#will definitely add on to this post as we further develop but <3 for now the basics

[caerolina]

𝐂𝐋𝐎𝐒𝐄𝐃  𝐕𝐄𝐑𝐒𝐄,   𝘱𝘰𝘪𝘴𝘰𝘯  𝘪𝘯  𝘵𝘩𝘦  𝘸𝘢𝘵𝘦𝘳.   w/  @hrtached​​​‘s  christa  marsh .

      mallory  &  her  husband,   bill  denbrough   ( @gruvies​ ),   had  both  been  through  a  lot   「  .  .  .  」   all  of  which  only  brought  them  closer  to  the  people  they’d  needed  most ;   friends   ⸺   their  chosen  family .   it  was  then  that  beverly  marsh  entered  their  lives,   and  it  felt  like  mallory  had  met  a  long  lost  friend :   they  clicked  immediately .   and  in  the  blink  of  an  eye,   their  families  became  one,   spending  holiday’s  and  more  together   ⸻   &  mallory  found  herself  getting  particularly  close  to  beverly’s  younger  cousin,   christa  marsh .   a  fashion  student  that  had  been,   at  that  point,   desperately  searching  for  a  new  model  to  fixate  on,   a  position  that  mal  agreed  to  with  excitement .   not  long  after  they  became  close  friends,   they  shared  their  stories .   their  individual  traumas  only  tied  them  together  further,   &  in  a  way  mallory's  views  on  her  had  changed  from  sisterly,   to  maternal .

[grainjew]

Nikaposting Pt 4: Sun God Tropes

This is the fourth of a series of posts about Nika & associated religious practice in the One Piece world. As I write and post the rest of the series, I’ll add links to this header.

Pt 1: Crypto-Religion | Pt 2: Symbology & Syncretism | Pt 3: Joyboy was Shandian

Enormous credit to @oriigami for being my discussion partner through all of this and having a substantial influence on the final product. Check out our ao3 series Joyful for a narrative rather than analytical take on the Nika tradition, and definitely go read her OP blog @kaizokuou-ni-naru for meta and translation fun facts.

-

#JustLittleSunGodThings

So Luffy’s a sun god, or the embodied power of the wishes for one, or whatever. But does he do mythological solar deity things?

Yes actually.

This post is the fourth and last (as of now) in this series, and it’s entirely for fun. I’ll almost certainly miss things as I go down the list here- if you can think of other solar or dawn deity things he gets up to, please add them in the replies!

With no further ado, here is a list of sun god things Luffy has been known to get up to, & which will no doubt inform the mythology developing around him in the One Piece world. (How many people were deifying this guy even before he awakened his devil fruit? Like it was definitely not zero is all I’m saying.)

Getting eaten by snakes

What started this whole list was me turning to @oriigami in the middle of the night after we’d been rewatching Little Garden and trying to make an accurate count of how many times Luffy’s been swallowed whole and going “you know what’s sun god shit? getting eaten by snakes.”

Sun gods are often doing this. Take Apep in Egyptian myth, who tries to devour the sun god Ra every day. Or Rahu, the Hindu shadow planet and serpent, who swallows the sun to cause solar eclipses.

Luffy is also often doing this. The most notable example is of course the Nola Incident in Skypiea arc, but if we expand the definition of snake to include generally snakeish sort of guys, he also gets briefly ate by Kaidou very shortly after awakening, and just now by Mister Sandworm in ch 1110. (And by Kaidou fish-fish fruit equivalency I’d argue we can also count the Little Garden goldfish and the crocodile that ate him as a kid here but obviously that’s more tenuous and mostly just funny.)

Slightly more tenuously as well, there’s Amaterasu of Shinto lore retreating into her cave (a cave is a kind of snake), as well as the Norse wolf that chases the sun Sköll (occasionally merged with Fenrir), the Javanese god (described as an ogre) Batara Kala who eats the sun and moon to cause eclipses, and the alchemical Green Lion that devours the sun.

Storm and sky gods are also often interacting with, killing, and being eaten by snakes, which is less relevant here except that Nami is storm god coded and she also got ate in the Nola Incident. So that’s fun!

Having a chariot that circumnavigates the world

Many sun gods, especially in the Indo-European sphere of traditions, have some sort of chariot or boat that they ride from east to west each day to carry the sun across the sky. Often they have attendants (sometimes dawn and dusk gods; or sometimes these gods have their own chariots or horses as well) to help them with this.

If you want a list of sun vehicles the wikipedia page for solar deities has a whole bunch of them. Have fun.

I think Thousand Sunny speaks for herself on this front: not only is Sunny a ship designed, destined, and dreamed up to herself circumnavigate the world with Luffy as her captain, but she also has the Sun on the front as her figurehead in a manner that does kinda remind me of some depictions I’ve seen of the sun being carried across the sky in such a chariot. Also, she can fly!

Association with royalty

Kings and emperors love to use sun gods to give divine legitimacy to their rule. This is in no way universal (there’s lots of storm gods out there who also do this, just off the top of my head) but take Amaterasu (Shinto), Inti (Incan), Amun-Ra (also Aten) (Egyptian), Sol Invictus (Roman), etc.

Obviously Luffy is going to be King, and is currently an Emperor. But also, he tends to go around and toppling kings and gods and tyrants and vaguely lending legitimacy to whoever is stepping up to the throne in their place. He’s got the Mandate of Heaven (this is a joke mostly but we HAVE all read Loguetown)! And also distributes it to people he likes. Thanks Luffy.

Solar discs, radiate crowns, and beetles

A solar disc is a flat circle, sometimes with rays, that symbolically represents the sun or the sun personified. If you have read pt 2 of this series, you will recognize the Nika symbol in this description.

In the same vein, when applied to a personified depiction of the sun, the solar disc has the habit of becoming a halo or a radiate crown (such as the one worn by the Statue of Liberty - the radiate crown used to be an emperors and sun gods thing and has since become associated with personifications of liberty. So That’s Fun). Obviously Luffy is not in the habit of having either of these representationally, except of course for. The hat that encircles his head in gold.

The final note on symbology I have here is that the Egyptian god of the morning sun, Khepri, is associated with scarabs/dung beetles. A fact that I think known beetle-lover Luffy would appreciate. Get this guy some scarab symbolism stat. Check these bugs out!!!

Bonus: descending into the underworld and eclipse stories

Katabasis, that is, a descent into the underworld, is in no way a sun god exclusive, although solar myths do often involve the sun god, having traveled across the sky by day, needing to find their way through the ocean, the underworld, or some other sort of nether realm to return, overnight, to their morning home in the east. And it’s very fun to look at in the context of Luffy, eclipse myths, and the Marineford saga.

So obviously the Impel Down arc is is a very literal katabasis. It’s Hell, it’s got all the Dante’s Inferno theming, and, like in so many katabases, Luffy descends to the depths in pursuit of some goal, eventually emerging miraculously alive but unsuccessful (see, for a very quick shortlist of katabases of this type, Orpheus & Eurydice, Inanna, and Izanagi & Izanami).

So that’s delightful. But I think it’s even more fun to think about the Marineford saga in general, eventually culminating in the timeskip, as a prototype for an eclipse story.

Solar eclipses, though predictable, are something like a rarer and more frightening form of night, and so their associated myths have a general tendency to involve a more dramatic and/or violent symbolic death of the sun- see, for example, the various devourers of the sun mentioned in the first bullet point of this post.

So, we have the timeskip. The fire goes out. The sun, having descended into the underworld and pushed himself past his own limits, is defeated, disappearing completely from the world for two years. Until- In a way that was, technically, predictable, if you had the correct sphere of knowledge, he returns, miraculously renewed.

I’d incorporate that into my belief system, is all I’m saying.

-

Thank you all for reading! This is all for the series so far, but not, I hope, forever. Many more thoughts to have and webs to weave!

Have a lovely week!

[99corentine]

Afterword: Will there be a sequel to GHD?

After almost four years, GOL HAH DOV is finally a finished project. 50 chapters, just shy of 375K words (about 4-5 full novels’ worth of writing) and I don’t want to know how many hours of furiously typing, here we are at the finish line. As we started getting near the end a few people asked whether I was going to write a sequel, but the answer was too complex to put in an author’s note, so I thought I’d discuss it in more detail here.

Unfortunately, the short version of this is probably not, but let me explain why.

