#which is very important imo. it HAS to be by choice

[megalunalexi-aesthetic]

Actually this pissed me off enough to say out loud but I can't be assed to delete my tags and rewrite: It's not his selfishness that made that not work out, iirc?? Tl:dr he had not a lot of good choices, and was kinda forced into monkhood, and monkhood isn't for everybody, and also he wasn't allowed to go and free his slave mother???? Am I misremembering star wars?????

Being a happy jedi MUST be by choice. And he didn't have that.

~Internalized and practiced the Jedi philosophy of moderation and compassion~ his mom was still a slave and he couldn't do anything, I get what you're going for here, aromantically and stuff, but romance isn't his issue here!! Romance was his only source of understanding who wasn't a manipulative old guy!!

The jedi are neither evil nor good but pretending that Anakin's only issue was ~selfishness~ and ~the sith~ feels.... Holier-than-thou, idk

one thing i love about star wars is that the jedi are monks with dangerous psychic space magic, and so they're monks on purpose. they're joyfully and intentionally participating in their institution and finding meaning and happiness in life as monks—anakin is the exception that proves the rule!

it makes me happy to see as many people in the world live like this, and are quite happy with rich, full lives in fellowship with their fellow monks, practicing the tenets of their philosophies, studying the world and themselves, handing down their traditions and wisdom, always helping others; this is such a valid and good way to live, not any kind of oppression.

if anakin had been less selfish, if he had internalized and practiced the jedi philosophy of moderation and compassion, he could have had a rich, happy life (if only he lived in an age without the malice and menace of the sith!) and that's the root of his tragedy that he turned away from those bonds and generous purpose toward his own private pleasure.

it's not easy to practice discipline, but it's so worth it, both for you and everyone whose lives you can touch. it bothers me when i see comments openly and offensively denigrating all organized living; the individualistic amatonormative anti-religion biases of sw fandom are unfortunately on almost continual display. not all religions and religious organizations are abusive and controlling!

i believe from the bottom of my aromantic heart that one don't need romantic love and a nuclear family to be a full human being with a good life. these monks follow their philosophy of moderation and discipline in fellowship with their monastic fellows on purpose and by choice so they can serve the galaxy, and this is such a commendable life full of meaning and love.

the tragedy of their genocide is visible in how that force of generosity and hope for the galaxy was wiped away, for the violent enforcement of a brutal era of exploitation and greed. when luke restores the order and the jedi return, that form of joy in service and endless compassion is returned too. it's a beautiful thing that continually inspires me to live a better and more moderate and generous life.

[warblogs17282]

idk if this is a controversial opinion but screw it, I do like the fact that they decided to make Millie straight.

Before you all start assuming things, I love how much queer rep is in helluva boss, encompassing a lot of different sexualities and more, I just simply love how unapologetically queer helluva boss is.

With that out of the way, the main reason why I like the choice to make her straight is because the show has made it very clear that she's a straight ally, which as we know, straight allies are important in the real world as well, so because of that, I am glad that the show has given us a clear example of a straight ally.

Plus, her being a straight ally with a bisexual husband, a trans lesbian sister, and her being incredibly supportive of a pansexual imp with strong feelings for a gay owl makes Millie cool as fuck imo.

[sudokuplayer]

I agree with you about the ridiculous book titles but I don't think the ones you mention are so great. Like what's so good about them👀

hiii 👋🏻 I apologize for this long answer. This is so serious for me lol I could talk about it for hours.

I think Giovanni's Room is a perfect title. As I said, it's short and evocative, and I think it's also mysterious but not that mysterious. You don't know what's up with the room in question but you can gather, for example, that this guy Giovanni is Italian, otherwise the name would be John or something, so for sure his Italian identity will be relevant. You have to assume there’s intention behind something as significant as a main character’s name. Also, and more importantly, there's no last name attached to Giovanni so it suggests intimacy—being on a first name basis. It lets you know that whoever tells the story is close to Giovanni; for sure close enough to have been inside his room. Name and last name creates a sense of distance and formality, or it suggests the person is 'important' or special; preternatural like Dorian Gray, famous like that woman Evelyn Hugo (probably, I haven't read it). But just ✨Giovanni✨ ... you can tell it's going to be a first person account of the events by someone who knows Giovanni very intimately. But obviously I’ve already read it and my interpretation is biased. Nothing about the title guarantees it'll be a first person account. This is just what I mean by evocative; it makes me theorize and read into it.

Now, just Giovanni, like Emma or Carrie or Rebecca, wouldn't work because—and this you find out once you read the novel but the title is already telling you—the room is the main character; it's the metaphor. But I wanted to mention those single name titles just to say I don't like them lol. I get them but I think they don't really work nowadays. A recent example I can think of is Eileen. Crickets, right? Eileen by Ottessa Moshfegh. It's a good novel though.

And I also don't like "[Name] [Last Name]" titles very much:  - Anna Karenina  - Jane Eyre  - David Copperfield  - Oliver Twist 

As I said, full names give a sense of distance (imo!), BUT those I mentioned make sense because the novels span the lifetime of the character. Of course the title of a person's life should be their name, and at least it's not something like The Unbelievable Life of David Copperfield, which would be so silly. I think full name titles had their time too. Just Evelyn Hugo would be crickets but it doesn't mean its original title is any better lol 

Giovanni's Room is perfect because I think "[Name]’s [Noun]" is a good title formula: - Charlotte’s Web - Ender’s Game - Sophie’s Choice

Adding an adjective to any of these would truly fuck them up. Imagine if it was Giovanni's Mysterious Room… flop! It was already mysterious. Or Giovanni's Peculiar Room, also a flop and an awful sounding adjective. 

You have to be very particular about the adjective to make "[Name]’s [Adjective] [Noun]" work. Howl's Moving Castle is a perfect example of a good one because it could have been something like Howl's Magical Castle, right? But that sounds basic. The chosen adjective, Moving, couldn't be more perfect.

The other title I mentioned in my post is The Bell Jar. Just picture a bell jar; something so delicate that can trap or protect or display or contain. You can already tell the metaphor game is going to be strong. Also, its formula is my favorite ever: "The [Noun]": - The Trial - The Metamorphosis - The Waves - The Tunnel  - The Goldfinch

This formula is serious business for me. I think it's perfect. Short and so sure of itself. They demand to be taken seriously. I see them and I feel reassured that the author is confident and clear about their work. 

"The [Adjective] [Noun]" is good too but it really has to need that adjective:  - The Virgin Suicides  - The Savage Detectives

I love "[Adjective] [Noun]" — Short yet compelling. Just two words so you can have them tattooed on the back of you ankles or something: - White Teeth  - Wuthering Heights - Sharp Objects - Invisible Monsters (Chuck Palahnuik’s titles are always a hit with me. Short and straightforward; they come across as very cool and crude, Fight Club, Choke, Snuff, and then he delivers cool and crude. The 3 titles below are by authors with a similar vibe to Palahnuik, and look at those titles… chef's kiss) - Exquisite Corpse  - American Psycho - Mysterious Skin

I also love "[Noun] and [Noun]" — To contrast, to compare, to complement each other, whatever it is it's always a hit. The alliteration in both Jane Austen's titles is more poetic than whatever long wordy title you can think of: - Pride and Prejudice  - Sense and Sensibility - War and Peace  - Sons and Lovers - Crime and Punishment 

❌ Now, the ones I consider flops no matter what. The long “creative” ones that come across as eager and insecure and make me roll my eyes.

Anything that tries to sound like The Unbearable Lightness of Being. Also these wretched formulas:

"The [Adjective] [Noun] of [Fuckass Name + Last Name]": - The Unlikely Pilgrimage of Harold Fry - The Seven Husbands of Evelyn Hugo - The Secret Life of Walter Mitty - The Curious Case of Benjamin Button - The First Fifteen Lives of Harry August  - The Strange and Beautiful Sorrows of Ava Lavender (Two adjectives! Get out of here!)

