lashes out several times at Sora, particularly dangerously when he fires off a dark firaga in Hollow Bastion. He closes the door to darkness with Sora without knowing what would happen to him if he was trapped in the realm of darkness. When Sora is asleep, he sacrifices his form to defeat Roxas, without any assurance that he would ever be able to get his old form back.

We see Riku's recklessness too in the fight against Xemnas. He recklessly throws himself in front of Xemnas twice, hurling Sora away from danger and taking a very nasty blow to the hip. I'd count his dive to save Sora in DDD among these, mostly due to his risk taking behavior when it comes to saving Sora. Finally of course we see it in KH3, with his ultimate sacrifice. (but i think importantly, this scene isn't just recklessness, but I'll explain in a bit)

So tldr. Despite Riku's mask of level headedness and resolve, he has been shown over and over to take massive risks without caring for the consequences. Which is pretty reckless, in my opinion!

Sora and Riku's recklessness, mind you, is also called into question by Yen Sid, who tells Riku the reason he kept Aqua's fate a secret was to keep Riku and Sora from staging a "half-baked attempt at rescue"

He says similar in Japanese, but i want to just note the word he uses when he describes the rescue attempt as reckless (highlighted for ur convenience):

(the highlighted word here is "mubou", it will come back later in an Important way, so keep it in mind)

he's *basically* saying that if Riku, or worse, Sora, knew about Aqua, they would have recklessly marched into the realm of darkness to rescue her. Because he knows they are both ... Like that.

I would be remiss to not mention that Sora's impulsivity and recklessness is something Riku admires! After Yen Sid tells riku not to be rash, and Riku excitedly tells Mickey he's ready to help save Aqua, Kairi observes that Riku has changed, and he's more like Sora. Riku asks if that's a compliment, but I think it's clear that he feels it is. He says it's more Fun to just follow his heart, which is sora-esque. (;_;) This is also something he brings up to Sora when they're on the dark margin together, that he's jealous of how Sora can just follow his heart. It's clear Riku has started to embrace his more impulsive side, to follow his heart like sora does. This is important later!

So now that I have my premise Mostly set up, I'd like to highlight a handful of scenes that I thought were really telling about how Sora and Riku relate to the terms "mucha" and "muri", respectively.

Let's start with Sora and "mucha".

The first instance i have found "mucha" used is in Olympus Colliseum.

lets recall How Herc initially loses his power in KH2, and compare it to the movie.

In KH2, Herc is tricked into leaving the colliseum unguarded by capturing Meg and hiding her in the underworld so that Herc and Sora must go to her rescue. Hades sends a hydra in to destroy the colliseum while Sora and Herc are busy fighting heartless and Pete and rescuing Meg.

Upon seeing the destruction in the colliseum, Herc falls to his knees, and you can visibly see his colors fade to a more ashen complexion, similar to his appearance without his powers in the movie. He calls himself a piece of shit basically and Meg helps him up to limp to safety, leaving Sora to defeat the Hydra (ahem sora helping riku walk in twtnw after xemnas fight anyone)

(Herc even has a second journal entry for his Desaturared form.)

You leave the world after defeating the hydra and jumping up on its back a few times, and after sora d & g are named true heros. Yay. But Herc doesn't have his power back yet, which will later be addressed in the second episode.

Herc's loss of power is much different from the movie. In the movie, he agrees to let Hades take his strength for a day in order to keep Meg from harm, and release her from the contract she had entered with Hades (iirc). This was all so Herc wouldn't get the chance to save Olympus from the titans that Hades revives in order to take Zeus' throne for himself.

Herc still tries to wonderboy his way into rescuing the town, and fights a giant cyclops. While he lacks physical strength and gets pretty much Pummeled, he ends up beating the cyclops with his wit - but in doing so, a pillar is knocked over. It is about to crush Herc, but Meg pushes him out of the way, and is crushed to death.

She gives her life to save him, which in turn returns strength to Herc, because the contract was only good if Meg remained unharmed.

What I'm mostly trying to say here on this tangent is Herc's loss of power in KH2 specifically is very reminiscent of Sora losing his keyblade in Hollow Bastion, which is later echoed in the keyblade graveyard when he feels he loses his strength to fight after losing his friends. I bring up the movie to show how bizarrely different it is from the Kh2 plot, perhaps precisely to make the parallel between Sora and Herc stronger (and the parallel between Herc and Riku, by the way - Herc falling to his knees, losing his power, and giving up, only for Meg to walk him to safety, is a parallel to Riku losing his will to fight and press on after the battle with Xemnas - Sora refuses to let him and in the same Exact way he helps Riku walk on)

So Hercules, when faced with the impossible wavers, and loses his strength and will to fight. This is important so keep it in mind. Impossible/Muri isn't stated here as far as i know, but it's important that he is feeling utterly defeated and unable to win.

The second visit to the world is when we first see the term "mucha"/reckless used as far as I was able to find. Hades casts Meg into the Soul Hole and Herc dives in to save her without hesitating (mechanically to write Herc out of the boss fight, but)

We later see Herc emerge with Meg, his godly aura restored (he is Radiant!) something that *should* have killed him. and should have been impossible. But his desire to save her was so great, he recklessly dives in, without knowing that he will succeed. Luckily, all he had to do to prove he was worthy of godhood and power in both the game and the movie was to use the strength of his Heart rather than his fists, as a true hero does:

Sora scolds him and tells him not to do anymore crazy stunts after this reckless dive to save Meg (screenshot makes it look like herc is saying it sorry lol) and that is where we can see the term "mucha" being used in Japanese:

instead of crazy stunts, Sora moreso says "but don't be reckless (mucha)":

to which herc responds:

"people always do stupid things when they're in love" (note he doesn't repeat reckless, he says "baka" lol)

so here we have a direct link between herc's sacrifice when he dove in to save Meg, the restoration of his power/Godhood, and acting recklessly (mucha), without Fear or Doubt, to save someone he is In Love With. put a pin in this because it's all connected.

Now moving onto KH2.9 and KH3. From the start of the game we are told Sora has lost the Power of Waking, and his Entire goal in the game is to regain it, wake Ventus, and prepare for the battle in the KBG with Xehanort.

The Power of Waking is already a very vague, disney-esque power, essentially the power to free sleeping hearts from slumber (and first introduced to us in DDD, particularly in terms of Riku waking Sora up in a sleeping beauty retelling but I'm getting ahead of myself)

Yen Sid suggests that Sora go to Olympus for clues to regain his power, as Just Like Sora, Hercules also lost his power, but was able to regain it.

It's pretty straightforward, but in the interest of not making this post a fucking novel ill try to keep it short. Herc tells Sora he's not sure just *how* he got his powers back, just that he wanted to save Meg with all his heart when he (recklessly) dove in to save her. The game is trying to tell Sora that it's the Power of Love that brought back Herc's strength, and that Love will be key in bringing Sora's PoW back, too.

Specifically, I think that Herc's story and the other worlds Sora visits are saying that it's True Love that will bring Sora's powers back. Acts of true love in KH3 are framed as courageous, selfless, and performed unconditionally.

Despite the visit to see Hercules, Sora still doesn't gain the PoW. He has an idea of what he needs to regain it, but he has to visit multiple Disney worlds to learn more about the power of true love and sacrifice (well also separation but thats not as important to this post) before he's ready to test it out for himself.