So, there are many things that could go in a sequel. Off the top of my head, I’ve yet to write about: the events of the Dawnguard DLC. The truth about Chrysanthe’s past. How they contend with Hermaeus Mora, who is still gunning for them. How the civil war unfolds when the First Dragonborn looks at both the Empire and Stormcloaks and says ‘nah, I’ll make my own faction’. How the Thalmor react to this. Miraak’s rise to power when he’s not allowed to use his mind control powers, and Chrysanthe’s general struggle to keep Miraak on a morally good path.

All of this could definitely make for another longfic but what I don’t have is any sort of romantic development. The trouble with writing a soulmates fic is that once the couple have overcome their personal issues, there’s very little further tension. Chrysanthe and Miraak actually got together very early in the fic (about chapter 12 out of 50) and the rest has been about them learning each other, becoming more intertwined… but I’m not really sure how they can get more intertwined, after the events of GHD. There are many external points of tension (politics, Thalmor, daedra) but there’s nothing internal - only Miraak’s dubious morality, but we already know that he’ll change his course for Chrysanthe, so what else is there to add?

Essentially, I can’t see how to further develop the relationship, and to me the romantic tension is what makes a fic worth writing. Without it, I just know that even if I started a GHD sequel, I wouldn’t have the enthusiasm to see it through to the end. Now that may change, and I might think of something new… but for the time being, I’m going to put GHD down and focus on other things.

Those other things are: 1) The Tav/Astarion Baldur’s Gate 3 longfic I’ve started, Tooth for a Tooth, which has all my attention at the minute. It’s darker than GHD but the protagonist has the same steely-stoic paladin vibe, so if you liked Chrysanthe you might like him too 2) A while ago I posted a fic idea in which the Last Dragonborn (Chrysanthe, or a totally new character) ends up in the past with pre-Apocrypha Miraak. Again this is a longfic that I’m not sure I really have the spoons for, but I’d say I’m more likely to write this than a GHD sequel 3) Various other bits and pieces, unfinished oldfics, etc.

I know that might be disappointing for some to read, but I hope my reasons make sense at least! And I hope that you still enjoy GOL HAH DOV as its own piece of work, and come back to read anything else that I might write in the future. Thank you again for coming on this Skyrim adventure with me!

[avalentina]

My newest fic, this one will most likely end up being published as a series. For now it is in my Harry Styles page on my Masterlist. I'm not sure how long it will be, and I'm still working on the story itself so it might be a bit before I post more, but the poll showed that about 2/3 of you wanted it now. So without further ado ...

Word count: 4,074

Warnings: bits of anxiety, depression, feeling overwhelmed; Robin Twist's death, grief; unnamed douchebags who want you for your money and title

Noble!Harry (Peerage!Harry) x Princess!Y/N

Note: This story features certain words in multiple languages mainly traditional Chinese, but I have put the English word or phrase in parentheses directly after the translated word or phrase.

Ex: Mǔqīn (Mother)

The Princess's Lover

Zero: Enchanted Love

(any and all pictures are not mine, all I do is collage them, pictures of Harry are a reference for his appearance during the specific moment, all other pictures are only for the purpose of an outfit/hairstyle/accessory, Y/N can look however you would like her to)

I remember the day as though it was just yesterday. Hard to believe it was closer to five years ago now.

(FLASHBACK)

I was at yet another ball, sometimes it feels like my parents, the King and Queen of MiraZhou, host one every week. I'm 19 year old Princess Y/N, the only girl to graduate from my private high school without ever being kissed. I've had a few offers for courtship, none of which I've accepted, all of them just a family's desperate attempt to increase their wealth, status, and favor in the eyes of my parents. I'm being the perfect princess, as I usually tend to be. I've never found anything I wanted to rebel for, I mean I’ve always wondered what it would be like to have more choice in my life, but I guess you could say I'm terrified to actually find out what that would really entail.

This ball tonight was a masquerade, not that it actually made a difference in my case, seeing as I’m stuck wearing a tiara. The one I'm wearing may be my second favorite tiara, and my favorite formal tiara, but it does a wonderful job at making it known exactly who I am. For that reason, I've actually been trying to avoid talking to anyone at tonight’s ball.

It’s not until I’m summoned to my parents’ side for the formal ‘thank you for hosting’ part of the night that my care for this particular event heightens. My family knows everyone in our court based on their voices alone. As a family of four gets to the front of the line. I recognize the voices as Duke Desmond, Duchess Anne, and Lady Gemma of Duchy Holmeshire, but it’s their son that I can’t say I’m familiar with. As they make their approach, I catch eyes with him, the soft green of them is mesmerizing, I feel as though I could get lost in them and just be happy.

“And I see Lord Harry has returned from University, Cambridge in England correct?” My father asks Lord Harry directly.

“Yes, your majesty, uh sir.” Lord Harry replies, fumbling his words slightly probably to do with being away for so long, but he has an english accent that he must’ve developed during his time abroad, and it definitely suits him well.

“It’s good to have you back in MiraZhou Lord Harry.” My mother says, offering him a gracious smile. “I don’t believe you’ve formally met Princess Y/N?” she adds.

“I have not, It’s a pleasure to formally meet you, your highness.” Harry says to me as we make eye contact again and he does another short bow.

I can’t help the wide smile that appears on my face as I return the introduction. “Likewise Lord Harry,” I say and offer him my hand to kiss. A gesture I don’t give out lightly, and you can tell that by the tiny gasp that slips out of my mother’s mouth before she stifles it, and the way Duchess Anne’s smile grows a tad bit wider.

As the Styles family of Holmeshire takes their leave so the next group of nobles can greet us, Harry and I caught eyes one more time and I mouthed silently ‘bye’ with yet another wide smile.

After the “thank you’s” were over, my mother and father turned to each other. I heard my mother tell my father, “I’ll invite them to the palace for dinner one day next week.” I smiled to myself and excused myself for a brief restroom break, that I spent staring at where Harry had kissed my hand, remembering the softness of his lips, and how I really hope he didn’t have any other potential matches. Harry and I didn’t get another chance to talk that night, but we always seemed to be catching each other’s eyes, even from across the large ballroom.

“Y/N, darling, the Duke and Duchess of Holmeshire will be joining us for dinner tomorrow night.” My mother said at breakfast that following Tuesday morning. My attention perked up at that.

“Are Lady Gemma and Lord Harry joining them?” I asked, trying to sound as nonchalant as possible.

“Not this time, but they both will be joining their parents here for dinner on Thursday night.” She said with a smile that I returned. “I don’t want you to get your hopes up about a courtship dear. Tomorrow night will allow your father and I to find out about Lord Harry’s current status, and any potential matches he may already have.”

“I know Mǔqīn (Mother), thank you, and I apologize for my obvious reaction, I’ll work on those some more.” I say, apologizing.

“Xiǎo jiāhuo (little one), we're happy you're actually excited about a possible courtship. I saw the way you lit up that night, it reminded me of how happy the first few conversations I had with your mother made me. Which is why you, Lizabeth, and Helena will be having dinner in the slumber party suite you used to enjoy. That way we can shield you from whatever potential hurt there may possibly be.” Father adds to mother's comment.

“And darling, your expressions are wonderful, a princess should not be void of emotion, nor always show indifference, your emotion shows your honesty in that feeling and that is what makes you an amazing princess. Your manners and etiquette are exactly where they should be. True feeling is just as important as manners and etiquette. Now run along, you have classes to get to.” Mother finishes out our conversation. I love attending University, it's the only time I'm allowed to wear jogger pants and hoodies in public. With no makeup or tiara or heeled shoes. I am intentionally supposed to look unimportant, because it does help me blend in a little bit more and instead of eight guards I only have three, all dressed down to appear as students as well.

My midnight violet Lamborghini centenario topless with ‘gongzhu (princess)’ as the license plate is the closest resemblance to royalty I get. After my classes for the day are done, Creyton, who is my lead guard, and I head to my favorite nearby pizza truck for a slice each before we return to the palace. Our usual nearby chess table is taken today and when I look again, it's none other than Lord Harry and a friend of his playing while enjoying a slice as well.

I elect to take the table next to them which happens to be open. As Creyton and I begin our setup and start talking, Harry turns to me, having probably recognized my voice.

“Your highness, what brings you out into the city today?” He asks quietly, careful to avoid drawing attention to me. He turns to Creyton and offers a handshake.

“I attend university in the city, so classes, but my lead guard, Creyton here, and I usually stop for a slice or two and a few plays on a chessboard before heading back.” I say with a small smile.

“We really should be going Y/N.” Creyton comments, now that I've been ‘recognized’ we have to head straight back or risk breaking protocol, and I like having Creyton around too much to let him get fired for something as simple as a protocol violation.