"A [Noun] of a [Noun] and a [Noun]": - A Song of Ice and Fire - A Court of Thorns and Roses - A Book of Spirits and Thieves

"The [Person’s Job/Occupation] [Relative]" — The relative is usually a wife or a daughter: - The Surgeon's Daughter - The Time Traveler's Wife  - The Zookeeper's Wife - The Shopkeeper's Daughter

"All The + [Some Bullshit]": - All the Bright Places  - All the Light We Cannot See - All the Dangerous Things - All the Colors of the Dark

"Where the + [Some Bullshit]": - Where the Crawdads Sing - Where the Red Fern Grows - Where the Dead Sit Talking

"This Is How + [Some Bullshit]": - This Is How You Lose the Time War - This Is How It Always Is - This is How You Lose Her

"We Are All + [Some Bullshit]": - We Are All Completely Beside Ourselves - We Are All the Same in the Dark - We Are All Birds of Uganda - We Are All Made of Molecules

I also don't vibe with titles that instruct you to do something: - Go Tell the Bees That I Am Gone  - Drive Your Plow Over the Bones of the Dead (good novel though!) - Raise High the Roof Beam, Carpenters - Go Tell It on the Mountain (adding one by the author of my beloved Giovanni's Room so you know I'm serious about this lol)

💌 To finish my rant on a more positive note, there are always exceptions, and I do like some poetic titles: - Tender Is the Night

One of my favorites and I haven't read it, I just like how it sounds. That would be "[Adjective] is the [Noun]". I don't know if there are more like this. I like that it's taken from a poem but it's not too wordy. 

And the following are all by John Steinbeck. His title game was insane! And they are all references, which shows it can be done with grace and measure: - East of Eden — biblical reference - The Grapes of Wrath — lyrics from hymn which references a bible passage - In Dubious Battle — from Paradise Lost - Of Mice and Men — this one could go in the [Noun] and [Noun] category but the preposition adds a little something imo, and it's also taken from a poem.

Anyway, I hope this wasn't a bore! 💌

[blluespirit]

okay first three episodes thoughts

good

bending is cool as fuck

sozin’s actor does an amazing job at full crazy but calculated

scenery is STUNNING

monk gyatso made me cry. idk why i just saw him and wanted him to give me a hug so bad

APPA ACTUALLY LOOKS GOOD AND NOT LIKE A LITERAL MONSTER

i wasn’t sure how id feel about them showing the air nomad massacre but i think the importsnt thing is that they showed it was a massacre - and that although they can defend themselves, they don’t have the ability to fight back like an organised army would bc they’re pacifists! they attacked a peaceful group

the abandoned fire nation ship in the southern water tribe looks so fucking cool

ARTIST ZUKO???!!! LETS GOOO

Dallas does an amazing job at getting across Zuko’s intense desperation

I actually ended up loving all the Sokka and Suki interactions sm it was so cute and wholesome

Katara is perfect i will kill and die for her

Azula’s opening scene being her manipulating those people trying kill ozai ultimately leading them to getting burned alive by him and smiling - literally so fucking good. she is the best villain in history of forever

really good move having the mechanist (Sai!) and Teo be in Omashu imo. having them destroy the northern Air Temple so carelessly always pissed me off

THE FREEDOM FIGHTERS ARE LITERALLY PERFECT I AM SCREAMINGGGG

I was wondering how they were going to introduce the Mechanist and Jet in a limited amount of episodes but I like how they combined the two stories

Also Sokka absolutely nerding out in the Mechanist’s home is so important to me

Zuko getting has ass beat by that lady for fighting Aang is literally so funny and reminiscent of the goofy aang vs zuko fights we see in season 1 (to be clear: i adore zuko. this is NOT hate on him)

Zuko losing shit about his notebook and trashing his room and then outing himself as a fire bender in Omashu is so perfect. god i love him so much. it’s very season 1 zuko. it’s giving I DONT NEED ANY CALMING TEA!!!

things i was not a fan of: (some of these are a little pedantic i’ll admit)

Exposition is a little is a little janky but i’ll forgive it i guess bc at least it isn’t egregious as The Movie That Shall Not Be Named

Aang leaving just to get fresh air/clear his head and intending to come back is a silly change to me. all i keep thinking about is the storm where we got those epic Zuko and Aang parallels which now doesn’t really work and also takes away a lot of Aang’s depth. A good change adds to the story, but personally this seems to take it away

WHY would they not make Katara the one to bring him back from the avatar state? just seems like a strange choice to me? not saying this from a shipping point at all but that moment is a big step to their bond/friendship especially since they have only just met

Still don’t understand why they made the head of the village Suki’s mum. like i don’t think it’s a terrible choice but they still could have let them have a mother/daughter bond but still let Suki be the leader without any implications of nepotism. it mostly seeems silly

tl;dr - really enjoying it so far!

[blueskittlesart]

did u not like totk?

i LOVED totk. i think it was well-written and did its job as a sequel to botw very well. HOWEVER. i do think it suffered slightly from the commercial success of botw. as i mentioned in my last post, nintendo does this. thing. when one of their games gets popular where every game after it has to be Exactly The Same so they can make all the money in the world via comparison marketing. (and this is a problem with the wider game industry in general but also a very observable pattern in loz specifically.) I know it's been a pretty long time since botw came out, but before (and immediately following) its release there was some pushback from longtime fans who worried that the open-world and lack of traditional dungeons meant that the game had strayed too far from the classic formula that makes a game a "zelda game." this is to say, botw was EXPERIMENTAL. and the devs had no idea if what they were doing was going to be successful or not. the open-world of botw wasn't a gimmick, and it wasn't the devs jumping on the open-world bandwagon. it was what CREATED that bandwagon. the open-world was a deliberate choice made specifically for botw because it reinforced the story that botw was designed to tell. the game is about exploring a desolate world, about making connections, and rebuilding both the broken kingdom and the player character's shattered sense of self by traveling and learning and building relationships. a large open-world map with only minor quest guidelines and lots of collectibles and side quests lends itself perfectly to this specific story, which is specifically about exploration and rebirth.

the problem is, botw was. almost TOO good. it was so good that every other game company on the planet started scrambling to build giant open-world maps into their next release, regardless of how much sense that actually made narratively. and because of that, when it came time to release a sequel to botw, the devs had a lot to think about. they had HUGE shoes to fill in terms of fan reception, but they were ALSO being asked to follow up one of the best-performing games of all time, commercially. totk needed to SELL as well as botw. And, likely because nintendo was worried about that potential commercial value, totk needed to keep people comfortable. I don't know for certain, but I definitely get the feeling playing totk that the devs were specifically told not to stray too far from what made botw marketable and successful--that being the open world and the versatility of gameplay. so in order to follow that up, they made... 2 more huge open maps, and new gimmick gameplay which was explicitly super-versatile.

do i think that the extra maps and ultrahand were BAD choices? no. however, i don't think they necessarily ADDED anything to the game as a narrative whole. one of my favorite things about botw was how everything seemed to be designed AROUND the narrative, with gameplay elements slotting neatly into the story thematically. totk just. didn't really have that, imo. there wasn't a huge narrative benefit to the gigantic, completely unpopulated depths and sky maps. ultrahand was cool, but within the context of the story it meant basically nothing. in some ways, i almost think totk could have benefitted from a much more linear approach to its storytelling, a la skyward sword, because there are a lot of story beats that have to be found in chronological order in order to have the right emotional impact, but because of the nonlinear open-world it kind of became a struggle to hit all the important story points in the right order. an easy example of this is the dragon's tears in comparison to the memories--the dragon tears have a very specific set order in which they happen, and finding them out of order can make the story you're seeing in them feel confusing and disjointed. the order in which they should be found is technically displayed on the temple wall, but most players aren't going to pick up on that or follow it--more likely, they're just going to explore the geoglyphs as they come across them organically, and therefore will likely witness the story in a completely disjointed way. compare this to the botw memories, which ALSO technically have a set order--the order in which they're displayed on the sheikah slate. however, because they're largely just small moments in time, and not one continuous story, finding them out of order has a lot less of an impact on how you as the player experience the narrative, and it's not hugely detrimental to your experience of the story if you find them naturally as you explore rather than explicitly seeking them out in order. If TOTK had been allowed to deviate from the botw formula a bit, i think we may have ended up with a more cohesive game in terms of narrative beats like that. as it is, i just think the game is torn slightly between wanting to be its own new game with new gameplay and needing to be botw, if that makes sense.