After Arendelle (i think) we get to another important cutscene where Riku, Sora, donald, goofy, & mickey meet up with Yen Sid to discuss the progress they've made on their respective journeys. Sora wants to go to the Realm of Darkness with Riku & Mickey because he's worried, but they Won't let him because he doesn't have the PoW. Riku does the fondest laugh known to man, eliciting a bit of anger from Sora, but explains it's because of what Yen Sid had told him earlier - that had Sora or Riku known about Aqua being trapped in the RoD, they would have recklessly gone in to save her.

he's pretty much directly quoting yen sid here, just like he does in English (saying half-baked instead of reckless too). So basically saying here Sora would have marched into (the dark world) recklessly (had he known where Aqua was) - again using "mubou" like master yen sid.

Interestingly, when we get to Sora telling Riku to not be reckless in the dark world to Riku, he's not repeating the same word for Reckless that Riku is using (Now this might be just a flow of the conversation thing, which i certainly cant confirm as a non-native speaker but i think it's still notable)

Sora says something similar to what is said in English; with a few distinctions. A rough translation would be "but don't overdo it, call me if anything happens" (need I gripe one more time that english localization cuts out sora telling Riku to call him; which is why he spends the rest of the time apart from Riku wanting a call, and why its so unhinged that Riku triangles for sora and basically summons him. I DIGRESS)

This line is translated as "but be safe, no reckless stunts" in English, which serves as a callback to what Sora tells to Hercules in KH2, (further solidifying a herc/riku parallel) but IMPORTANTLY, Sora is NOT even saying the same thing he said to Hercules in the Japanese script. He's saying something else - 無理しないで (muri shinai de), which is usually translated as don't overdo it - but literally means "don't do the impossible". This will be important later when I talk more about Riku so keep this in mind.

We immediately get Donald saying "Sora's the reckless (muri) one" (abbreviating for simplicity) but Jiminy disagrees. In English he says "He's not reckless, he just doesn't think!" but in Japanese he says this:

Which i know im going to butcher any translation I do, but Jiminy is basically saying "[Sora's] not muri he's mucha". That distinction is important enough for Jiminy to make a joke about it. That Riku might actually be the one who is overdoing it/trying to do the impossible (muri), while Sora is the one who runs headfirst into danger recklessly (mucha). Which, i think, is quite fitting, given the actions theyve done through the series.

Importantly we get one more instance of "mucha" which I think really ties Sora's trait "recklessness" together nicely, and puts into perspective what the repetition of these phrases is doing from a story telling perspective.

After Sora finishes up the remaining Disney world visits, S, D, & G find out that Chip & Dale have lost contact with Riku & Mickey. Sora is very upset at this, and is Determined to save them (Riku) (with all his heart). Sora has NOT GAINED THE POW at this point, and they don't know how to even get into the RoD, so Sora opts to "let his heart be his guiding key" to find his way to Riku and the RoD. (Recklessly I might add, he hasn't called or talked to Yen Sid or consulted anyone about it lol)

He arrives at Destiny Islands and mysteriously finds Master's Defender which happens to be the key to getting him into the RoD. Right? Well. We know from the glossary that the established method of reaching the RoD is with a keyblade of darkness, through dark corridors, or with the Power of Waking.

Others have argued this (see SRT) but it's heavily implied that Sora regained the PoW on his way to rescue Riku. That he used it explicitly to get into the RoD is where people tend to be a little caught up in the details, because it *does* seem like Master's Defender plays a role, which begs the questions - is it a keyblade of darkness? What the fuck was it doing there? etc. (literally saw on a kh wiki that sora got into the RoD because Masters defender was a keyblade of darkness, which is unconfirmed currently lol) It's also not traditionally what the PoW looks like. There's a huge door that appears, Sora isn't using the kingdom key, he doesn't burst out of Riku's chest. Etc.

HOWEVER. I think with the context of the narrative arc Sora is going through, the foreshadowing present in the game, and The Reckless Rescue angle can at least prove that he DID regain his power here, regardless of whether or not he explicitly used it to get into the RoD. I'll try to briefly summarize the points I've seen made before I add my own.

After the visit to Olympus, Sora explains to Yen sid that he didn't regain his power but he still learned a lot. Yen sid stresses again that sora needs the PoW, Sora gets pouty, and Goofy cheers him up by saying "maybe something will trigger it real soon". Shortly after a bit of banter, there is a knock at the door, and Riku and Mickey walk in. The camera kmakes a point to show Mickey off to the side, then pan up to Riku as he walks in to close the door, who is centered in the view (almost as if we are watching from Sora's POV, who is anticipating Riku's appearance in the door).

Putting this side by side is a little unfair, since it's not an immediate jump from Goofy saying this to Riku's entrance, but it's pretty in your face about just what (or who) might be key to reawakening sora's PoW.

We also get some heavy handed foreshadowing in the next visit to Yen Sid's tower, right before Sora tells Riku to not overdo it:

Yeah. and he does, importantly, get the power of waking, not BEFORE he comes to the rescue, but BECAUSE he comes to the rescue.

Now for my contribution since I stole the last two/three points from other posts. Just before Sora enters the RoD, he tells D & G to stay behind and that he has to go alone. (Sigh, yes, this scene is a parallel to Riku using the PoW to save Sora in DDD - it *has* to be him, and him alone) D& G protest, but eventually relent. But Donald doesn't let Sora go without saying this:

(In English, Donald says "you promise to be good?" inexplicably) but in Japanese he tells sora (basically) "Don't be reckless" - aka. No Reckless Stunts, complete with the use of "mucha" (recall Donald in the previous scene was the one to call Sora "muri" before being corrected by Jiminy). This is similar to what Sora tells to herc, so we are pretty much full circle on this scene being a callback to Herc rescuing Meg in KH2.

Like Herc, Sora does the reckless thing. Like Herc, he heroically dives into the abyss to rescue his loved one with all his heart.

Like Herc, Sora regains his power the moment he resolves to rescue Riku, even if it is not made explicitly clear to Sora OR the audience (perhaps the fact that he regained the PoW is why he is able to save aqua, too)

I could probably go on about this and what it means for Sora for a long time, but I think it's high time I actually wrote about "muri" and Riku's recklessness, so let's rewind a little.

I've already brought up how Riku relates to Herc in terms of his recklessness and heroics, but theres a few more things to add. of course. I'll recap with pictures of one of the parallels i've already discussed:

So here i think at least metaphorically, we can argue that Riku has lost a bit of his "power"- or rather, his drive. After everything is over, he just collapses, ready to die or be left behind. Sora WONT let that happen. So Riku asks Sora to lead. He confesses to some of the jealousy and superiority he'd been feeling over Sora for the past few years, and seems to be trying to find a new direction in his life, having now repented Quite a bit for the sins he committed in KH1.

Riku's entire purpose for fighting after KH CoM and KH2 was to wake Sora up, keep him safe while he does his keyblade weilder duties, reunite him with Kairi, and send him on his merry way. Sora refuses to let him leave, and demands that he comes home with him. So he does. but without his jealousy over his feelings toward Sora, or without his feelings of guilt and feeling he needs to make it up to Sora, what is left to drive him to keep fighting?

DDD gives him a pretty strong answer - it's where he both rediscovers his sense of purpose and gains the Power of Waking in the process. And his dream eater powers too. btw

Riku's journey in DDD is, simply put, not really about passing the mark of mastery exam and becoming a keyblade master. it's about remembering What he lives for. remembering his promise to Terra, and how those feelings have evolved - from wanting strength to protect the Stuff that matters as a child, to, in DDD, discovering that the "stuff that matters, like his friends" was Sora the Whole time, and that Sora is actually a "precious best friend" that he wants to protect. It's About recovering his strength, like Herc needs to do in KH2.

So how does Riku regain his "strength"? By Sora-style taking a reckless dive into the deep abyss of Sora's heart to wake him using the PoW.