“I'll see you at dinner on Thursday night H.” I say to him, not wanting to compromise his lunch either. With that I head back to my car. Creyton follows me closely and we met up with the other two members of my security team. They share a very brief ten to fifteen second report before we get into the cars and head back to the palace.

“Princess, you know you're not supposed to talk to anyone besides me during that time, and you're definitely not allowed to advertise my name and who I am.” Creyton says to me during the quiet drive back to the palace.

“I know, I'm sorry Creyton, I wasn't expecting Lord Harry to be there, let alone at our usual table. It won't happen again, and I fully understand any repercussions that arise.

Lizabeth and Helena were not the best of distraction that night. Especially considering all they talked about was Lord Harry's return from England, and how attractive he is.

“Ladies, please, his parents are downstairs having dinner with my parents.” I say aloud and both girls turn to me.

“He's here? Lord Harry is here? Y/N please you have to introduce us.” Lizabeth practically begs.

“He, is not here, just his parents, and I will consider introducing you after they find out if he's available for a match. And if he is, I've pretty much already got dibs, I hope. Did you two miss the candids of him kissing my hand and the wide, stupid smile on my face.”

“Oh my God, Y/N has a crush! It's about time.” Lizabeth squeals.

“And on that note, we promise to back off, but if he has any extremely attractive friends please promise to introduce us.” Helena states and I smile.

“I know he has at least one semi-attractive friend. But he definitely wasn't from here. His accent sounded way too Irish.” I said and they both just looked at me. “I’ll look into it, I promise, just not right now.” They both grumbled a bit, but agreed.

It was late Thursday morning when my mother and father both entered the study I use for my schoolwork. I have three different 20 page essays due next week so I decided to have one of the kitchen staff bring breakfast to my study. I just finished finalizing and submitting one, and was polishing the second when they knocked. I closed my laptop so I wouldn’t be distracted by my essay while they told me whatever it is they have to say.

“Look at you, working hard on your economics degree.” Father said, smiling proudly.

“But that’s not why we’re here Damien.” Mother interrupts before he can continue on that line of topic further. “We’re here because we thought you might want to know more about Lord Harry Styles before dinner tonight.” She continued.

“He is not currently courting anyone, and Duchess Anne mentioned that he asked her to help him get up to speed on where you’re at and what has been keeping you occupied lately.” Father said and I legit squealed. It felt like hundreds of thousands of butterflies were dancing in my stomach. “We figured that would be your reaction and wanted to make sure you had ample time to put your finest princess foot forward for dinner tonight. We’ve arranged a walk through the rose garden for the two of you before dinner starts. Lord Harry will be here at four, and dinner is at six.” He finished saying.

“So in girl terms, you might want to start getting ready now.” Mother added with a smile and I quickly excused myself and hugged them both before taking off towards my rooms at nearly a full sprint.

“Mel, Marie, Helga!” I hollered into the staff door from my entry room. Mel and Marie are my new ladies maids and Helga is assisting them in learning everything before she officially retires next month. The girls tie half of my hair up into a braid and a bun, and then curl the remaining pieces, I have a simple gold and diamond tiara, gold gladiator flats, and a one shoulder golden gown. I ended up on the gold because i knew it would reflect in the sun during our walk, and it’s also a color I’ve always loved wearing. Plus it’s proven to be a confidence booster, and I have a feeling i’m going to be in need of a lot of that tonight. Other than my title, I have no idea what I have going for me in regards to why I’d make a good match. Though I’d rather he like Y/N, rather than just Princess Y/N. I needed to be radiant tonight, for myself, although, who wouldn’t want to look golden?

At exactly 3:56 pm I make my way towards the main palace entrance, it’s a solid five minute walk from my rooms, and it usually takes guests anywhere between fifty and seventy-five seconds to go from the drive, up the stairs, and finally step inside the doors. Which means that if I timed this correctly he should be just stepping inside the doors as I step off the last step to get to the entry foyer.

I maintain my normal pace and arrive to the front entry in exactly five minutes. However when I get there, Harry is already waiting for me in a mostly black suit, a bit of gold on the shirt, and a black suede hat.

“My apologies Lord Harry, it took a bit longer to get ready than I had anticipated.” I said to him as soon as I had made my approach.

“Well, it was well worth the minute long wait, you look radiant your highness.” He says back with a bow. “Shall we?” He suggests and holds his arm out for me to take.

“You’ll have 12 feet of privacy.” My mother informs us as I take his arm and we depart. I wave a small goodbye to my mother and father before turning all of my focus onto my walk with Harry.

“You’re going to have to guide me, I’m afraid I have absolutely no idea where we’re supposed to be going.” He says with a small chuckle.

“I suppose, though getting lost does sometimes lead to finding something unique, fascinating, and totally unexpected. A left at the spiral hedge just up ahead.” I say.

“That’s true, it’s an adventure, that much is for sure.” He replies with a smile.

We walk in silence for a minute or so as we enter the rose garden. He pauses just before the first fountain.

“Why me?” He asks a few seconds after we stopped. He’s staring into my eyes and I can’t help but stare back. “My mum told me that you have a habit of turning down courtships, and being very selective about who you let kiss your hand, so why let me? I mean you could have your choice of princes from distant lands, lords with so much more wealth, and fame than myself, the male heirs of duchies that make mine look infintesimal.”

“I hope this isn’t awkward of me to say but to be honest, the first time we caught each other’s eyes, I felt like I could be lost in the soft green of them for eons and be happy for each second of that time. That’s not a feeling i’ve ever had before.” I say, he smiles and the way it lights up his entire being is pure magic. I can’t help but smile too. “It’s actually why I wore gold today, I knew I would struggle to say what I wanted to…”

“And you needed the confidence boost?” He finished my exact thought. I nodded and he smiled again. “Me too, I knew I would need it to even manage to say a word to you.” He continued as we started walking again. “I can't help but feel leagues below you.”

The conversation flowed so easily from there, it was one of the easiest conversations I've ever had. We talked about university, our degrees, our families, our childhoods, my dogs, our favorite books, movies, shows, anything and everything. As we approached the entrance again he paused one more time.

“I’d like to have another outing with you soon, and I also want to aopolgize for making you violate protocol in the park the other day.” He says to me, and I have never met someone who means everything so genuinely, who is so kind hearted, and it just feels almost right to be around him.

“I’d like that as well, and as far as the other day is concerned, that is my fault, I know not to engage with the public while undercover like that, I couldn’t stop myself though, because it was you and I wanted to have a conversation with you.” I say back, desperately hoping it’s not too much.

“May I?” he asks and begins to reach for my hand. I gladly let him take it and press his soft lips to it once again. I feel the blush rising in my cheeks, and I smile as he offers me his arm once again. We make our return in silence, just sharing smiles with each other.

Harry and I had about two outings each week for the next couple of months, but he still hadn’t asked for permission to court me. It was beginning to stress me out to the point where my parents took us down to one outing every other week. We would text in between, but I was still terrified that he would never ask me, that he didn’t see in me what I saw in him. The every other week outings turned into two outings over a three month period, the texts had stopped, and I was afraid that I was going to have to accept a courtship out of obligation rather than want. It might sound weird, but after almost seven months of knowing Lord Harry Styles, I was in love with him. I was in love with someone who didn’t even want to court me.

The Styles family joined us for dinner on a Monday night, and I was to tell Harry that a courtship was no longer an option, I was to be courting another Lord within the week. I was at least happy my parents agreed to let me tell him privately with a chaperone just twenty feet away.

When they arrived that night, something felt different between all of them, something had happened to them. I was dressed in a ruby red and gold Qipao with a gold plated ruby and diamond tiara, my hair was pulled back into a woven ponytail style with curls for volume. Harry was in all black except for his shoes which were a camel color, and his long hair was also pulled back. It was the first time I had seen it that way, and it was definitely doing something for me, no matter how much I wished it hadn’t. When he finally removed his sunglasses for dinner, I had initially wondered why he was wearing them in the first place, but I saw firsthand why, when he politely removed them before dinner. His normally bright, soft green eyes were slightly puffy, he had definitely been crying.

Dinner was terribly quiet, no one felt like talking, Harry seemed to be trying to avoid eye contact with me and it felt like everything was seriously ending. I excused myself for a few moments which I used to try and compose myself, what I was about to do was beginning to feel overwhelming and almost painful. As I went to make my return, Harry was already waiting for me in the rose parlor as my family called it. It looked out to the rose garden and the vases were filled with roses of all colors.