[reachartwork]

the process

a lot of people like to ask me about my process and how ai can be "creative" because they're under the impression that it's just kind of a big slot machine. you pull a lever and art uncontrollably comes out. well, let me show you my process

this is going to be a long thread tagged with #long post, blacklist that if you want to skip it.

so how it starts like most art is that i have an idea. in this case, earlier i made a post about witch-knights "surfing" on swords, so i'm going to try and make that - a witch-knight flying through the air atop one of her swords.

it starts with this picture.

i think this picture is dogshit so i discard basically all of it to try and find something closer to my original intent. there's a couple of uninteresting regenerations so it's clear i have to go back to the drawing board and teach the machine what it is i'm trying to do

let's start with a witch-knight on a broom. it's definitely not great but it gives us a better pose that i can work with.

i start by erasing the broom and replacing it with a skateboard - the machine understands skating better for what i need it to do.

there's a ton of small, subtle errors in this image and it overall looks like dogshit but the most important part right now is blocking and the overall pose structure - i need her "surfing" a large, lengthwise object, in the sky. i start by erasing pieces of the skateboard

now we have a sword, which is good. but the sword itself looks... bad. i'll spare you the abortive attempts at selective regeneration of the sword and just show you what happened when i rolled it back a couple of times from this pose and let it regen entirely.

again, tons of small little shitty errors, but this is something i can work with. i do another regen for a less shitty sword. her boob armor gets replaced with, like, generic scale mail.

this image has a great sword and decent pose but like... everything else is kind of futzy and i dont like it. instead of trying to pick and choose i just throw it back into the oven for a second. much better! but now she's going to cut herself on the sword, oh no!

again, i'll save you the agonizing thirty minutes of trying to get it to understand where the foot should go. unlike before i didn't really have a choice except to muscle through. there! now she's surfing safely :)

so it's done, right? well, i mean, i could post this. and it would probably do okay. but *i'm* not satisfied with it. there's stiffness. dozens of minor errors. the eyes look weird when you zoom in. let's start by fixing her hat, and then maybe her hands?

but she's missing fingers on her left hand so let's go ahead and fix that too. and i don't really like the tip of her sword and the ocean looks really flat and boring. so, VERY CAREFULLY, i have to etch out the parts of the sword and her body i have to keep, and also write an entirely new prompt to tell it "i want an ocean w/ rolling waves please :)"

this is better but not great. i try again - serendipitously, it makes this really cool variant with a shadow over the water, but i know working with that will take more wrangling so i'm considering it an evolutionary dead end and discarding it for now.

i proceed to spend 30 minutes trying to make the ocean look better but it's really not working imo. i'm gonna go back to the shadow version and see how that works

i'll spare you the other 8 minutes - i'm satisfied with the following picture. the sword isn't *perfectly* straight, her eyes aren't perfectly textured, the scale mail is... weird, in texture, but anything else would be greasing the wheel and i think beyond the machine's ability to do fine detail.

i've also attached the starting picture for comparison - it has better, "higher quality" clouds and ocean but i personally cared more about the pose and the sword surfing - the background is mostly tangential. could i get back ocean and clouds of that quality with another two hours of painstakingly cutting and re-generating bits of the background without destroying any of my existing work on the pose? probably. but i don't want to.

total time spent on this piece from start to finish was one hour and twenty one minutes. and now you know!

[haru-dipthong]

Fansub Release + Translation Notes on Utena Ep 16

I’ve been dreading this episode since the beginning of this project. Most translations of the cowbell episode have two major problems that I knew were going to be really hard to overcome in my translation.

How on earth does Nanami not know that a COWbell is something that a COW wears?

Why does Nanami keep saying moo in regular conversation?

When I actually got into the translation though, it was so much more difficult than I had even anticipated! Not only were there two very large episode-spanning translation problems to solve, but there were also TONS of difficult individual lines. And on top of it all, a song to translate!

I was not happy at all with my first draft. I sent it to @dontbe-lasanya and went to bed. When I woke up and saw their edit, it was like magic. They had transformed my extremely rough script into a work of art! I’m so so happy with this episode now, and the majority of the credit for that has to go to Anya.

So anyway, how did we fix those two big problems?

How on earth does Nanami not know that a COWbell is something that a COW wears?

Obviously the Japanese word for cow is not “cow”. It’s 牛 (ushi). However, the Japanese word for cowbell is カウベル (kauberu) — it’s a loanword; it’s just “cowbell” turned into katakana. There’s no obvious connection between the words for “cowbell” and “cow” in Japanese, unlike English. Also, カウベル is not a very familiar word for most Japanese kids and teens (the target audience of Utena) and sounds foreign and therefore fancy (given the right context). On the other hand “cowbell” is a very familiar word in English, or even if it isn’t, “cow” and “bell” are. It also doesn’t sound fancy or foreign.

In Japanese, Nanami falls into some cringeworthy teenage social pitfalls in this episode. 1. The classic japanese kid thing of assuming katakana loanwords are cool or fancy. 2. The universal kid thing of pretending to know a word she doesn’t know to seem smart/cool. These things are like, a HUGE part of the conceit of the episode. IMO, it’s crucially important to get these ideas across in the translation. To fail to do so (i.e. by translating カウベル as “cowbell”) would be akin to cutting out the first 8 minutes of the episode.

Translators will often translate katakana loanwords directly back into the original word, but that clearly doesn’t work here. Anya decided to go with almglocken as the translation for カウベル because Miki is the first person to give the cowbell its name, and almglocken doubles as the orchestral term for a musical cowbell (plus the yodelling in the cutaway scenes really sells the German choice, which we only discovered after we had committed to it!). I love how that scene feels where Miki names the bell - it really feels like he and Juri call it an “almglocken” and Nanami just goes along with it, not wanting to admit that she doesn’t know what almglocken means. She totally reads as a stupid kid who wants to be a part of European high fashion without actually knowing anything, which is exactly how she reads in the original Japanese script!

Why does Nanami keep saying moo in regular conversation?

First things first — the sound a cow makes in Japanese is not “moo”. It’s モー (mō/mou) which is prounounced almost exactly like the English word “more” in non-rhotic accents like my Australian accent. In an American accent it probably sounds like “mall” without the ending L sound.

So, cows say “mou”. But もう (mou) is also a dictionary word in Japanese. It can mean “already” as in “I already did that”, but it can also be used as an interjection (similar, but not exactly the same, to how “already” can also be used as an interjection as in “enough already!”). もう (mou) carries other nuances with it as well — there is a cultural image that teenage mean-girl types (like gyaru) tend to use it a lot. I like translating it as “ugh”, which I did several times in this episode.

The writers are getting a lot out of the cow metaphor in this episode. There’s the whole thing with Touga selling Nanami away as a metaphor for his manipulation of her (and women in general) in order for him to gain patriarchal power (he even eats her meat!!). But there’s also this equating of cow mooing with the word もう which is associated with young girls. Whenever Nanami moos this episode, even right up until the end when she physically transforms into a cow, you could translate it as “ugh” if you didn’t want to preserve the cow sound meaning. Every moo fits into her sentences as a bitchy interjection.

This is a hard thing to get across in translation, so I used a combined approach. Sometimes I directly translated もう as “ugh”, which morphed into “mm-ugh” and then “muuoo”. Other times I compensated by using words with “ooo” sounds in them and drawing out the sound (like “moOOove”.

Dona, dona, dona, donaaaa

As I mentioned in my post yesterday, while translating the song, I made particular pains to match the meter of the Japanese lyrics with the English lyrics.

あるはれた　ひるさがり　いちば　へつづくみち

One day on a clear lazy afternoon, on the road to the marketplace

A literal translation of the line would be something like this

One clear afternoon, on the road to the market

But I’m sure you can see how this doesn’t have nearly enough syllables, much less stress on the correct syllables. Because Japanese has less consecutive consonants, it tends to have words with more syllables, but shorter syllables than English. They don’t have words like “cramp” where 4 consonant sounds exist in one syllable — usually there’s only 1 consonant per syllable. This means that if we’re matching beat-for-beat, English can fit more words in per bar, which means when translating literally, we end up with lyrics that are too short! That’s why I’ve added “One day on a” and “lazy” and extended “market” to “marketplace”. This came up constantly during the translation of the song, where I was consistently needing to create words that didn’t exist in the original to keep the meter similar.