(Not once was I able to find any mention of "recklessness" here, or any particular language that ties this moment together cleanly with what happens in Olympus Colliseum in KH2, but the repetition of diving down into an abyss to rescue someone (with all your heart. etc) is Enough of a parallel to make the connection between this scene and Herc's dive to save Meg)

It is within the deepest depth of Sora's heart where Riku is interrogated by three pieces of Sora's heart about what he's afraid of, what he cares about more than anything else, and what he wishes - All canon answers involve the mention of "precious" - "taisetsu" (sorry im not explaining this one im going to just assume you know what im talking about if you are a soriku that reads meta you should know.) - to lose something precious, my precious best friend (fuck da english localization for this one), to recover something precious that I lost. It is here that we see Riku's simple "protecting important stuff" become "protecting something precious/my precious best friend" (note that this hasn't quite become "taisetsu na hito"/precious person but hes getting there)

Ansem the wise is there i guess and he tells Riku that his 3 answers are what were the key to waking sora up, and I think, importantly, are what give Riku his "strength" back. He has rediscovered his purpose, which is, to him, protecting Sora (with all his heart)

Continuing into KH2.9 we have another couple scenes that will both complete Riku's development from protecting stuff that matters to protecting a precious person and also continue to make a strong connection between him and Hercules.

It's been pretty well established that these two scenes are deceptively mistranslated, but i'll go over it again

Herc here is saying "taisetsu na hito" which is translated to "person I love most"

The EXACT phrase Mickey uses to tell Riku why he's feeling more powerful and fearless in the RoD, in the literal next scene in 2.9. They were supposed to be VERY CLEAR hit you over the head parallels but, well. SENA said fuck gay people i guess.

Riku repeats what Mickey says into his hand ("strength to protect my precious person") and recalls his promise to Terra, to protect the things that matter. (again it's implied it's always been about protecting sora, he just didn't have the language or understanding of himself yet to know how to say it)

There is absolutely no room for nuance here. This is explicitly framing Riku's feelings for Sora on par with Herc's feelings for Meg eg. explicitly romantic. And that it's his ROMANTIC LOVE for Sora that is what gives him his strength - not just to protect Sora, but also to do THE IMPOSSIBLE

phase ??? of my argument will now commence hang on to your butts. (i wrote this all in one night im tired)

Now that ive Exhaustively set that up. lets actually get back into discussing what I initially set up - riku doing the impossible "muri" thing.

As a reminder, Sora tells Riku to not "attempt the impossible/overdo it" in the RoD. And to call him if he needs him.

So Riku, instead of attempting the impossible in the RoD by facing the demon tide, does call Sora, which ends up being what saves the day! Yay!

I have bad news though! Riku is terrible at listening to advice when Sora is in trouble.

Now recall what I mentioned earlier about the fall of the guardians in the KBG and Sora's subsequent breakdown being a parallel to Herc losing his power in KH2. Sora *fails* everyone here, and he explicitly states he is worthless, without strength, when he loses them. It's very in line with Herc losing his powers in KH2.

(just putting these in here to hurt you and myself)

So, we get the Herc parallel, but it stops here for Sora. He doesn't do some grand self sacrifice for Riku to prove his heroism and regain his "power", but i think theres a reason for that beyond it just being Riku's time for the spotlight but I am getting there.

In the english localization, Sora says "we've lost, it's over". It's a subtle change from the Japanese, where instead of "it's over", Sora simply utters "muri da--" ("its impossible") (in the wettest saddest voice you can imagine)

It's at this moment where I do truly think we're meant to make the connection between Sora saying "its impossible" and Sora telling Riku to not attempt the impossible. It fits in nicely with Sora telling Herc to not do reckless stunts, with the slight change in language from "reckless" to "impossible", and with the impending self sacrifice. Riku knows that beating back the demon tide is impossible. But he does it anyway (compare to how, when faced with a much smaller demon tide, and he was losing, he listened to Sora's advice and called Sora for help instead of attempting the impossible)

So we have Riku's ultimate true love sacrifice for Sora, which both takes his life and grants him a spot upon an alter in Olympus, perhaps symbolically giving him some sort of ascension for his heroic deed. And again tying his sacrifice intimately to Herc's.

Because Sora and Riku are both "herc" and "meg" here I am going to make a little bit of a reach. Recall that I went through the effort of recapping the climax of the hercules movie. for no reason. There is a connection though even if it's loose, and i would kick myself for not including it.

In the movie, Meg, like Riku, protects a powerless Hercules from impending danger in her own act of true loves sacrifice. Her death gives Hercules his strength back (partly due to contract BS but it's still a romantic moment). And her death is what drives Hercules to dive into the Soul Hole to rescue her soul at a potentially great cost, which is what ultimately restores his godhood (showing his strength of heart). Riku sacrificing himself for Sora can be seen to be more like the events of the Hercules movie, Riku standing in for Meg - Sora does have to restore Riku's heart after it's been taken by the Lich, after all, much like Hercules brings Meg's soul out from the Hole. And Riku's sacrifice is what gives Sora the resolve to keep fighting. (not arguing with anyone who thinks it was only kairi because it wasnt lol)

So Riku attempts the impossible here, and ultimately he is rewarded. An interesting nuance is that the phrase "attempting the impossible" isn't meant to be taken as a challenge. From what ive read from native speakers, the phrase Sora uses really is better translated as "don't overdo it" as it is less about proving yourself to be able to overcome crazy obstacles and more about keeping your expectations in check. But Riku is reckless, and following his heart, which he learned from Sora.

I hope I've properly illustrated how Sora and Riku are both painted as reckless in different ways, and how the language used in KH3 is making direct references to Herc's reckless heroics in KH2 and in the actual Disney movie. And how these reckless acts are showcasing how much these two love each other, because I still have one more point to make. Namely, how this ties into Cinderella, and ultimately KH4.

In Terra's route of Birth By Sleep, he happens upon a distraught Cinderella, who has had her dress torn up by her step sisters. She was planning to go to the ball, but cannot, because it is "impossible" (muri)

Terra tries to console her. It's all very reminiscent of the scenes of Herc's, Sora's, and Riku's defeats.

After Terra fights off the unversed summoned by Cinderella's negativity (toxic much..), Out of the blue, the fairy godmother appears and makes everything better. She fixes up Cinderella with a dress and a ride to the ball, and sends her on her merry way.

She explains to Terra that she appeared to Cinderella to show her that her dreams *can* come true and that she typically appears only to people that have a strong belief in their dreams. Terra says he believes in dreams but you have to work for them, to which FGM responds that simply believing in dreams is already a difficult thing on its own. (Ventus also compares Terra to Cinderella. btw. because of his strong dreams)

Now. Sigh. Im not the only person that has pointed this out. The FGM quite literally appears to Riku, but only after a year has passed and they have no leads on Sora, and after it's implied that Riku is starting to lose hope.

In the limit cut, you can see Riku's sad wet puppy dog face as he talks about how hard everyone is working, and how they haven't found anything at all. He says "if Sora is really out there, don't you think we would have found something by now?" - Again, he's losing faith in his dreams of Sora's return. This is important.

I do not have the strength to go through and find all the times Riku told everyone to believe in Sora in KH3. It's a lot. And the last thing we hear him say Near Sora, is to let him go on his suicide mission to save Kairi - to BELIEVE in Sora (#wish).

So one, we know the dream Riku believes in is Sora, and two, we know he is starting to lose his belief in his dreams, like Cinderella before the ball, when he dress is destroyed.