“Harry? Did something happen? Your entire family was quiet during dinner, it worries me.” I asked him quietly.

“Yes, I’m not sure how much you actually know, but my parents aren’t actually together. My mum maintained her title when they split just because of how loved she was by the people of Holmeshire, your parents actually had to approve it. I was only seven when they split, and have maintained a relationship with both of them, my mother moreso though. She has had two relationships since, one which none of us speak to anymore, and the other, Robin, he passed from cancer a little over three months ago. It was getting progressively worse and I just knew I needed to be there for my mum, which is why I stopped texting you, and why it was hard to find time to see you. You have to believe me when I say I wanted to see you, Robin was a good man, he made sure I had good values, and taught me that it’s actually ok for a man to cry.” Harry explains to me, I just sit and listen quietly, knowing he just needs to get all of this out. “My mum has been trying to slowly reconnect herself back to my father over the past six weeks and while it is definitely an adjustment for all of us, I want to start doing things for myself again, rather than just doing things for my family, I want to get back to spending more time with you.” He finishes speaking, and the tears I have been trying to force down, overflow.

“Harry, we can’t, my parents are expecting me to start pursuing other potential matches at tomorrow night’s ball. I’m supposed to tell you that,” I cry while trying to explain it all to him. Harry being the gentle and beautiful soul he is, uses his thumbs to wipe away my tears. I take a few deep breaths before continuing, “Harry I’m to tell you that courtship is no longer an option for us, I’m meant to tell you goodbye, and it breaks my heart to say that to you. I… I need to go.” I say and attempt to rush out but Harry stops me with one word, “wait.”

“Y/N it’s not tomorrow yet, let me try one thing.” He says and steps closer to me.

“Harry, we shouldn’t, I can’t, you can’t do anything Harry, our chaperone is right there, just twenty feet away, and my father…”

“Relax, I’m not going to do anything like that, I want to ask for permission to court you in front of everyone, tonight.” He says with a smile.

“I suppose it’s worth a try, I don’t want to say goodbye to you Har.” I say softly.

“Then it’s settled, and we’re doing this now.” He offers me his arm and I take it, hoping it won’t be the last time.

When we get back to the dinner parlor where everyone else is, still sitting in silence. Harry grabs their attention immediately.

“Excuse me your majesties, Princess Y/N has just informed me of everything, and it upsets me greatly, especially because with my family’s recent loss of Robin, I needed to take time to put them first, and put their well being above my own, even though I would have much rather been spending that time with her highness. Which is why since it’s not tomorrow yet, I’d like to ask you for your formal permission to begin a courtship with her highness Princess Y/N.” Harry announces.

“I suppose you are correct Lord Harry, it is not tomorrow yet, and I suppose…” my father begins, turning to look at my mother, who nods at him, before continuing. “I suppose that my wife and I can excuse your recent absence and forgive you for upsetting our daughter.” he wraps up.

“And as long as it’s what the Princess wants…” My mother picks up and looks at me, I nod eagerly, a wide, bright smile returning to my face for the first time in months.

“It is, it’s everything I want.” I say happily.

“Then you have our permission, and our blessing to court Princess Y/N.” My father announces. I’m just so happy that I was wrong about Harry not wanting me, I hug him. He’s surprised at first, but hugs me back almost immediately. It’s the best feeling in the entire world, to be in his strong arms, I'm impossibly happy.

“Okay, that’s long enough.” My mother says as my father wraps an arm around her waist.

“Sorry mother,” I say, breaking apart from Harry. He takes my hand and kisses the back of it though.

The conversation for the night livens up after that. Harry and I are allowed to sit next to each other on one of the couches. We’re holding both of each other’s hands and whispering to each other for the entire rest of the hour. Just before we go our separate ways for the night he whispers the best phrase in the entire world to me.

He simply says, “I love you,” squeezes my hands again, kisses them both, and heads towards the Velychnyy (Majestic) Suite.

Hope you enjoyed!

As a quick reminder as of 1/17/24, I'm still working on this story, I don't want to post any of it until I'm finished writing it (mostly potential format changes) so please be patient with me and let me know if you'd like to be tagged in future The Princess's Lover (TPL) posts by commenting below!

-Ava

[blusical]

The sexualization of hockey players is too normalized.

(TW: Sexual harassment, stalking, victim blaming(?). Reader discretion advised) (Notes: No DNI on this post since I want this to be an open discussion, just don't be an asshole and keep it SFW). To clear any potential confusion, I wanna add some disclaimers. 1. No, this isn't about real person fiction as a whole. The concept of RPF is a more complicated subject that crosses fanfic discourse territory, and that kind of discourse is not something I want to promote on this blog for my own comfort. 2. For the record, there is nothing wrong with having a crush on a player, or finding a player hot or cute. However, trying to sexually harass them is when it becomes a problem. 3. Yes, this is about the Alex Wennberg situation. TL;DR: We as hockey fans need to be more fucking respectful of a hockey player's boundaries and privacy. Again, having a crush on them or fantasizing about them isn't a bad thing, but going to their social media and saying such things crosses the line.

I think we can all safely say that we've all had our moments where we developed a crush on a hockey player. I think we can say that we've all had our moments where we had *certain* fantasies about them too. However, I think we all need to learn that there are times where it can go too far. And that is exactly what's going on with Alex Wennberg. Who's Alex Wennberg and what's going on? Alex Wennberg is an NHL player currently playing for the Seattle Kraken. Recently, his wife has spoken out against some sexual harassment that has been occurring against him, particularly in the form of writing. (Warning: NSFW comment in one screenshot)

However, this ultimately only led to further harassment against not only Alex, but his wife as well.

This ultimately led to Felicia and Alex making further statements shown below. (I've had to take multiple screencaps of the statements since they get pretty long). Felicia's statement:

Alex's statement:

This has been a problem for a while. Unfortunately, this isn't new. You might have seen this video featuring Connor Bedard, who was seventeen at the time. Tbh, this isn't sexualization per se, but it's still very uncomfortable and still an example of how obsessive hockey fans can be. In the video, Connor Bedard is signing jerseys, and a mother and a daughter come up to him, with the daughter asking Bedard to be her valentine, with the mom demanding that Bedard says yes. Bedard does eventually budge and say yes. Though while it might be easily brushed off as a "haha fans having fun" thing, keep in mind that Bedard was only 17 at the time. I have no idea how old the daughter was, but either way.

And it's not just limited to that. It's not uncommon to see really cursed signs. Including *this* one.

There's also something about Tyler Seguin's wife stalking Seguin as well, however I have no clue on the validity of that claim since most sources have been gossip blogs. However, that's not to say that there isn't some creepy stuff towards Seguin either, and the screenshots I've seen are definitely real.

(And no, I'm not posting the one with his address). The Double Standard when it comes to harassment towards players. Until now, this issue wasn't being talked about, let alone called out. However, I believe the reason for that being is a double standard. If the players were female, there would be a lot of discussion around it. The fans that were harassing the players, especially the male fans, would get shunned easily, and would probably be driven off the site. And of course, if the roles were reversed, the players would be called out for sexually harassing the fans as well. So... why is it any different when a male player gets sexually harassed? The answer is simple: It isn't. It's still harassment, regardless of gender. And I think we as hockey fans need to understand that. And I am absolutely astonished that this kind of behavior is normalized and even *encouraged*. Learning when the line is crossed. Again, I get it. We've all had a crush on a player. We've all had fantasies about a player. For example, I've felt similar about multiple players. There are some I do find cute, and I do fantasize about being with them. However, does this mean I'm going to go onto their Twitter or Instagram page and share those fantasies? Absolutely not. This is where the line is. They don't need to know what I think about them outside of how good they played, and they certainly don't need to know about what you think of them outside of how good they played either. It becomes a problem when you go towards that player's social media and comment those things on said social media page, or if you tag the player you're talking about. After that, it's not really a healthy obsession or a healthy crush anymore. It's straight up harassment. And of course, you can write and read fanfic about them all you want. Hell, I'll admit I've read some hockey RPF of my own. However, if you're going to post fanfiction about a player, don't tag the player in question, especially if the fanfic is NSFW. And especially don't fucking send it to them either. After that, the "fiction" in RPF is less fiction and, you guessed it, just straight-up harassment. Fiction is supposed to be just that: Fiction. Final Thoughts. I think we, as hockey fans, need to do better when it comes to how we treat hockey players and athletes overall. Not just in this particular context, but in general. The truth is, hockey players aren't just fictional characters or mythical beings or toys that we get to play with. They're living people. They're living, breathing people. They still have boundaries and they still deserve privacy, and that needs to be respected. (And sidenote: If I see anyone say that "being a celebrity means giving up privacy" or anything among those lines, I'm blocking you). Lastly, I'm thankful that Felicia and Alex Wennberg spoke out about this, even though they honestly didn't have to (and in fact they really shouldn't have to even reach that level, but alas..). And I honestly hope this creates conversation and helps hockey fans reevaluate what they say online. And, to Hockeytok and Booktok in particular, if you're reading this right now, I only have one thing to say: Do better.