A few little notes to finish

This scene where the girls in PE class are chanting ファイト！(faito) while they run is hilarious to me because both other translations I have access to translated it as “Fight! Fight! Fight! Fight!” which is just… not what they’re saying. Obviously in English chanting “fight!” makes it sound like you’re encouraging two people to physically fight. In Japanese, ファイト is a loanword and does come from the English word “fight”, but it only means “fight” in the sense of like, metaphorically fighting: overcoming mental barriers, pushing through, doing your best. They’re just chanting to get their motivation up. I translated it as “Move those feet! Move those feet!” so that when Nanami brings up the rear I could switch it to “MoOOove those feet!”

Translating it as “Fight! Fight!” is just completely unacceptable no matter what your translation goals are tbh. If you care about “preserving aspects of Japanese culture” in the translation, you should translate it as “Faito! Faito!” or “Fighto! Fighto!”.

I want to note that I’m so happy with how the characters talk about fashion. They really sound like they know what they’re talking about (thanks to Anya). So much of the time translations sound like they were written by someone who doesn’t have any knowledge about the field the characters are talking about, which makes the dialogue sound super forced even when the characters ARE supposed to know what they’re talking about. To give another example, Anya flagged this before with how Touga talks about Miki’s piano playing. The standards are so low for this kind of thing that my limited knowledge of music helped me write a translation that sounded knowledgeable enough to be worth commenting on!

Also, I’m REALLY glad we went with “dyke” as the translation for 男女 (otoko-onna) a few episodes ago. Nanami uses that word again this episode and Utena’s reaction really works with the slur.

Thank you so much again to @dontbe-lasanya. This episode wouldn’t have been possible without you!

Be sure to follow the blog to stay updated with new episode releases! See below for all episodes released so far.

[nalyra-dreaming]

Hi there!

Just saw one of your reblogs for lestats role in the trial and it reminded me of something I was thinking the other day that has actually more to do with louis.

Louis chose to stay with armand, is shown to forgive armand and even present him as his current love of his life despite armand fully knowing about the premeditated public executions of himself and his daughter.

From louis pov armand knew for months, could have prevented it for months and only at the last minute "changed his mind" (we know the reveal showed that was not the case but louis didn't know that). And he STILL chose to stay with him. For all his talk about avenging claudia he let armand go unpunished.

Why? Because he thought armand saved him.

That is shown to be louis' choise way before any mental influence from armand started taking place.

When the reveal about lestat happened the same parameters were shown but reversed to lestat instead of armand.

He is shown to rehearse, know about the trial and choose to save louis in the end. We don't know his actual state during that (and rolin loves to make all lestat injuries imaginary 🫠)

Book readers know what happened and what might get picked up in season 3... but then again they have changed a lot of aspects from the books especially where lestat is concerned. Changing this too would not be a stretch given their choices so far.

Also a lot of show watchers know nothing about the books and if you only watch the show coming to this type of conclusions is understandable imo.

I hope and pray rolin will choose to actually follow the books for this one but I can't know that he will and unless proven otherwise we kinda have to live with these takes for now 😅

Hey nonny,

ermmm.... I - forgive me - but no. We do not have to live with these takes, because actually the show gives us everything we need - you just have to pay attention.

This is what I meant in another post about what I would change on the show with the show being too subtle.

Because you obviously missed a few rather important clues.

Louis didn't choose to stay with Armand.

(Outside the initial spiteful decision, maybe. And even that I doubt, because the tower scene... is damned weird, and I doubt it happened as told.) Armand manipulated, lied, edited Louis' mind, and kept him in a literal golden cage. THIS is Louis' face when Armand chose to reveal himself at the end of 1x07:

That's trepidation.

You might want to read this post, as to "The Graduate", which Rolin Jones named for that scene, it is a direct reference, and has not much to do with why you take it for. Keep in mind that this analysis was written way before s2 though and does not contain its reveals.

In s2 it becomes clear over the episodes that Armand keeps Louis as the proverbial "Stepford Wife" in Dubai - edits his mind when he acts out, edits it when Louis asks questions, the diary request is not followed up on, Louis' mood changes are blatant.

He literally puts words into Louis' mind to say. 2x05. Daniel Hart accentuated it all beautifully with that single note.

Louis does not forgive Armand.

Louis literally does not forgive Armand, because IN THE VERY MOMENT when he gets the truth, in 2x08, he throws Armand into the wall for it and leaves him.

Like, these are Armand's words there, when he runs after Louis:

One night, 70 years ago. You are over this, Louis! The pain of it has left you. Don't let an insignificant detail, delivered from am insignificant mortal... You have forgiven me for what part I played in her death! And time has opened back up to us and we are once again teachers of one another.

And who knows, maybe Armand even believes it. (Though I doubt it because Assad says Armand sees Louis as a vessel for himself.)

But Louis throws Armand into the wall after this, and Jacob said it was to "make him stop lying".

That's not forgiving.

Louis thought Armand had been roped into the trial, had been made to think Armand was only a victim in it, like he was.

But Armand was the director, as is very much evident in the trial script. And when that becomes clear, his rage is quite clear as well. And he goes to Lestat immediately.

____

A lot of show watchers (only) seem to not pick up on a lot of clues, and I don't mean this in any ill will.

But this show needs you to think when you watch it, at least if you want to analyze it. It's okay if you don't - but if you want to understand it, or follow the twists, then you need to pick up the clues.

And pay a LOT of attention to the details.

Because the details are there. Hints to the truth are there.

For example Murder Night - that cannot have happened as shown either. The writers said they would revisit still, and Claudia's little diary with Lestat' blood does not match what Louis told. Or the train scene - neither the time tables nor the cities match, Lestat cannot have brought back Claudia as told. Or the twice given speech on the radio on different evenings that was actually only given once. The wound of Antoinette's taken off finger, which doesn't match. Louis and Claudia being not as afraid of Lestat as they claimed. Lestat's outburst at the chess game being about more than just a temper tantrum.

And so on.

You think these are coincidences?

On this show?

No.

But they are subtle.

Very subtle.

And I have a feeling they are too subtle for some.

Because people are used to be fed a story that they can believe, for a show to have an objective truth.

And that is very much not the case here.

And it doesn’t have anything to do with book reader‘s knowledge and all to do with attention to details. And the willingness to doubt what you’re told.

Because we were fed a tale - not the (whole) truth.

[lover-of-mine]

Okay, so I was watching the s5 supercut (link to those here), and like, we now know that they wanted to make Buck bi in season 4 but that was blocked by fox and that does give the opening to assume Eddie finding out he is some shade of queer was part of the plan for s5, especially considering the way that it is very easy to add a sexuality crisis to his breakdown. But I was chilling but I have blue and yellow on the brain and I got distracted by the way in 501, Eddie's panic attack arc is blue and yellow coded in a similar what 8a has been blue and yellow coded for Eddie (meta on that here), with the blue pamphlet and the yellow gurney, the gloves, and the bags.

I latched onto the yellow gurney because, well, not yellow lol

So obviously, I went chasing stuff in season 5 because why not? As usual tho, I do get more intense about the yellow when applied to Eddie since the blue has already been established as Buck's.

Also, the season overall has blue and yellow call, like the cheerleaders' call from 504 and the chainsaw one from 505, the 505 one even the dispatch side of it is blue and yellow, which is a choice.

But anyway, beyond 501 for buddie. The yellow rags staying behind Buck and the blue sheets around Eddie for the 502 conversation. The yellow beer with a blue ice pack (and a blue hoodie in 504).

The whole kidnapping plot in 506, the choice to put Mitchel and the mom in similar yellowish tones, the way they keep the suspenders up so both of them have the blue and yellow on them, the amount of blue and yellow instruments around them at that ambulance. The part that I think is the most fun here tho, is the way that when Eddie is talking to Mitchel inside the ambulance, the sirens only flash blue, the whole conversation plays out with only blue lights, until Eddie goes to open the doors and the red finally comes into play. I like the way they used those carts to keep the yellow around both of them while inside the hospital.

This does lead us to the most important yellow of the season imo, the yellow behind Eddie when he tells them he's leaving the 118 feels pointed to me now lol. I also think the yellow lighting when he's talking to Chris in 511 is important, especially because that yellow element isn't there when he's talking to Buck in 511 or even when he's talking to Chris in 514.