Right after it's clear their is no lead through the data from Org 13, FGM appears, just like she did for Cinderella. And she tells Riku that His Dreams Are Literally A Key To Find Sora (that hes quite literally been #dream drop distancing into sora's dreams while hes in unreality is already so much without the FGM being there to explain this to him but KH is crazy!)

One last thing to really drive this home. The FGM brings Riku and Kairi to the nameless star to bring the three keys together.

And what does she tell Riku, before he leaves?

"Be careful. Do not attempt to do the impossible."

---------

if you read this whole thing... well... im proud of you. I know i definitely missed stuff, because it would be so hard to go through all the games and really dig for the use of this term especially when I dont speak japanese at all. and because i wrote this all in one night. But dont hesitate to comment or reblog if you have anything to add. I freaking love kingdom hearts

[sarshles-cheescake-li]

Why's Lu Guang's hair white?

It has occurred to me that a lot of people on the English side of the fandom aren't aware of the Lu Guang white hair theory.

It's a very popular theory/headcanon on the Chinese side (I'd say maybe 30% of people believe in it?) of the situation. I have no idea who in the English fandom have talked about it and who haven't, so I'll just provide what I know of it. Full disclaimer that I wasn't the first one to make this observation.

The theory is based on this scene right here, episode 12 of season 2. Here, Qiao Ling has a singular white hair after receiving Xixi’s powers (and seemingly activating them for the first time). This can be either interpreted as her spontaneously gaining a white hair, or as just an effect of the lighting.

Lu Guang has (presumably) received and activated Cheng Xiaoshi’s powers before.

Lu Guang’s hair is white.

Are you picking up what I’m putting down?

It doesn’t help that his eyebrows are a different colour. In pretty much every piece of official media, they’re a grey a bit lighter than his eyes. Except for in the phone ad for OPPO (I think that’s what that was…?) where his eyebrows are largely black, except for one shot where they’re their normal grey, so I’m fairly certain that’s just a mistake in animation. I could’ve sworn to God there was one piece of media where his eyebrows were white, but I can’t find said piece, so I guess that was a fever dream.

Quite a few people have wondered how a naturally white-haired person would have darker-coloured eyebrows. Based on that, the argument is that Lu Guang’s natural hair colour is darker, and his hair turned white later in life. Of course, from an artistic standpoint, this evidence is… hard to work with. Characters with a light hair colour paired with a light skin colour often are drawn with their eyelashes and eyebrows being a darker colour for the purpose of contrast. It’s not rare for a white-haired character with fair skin to end up with grey eyebrows, since it makes their eyebrows more easily visible while still looking lighter. The problem?

Ouyang Bubai (how does the English fandom refer to him…? Do I use pinyin for him? Jyutping? Cantonese Yale? Is his Chinese name written in simplified or traditional???) has almost the exact same hair colour as Lu Guang. His eyebrows are white.

Paint tool sai version 2 colour picker (and visual examination) tells me his eyebrows are a slightly different colour than his hair, being a bit warmer and a smidgeon darker, but the point stands. Compared to Lu Guang’s eyebrows, you can definitely tell they’re drawn differently.

Other light haired characters like the Li siblings receive the same treatment as Ouyang Bubai, having pink eyebrows. It’s just Lu Guang who has his situation.

And no, it’s not a matter of convenience. Link Click’s eyebrows are always drawn with black lineart and a solid fill, usually one matching the character’s hair colour. Lu Guang’s eyebrows match neither his eyes nor his hair, something that would theoretically make drawing him more inconvenient because now you’ve got one extra colour in the pallet.

But if the point was that Lu Guang’s hair isn’t supposed to be white, then why make his eyebrows so light? Because now, what is potentially foreshadowing looks like artistic liberty. Was it for the sake of visual cohesion? To throw theorists off? Is it something about the character design process and Inplick?

Anyway, a few possibilities emerging from this theory.

How many times has Lu Guang went back in time for Cheng Xiaoshi if all his hair is white? Or does the process speed up the more you use another person’s powers?

Does his hair turn white all at once whenever he goes back in time, or is it gradual? Like, was there ever an attempt where Cheng Xiaoshi went to bed, woke up, and went “woah Lu Guang that was one mean mental breakdown you had last night if you bleached half your hair”

Does using another person’s powers affect you negatively in other ways? Is that why Lu Guang has limited attempts – not because he’s running out of photos, but because he’s running out of time himself? And, my personal favourite:

The white hair isn’t because of power usage. It’s because of stress. Lu Guang is just a lot more stressed than Qiao Ling is.

[aihoshiino]

I've been thinking a lot lately about the idea of "Dark/Evil/Black Hoshigan/etc" Ai lately - not for any real particular reason, just because as a fixation of the fandom, I've always been weirdly fascinated by people's eagerness to leap to it as an assumption of her character despite it being in such obvious conflict with the text. I think a lot of this comes from, as I've said before, people seeing Ai herself and other characters describe her as a 'liar' and instantly concluding that her entire front-facing personality is an entirely fabricated act with no footholds in sincerity or authenticity. And it's baffling to me because Ai really isn't that complicated or dramatic as a 'liar' character - she's just doing her best to be liked by other people because she's so desperate to connect with them and she hates herself so much that the only way she can imagine doing so is editing every singe potentially objectionable part of her personality out of her worksona lol.

And the thing is, I don't even necessarily hate the idea of exploring BH/Dark Ai! I've done it myself before in RP and other stuff and I think it's a suuuuuper fascinating concept. It's just that the way I see it done in fanworks and fan theories is always kind of… shallow? It's Disney Twist Villain tier - it's not about building on and exploring the character that exists in the text, it just replaces her with an entirely different one and goes "isn't it crazy that she was there all along". And that's just not as fun to me!

The thing about dark/manipulative/'evil' Ai is that it's unavoidably, inherently OOC because she doesn't really have a malicious bone in her body. If it's already out of character behaviour, why not lean into it and make the OOCness part of the premise? Why not really examine just how fucking miserable Ai would need to be to finally give up all hope and go down this path?

One of the most important things about Ai is that because she just naturally struggles with empathy as a result of her neurodivergence and because she has so consistently been mistreated her whole life, her kindness and her warmth and compassion are to a degree things she actively chooses to put out into the world. Because she wants to love other people. She wants to sincerely form connections with them and be with them. So, in a situation where she comes to believe that her end goal of loving and being being loved as a real human is impossible, it's not really that hard for me to imagine her deciding like. well okay. If people don't want a human being, why should she try?

Becoming an idol is all people want from her. That's what makes people happy. So if that's how it is, the best thing for everyone is for her to ruthlessly dedicate herself to it no matter how many things she has to break in the process.

They asked for something that "wasn't human", after all. So that's exactly what they'll get.

[curtsies-from-princess-ashlyn]

I cannot for the life of me understand why the writers are still dragging the Claire storyline out. If we, the audience, are supposed to feel as anguished as Carmy is over losing her, I think the writers really failed. I really didn't see that their connection was so deep that Carmy would be this distressed over their breakup - even if it was due to something insensitive he may have said. Having multiple characters continue to push him to rectify his relationship with Claire feels so forced, as well. If their relationship was something that I truly believed could be lasting, then I could probably connect to that emotional tension, but I had thought the entire purpose of his S2 storyline was that a step towards Claire was a step away from fulfilling his responsibilities to Sydney and their restaurant. His relationship with Claire was in direct conflict with his relationship with Syd, and he continually let her down until he finally realized he was letting himself be pulled in two different directions. His making amends with Claire should've been finished in the first few episodes - she's not a main character (she's not even a character who's developed outside of Carmy's POV), and I'm pretty sure she had more screentime than Marcus. These writers cannot write a manic pixie dream girl and expect audiences to actually believe in the strength of her relationship with the lead so much that they root for them. (I also still don't understand how Claire is supposed to have all this free time when she's a hospital resident)

If the goal was to sow this division between Sydney and Carmy, which will force them both to seriously examine their relationship next season, I get it and that can be fine. That's also sort of what happened in S2 already, but they can still further develop that idea in a meaningful way. I'm gonna be honest, I'm here for the writers to pair up Sydney and Luca for a time as a plot device ship. They have excellent chemistry, and I would love to see Sydney exploring a new relationship until Carmy figures his stuff out. It can be reinforce the strength and importance of Sydcarmy's relationship to each other.