(Tags are for reach and filter purposes) Edit: One more thing. if you genuinely think Alex and Felicia are at fault for the harassment they're getting, please block me.

[kalena-henden]

Lee Je Hoon's Chief Detective 1958 starts today. Can't wait to watch! I enjoyed him in Taxi Driver and really want to watch through his filmography eventually.

Lovely Runner is knocking my socks off! Byeon Wook Seok and Kim Hye Yoon are killing both the comedy and the drama. Wook Seok is the cutest loser in love! The mystery and unexpected twists are fun and interesting. I hope this quality storytelling continues. I'm on the edge of my seat.

I only have 3 episodes left of Love Me Love My Voice which has been wonderful and heartwarming. I love the main romance but the friendships and secondary romances have been given ample time to shine as well. I'm always here a good found family. I really like how the dramatic readings and song perfomances have been carefully woven into the story to further the character development. Definitely recommend.

Now we come to our debrief on The Smile Has Left Your Eyes. Whoa, what a rollercoaster. The first half was interesting with many characters' selfish and dark intentions mixed with a little mystery were set up in contrast to our optimistic, self-sacrificing female lead. However, the second half drowned in major events happening and then being dismissed as if they never happened, multiple secret keepers refusing to tell the secret multiple times an episodes even when asked point blank when the answers could stop so many bad things from happening, and the existential dread I felt about what the big reveal was going to be only for it to completely dismissed. (FYI I found out what I thought was going to be the big reveal IS the actual reveal in the darker Japanese version it's based on.) After episode 14, I wasn't sure I could continue watching the show. But after a night of uneasy sleep, I decided to finish it the next morning on double speed to get through it. I did watch the last 10 minutes at regular speed. While there were some well done things about their relationship in the second half, it couldn't save the show for me even though I went in knowing this was not an HEA. Overall, I was just left feeling angry and exhausted. As a Seo In Guk fan, this was a show I had long wanted to see, just to find out what my opinion on it would be. I'm sad that the SIG fanmeet has been post-poned, hopefully I will be able to make the next date. But this means I feel okay to stop my SIG show binging so I will not be watching Hello Monster anytime soon. I'm actually impressed with how much of SIG's filmography I've already seen (7 shows as a ML, 4 shows as a cameo, and 1 movie). I'm pretty sure it's more than I've seen any other kdrama actor or actress.

After a bad experience at the new dentist yesterday, where the hygienist manhandled my teeth and they tried to upsell me on services, I was in need of a comfort rewatch. I've been thinking alot about Lee Jun Young lately and decided to break out the first thing I ever saw him in, Imitation. I was only going to watch a few favorite parts from an episode or two and ended up binging my favorite parts of most of the series. lol I really hope his upcoming Cinderella romcom with Pyo Ye Jin is going to be good.

I slowly picked Vigilante back up again this week and was excited to see Lee Joon Hyuk's character finally emerge to add a boost of energy and chaos to the story.

Now that I've got some time and the second half of the series has finally dropped, I will continue watching Chae Jong Hyeop's Eye Love You.

[denble]

[ARCHIVED - TLTTNW] Which Gold Saucer date (FFVII OG) is canon?

Of all the optional scenes and choices dialogues, the Gold Saucer date (FFVII OG) is one that get much debated as to which of the four choices is the canon one. Yes, objectively, it's four, not two. Aerith, Tifa, Barret, and Yuffie. And in this post, I'm doing best to find the most plausible answer that question.

1. How to decide which option is canon

Now, when a scene has options, how to concretely decide which of the options is the canon? In my opinion, it's gonna be either or all of the below:

The chosen option itself is later acknowledged in a NON-OPTIONAL scene.

The chosen option is NOTICABLLY LONGER and provide USEFUL information to the plot as a whole

The chosen option is the MOST LIKELY to happen.

And as said in my opening post, I won't count any remarks outside the game itself. Some core personnel could go on an interview and said "this is the canon" and it's still an invalid statement. In case we still haven't noticed, up until the release of Remake trilogy, Square Enix has never made a conscious effort to clear up the Love Triangle Debate. If anything, they are actually encouraging it, keeping it flaming by having contradicting details spread throughout the side materials.

2. Case study: Shadow Hearts and Chrono Cross endings

Shadow Hearts

Let's move a bit from FFVII and turn to Shadow Hearts (if you don't know the game, please just google). Basically at the end of Shadow Hearts, if you go with the flow of the event, Alice will die. If you do a bit of extra fighting, she will live. Both ending gets its own FMV. So far, I would say both endings are canonical. Because while the good ending requires a bit more work, it's reasonable enough, and it still has its own FMV where Alice open her eyes (she lives!).

But then Shadow Hearts II came out, on the premise that Alice died in the previous game. Bam! Now we know of the two endings of Shadow Hearts, which one is canon... And Shadow Hearts II is neither side material nor spin-off game. It's the second installment, with Yuri remains the main character. So we can't invalidate its presence as to what really happened, canonically, in Shadow Hearts.

Chrono Cross

Another game from Square. Like Shadow Hearts, you can do a Good Ending or Bad Ending, all depending on how you tackle the final boss. Bad Ending is easier to achieve since you only have to attack randomly, whereas Good Ending requires a bit more planning.

Anyway, who to decide which one is canon? Unlike Shadow Hearts, there is no sequel to decide that for you.

By my definition, the Good Ending is probably canon, because you get a lengthy cut-scene, and after-credit FMVs, whereas you get nothing (just credit roll) with Bad Ending (that's more like a Game Over if you ask me...).

Now, back to FFVII

3. Barret or Yuffie is certainly not canon

None of the four dates get mentioned later in the game. So by my definition, point (1) can't be used.

Coming to point (2), Barret's and Yuffie's date are short compared to Aerith's and Tifa's, and add little value to the plot (except for a bit of character development on their sides).

Coming to point (3), then Barret and Yuffie are out of the picture. Because to get to date either of them would require you making very specific choices right from the beginning. Which means the chance that you get to date either of them is rather slim, under normal circumstances (ie. without a guide).

So we are left with just Aerith and Tifa.

4. Aerith or Tifa?

There are two points people present to argue that Aerith's date is canon.

It's because Aerith OFFERED Cloud a date as payment for his bodyguard work.

It's because Aerith started off with more affection points (50 vs 30 to be exact)

Let's discuss further.

The Date payment

Aerith OFFERED Cloud a date as payment for his bodyguard work. And the Gold Saucer date is THAT day. But during the scene, Aerith just asked Cloud to go on a date, without ever mentioning about the "date" payment (and it's Aerith who has to "pay" the date, she owes him that, not the other way around). And no matter what, THE date can still be missed altogether, because it's not non-optional. If it's so important, they would have made it non-optional.

The Affection Point Mechanism

Aerith starts off with more affection points than Tifa does (50 vs 30 to be exact), meaning it's easier to date her (or so they say). What people fail to mention is that, Tifa appears in the game earlier than Aerith does, and you can score points with her right from the beginning. Meaning if you start to favor Tifa from the beginning, by the time you meet Tifa again, the point gap might not exist at all. So from a gameplay perspective, I could argue that Aerith's higher point of affection compared to Tifa's is not because the game wanted to give her a head start with Cloud, but to give her a fair start instead. You can try to see how exactly the date mechanism work here.

It's also worth noting that:

It's easy to score big points with Tifa from the early chapters.

You don't score many with Aerith when you spend time alone with her in Sector 5 (suprised?!).

If Tifa was chosen as Don Corneo's bride, telling Aerith to help Tifa will upset Aerith (points deduced). If it was Aerith that got chosen, Tifa would prefer Cloud to go help Aerith instead of asking if her (Tifa) is alright (points added). Interesting eh? (only if it wasn't a coding mistake...)

I don't have a suitable explanation as to how the all points addition and deduction the works the way it does. The way I see it, the game just tries to make the chance equal to both girls. And through my experience of playing the game, it's most likely the case. You just have to make the obvious choices favoring your girl, and then keep her in your party once you leave Midgar and bam, you get a date!