Not exactly Eddie, but important anyway, the way Chris is yellow for the breakdown where Buck is blue and red, I feel like it plays into the thing with all the primary colors I suggest on the meta for 8a.

In 515, when he's talking to May, the blue and yellow literal color coding on the computer and the yellow files.

There's stuff going on in 516, the way they play with the way dispatch has a lot of blue lights and the warm lighting of the actual fire.

Also Buck and the suspenders giving them yellow to Eddie's blue shirt. There's also the yellow of Chris's room in 517.

There's a lot of color when Eddie is in Texas during 517, but I do think that the sign and the cake being majorly yellow is an interesting choice.

And to end it all in a nice note, when they are fixing Eddie's room, Buck is placing blue strips on the wall, while Eddie goes over it with a yellow sponge.

They want my man out too lol.

And the way I just wanted to chill watching an hour of buddie and ended up writing a meta, will my brain ever chill?

Anyway, if you read this, I love you 🫶

[corvidaerook]

I'm thinking about Rook De Riva and Viago again and just rambling about my thoughts, which might change when it's not 3am:

For my Rook, I think the reason he never met Lucanis, Illario, or Caterina before Veilguard, or even apparently saw them from a distance considering he didn't recognize them at all, was partly because of Viago and Viago's past with the King.

Basically, Viago got forced to choose between being a Crow or being exiled because of his position as a bastard child. He didn't have a choice in it, which in my opinion leads to him having issues with the whole idea of power and who holds it and all that ("The Crows rule Antiva" do you mean the Crows, or do you mean you, Viago?) And that makes me think of two things.

1) Viago hating the idea of the higher-up Talons having too much control over him or pulling rank. What's one way to give them less of an opportunity to let them do that? Keep them from ever really seeing his best Crows. And personally, I think it's implied that Rook is one of his best. The way he talks in the Blighted Treviso scene, where he goes "you always think of something!" and acts like Rook literally just being there could've changed anything alone makes me think he relies on Rook a decent amount. Plus him trusting Jacobus to Rook, "you're a damn fine Crow," etc. So I can totally see him tucking Rook away from the higher-ranked Crows as an "out of sight, out of mind" tactic to keep them from using Rook in any way. (I know Teia and Viago don't pull rank with each other, but I can't remember if they said that was all the Talons or just themselves, and I don't believe that none of them do)

And

2) Viago seems to actually care about Rook. Teia says it, Viago seems to imply it, etc. and in my headcanon, it's definitely true. So, similarly to the first point, I think Viago would be hesitant to let anyone he cares about be in a place where they could be subject to a display of power from someone higher up in the Crows. He had to deal with being banished or given to the Crows by his father, and I just don't think he'd tolerate the idea of a similar treatment towards people he cares about. Teia is relatively safe because she's incredibly capable herself and has Caterina's support, but Rook when they were just starting out? Viago couldn't have been sure that they would win over anyone important enough to give them that sort of immunity. So to me, it feels like the easier method would be to just keep Rook out of the way. If Rook is never really noticed by the higher crows, they could never be deliberately singled out. Not only would that protect Rook, but I think it would also satisfy the paranoid, overly cautious part of Viago that's constantly waiting for another adder in the wardrobe situation.

(also, 3, Imo Viago would love to have a secret ace in the hole trick up his sleeve in the form of a personally trained, very skilled assassin who none of the other big-name Crows have necessarily noticed. Especially if Teia helped train them too, on top of Viago and an Heir. Two, if not three, incredibly talented teachers making a top tier assassin? It'd be his dream come true if they'd just start listening to his fucking orders.)

So, with those two (3ish) reasons, I think Viago purposefully keeping Rook away from the Dellamortes makes a lot of sense. I can absolutely see it where Viago just sent Rook away whenever there was some important meeting or he knew Illario would be around the Diamond or that Lucanis would be at the cafe. He might've even warned Rook that he wanted them to stay away from the Dellamortes because he didn't trust them not to fuck up in front of them, meanwhile he was really calculating about how best to keep Rook from being noticed until they were at a point where he would feel like they were ready.

And then Rook went and pissed off everyone with the Antaam stunt, all at once, and Viago had to send Rook away, making him use his power to make choices for Rook in the exact way that he'd been plotting so carefully to avoid anybody else doing to them.

[noxiatoxia]

I don't know if this is common knowledge, but Komaeda's talent in Japanese is not "Ultimate Lucky Student". It is "Ultimate Good Fortune" (or good luck).

I know the word "lucky" has connotations with being good luck, but "luck" itself seems neutral to me at least.

I think the fact Komaeda is praised for, and has his talent be centered on, his good fortune is a very important nuance. People only see the good that happens to him. People keep telling him what happens to him is "good luck". His parents dying and getting kidnapped end up being called "good luck" in the end. I think this reinforces his pattern of thought more than people just saying he has extraordinary luck (good and bad). It's a minor difference, but it adds a lot. I have been thinking about this for a little bit now.

Because of the fact it is good luck specifically, I wanted to find parts where Komaeda specifically talks about bad luck. Lines such as "my awful luck/dreadful luck..." doesn't make much sense in the context of his Japanese talent. It made me wonder if those English lines even existed or if it was a "Luke, I am your father" situation. I don't have either the English or Japanese script memorized.

I checked the Freetime Events because of this, and found an interesting thing. There's a number of mistranslations, or simply translation choices I don't really agree with.

The freetime events heavily misrepresent how often Komaeda uses the word "luck". He uses both 不幸 and 不運 an equal amount I'd say. Maybe the former more. The former means "misery" "sorrow" or "misfortune". The latter means "bad luck" or "ill-fortune".

Likewise, 幸運 means good luck, but it also means good fortune. It's the word used in his talent as I described above.

Now, that's not to say I think Komaeda's "talent" should not be referred to as luck, nor am I saying he should never use the word luck. I think good and bad luck is a perfectly apt English word to describe his experiences. I just think the English translation overuses it. It wouldn't have killed them to make him say "isn't that just awful" or "what a tragedy, right?" instead of "isn't that such bad luck?" every conceivable moment. Maybe I'm just nit picky.

Now, onto the free time events. I want to talk about them.

I'll be talking about them in order as they appear. Also, I am only going to talk about the 3rd event onward, after Komaeda's chapter 1 reveal.

Freetime event 3

A minor nitpick, but "friends" is not the word I'd use here. It's true you can translate it that way, but considering everything else about Komaeda, at this point in the game, he wouldn't readily call Hinata his friend. Especially considering the connotations that holds for him.

That's precisely likely why he, in fact, doesn't say "friend" in the Japanese text. He uses 仲間 which like I said, while can and does translate as friend when used in that way, it just means people of a common thread. Like, a group, I guess.

My TL:

Because we both share the common goal of seeking out hope!

Freetime event 4

This is a really bad translation IMO. Hope is never said once in the original dialogue. I don't know why they put it there.

My TL:

Hinata: It's pretty ironic that you got wrapped up in this shitshow considering your "Ultimate Good Luck". Komaeda: It's not ironic at all! This is no doubt just the beginning of the good things to come my way! Komaeda: Um, let's just say the "good luck" I was born with is a little less straightforward [than the name would suggest]... Komaeda: once this is all over, I'll be rewarded with good fortune of the highest caliber.

And though this next one isn't much of a "mistranslation", I want to offer an alternative translation that highlights my criticism of "overusing the words good/bad luck".

My TL:

Komaeda: The greater the misfortune I experience before hand...the greater the good that comes my way afterwards! It completely cancels out everything before it!

Freetime event 5

I sadly cannot find in-game pictures of this since it's one of the wrong dialogue choices, so here's the script file text for it instead (sorry)

I remembered this line in English specifically because I always thought it sounded weird for Komaeda to say - "It's rare to hear you give such a half-assed answer".

While not a mistranslation totally, I think the tone is a bit off.

I would write it more as, "Ah ha ha! That's quite the answer, Hinata-kun!"

It literally translates as "for Hinata-kun, that is a very suitable answer!" but it's clearly supposed to be teasing/sarcastic. So he means to say "oh, wow, Hinata-kun, you're answering with that?" but in a lighthearted tone.