Just to warn you all, though, Sydcarmy could either be headed the Rina route (Ricky and Gina from HSMTMTS) with a planned slowburn executed beautifully, or this could end up being a Bellarke situation (Bellamy and Clarke from The 100) where the writers have a vendetta against the romantic pairing, despite obvious romantic undertones. Whichever one happens is anyone's guess, at this point

[runariya]

Three-Shot: Infinity (JJK) • 2

pairing: alien!Jungkook x human!reader genre: alien!AU, dystopian!AU, dark, angst, S2L, eventual fluff and smut warnings: MDNI, 18+, captivity, distrust, trauma, non-graphic wounds, fluff if you squint, mental break-down, angst, second-guessing everything, thoughts about being raped again, human trafficking, unsuccessful escape, physical harm, lmk if I forgot something word count: 4.738

a/n: This work is purely fictional. All characters and events are entirely imaginary and do not reflect reality. Please do not use this story as your own. No translations are allowed without permission. Thank you for understanding! 💕

01 • MASTERLIST • 03

The Nepturian kneels before you on one knee, setting a small metal bowl beside you that you hadn't noticed earlier. Your entire body vibrates with nerves, a deep-seated terror gripping you. He stretches his hand out, palm facing upwards, and you fixate on it with trembling eyes, struggling to see clearly and focus. His hand is large and rough, calloused from untold tortures caused, you think. Overwhelmed by the situation and uncertain of his intentions, you remain frozen, unable to move, your gaze locked on his outstretched hand.

“Give me your hand.” His voice startles you, despite his proximity. The closeness causes your heart to skyrocket. You obey immediately, a tremor running through your movements, your body responding automatically to the command.

Your tiny hand lands on his, barely pressing down with any weight. The warmth of his skin surprises you, different to the usual coldness of his kind, or any other species of that matter. It's warmer than yours, and you can't deny that it feels the tiniest bit comforting. The last time someone this warm touched you was Jenny, a memory that resurfaces easily now, adding a pang of bittersweet sorrow to the moment.

With soft movements, so uncharacteristic of his species, the Nepturian examines your hand, gently moving it from side to side, up and down, occasionally bringing it closer to his face for a better look. Despite his careful touch, your terror remains undiminished, your heart pounding relentlessly in your chest.

Thoughts race through your mind, envisioning the tortures that could await you. You imagine the Nepturian using his strength to break your bones slowly, or perhaps he would would use you as a personal sex slave. Or worse, maybe he would take you back to his home planet, where they would pass around like a doll. The possibilities are endless, each more horrifying than the last.

The Nepturian gently lays your hand on your thigh before taking some antiseptic and dressings. Afterwards he takes your hand back, palm facing his bigger one, and begins to clean your damaged and bare nail beds with a gentleness you’re not accustomed to. Memories of Jenny flood your mind—how she would tend to your wounds, and you to hers. A kindness long forgotten.

The soft and caring touch of the Nepturian, combined with the constant stress pressing down on you for years, finally makes you snap. Your shoulders start shaking violently, and when your vision blurs completely and a sob escapes your throat, you realise he has broken down the barrier shielding your emotions and you with it. 

Your free hand snaps over your mouth to muffle your cry, fearful of angering the Nepturian. But he doesn’t react, continuing to clean and dress your damaged fingers with professional care, his touch not lessening in tenderness. 

As he finishes with your hand, you still haven’t calmed down. He scans your face, his eyes void of emotion. He reaches for your other hand still clamped over your mouth, and just as he grazes your wrist, you flinch away from him, your sobs intensifying.

“I won’t hurt you,” he repeats, and as your eyes fixate on the markings on his arms, glowing in bright blue with white, he adds, “I’m not bonded. I was born with them.”

But you are still terrified of him and his kind. The markings should only appear after a Nepturian is bonded. All the Nepturians you have encountered had marks and were vile. But his are different. Still, you don’t move.

The Nepturian reaches again softly for your wrist, and this time you don’t flinch but only tense. You have no other option than to comply with his every command until you’re calmed down and have found a way to escape this ship.

After the Nepturian finishes with your second hand, he stands and says, “Stay here.” He walks out of the room, the hydraulic door closing behind him with a soft hiss. You’re too exhausted to keep sitting up, so you lie on your side, your body finally beginning to calm. The terror ebbs away, and a profound fatigue settles over you. 

You're on the brink of sleep when the door suddenly opens again, jolting you upright, instinctively resuming the position he left you in. The Nepturian steps towards you, carrying a tray, and places it gently on your thighs. He turns to one wall, tapping on a device on his wrist, and a chair-like frame emerges seamlessly from the blank white wall. Sitting down, he watches you intently. 

Hesitantly, you scan the food on the tray. It's a bowl of gruel, but unlike the tasteless sludge you were given by the Kaldreks, this is rich in colour and smells delicious. Beside it lies a piece of white bread. Your saliva collects rapidly in your mouth, your stomach yearning loudly for the food. You don’t dare to move, too scared of making a wrong move.

“Eat,” the Nepturian commands after you’ve remained frozen for a moment. His voice leaves no room for hesitation, and at his command, you move. 

The first spoonful is a revelation. The gruel is warm and savoury, something you hadn’t in years. Your starved body craves the subtle spices and rich broth right away. The bread is soft and slightly sweet, a perfect complement to the soup. The sensation of finally eating something nutritious and flavourful overwhelms you; it’s as if life is being poured back into your veins with every bite.

Your eyes fill with tears that don't fall this time. At the sound of the Nepturian’s voice, you momentarily stop, mid-chew. “It’s not the best, but it’ll help restore your gut and not make it sick with overwhelming ingredients.” You stare at him, your gaze locking onto his, the depth of his black eyes giving away nothing. Unsure of how to respond, you nod barely noticeably and husk out a faint, “Thanks,” not trusting your voice to hold steady. Then, you resume eating, more slowly, savoring each bite.

When you finish your last spoon, he stands soundlessly and takes the tray from your lap, his movements fluent and precise. As he turns to leave, he orders, “Rest.” The command is simple, but in your state, it is a welcome one. You comply immediately, lying back down, your body sinking into the bed. Exhaustion pulls at you, and you let yourself drift, the sound of the hydraulic door closing the last thing you hear before sleep takes you.

When you wake again, the room remains silent and white, but now, on a bedside table that wasn’t there before, a sealed water bottle stands. You still feel clean, the soft black shirt you’re wearing intact against your skin. You’re relieved that you rested in peace, your body mercifully untouched. There’s no sign of the Nepturian, but the memory of his care and the food lingers. 

You sit up slowly, testing your surroundings with wary eyes. The room is stark, devoid of any decoration, but it feels strangely safe compared to where you’ve been. Your emotions engage in a tight dance, battling between the harrowing experiences of captivity with the Kaldreks and the unfamiliar new ones.