The game code

Another piece of information that I MUST mention: in the game code (according to the internet), in case Aerith and Tifa gets equal points, Aerith's date will play out.

If that's the kind of proof that you need to prove that Aerith's date is canon, I won't argue with you. It's clear that Aerith's date does take a higher priority (albeit only ever slightly) than Tifa's date, according how the game is coded.

WHY is it, is another matter. We can only guess. You can say it's because the game wants us to see Aerith's date (well yeah..., the game totally doesn't want us to see Tifa's date, sure). My explanation? It's because Aerith's screen time is limited in the game, so the game prioritizes her, when there's a chance. Still, that doesn't make Aerith's date canon, because despite all the apparent "favor" the game has for her date, it can still easily be missable, as it's never hard to get Tifa's date.

5. Which date is the most appropriate to the flow of the story THUS FAR?

This part is purely my (a player's) opinion, and actually doesn't hold any weight to the issue.

Well, Barret's and Yuffie's are certainly just there for the laugh, and for THEIR character development, not Cloud's.

Aerith's shreds some light on her back story (she knows somebody whom Cloud resembles), her awareness of Cloud not being himself, and her desire to meet the "real" Cloud. That much is clear.

Tifa's date, on the other hand, is a bit more complicated to interpret. On the surface, it's easy to see that she was about to confess but failed. But with the knowledge of how the game story eventually unfolds, was that really the case? Or could it be that Tifa was actually trying to talk to Cloud about his mental state?

I don't know, honestly, but my thought on Tifa's date is:

The atmosphere clearly gears towards a romantic confession than to a therapy session. The game certainly wants you to think that it's a confession (whether or not it's true is another story; it's not exactly a new thing for FFVII narrative to be misleading).

It's a bit out of place at that point of the story for Tifa to try confess her feeling to Cloud. She has better concerns on hand (particularly, his mental state) than to get Cloud realize her feeling. Not totally implausible, but definitely not well handled in my opinion.

In FFVII Rebirth, Tifa really did confess in that Gold Saucer scene though (provided that you get to date her). Just saying. Not that what happens in the Remake Trilogy, stritcly speaking, matters to what happens in the OG though. BUT, I do feel that a confession in Rebirth is appropriate, because Cloud and Tifa's relationship has been developed steadily ever since Remake (that's not the case in the OG though).

So yah, all things considered, I think Aerith's date adds more value to the plot AT THAT POINT than Tifa's because it provides players more apparent information (Zack, Cloud not being himself, Aerith being aware of the situation and her wish to meet the "real" Cloud).

Tifa's scene is not bad, but if it was EVER the game's intention to mislead us that it's a therapy session instead of a confession, they overdid it to effectively convince me that it could actually be about her trying to talk about Cloud's mental state.

6. Conclusion

So, in my conclusion, either of the dates can be canon. Normally I would say it can also be that neither is canon. But then, the Gold Saucer date scene ought to happen (because you know, Cait Sith's betrayal came next). The Gold Saucer date scene is actually non-optional, only whom you go on a date with is.

In any case, having no clear answer to that means whom Cloud dated during the Gold Saucer scene adds no value to the love triangle debate (for all we know, he could just have had some bro time with Barret, or got pecked on the cheek by Yuffie). And even if one particular date is canon, it still doesn't say much or even anything about Cloud's feelings, with the way the scenes played out.

On a side note, the whole date mechanism is NOT to determine which one Cloud himself preferred to take on a date, but to determine which one would to drag Cloud on a date :))))))))))) Ie. it's about THEIR affection towards Cloud, based on how he behaves around them (based on HOW THE GAME WANTS to add or deduce points). Asking Tifa if she was okay in Don Corneo's mansion certainly showed care and concern to her, but will get your points deduced.

You see, you think you have choices in the game, but do you really though?

7. Extra: Cloud's reaction to the dates

I'm not including Barret's and Yuffie's here because we can all agree that their dates are just pure comedy.

Aerith's date

At the end of the date with, Aerith asked Cloud:

“Don’t you like being with me?”

To which Cloud can reply either “No, I don’t.” or “That’s not it.”

Tifa's date

At the end of the date, Cloud asked Tifa:

“By the way, what did you want to say a minute ago?”

I honestly can't get much from the dialogues. As far as I'm concerned, Cloud is pretty neutral and doesn't show much to both girls. If anything, you actually have the choice to be rude to Aerith by choosing to say you don't like being with her, whereas you're quite okay with Tifa. But as you know I don't do choice dialogues, we can skip that one.

[fmpyear2kb]

Development Post #4

I perfectly understood how camera shakes worked which was perfect a I wanted to add a camera shake when the cars exploded to add to the action.

I created a new camera shake component and immediately manipulated a couple values inside it.

I increased the necessary values for some intensity and then moved onto adding it into the code where the zombie cars blow up.

I added the play world camera shake and changed the values of the inner and outer radius. It had been a while since I had used a camera shake however, so I experimented with the values of the node. I eventually was satisfied with the camera shake after dialling down the shake as I did accidentally make the camera look like there was an earthquake, which was definitely not suitable for our game. Once all was done, I made sure to place it just before the sound effect of the car blowing up was played, producing a very satisfactory result.

After some consideration, we decided that it would be best for Frankie to used a different gun as a pistol surely would not blow multiple cars up, so we settled on a machine gun.

When the left mouse is clicked, a camera shake is played and the bullet actor is spawned every 0.05 seconds. This firerate was crucial to get right as the weapon needed to have the machine gun feel. As for the shake, it's a very short burst that should represent a bullet being shot which was mastered when we originally made the first Da'Car. We just reused this asset. The floats on the bottom half of the screenshot give the bullets what is referred to as 'bloom' making it so the bullets aren't just shot in a straight line, instead there being some variation as it randomises the roll, pitch, and yaw.

And at the end of the code, I made it so the bullet shot noise plays from the same gunshot audio bank that was created for the original Da'Car. The pitch of the audio is then randomised even further than just the random bank, allowing for variation of the played audio so that it is slightly ,ore unique than hearing the same 7 sounds over and over as the player will need to be shooting quite a lot in the third level.

At this point I decided it was time to find a model for the gas station in the second level. I had found one however, the assets were too high detailed that it affected the textures on the player and the zombies, making them appear blurry. To prevent this I then modelled the gas station within magica voxel as I'm not confident with proper 3d modelling.

There was an issue with Unreal Engine not being able to find the correct music for the specific level the player was on.

First I created an array that contained the music for each level, which was then plugged into a find node that would help select the correct one.

I've also got a custom event that helps load the next level as there is three levels meaning that the simplicity of changing levels the same way is now more difficult. This event gets the current level name, finds the level from the level array and adds one to the list. There is an equal to 3 node that allows the menu and first game to be loaded upon completion of the third level, if the number added is not equal to three, it just follows the regular code and opens the level by name. If the levels value is 1, its the first level, and if it's equal to 2, it opens the second level, and if its value is three it opens the final level, but when one more value is added, it just reopens the first.

I had to put in a big box that wasn't visible in game as when the player's cursor was over the sky when shooting, it would just shoot at the original coordinates of the level. This proved to be an irritating feature when playing the game myself. There's no coding for this box, I put the bounds material over it so I knew it was an object that had a purpose, but was not visible in game.

Once this was done, the player is now able to shoot at the sky without the bullets redirecting to a completely different position.

[mochaarucan]

Role of Placemaking and Third Places: A Case Study on Cubao Expo

Before Metro Manila, there was just Manila. During the Spanish colonial period, Intramuros was the center and first gated community in the Philippines. Intramuros began formal urbanization in the metropolitan area consisting of schools, churches, hospitals, municipalities, global trades, and marketplaces. Such builds inside Intramuros were further developed beyond its walls and continued during the American colonization– towards what is Metro Manila now. A normal travel around the region would consist of car congested roads, long queues for public transports, and endless shuffle of high rise and low rise buildings. To add, remarks such as “Saan na tayo?” (Where are we?) is a common question while in transit. This is because of the absence of distinct boundaries between each city and the repetition of the same establishments. In order to distinguish one’s location, signifiers would be attached to the large mall, establishment branch, government tarpaulins, or formal green sign nearest to you.