Freetime event 6

Almost didn't include this because it's the mistranslation we all know and hate, but it's worth mentioning in case people don't know.

My TL:

Please, just one last thing...don't ever forget...that from the bottom of my heart, I love y...I love your hope that sleep dormant inside you.

Though he does just say "please, don't forget", he uses どうか which is a pretty polite turn of phrase for Komaeda. It also is a way to emphasize a request, as in please do this to the benefit of me.

He backtracks pretty heavily. The verb comes at the end in Japanese sentences, so giving an exact one-to-one would be hard, but I'll try to explain it.

ボクはキミを... キミの中に眠る希望を心から愛していると。

Boku wa Kimi wo... Kimi no naka ni nemuru kibou wo koko kara aishiteiru to.

の/no = possessive. Such as, "Lucy's cat" "David's car".

を/wo = verb particle. There's no real English equivalent but you use it to signify some verb is being done onto something. Such as, "I kicked the ball" ("ball wo kick") or "I pet the cat" ("cat wo pet").

は/wa = topic particle. Commonly translates as "is/am" but that is NOT what it means. It just signifies everything that comes after it relates back to what comes before it. It's most accurate to think it as "as for the topic of..." Such as, "my damaged car wa had to go into the repair shop." After wa, "had to go into the repair shop", you ask, "what had to go into the repair shop?" you can find the answer in the topic, which is before wa: my damaged car. (or... me no damaged car.)

So, with this knowledge, let's break down the sentence.

Boku = I/me.

Kimi = you.

So this would make Boku wa Kimi wo in it's most literal form: as for the topic of me (aka, speaking for me), I, onto you...

Then he trails off. wo becomes no.

I, onto your hope sleeping inside of you...

and then we return to wo:

from the bottom of (one's) heart, love [the hope sleeping inside of you].

One could easily see it as Komaeda quickly changing the wo to no to add extra steps to not make the confession so head-on. Because if we remove everything after no and just continue where the wo leaves off, we get:

Boku wa Kimi wo koko kara aishiteiru to.

As for me, I, from the bottom of my heart, love you.

Now...one could also read it as him not backtracking, but adding. Saying I love you and the hope that lies dormant within you. Both are equally plausible. Listening to the audio it can go either way, but the way he quickly and softly drops off when he gets to the first wo makes me feel like it's a backtrack. Or maybe the background music is just too loud haha.

Well, that's all I got for now.

[thissccounthatesfascists]

TL asleep? cool.

(long post, strap in)

i wanna talk about colin's wet dream. that was the most demisexual shit i have EVER seen. there's not even any sex. its just a romanticized, elevated version of their first kiss. its colin's subconscious wanting to replay the moment he fell in love with his best friend in the Most way possible.

lets break it down:

we got the same location of their first kiss. Complete with mood lighting and a fog machine. It’s giving pride and prejudice 2005

Penelope comes out (looking gorgeous, of course) to their rendezvous spot, which has been previously agreed on.

colin thanks her for meeting him, she doesn't know why he's asked her to come

he confesses his feelings for her

she reciprocates (this is the important part of this to me. ) her wanting him, makes him want her more (do you see where the demisexual colin energy is coming from? do you understand?)

they make out

he kisses her neck as she pants his name over and over (see my point above re: her wanting him makes him want her more)

he wakes up, absolutely shook

this is an idealized reimagining for colin: during their first kiss he was basically in shock, his new personality chokes on the reality and vulnerability of the moment

in the book he talks about how he tries to think of something witty to say but finds that no words are necessary, and there's no combination of witty banter or suave bravado that could help in that moment. the rake persona that he has put on up to this point absolutely fails him. but here, in this dream, words are crucial, the declarations of love are why its sexy! (demi colin is canon idc idc)

and its so important that this wet dream, the idealized version of this scenario happens like this. because we've also seen colin having sex with sex workers (and luke newton has talked about this) but his energy in those scenes is very detached, very focused on him and his pleasure with zero connection to the women he's with. he has two different threesomes (if you can even call the second one that, he's barely even looking at them) with four different women and we know nothing about these girls. they don't even get names. they don't matter, and its simply not. as. good. as the feeling of kissing pen. there is no connection

which is, i think, why he taps out during the threesome in ep4. he tries to go back to the devil-may-care attitude toward sex and intimacy that he had before kissing pen, he tries to return to that mask he put on of "the rake" and it just doesn't work! he feels nothing! in fact he feels disdain for the position he's in and the choices he's made!

the threesome in ep4 mirrors the outburst he has later at the club really well. like he's so frustrated with this position he's put himself in, the men he's surrounded himself with. he literally says "none of you are gentlemen!" "you're actually gross and disrespectful!"

a line that i love is :

"... it is tiring, is it not? The necessity imposed on us to remain cavalier about the one thing in life that holds genuine meaning. Do you not find it lonely?"

and they laugh! in! his! face! because these are men that feel perfectly fine sleeping with strangers and bragging about their "conquests" to their buddies

but that is not who colin is! he's still very young. and his experience with marina (who tried to seduce him and it didn't work, imo bc he just didn't feel that passion, that love that makes his relationship with penelope so different) has left him jaded, but not nearly as jaded as he wants to believe. even if he wants to be casual about romance and sex, he just isn't. this man proposed to marina after knowing her for what? a couple weeks? He is an All or Nothing type of guy. He has that Bridgerton 'when i fall in love i will only ever talk about my spouse' Gene

Now: some costuming details that i love:

Her hair:

(i know this is a stretch but go with me here) her hair is in slightly tighter curls than we've seen this season, which to me seems like a nod to colin liking (or at least not minding) her hair the way it was in previous seasons and maybe not caring as much as we might think about her transformation. but its still down and flowy and in line with her new style

let's talk about this! dress! (it has genuinely been keeping me up at night)

the sleeves seem much more similar to the silhouettes of her costumes in previous seasons, not necessarily in shape but in style

the sleeves are bulkier, compared to this season's costumes, which while they might have been the same size and shape, they are made of much lighter material, giving the silhouette a softer, more mature feeling.

compare it to this dress from s3 ep2: it looks very similar with the sleeve shape and the floral appliqués, but in the dress in the image above, the appliqués are much more obvious, closer to penelope's style under her mother's tastes

the point i'm trying to make here will be made more clear in a sec. what I am NOT trying to say that colin prefers her in her little girl dresses with loud designs, bright colors, and silly hairdos. he just associates those bigger, brighter, louder style choices with penelope.

And he has always liked Penelope. Even when he didn’t take her seriously as a potential partner, he always saw her as an equal. He never made fun of her silly dresses and questionable hair choices.

This has nothing to do with Colin but i feel like i should point it out:

there is something to be said about how her muted pastel color palette along with the more demure style that she has adopted shows that she is trying to Show Up with this social season, but as a wallflower, she is shy. she's always hated those brightly colored dresses her mother put her in, because no matter how close to the wall she clung, she was always visible. she was always vulnerable to ridicule.

but i don't think colin knows or realizes this because why would he think critically about the specific style changes she's made. and he probably doesn't really make the connection of the influence her mother has on her clothing. and around him, pen has never seemed all that shy. she's been confident and witty. if you pair her personality that shines around colin with her louder outfits, it seems more congruous

(take the scene from season 2 where we get the line "My purpose shall set me free") this is a side of penelope that no one, not even eloise!, sees

what his subconscious knows is that he associates pen with vibrant, textured, and often 3-dimensional outfits, and his subconscious creates a dress that fits her new style, with a little more of that featherington flair thrown in.

the fucking tie in front: i feel like this is a very clear reference/ foreshadowing to the mirror scene

for those of you who haven't read the book, the mirror scene doesn't actually happen, but colin tells penelope about a fantasy he has about touching her in front of a mirror

this is a pretty small offhand comment made while they're having sex for the first time but amongst book fans the scene has become pretty fleshed out i think, with fanfics especially

because the idea that it touches on is colin fantasizing about penelope seeing herself the way he does, as sexy and desirable (he seriously cares about her pleasure so much its sickening, I'm actually sick)

and although Book Colin doesn't mention it, the idea of him undressing her in front of a mirror has become a popular story set-up

i think the tie in the front sort of plays on the time period sensibilities of propriety: this is a time where in "good" society an unmarried man and woman would never touch skin to skin, its why all the women wear gloves most of the time. its why the scenes in season 1 between daphne and simon play on the excitement of removing the gloves: its a taboo thing

this is unrelated to this post but i need an explanation as to why pen isn't wearing gloves in a lot of her scenes this season, like the scandal that that would cause??? I'm assuming its representative of her growing into her sexuality; and bridgerton is a fantasy, not a historical nonfiction, but like some consistency would be nice guys bc i was so confused abt all the skin-on-skin contact happening. even with Francesca and Lord Samadani WHEN HE KISSES HER BARE HAND I WAS SO UNCOMFORTABLE FOR HER. especially because of all the glove-related tension in s1. but i digress.

so the tie in front is sort of a dare. even though its clearly an addition, and untying wouldn't actually remove her dress, its her (colin's subconscious version of her anyway) way of saying: "you could untie this, you could undress me if you wanted to" "i love you" "i want you"

and i think that's beautiful. this season is great and i will die on this hill.