Your gaze falls on the wall where the chair had emerged. You wonder briefly if there are other hidden mechanisms in this place, designed to serve some unknown purpose. The quiet hum of the ship’s systems is the only sound, a constant, soothing presence you now notice without being panicked to the core. You take a deep breath, the air cool and clean, and feel a flicker of something you haven't felt in this intensity in a long time—hope. 

The Nepturian’s kindness, however minimal, has planted a seed of doubt in your mind. Are all Nepturians as cruel as those you encountered before, or is there something different about this one? His markings, so unlike the others, flash in your mind. Born with them, he had said. What does that mean for you? For your fate?

As you sit there, your mind races with possibilities. You remember the feeling of his warm hand, the gentle care with which he treated your wounds. It’s a stark contrast to the treatment you’ve endured, and you can’t help but wonder why. Why did he help you? What does he want from you?

Your stomach growls softly, the memory of the delicious meal still fresh. You realise with a start that it’s the first time in ages that you’ve felt truly nourished. The thought brings another wave of emotion, and you have to force yourself to remain calm, to not let your hopes rise too high.

Time passes slowly in the silent room. You have no way of knowing how long you’ve been here, no sense of day or night. The white walls and the constant hum of the ship’s systems are your only companions. Despite the strangeness of your surroundings, a part of you begins to relax. You’re not being hurt, not being tortured. You’re being cared for, however reluctantly you accept it.

Eventually, the door hisses open again. The Nepturian enters, carrying another tray. This time, he doesn’t command you to eat. He places the tray on a small table that has emerged from the wall beside his chair and sits down in it again, watching you. His presence is both unsettling and oddly comforting.

You look at the tray, the aroma of the food reaching you and making your mouth water. The Nepturian says nothing, simply waits. You realise he’s giving you the choice to eat on your own. Tentatively, you get up and walk with hesitant steps to the bowl, sitting down across from him and taking a small bite. It’s just as good as before, maybe even better. You eat slowly, eyes flickering occasionally to his face without making eye contact as you savour every morsel. 

While you eat, the Nepturian finally speaks. “You are safe here,” he reinforces. “No one will harm you.”

You look at him, this time locking your eyes with his and searching for any sign of deceit. His features remain unreadable, his black eyes void of emotion. You want to believe him, but your experience has taught you to be cautious. Still, his words are a balm to your frayed nerves, and you feel a small measure of relief.

“Why are you helping me?” you ask, your voice barely above a whisper.

He hesitates, as if considering his answer. “You are valuable,” he says finally. “But more than that, you deserve to be treated with dignity.”

His words confuse you. In your experience, value and dignity have never gone hand in hand. You finish your meal in silence, the Nepturian watching you the entire time. When you’re done, he takes the tray and stands, his movements fluid and purposeful.

“Rest,” he says again before leaving the room.

As the door hisses shut behind him, another door slides open, revealing a bathroom. You approach it with caution, the luxury feeling like a potential trap. Eventually, you relieve yourself and take a quick shower, the warm water and soap smelling reminiscent of the fields from your childhood on Earth. Afterward, you lie back down in the soft bed, your mind a whirl of questions and emotions. The Nepturian’s words echo in your mind, a puzzle you can’t quite solve. As sleep takes you once more, you cling to the hope that perhaps, just perhaps, things might get better from here.

Days blur together in a haze of rest, nourishment, and quiet observation. The Nepturian, whose name you still don’t know, maintains his routine of bringing you meals, watching you eat, and then leaving with the simple command to rest. Each interaction is brief but loaded with unspoken questions.

You begin to feel stronger, your body responding to the regular meals and the care of your wounds, making you gain weight quickly. The terror that once gripped you so tightly begins to loosen its hold, though it never fully leaves. You remain wary, always ready for the moment when this newfound peace might shatter.

One day, as the Nepturian places the tray before you, he speaks a single word. “Jungkook.” His eyes lock expectantly onto yours, and you’re certain you see a flicker of curiosity, the first emotion he has ever shown you. You give him your name, the only possession you truly have. He nods and sits down, his features seem to relax at that.

While you eat, he offers with the same soft voice he always uses, “I’ll give you a choice.” At that, your eyes snap up, fork halting midway with a carrot-like vegetable on it, mouth still open. When he doesn’t continue, you shut your mouth and straighten, which seems to do the trick as he continues. “You can stay in this room, or you can move to a room not meant for hostages.”

You don’t trust him. There must be a catch. Every kindness in your life has been a prelude to pain, a hidden trap ready to snap shut. Your mind races, dissecting his words, searching for the hidden barb. What does he really want from you?

Sensing your doubt, Jungkook elaborates further. “If you decide to move, I’ll give you a leap of faith. You’re not to damage this ship, you’re not to attack me, or do anything related to that.”

Your mind screams repeatedly, questioning where the catch lies, distrust gnawing at you with every word he speaks even when he didn’t once seem or act like danger. 

Sighing, Jungkook leans on the table with his arms. Your eyes are immediately drawn to his markings, which you would find beautiful if similar ones hadn’t caused you so much pain. The bioluminescent ornaments pulsate softly and steadily, probably with his own heartbeat. “You’re neither a hostage nor a slave. I want you to feel free here, but you know as well as I do that if you decide to run away, it’ll be your death sentence.”

His words ring true in your ears. You’re a walking target, prey, the last human everyone wants a piece of. You’re not sure which piece Jungkook wants from you, but your bet is best placed on him at this moment. Even if you agree to his terms, even if he does something to you, is it really that much worse than a multitude of species doing it to you unrelentingly for eternity? 

So you agree, and after your meal, you move with his help into your new room, which is a soft and comforting blue, like the rest of the ship.

Weeks have passed, and you find yourself growing more accustomed to Jungkook's presence, though a cautious voice within you constantly reminds you to maintain your distance. 

At the first stop he made to refuel his spaceship, you opted to stay inside, choosing to be locked in the white room willingly. The fear of being discovered by others was too overwhelming, and even Jungkook’s assurances of your safety couldn't quell your turmoil. With a shaking head, you watched as he locked you in. And upon his return, he brought you fitting clothes, all black like his, and a pair of combat boots that fit you perfectly. The soft leather felt like a blessing for your sensitive and cold feet. 

After that, you began to wander the ship more freely with each passing day, but you spent most of your time in the control room by Jungkook’s side. Though you still kept your distance from him, his calm and strong presence became a source of solace you desperately sought during your captivity.

The stars and planets whoosh past you both, visible through the ship’s windshield. The sight is mesmerising—a vast, twinkling expanse of cosmic wonder. Nebulas paint the darkness with hues of violet and blue, their ethereal light shimmering like distant, ancient jewels. Planets drift by, each with its own unique character: some ringed with icy halos, others glowing with molten fury. The sheer magnitude of the universe spreading out before you make you feel both insignificant and profoundly connected to something larger. This view has become your favourite pastime, a balm for your scarred soul. 

Occasionally, your eyes flicker to Jungkook, who’s engaged the autopilot and is now engrossed in reading the galaxy news on a screen beside him. His brow are furrowed as he frowns at the article, his lips slightly pouting in concentration. His eyes dart across the screen, absorbing every line with intent focus. His blue hair, slightly tousled from his constant habit of running his hand through it, frames his face. 

Jungkook is a beautiful Nepturian, and young, and you wonder why he hadn’t bonded with a female yet. Under different circumstances, you might have considered pursuing him. Shaking your head to rid yourself of such thoughts, your NeuroBand—a device given to you by Jungkook a week after you moved to the new room, similar to the one he wears for communication and health monitoring—starts beeping, alerting you to your raised heartbeat. Jungkook looks up, alert, but you try to calm your heart and signal him that you are perfectly fine.