The City Who Had Two Navels, Philippine Arts in Venice Biennale

Metro Manila is a salad of post-colonialism, political power, and big enterprises. The Philippine Pavilion during the 16th Venice Architecture Biennale presented The City Who Had Two Navels, curated by Edson Cabalfin. The ‘two navels’ in the art installation represented the two forces that shaped the metropolitan— a confrontation on the tension between the vicissitudes of the past and the challenges of constructing contemporary subjectivity (Cabalfin 1). The art and research discussed the impacts of colonialism on the formation of the built environment and how the process of neoliberalization reshaped the urban landscape of Metro Manila (Cabalfin 3). This study will only challenge the force of neoliberal urbanism in Metro Manila. Neoliberal urbanism is defined as the following:

“Neoliberal urbanism is a concept used to describe the progressive privatization and the commodification of our cities as profit making machines. The overarching goal of neoliberal urban development policies is to “mobilize city space as an arena both for market oriented economic growth and for elite consumption” (Brenner & Theodore 368)(Gonzales 2)

“The effect has become pervasive across the globe, often linked with the process of globalization, where public and private lives are placed under strict governmentality and control, despite the ideals of personal liberty” (Stiglitz)(Cabalfin 19).

The simple definition of neoliberal urbanism is its aim for modernisation and privatization of assets in a city, a global widespread pursuit initiated by people of power. Such prolific progression is not ideal because it leads to more layers of urban problems. The consequences of neoliberal urbanism are discussed in the paper of The City Who Had Two Navels and was categorized into seven factors. Homogenization of cities is a characteristic present when observing cities and is one of the collective outcomes of neoliberal urbanism (Cabalfin 25). This paper will only be covering the product of homogenization of cities. Homogenization can be interrelated with Marc Ague’s Non-places (25); the following are the :

They are the product of supermodernity such as motorways, shopping malls, airports and more.

“non-places are the real measure of our time; one that could be quantified - with the aid of a few conversions between area, volume and distance - by totaling all the air, rail and motorway routes, the mobile cabins called 'means of transport', the airports and railway stations, hotel chains...”(79)

It reflects time because it transforms and modernizes premodern figures. It does not totally erase the past but keeps premodern figures in the shadows.

“Modernity does not obliterate them [premodern figures] but pushes them into the background. They are like gauges indicating the passage and continuation of time” (Auge 77).

“non-place creates neither singular identity nor relations; only solitude, and only similitude (103).” “If a place can be defined as relational, historical and concerned with identity, then a space which can not

be defined as relational, or historical, or concerned with identity will be a non-place (77).”

The duplication of the same build whose sole purpose is in relation to certain ends are most likely seen as profitable or ‘successful’, yet these builds are clearly not economic workings that contribute to a

economically and culturally is the third place. The third place is where people spend time outside of their home (first place) and work (second place). It is a term coined by Ray Oldenburg in his book The Great Good Place. Oldenburg describes these places as informal public gatherings that foster community and relations. Examples of these third places are bars, restaurants, coffee shops, barbershops, and other public spaces where people meet, gather, and connect. It is a place where people go to ‘just to enjoy each other’(Jeffres, et al. 334).

“Third places, manifesting as a component of good public spaces, are argued to be vital ingredients of successful cities, enhancing civic identity, cultural identity, quality of life, social capital, economic development and community revitalization. Third places being centers and gathering spaces of a community, these places can contribute to creating a diverse and active neighborhood through placemaking.” (Cilliers 73)

Placemaking focuses on a community-based and people-centered approach. These are important in societies because of its social benefits of the development of a sense of belonging and participation. (Ellery 238) “Cities have the capability of providing something for everybody, only because, and only when, they

lively urbanization or culture. (Jacobs)

Meanwhile, one of the anchors of a community that contributes

are created by everybody. (Jacobs 238) With this, it is important that communities are exposed to more than just non-places but spaces made by and for the community.

Back in the 1970s, Marikina Shoe Expo was built and located in General Romulo Street of Cubao (Baltazar) close to the Ali Mall, the first mall in the Philippines (Clement). This U-shaped compound was a quaint space for Marikina shoemakers to showcase and sell their leather products (Baltazar). The space closed down during 1997 and reopened again in 2000– as today’s Cubao Expo or Cubao X, as nicknamed by its frequent visitors and mainstayers (Baltazar). It was no longer a landmark for shoe retailers; it has adapted into a creative district that housed different kinds of third places– homegrown bars, shops, cafes, galleries, restaurants, and alike.

Amidst its location in a modern commercial estate, Cubao Expo retained its old shophouse build that kept its charm. When entering, the third places in the compound are abreast with one another and each displays its own unique identity and provides different needs to its community or visitors– may it be art, coffee, music, antiques, and other finds. Cubao Expo is a melting pot of subculture and this is sustained through the “community-driven effort” from its tenants (Aquino). Subcultures are social groups, or groups of individuals who share similar lifestyles, belief systems, or other commonalities... subculture refers to individuals who are a part of a group that is different from the dominant culture or dominant people in a particular part of society (Lennon, Johnson, & Rudd 292).

“Cubao X (or Cubao Expo) are prime examples of the community’s efforts to revitalize otherwise underutilized areas. Cubao X, originally known as the Marikina Shoe Expo in the 1970s, was transformed into rows of boutiques, second-hand stores, restaurants and artist-run spaces... Exhibitions, gigs and events are still held there, forging a specific lifestyle that caters to enthusiasts and the youth.” (British Council 8)

If Marc Auge’s Non-Place is a product of supermodernity and similitude, then Cubao Expo being a product of the local people and diversity is the opposite, an anthropological place– in a cesspool of supermodernity. This paper states that Cubao Expo is an anthropological place that fosters social cohesion and diversity through third places and placemaking.

This study intends to find evidence and support evidence on the importance of Cubao Expo and places alike in societies. In order to accomplish this study, the data gathering will be conducted in Cubao Expo through surveys and interviews. Interviews will be made with the current tenants in the area such as Bellini’s and My Breathing Space. The production of this paper will be a contribution to the study of placemaking for the reason of the lack of academic research published. (Legaspi 2) In economic literature, quality of life (QoL) is seen and measured as an ‘economic good’ that benefits intercity competitiveness, this paper gives evidence that the deployment of arts and cultural third places brings economic good (QoL) to a community.

[emmawabson]

WordPress Website optimization: A definitive Aide

Envision you own a delightful book shop bistro in Boston. In the event that somebody look "book shop bistro close [insert an area in Boston]" on Google, you believe your WordPress site should spring up at the highest point of the query items, correct? You can guarantee your organization does as such by executing the best WordPress Web optimization techniques.

What is Web optimization?

Web optimization, or site improvement, is the most common way of expanding your site's free, natural traffic by working on your positioning and perceivability on web indexes like Google. At the point when you improve your substance, the probability it will show up close to the highest point of the SERP for the catchphrase you're focusing on increments.

Now that you comprehend what Web optimization is, we should jump into why it's pivotal for your business.

Why is putting resources into WordPress Website optimization so significant?

One significant note to start things off: The significance of site improvement isn't well defined for WordPress sites. Despite where — or how — you make your site, putting resources into Website optimization will demonstrate advantageous. Your WordPress site is no exemption.

Upgrading your WordPress site and content makes you bound to contact individuals effectively looking for data about administrations and items connected with yours. Since this happens naturally, you're not paying Google or one more web search tool to put your substance at the highest point of the outcomes page.

Making natural substance that positions on Google is likewise gainful in light of the fact that your site and data are bound to appear to be solid and reliable for guests (versus a paid promotion at the highest point of the SERP). Any individual who possesses a business site ought to work on their Web optimization as it is a basic and viable method for expanding traffic and striking quality, number of leads, changes, and that's just the beginning.

A Manual for WordPress Website optimization: 13 WordPress Website optimization Best Practices

Prepared to dive into twelve WordPress Web optimization best practices you can establish to work on your site, help natural traffic, and increment your image's clout on web search tools? This is the very thing that you want to be aware to get everything rolling.

1. Actually look at Your WordPress Perceivability Settings

Rule #1 of sorting out some way to add Web optimization to WordPress: Really look at every one of your crates. By ensuring your perceivability settings in WordPress are set up in like manner, you're helping yourself out. The product has a setting permitting you to conceal your site from web crawlers. This can prove to be useful while building or modifying your site; you don't maintain that guests should see your work in improvement.

The element is in your WordPress dashboard under "Settings."

2. Update Your Permalinks

A permalink is an extremely durable URL or connection to a particular post, page, or blog on your site. Permalinks obviously state what your post, page, or blog really is (in the actual URL) so guests understand what they're tapping on. Notwithstanding, they truly do have a subsequent reason, which is for Website optimization.

3. Use Labels and Classes

Labels and classifications permit you to isolate your site's pages and blog entries into explicit and general gatherings, individually. This further develops your Web optimization since it will empower web search tools to figure out your site's construction and content.