If you've made it this far, congrats! you're just as feral as me! come and gnaw on the drywall with me while i post fanfics inspired by this season: https://archiveofourown.org/works/55988977/chapters/142190584

chapters 1+2 of my new fic are up

photos are from : https://www.cap-that.com/bridgerton/302/index.php?image=bridgerton3x02_1502.jpg

[anghraine]

wind-sage replied to this post:

it is a really fun compare and contrast between Leia I am FULLY an Organa and Luke I am a Skywalker. Neither is Wrong, just important to respect the others choice with it.

Yes, I agree! Their experiences and identities wrt the family members who raised them are often framed as equivalent, but in the OT, they really do seem to relate to each of their families in very different ways.

Leia is not indifferent to her biological parents; she has a tie to Padmé through the Force that lingers with her and matters to her, and it's very upsetting for Leia to find out her natural father is Darth Vader. But the Organas are no less her parents for that. To Leia, "my father" means Bail Organa as much as it invariably means Anakin Skywalker to Luke. She is Bail and Breha's daughter and heir in every way that matters, the princess of Alderaan to her fingertips. Even her blood relationship to Luke only reinforces the close friendship that already exists between them, and would probably matter much less to her without the pre-existing relationship and accompanying Force bond.

But all suggestion in the OT is that Luke was raised as a beloved nephew with his father's and grandmother's name, not a son in the way Leia is a daughter. And it's a potentially dangerous name, at that, which only reinforces the importance in that family situation of honoring Anakin and Shmi in how Luke was brought up to think of himself. Luke's powerful consciousness of himself as Anakin's son doesn't seem just his own thing or conflict at all with how Owen and Beru talk about Luke's tie to Anakin, but rather, reflects it— they say "your father" or "his father" to refer to Anakin and are extremely aware of Luke's legacy from Anakin (and presumably Shmi).

The fostering of a relative's child within the family can often be complex in that way, even IRL, so this isn't even improbable. And given that Owen is Luke's uncle because Owen's father bought and then freed and married Luke's grandmother who died horribly later on, it's not surprising that they would have qualms about erasing the Skywalker history or that the general family dynamic might be a bit more fraught. Luke pretty emphatically does not see Beru as his mother, despite his affection for her; he refers to Padmé as Leia's "real mother" and adds "I have no memory of my mother. I never knew her"—clearly he can only mean Padmé. It seems to me that he's digging for information about Padmé because her absence represents a different kind of loss for him than it does for Leia herself.

And yeah, I could see the disparity in their experiences being something they have to navigate later on, but ultimately the only way to fully reconcile that, IMO, is for them to realize that their family dynamics and sense of legacy were fundamentally not the same and they're not going to relate to their parents the same ways.

[carlos-in-glasses]

There's something I need to get off my smutty chest about Tarlos having kids and the true reason I wasn't into the idea at first (and have since come around).

(Before and during season 4) I was uncertain about Tarlos having kids because – in all honesty – they are the Hot Sex couple. How are they supposed to have Hot Sex whenever and wherever, while there are kids in the house? Surely they aren’t. They can’t. And, selfishly, how would that impact how I want to write them in my canon-compliant/very canon-adjacent fics?

However. As time passed, the idea of them becoming dads overwhelmed me with not just how adorable it is (and it IS! That little 'room' they've made for Jonah that looks like it has a race car bed?? Come onnn!!!! My heart!!!) but how radical, when for so long same-sex couples not having kids was the default because they were not allowed to do it. But now they can, and I am so moved and excited for them to permanently adopt a child and represent that particular progress. I think it's important to remember that what we are seeing on screen with Tarlos is radical already, and I know it might not seem like it because the sexy times moment in 5x05 was so brief, but it really is. Same-sex marriage was legalised five minutes ago. Seeing same-sex couples in media raising a family is still massive and frankly in this current age, essential. With Tarlos we’ve been so lucky to have both: a storyline about how one part of a couple isn’t ready for kids, which I feel like we never see and was very interesting, and we have a storyline where they both become ready (unfortunately rushed and we’re only going to see three seconds of it, but still. Still!). I’m sure if the show were continuing, they wouldn’t have done a kids storyline for them yet anyway, or they would have told one with room to breathe. So, there is also an allowance to make for completing their arc as a couple under unfortunate circumstances. It might be a speed-run, but it was always how their story would end, and we are lucky we get a proper ending at all. We get to see them make choices, make mistakes, and change, which allows them to be even richer as characters imo.

All this is to say – if you, like me, are dubious about them having kids because of the sex thing and are trying to reason it out – it's okay to say it. Or I've decided it's okay to admit it anyway lol. Personally, I have come to the conclusion that they are still going to be the Hot Sex couple. Because they are still them. They are Tarlos. And they are OURS. They are going to have Hot Hot Hot Sex because they are going to really want it. And isn’t that delicious? Whenever the kids aren’t around, they are going to be all over each other. They are going to bonk in every corner of their suburban home. And in the yard. The back porch swing. The roof. They are going to need to do house repairs often, because of this. Their neighbours will hate them. And as it should be. They are per-canon obsessed with having sex with each other. Also! Having said all this: They can be written by fic writers as childless. That's completely fine. Or, any and all fics can be set pre. 5x08 if that's what people want to do. I might want to do that for the most part if it's easier to tell a specific story. I don't know yet! In any case:

Tarlos is going to be happy. Afterglow is their resting state.

In the words of Ghost Gwyn, it is all going to be okay.

[beachf4gz]

just here to say that you have the best takes on hdb/disco elysium ever. keep doing what you do man you're awesome

also that earlier poll on whether harry is schizospec: yeah 100%. personally as a person with stpd I hc him as schizotypal and I'd love to hear your own hcs/opinions on schizospec harry

eeeee thank u hes a v important character to me so i have a lot to say abt him

this is probs j waffle but abt him being schizpec, i have always very much resonated with harry as a depiction of a mood disorder schizophrenic comorbidity. the ways in which harry is shown to see the world and how depression specifically functions within him reads to me as psychotic depression- his understanding of himself and the world around him tends to be wholistic and follow specific themes or recurring ideas that depict a detachment from reality "as it is"- the position that kim occupies in contrast to him. i see a lot of the gameplay as essentially harry having to learn to accept reality as it threatens him over and over, learning to percieve and function in the small scale of a life rather than the larger framing of the world, or of laws above the world itself, contextualised thru history and political conflict and poetry. i've seen some ppl say that harry can be read as having did- personally i dont think the skills are a good depicition of did itself or of plurality in that sense, but i think that harry is meant to be above all a person victimised by the conditions of being working class- that of exposure to stress and danger and trauma and a forceful impending hurtling into the future without any ability to control or change his circumstances, and from that i think that complex trauma, osdd, bpd, a complex mood disorder or schizophrenia can all be read into him fairly easily (however i do think the game, in choosing not to be explicit with his symptoms, depicting them in comorbidity with metaphysical aspects of the world, is actively discouraging a 1-1 psychiatric evaluation of harry. i think it is instead encouraging the framing of psychotic thought within a materialist approach to living). while i dont think he has DID i do really think the skills depict fragmentation of the psyche into functions- so something along the line of osdd- and from that its fairly easy to expand how a fragmented personhood functions to produce a fragmented understanding of reality in which there is overlay between input, or the psychotic elements of his thinking. I think the pale is potentially useful here also- the concept of delerium or total thought disorder, as information across time and location is fragmented and combined and then this delerium is presented as the opposite of life, or the opposite of reality, or the tearing of the world apart, it reads very strongly to me as feeling of *being* in a psychotic state. since DE is (imo) very concerned with the players mode of interaction being that of *being* a person (thinking their thoughts, deciding their actions, interpretting and reacting to stimuli), it kind of knocked me out to play *as* a mind in totalising thought disorder.