"Everything alright?" he asked nonetheless, his concern evident in his posture. 

"Yeah, just some memories," you lie, staring at each other for a moment before he nods and returns to his reading.

After a while, he informs you, "We’re making a stop at Thraxor." Not elaborating further. 

"Okay," your soft voice echos in the space between you, not probing further either. 

When you land some time later on the desert-like planet, you decide to accompany Jungkook. But as a Vorzek—an eight-foot-tall creature with a sinewy frame covered in black, leathery hide—walks by, you nearly glue yourself to Jungkook’s back, grabbing his tight black shirt with your fist to avoid getting lost or taken. Jungkook startles, his shoulders tensing as he stops and looks over his shoulder at you, questioning.

You only look back with frightened, wide eyes, taking a minuscule step back but not letting go. When his hand reaches back and engulfs yours with a strong, commanding grip, you think you had done something wrong and would be punished for it. And as he pulls you beside him, you shrink into yourself, shielding your head with your free arm as your body trembles with fear. 

When you hear Jungkook sigh and say, "Let’s go," his firm grip on your wrist is to protect you better than if you were just gripping his shirt. A slight smile dances on your lips, one you try to hide by lowering your gaze to the ground. 

Shortly after, you enter a store cluttered with herbs, insects, and other tiny creatures. As you approach the counter, your hand still in Jungkook’s, a joyful Silvex greets you both in a language you barely understand, though Jungkook seems fluent. You know that Silvex are a repulsive and dangerous species, known for their slimy, amorphous forms. They typically stand around five to six feet tall, such as the Silvex before you, but could alter their shape and size to a certain extent. Their bodies are composed of a semi-translucent, gelatinous substance that constantly ooze a viscous, foul-smelling slime, its acid capable of killing in seconds. 

Jungkook released your wrist after the conversation deepens. "You can look around if you want," he says, briefly glancing to you and around the store before he’s continuing his conversation with the Silvex.

Slowly, you distance yourself from them, curiosity getting the better of you. As you wander an aisle, you turn on the translator on your NeuroBand, not trusting either Jungkook or the stranger. You move slowly, occasionally glancing at the tiny living creatures on the shelves. It is when you catch the word ‘slave’ in the Silvex’s native language that you abruptly stop, staring at your NeuroBand with bated breath. Scrolling, you see that the Silvex wants to buy you as a sex slave. Panic surges through you like a flash of lightning. 

There is no happy ending for you, it whispers harshly in your mind. Everything has a price and yours is being discussed right now. In the end, you know it’s always been about survival, and the price for your continued existence is far too high. Jungkook’s kindness has been a ruse, a cruel trick to lower your guard before delivering you back into a living nightmare. 

The horror of your past captivity taught you that trust is a dangerous luxury, one you can't afford and never will. No matter how genuine Jungkook’s actions seem, there’s always the lingering fear that he’s just another captor, and this temporary reprieve is nothing but a new form of imprisonment. Well fed and momentarily cared for to increase your value. The thought gnaws at you, amplifying your anxiety and pushing you into action. 

There is no escape from this hellish existence. Even the semblance of safety aboard the ship is precarious at best. Here, on Thraxor, the hostile, desert-like planet, you are a vulnerable prey in a sea of predators ready to strike. Your life has become a constant flight from one terror to the next. The world is harsh, and you have learned that every moment of respite is fleeting, every promise of safety is fragile. You can't let your guard down, not now, not ever. The Silvex’s words are a butter reminder that your nightmare is far from over, and the only way to survive is to run, to escape before it’s too late. Before history repeats itself. 

You look back to the entry of the aisle, squinting to see if Jungkook or the Silvex have noticed you. When you’re sure that they indeed don't, you bolt for the door and start running as fast as you can. 

The market stretches like a maze of stalls and merchants, each corner hiding potential threats. Your heart pounds in your ears with your breathing as you weave through the crowds, narrowly avoiding collisions with towering aliens and strange creatures. The desert heat beats down on you, the arid air scorching your lungs as you push your body to its limits. The ground beneath your feet is rough and uneven, but you don’t dare slow down. The fear of being caught propels you forward, your survival instincts kicking into overdrive.

You dash through the market, your eyes darting in all directions, searching for an escape route. The stalls blur as you run, their colourful wares blending into a chaotic tapestry of survival. The two harsh suns cast long shadows, creating deceptive illusions that threaten to trip you up. 

You dodge past a merchant selling glistening alien fruits in all sorts of shape and size, nearly knocking over a display of iridescent crystals. The shouts of vendors and the chatter of customers create an unbearable volume that drowns out the sound of your frantic breaths. Your only thought is to get away, to put as much distance between yourself and the danger as possible.

Ahead, you spot an alleyway that seems less crowded. Without hesitation, you sprint towards it, your feet barely touching the ground as you surge forward, sweat tingling down your face and back. The alleyway is narrow and winding, its walls lined with crates and barrels. The shadows are deep here, providing a momentary respite from the relentless suns. 

You press yourself against the cool stone wall, trying to catch your breath and calm your racing heart. Your mind races, considering your next move. You know you can’t stay here long. The market is too exposed, too risky. But the open desert will be your death sentence. You need to find a way off this planet, a way to disappear into the vastness of the galaxy where no one can find you.

As something touches your foot, you scream and push off the wall—you need to keep moving. The alleyway opens into a quieter part of the market, where the stalls are fewer and the crowds thinner. You move cautiously to not draw unnecessary attention to you, scanning your surroundings for any sign of danger. The scent of exotic spices fills the air, mingling with the earthy aroma of the desert. Your senses are heightened, every sound and movement amplified by your fear. You keep moving and moving, your steps light and quick, your eyes never still. The world around you is a blur of unfamiliar sights and sounds, but you don’t stop. You can’t afford to stop.

As you continue your escape, you realise that your survival depends on staying one step ahead. The thought of returning to the life of captivity is unbearable, and the fear drives you to push harder, move faster. You navigate the winding paths of the market with growing desperation, the urgency of your situation pressing down on you. Your mind is a whirlwind of thoughts, each one urging you to keep moving, to find a way out before Jungkook find you or any other alien finds favour in you. 

The desert heat intensifies, the suns beating down mercilessly. Your throat is dry, and your limbs ache from the exertion. But you can’t stop. You just can’t stop. The memory of the Silvex’s words is a wake up-call of the danger that follows you. The fear of being caught, of being sold as a slave, propels you forward. You know, if you’re captured again, there may be no escape, no second chance. Your heart races with the knowledge that you’re fighting for your life, again, and you refuse to let fear dictate your fate. 

The realisation that more and more aliens seem to zero in on you sends a fresh wave of panic through your veins. Their eyes, some cold and calculating, others openly predatory, lock onto you as you weave through the market. Your heart pounds louder, each beat a desperate plea for survival. You break into a run, darting between stalls and dodging obstacles, but the crowd thickens, and it feels as though the entire market is closing in on you. The fear of being caught tightens its grip around your chest, and your breaths come in rapid, shallow gasps. You know you have to succeed somehow, but the tents and walls of the market seem to close in, leaving you with fewer and fewer options.

As you glance over your shoulder, you spot the Silvex from the store, its gelatinous form shifting and undulating as it moves with alarming speed. Its maddening grin stretches across its face, a sickening reminder of the danger you’re in. Behind it, Jungkook is in pursuit, his face full of barely contained anger and fury. Jungkook’s eyes are sharp, his expression livid as he pushes through the crowd, determined to catch up to you. Your panic spikes, knowing you stand no chance against their combined strength and speed. You push yourself harder, your legs and lungs burning with effort, but you can feel them gaining on you, the predators closing in.

In your frantic escape, you collide with a Necrovian, a towering figure with six powerful arms. Jungkook’s shout to halt you rings through the air, and the Necrovian obeys without hesitation. His arms wrap around you like iron bands, lifting you off the ground as you thrash and struggle. You kick and scream, but it’s futile; the Necrovian’s grip is unyielding. Fear and desperation blur your vision as you writhe in his grasp, your mind a whirlwind of frantic thoughts. The crowd around you seems to blur into a mass of faces, all watching as you’re held captive.

Jungkook strides toward you, his face thundering with anger. He grabs your arm with a force that makes you wince, his grip bruising as he glares at you. The Silvex looks on with its twisted smile, satisfied with the chaos it’s caused. Jungkook pays the Silvex and the Necrovian, a grim acknowledgment of their assistance, before turning his attention back to you. 

Without a word, he drags you through the market, his grip unrelenting. The pain in your arm the beginning of your failed escape, and tears of frustration and failure sting your eyes. As Jungkook pulls you back to the spaceship, the weight of your helplessness settles over you, a crushing realisation that you are still a prisoner in this vast, unforgiving universe. Your only option now left is to steel yourself mentally for the nightmare that’s about to break onto you. 

01 • MASTERLIST • 03

a/n 2: thank you so much for reading this chapter! lmk what you think 💕 also - taglist, character asks and drabble requests are open!

Like what you read? You can find more here!

[linisiane]

The Self-Aware Player of Harry Du Bois

It's fascinating to me to think about how satire is used as the 'touch grass' or 'be fucking for real' genre. Oftentimes it's making fun of tropes/conventions by humorously contrasting them with reality, which is exactly what Disco Elysium is doing with the RPG!

It goes hand in hand with the idea of RPGs as escapist power fantasy. RPGs are often thought of as the ultimate self-insert fantasy by its detractors or worst players, ahem looking at all those DND horror stories about entitled mangsty murderhobos.

One of the most infamous criticisms of Disco Elysium is its lackluster combat.

ID A screenshot of a random forum discussion post by dungeon master Zed Duke of Banville. It reads: "Disco Elysium has neither combat nor exploration, and therefore is missing two of the three fundamental components (or sets of components) that define the RPG genre." End ID

The game has essentially bordered off your ability to make Harry into a power fantasy murderhobo because you just are physically unable to equip an longsword or cuisse to murder your average citizen on the street of Martinaise.

But even on a less mangsty level, it subverts a lot of the basic expectations of RPGs.

Like the encounter with the racist lorry driver! You never get the ability or quest to change his mind, you only choose how you react to him.

Where other RPGs might let you act as the white savior or the white knight of chivalric romance, no questions asked, you're changing the minds of everybody who's wrong so we can all get along, Disco Elysium really makes you confront your ability to whiteknight, makes you confront if whiteknighting is even helpful, and why you wanted to whiteknight in the first place.

It’s part of the fun/humor experience of Disco Elysium that you at first expect to solve the world’s problems with a couple quests and lines of ‘good’ dialogue and then get socked in the faced with the fact that yeah, you can’t do much, you’re one person, what did you expect, asshole? Cuno doesn't fucking care!

By subverting our RPG expectations, it forces us to become more aware that these expectations even exist and how they fall short of reality. Yet, despite this subversion, the world of Disco Elysium feels so much realer to us.

ID a screenshot of Disco Elysium dialogue YOU - "Don't call it a dump, you've made it nice and cosy here." NOVELTY DICEMAKER - "Yeah." She stares out of the window, not really hearing your words. "Or maybe it's the entire world that's cursed? It's such a precarious place. Nothing ever works out the way you wanted." "That's why people like role-playing games. You can be whoever you want to be. You can try again. Still, there's something inherently violent even about dice rolls." "It's like every time you cast a die, something disappears. Some alternative ending, or an entirely different world...." She picks up a pair of dice from the table and examines them under the light. End ID

Like, Neha is highlighting this little meta element of how you can stack your Harry in any RPG to pursue a certain ending or situation, but the actual outcome is still influenced by a dice roll out of your control.

A lot of the satirical humor in Disco Elysium comes from the absurdity that you can do everything right or everything wrong, and the dice can still fuck it up or save it for you—not just for things like high-fantasy attacks, but mundane things like remembering your name.

The dice are, at their core, about how RPGs aren't just for the control fantasy, of winning high-fantasy battles, but also can represent life as it is, mundane and uncontrollable.

Similarly, Harry is clearly written—complete with all the 'lore' that this would entail—to couch his RPG protagonist nature in the real.

If RPG characters are blank slates? Let's give ours amnesia! Need fast travel?! Kim teases the 41st Precinct for constantly running everywhere by calling it the Jamrock Shuffle. He needs to have deep and intimate conversations with everyone, even when they're strangers? Yeah, that's so weird we gave him the name 'Human Can-Opener,' and everybody remarks on his uncanny manipulation skills.

It's commenting on difference between controlling an RPG avatar and navigating in a human body.

As Kurvits said: “In reality we do not have control, or complete control, of our minds. Just like our body, it is something that we give-not even commands wishes to, and we hope it's gonna do it. We hope it's not gonna break down, we hope it's not gonna rebel against us.”

In one type of RPG fantasy, we don't even question our total control and even assume the joy is from the control.

But in Disco Elysium, we lack control and find joy in it anyway. That is the fun of the game making us, the players, 'self-aware' about its RPG elements, and it especially resonates with anybody not able-bodied, anybody neurodivergent.

[writingquestionsanswered]

I'm writing a story where a childhood friend comes back into the protagonist's life after a few years and there are some lingering romantic feelings between them, but the protagonist is in a relationship, although it's a casual relationship that he feels more seriously about than the other person involved. Both relationships are developing through the story, but I'm having trouble showing the contrasts between the two relationships. What are things I could add to show how differently they both know the protagonist?

Illustrating Differences Between Two Relationships

If you haven't already, go ahead and flesh out what both of these relationships were like. What were the strengths of each relationship? What were the weaknesses? What was the most romantic moment? What was the least romantic moment? What was the average date night like? What was the average "time spent together" session like? What three memories would the protagonist highlight as their favorites of the relationship? What three memories would they highlight as their least favorite?

Once you've fleshed out what the relationships were like, you can use the following methods to illustrate them for the reader. You can provide contrast by illustrating them in close proximity. For example, maybe the current love interest does something romantic, which makes the character think of the most romantic thing the previous love interest did.

Ways to illustrate the relationships for the reader:

-- have the protagonist recall past relationship memories either via the narrative or via dialogue; find a way to relate this recollection with something parallel in the current relationship

-- use a current relationship moment/situation to lead into a flashback where the protagonist relives a similar/better/worse moment in the past relationship

-- use internal monologue to have the protagonist mentally process differences in the relationship

-- use dialogue with another character to have the protagonist discuss differences in the relationships. You can also have the other character make observations about differences in the relationships.

-- have the protagonist notice differences triggered by things like photographs, old e-mails or letters, mementos or gifts, etc.

Some other things to keep in mind:

-- illustrate differences in how the love interests reacted to similar situations/moments/events

-- illustrate differences in protagonist's emotional state during similar interactions with each love interest

-- highlight commonalities and differences between the protagonist and the love interests

-- illustrate differences in emotional and physical chemistry

Hopefully this will get you on your way to illustrating and examining key differences between your protagonist and their current/previous love interests. Happy writing!

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