the constant pressure against harry's way of seeing and interpretting and placing himself within the scenes around him comes from multiple perspectives- i think kim is positioned as the cbt/dbt type approach to disordered thought in which a person removes themselves from those ways of thinking altogether and repositions themself as a person alike other people, and as a member of the larger structure of society and of humanity- to deal with circumstances and "get your shit together" as a choice or as a "function first" approach to treating "illness". i think this is positioned as flawed, but fundamentally helpful and caring in nature. I think trant/jeans approach to harry- that of attempting to figure out what is broken within the machine and diagnose, or discard, is positioned as unhelpful, uncaring and wrong. I believe this is probably advocating in some way to the player to reframe disordered thought or the seeing of grander concepts in the mundane away from psychiatry and psychiatric labels and approaches towards materialism, which i think is the intended frame the designers seek the audience to approach the world through. i think this is part of the larger marxist nature of the game- communism, marxism, leftism in general comes with a degree of allowing oneself to exit the grounding nature of their own lives and to seek to understand or see patterns, vague spiritualistic or metaphysical forces, in the world at large- and naturally it attracts and cultivates disordered thought as a result. i think in some way harry serves to demonstrate and instruct the player how to navigate living in a way that allows for material action, and for survival and happiness and the modes of being one needs to occupy to achieve those, without dismissing or undermining ways of thinking and being. idk thats a lot of words but yh basically i do think that disco elysium as a text is very interested in thought and the framing of a persons perspective, and explores both the consequences that has on a life and person as well as the metaphysical aspects that frameworking and psychotic relationality to frameworking have on the experience of being a person. i think if this wasnt something they were concerned with, harry would have been a very different character- probably one who was more defined by substance use in a traditional "outside in" depicition and not by the deconstruction of the act of being him.

i have a bunch of wayyy more specific things abt him i would like to communicate at some point but thats probs better for a time when i cba to find quotes and examples and shit XP

[08melancholie]

I'm writing a Micah fic and I'm not satisfied with how I write him 💀 you have any tips?

This is a great question, and I can definitely find a few tips you can go off of that I usually memorise before I go ahead and write him. So first; lets section it off into five parts.

1. Micah's usual nature.

2. Behaviour I.—In camp.

3. Behaviour II.—Missions/outings.

4. Behaviour III. —Valu(able)s.

5. Language/the actual writing.

I'll go through every section and give you my tips and information that fits. Hopefully this helps your writing!

Most important highlighted/summarised in colour of section<3

1. Micah's usual nature.

First, let's break down Micah's character; he presents himself in a very cold, closed-off manner. He isn't that much of a helpful character, nor is he very social. In fact, Micah seems very asocial to me. You'll rarely find him socialising with camp members if he's sober, the only exception being when he drinks, where you'll find around 3-4 camp interactions (Javier, John, Bill, Arthur,...) in the game. He might come up to Arthur for a normal conversation a few times, but they mostly end in mockery or some sort of self-gain. You won't find Micah doing (re)quests for people, seeing as he's very focused on himself—excluding errands for Dutch since he's his boss. While on the topic of his nature in camp, lets continue this in "2. Behaviour I.—In camp".

2. Behaviour I.—In camp.

If he's actually found talking to fellow camp members that aren't Dutch, Micah enjoys antagonising any and all characters in the game. He throws crude comments and jokes people's way in his free time—which he clearly has a lot of, considering he doesn't ever do chores in camp, as confirmed in an interaction with Arthur where Micah says he "buys the clothes, not washes them". He also looks for ways to get under people's skin a lot. As for the women, there's quite a few interactions of him catcalling and harassing them, plain simple. He doesn't seem to care about being called a creep for it by Arthur either, as thats just entertainment for him.

3. Behaviour II.—Missions/outings.

Micah is very confident in how he works. He knows he's a great shot and one of Dutch's best gunmen, that much is sure to me. If he's doing better than Arthur, for example in "A Short Walk in a Pretty Town", he'll comment on it, saying "You're getting sloppy, Morgan." to him if he fails to get all four people in the gun store. You need to write him as such; keep his confidence in his abilities, and his subtle blood-thirst as well. Micah is much ruthless and somewhat of a brute, not to forget unforgiving and uncaring of his victims; killing Maddy, Norman's wife for.. little to no reason, as far as we know, or the little girl when you play as John later on in the game and are told so by Cleet in Strawberry. While on topic of Strawberry; massacring an entire town over two guns—another point that emphasises his self-worth. He killed and had Arthur kill off an entire town, despite much protest and complaints from Arthur about this choice. And yet he still didn't think much of that choice of action, laughing about it to Arthur after they stopped getting chased. Again—uncaring, ruthless, self-centred.

4. Behaviour III.—Valu(able)s.

This part is mostly useful for the start of a fic, since valu(able)s can change by the end of the story, and especially if you're writing a fix-it fic. We'll start with valuables, since Micah's are very simple; he values two things in his life over everything; his two custom-made DAs (Double Action revolvers) and his horse Baylock. We know he cares a lot about his guns, from the fact that he risked shooting up an entire town just to get them back when it would have been very simple to buy another set—this can be used to write an unhealthy attachment, or show vulnerability with risk of losing said weapons. Baylock is also pretty self-explanatory; he cares a lot about that horse, and IMO, he sees it as its best friend. With that, there's also one more thing that tethers between valuables and values; he doesn't want a future like many, a wife or family and stable life—those are mostly out of interest to Micah. His most important wish, at least Chapter 1—Chapter 6, is the future he wants for himself—a strong gang; "five to six strong men",as he says. This is his main goal in the game, and it'll be very valuable to him at the start. Then, come the values, and like many in 1899, he'll be very old-school; he wouldn't want women in his ideal vision of a gang, obviously. Micah sees them as beneath him and as too weak for the life—which is much obvious in the game... If you're writing a fanfic with F!Reader that's got the attitude of Sadie, I wouldn't instant make him jump for that type of woman. Micah expresses he's more into feminine women anyhow, so that's also important to remember when writing Micah/Reader fics.

5. Language/the actual writing.

Now, the way Micah speaks. He's very obviously and shamelessly open about how he talks—like I mentioned in the second section with the women; he'll openly harass them, uncaring of being reprimanded by Arthur for it. He's very vulgar and direct, so you won't see him hold back too often. Can't forget this part, of course—Micah has an accent like many characters, and I like to emphasise that by changing up the way some things are spelled; "you" turns into "'ya", "and" into "an'" and such, little changes that let the reader know how they should be reading the words said by the character, especially good if someone doesn't yet know who Micah is and your fic is their first impression, they can immediately assume an accent.

As a tip here, I'm gonna try and put a few grammatical details I usually keep in mind when writing my texts.

Verbs I.: if it ends in "-ing", leave out the 'g' and add an ' at the end.

For example: "Well, safe to say she's changin' her ways."

Verbs II.: If they don't end with "-ing", like with words that aren't in the present for example (and irregular verbs), I look for ways to change them which I then memorise for the future.

For example I.: "It just burns a little, 's all." —> "is"

For example II.: "She's just wen' and gone!" —> "went"

"You, you're, your": The change here is very obvious, and the only warning I have is for for using "you're" and "your"; the change is the same, so if you have both in one sentence, only change one.

For example I.: "But he said 'ya didn't like the gift?"

For example II.: "How?! I know yer supposed to be gone!"

For example III.: "You know yer left shoelace is undone?"

These are a few of my tips, and I'm hoping that they'll be helpful to you—and anyone else that is looking to write Micah. Thank you for the lovely ask, and as always, good luck! <3

friend wanted to be tagged: @angel-w1ngsss