Special reward: fortunately numerous WordPress Website optimization fixes likewise assist with further developing client experience. Labels and classifications likewise your site's further develop client experience by permitting guests to rapidly find the substance they're looking for and make it simpler for you to deal with all of your site content.

Labels

Labels resemble catchphrases that you can use to portray what's going on with a particular page or post. For instance, in the event that we ponder your bookshop bistro's site, the labels on one of your pages might incorporate "books," "drinks," and "food."

To add another tag or view your ongoing labels, go to your WordPress dashboard and snap "Posts" and "Labels."

4. Pick a Search engine optimization Module

We love WordPress modules for such countless reasons. First of all, modules upgrade the usefulness of your site by adding highlights that don't come norm with the product. Besides, they're simple for fledglings beginning to figure out how to add Website design enhancement to WordPress. A huge number of modules are accessible, a considerable lot of which can assist you with further developing your WordPress Website design enhancement. If you are as yet figuring out which module you need to execute on your site, you can look through the WordPress module library for choices that fit your necessities.

Website design enhancement modules offer highlights to assist you with building XML sitemaps, execute labels and classifications, improve your titles and content with the utilization of key expressions and watchwords, control your webpage's breadcrumbs, and exploit Google Examination support. A few well known choices incorporate Yoast Web optimization, Across the board Website design enhancement Pack, and SmartCrawl Star.

5. Use XML Sitemaps

A XML sitemap is a document of code on your web server that incorporates each page of your site. XML sitemaps are utilized to assist with looking through motors find, assess, and rank the substance on your site.

6. Inside Connection Your Site

To work on your Search engine optimization, you should expand your site's position. One of the fundamental ways web crawlers decide your website authority is by the sum you inside connect to your pages, posts, sites, and other substance.

To connect to other substance, you can feature the words on your page where you need to embed the connection, click the connection button in the WordPress toolbar, and reorder the URL you wish to connection to. When you do this, your connected words get underlined and contain the URL you need to divert your guests to.

[mrprince3]

Why SaNami Over LuNami

Let me first start by saying I'm not here to offend the contrary. My goal is not to prove why SaNami is better than LuNami but simply show why I think SaNami is a good ship. Also, similar assessment has probably been done before so I might be repeating what other people have said without knowing so just know that. I've read a lot of posts from LuNami supporters and their evidence as to why they think it's a good ship and to be frank, I'm quite surprised because they had a lot of 'evidence' but not really at the same time but that just what I think you don’t need to take it for granted. Once again, this is my personal opinion. I'm not here to do anything negative of any sort, I'm simply just sharing my thoughts. Without further ado let's begin.

1. Nami is Sanji’s number one + More

Yes, wow! Amazing right? I know I know. Okay, if you're the person who is going to disagree with me now and say "But Pudding loves Sanji so they should be together." Then, you either hate Sanji or you like Sanji and you just want him to be with a person that actually loves him. Which I wholeheartedly understand but as a person who likes Sanji very much I think Pudding doesn't deserve Sanji. I'm not gonna explain why as I already did in my previous post so read that if you want to know. Nonetheless, I do want to point at one thing about Pudding that I haven't noticed in my post regarding her. Big Mom said that Pudding will have an awakening that'll allow them to decipher the poneglyphs. I think she was referring to the special ability of the 3-eyed tribe. Big Mom may have been defeated but she is definitely not dead because Zeus didn't disappear and she said it herself that it wasn't enough to kill her. So perhaps we will see Pudding again and if Oda ever tries to add more on her redemption maybe just maybe I could accept her and even be willing to say that she deserves Sanji depending on how significant her redemption is. Viola is another contender that I see, as of now I’d rather have Viola instead of Pudding, because both Sanji and Viola shared mutua romantic interest. However, the problem lies in developing their relationship and the two just weren't given the time to do so. Even if they are both in love, Sanji is gone. Unlike Pudding, the chances of Sanji seeing Viola again is very low because she has no other roles to play except for her role as a princess of Dressrosa. My point being that Sanji will just become more attached to Nami or have more interactions with Nami which may or may not further advance their relationship. Now let's start talking about Sanji. Some LuNami fans disagree with SaNami because of the fact that Sanji loves all the ladies in the world. So he automatically doesn't have the sense of commitment which I think is false. He was committed to the marriage with Pudding and was ready to give up his adventures with his crew and dreams if it meant saving their lives including his father figure Zeff. I mean he was so committed that he didn't have his usual reaction (heart eyes) when seeing Nami enter a whole yonko territory to save him. Sanji's kindness and bias towards women probably won't change but I think Sanji is definitely capable of commitment. You can’t hate Sanji for liking other girls because he isn’t into a relationship with anyone. It's all a gag that I personally find funny but preferred to be lowered down. Oda has undoubtedly made Sanji more perverted than he ever was post time skip and it's hurting his character. I do think after Wano things will become much better for Sanji and I do hope he doesn’t encounter female opponents. I do think Nami is conscious of Sanji's affection towards her so he does take advantage of that sometimes but I really don't mind and Sanji enjoys it so who cares. Nami also cares a lot about Sanji (She wanted to get Sanji back as soon as possible Zou and WCI highlights). Despite saying “I’ll never forgive you” to Sanji in WCI, she was overjoyed when Sanji caught her, preventing her from falling to the ground.

Part of me thinks she's just playing hard to get or even acting like a tsundere sometimes but I'm probably wrong. I mean who wouldn't fall in love with such a dependable and smart man? The only thing that's ruining Sanji’s chances is his lack of commitment and out of control perverted behaviors which annoys Nami often. Sanji's post time skip has undeniably become worse in regards with his pervertedness towards pretty ladies. But out of all the female characters in One Piece Sanji had most of his interactions with Nami. They had several moments with each other which just forced the belief on me that being them being together in the end. Oda could've simply not have included those moments but he did like the wedding theme exclusively for Nami and Sanji the groom and the bride. I don't know why but their relationship reminds me of Usui and Misaki from Maid-Sama if you know you know😉. If you don't know, I'd recommend watching it. Misaki's confession is how I would imagine Nami confessing to Sanji though the chances of this happening is probably close to zero. The difference is that Usui is an actual giga chad and is only dedicated towards one girl. I think Sanji and Nami just need a scenario where they can better understand and develop their feelings towards one another. Though the chances of this is very low due to it being a battle shounen it's still possible. Since Sanji has been with Nami all this time and has had some sole moments with her I do think that she's more special compared to other girls given that she's the only girl Sanji calls with San suffix and he’s the only guy Nami calls with Kun suffix. Which could just refer to respect but then again at the end of the day I find it cute because it's what a couple would do. Towards the recent chapters it was shown that Sanji actually lost control of himself and even gave Zoro a heads up to kill him if he ever goes berserk. 

 Maybe at one point Sanji will be forced into transforming into a monster to save his friends, probably more towards Nami and Robin. His emotions of course are what will cause this transformation. He'll unleash the devil that is hiding inside of him to save the person that he cares for the most, Nami (biased). I could really see this happening to Sanji. Sanji transforming into this monster will finally make Nami realize that she isn't just any girl for Sanji and she might be aware of this already but who knows. Nonetheless, perhaps Sanji could lose control like his siblings and have no remorse or the sense of value like he once had. Then, maybe Nami could do something to calm him down which would prove to her that Sanji's love for her is more special than she may have initially thought. This is all speculations and chances of it happening is slim to none. At any rate, Sanji and Nami's relationship is undoubtedly just going to progress. I would also like to mention those people that say “Romance between the crew would destroy the image of friendship that they have going.” I understand what they mean but you have to understand one thing: Sanji has had a different intention towards Nami ever since they met. Yes, they are friends as of now, but them being together wouldn’t destroy anything because Sanji has viewed Nami more than just a friend and in chapter 991 Sanji actually calls her MY nami-san. Perhaps you think oh it’s gonna ruin it because it’s going to be forced since it’s a one sided love. Again, I understand what you mean but them being together has yet to happen and I don’t think Oda would simply make Nami love Sanji romantically for no reason. 

For the second part of this talk I will discuss some of the plausible hints that may or may not prove anything. Though one thing before I do that, I wanna talk about some of the reasoning of LuNami fans and try to interpret it with my own logical reasoning instead of biased reasoning. Please bear me with me. 

1. Nami and Luffy are the only ones wearing crowns on some of the color spreads which apparently shows that they are both King and Queens meaning that they will be together at the end. Now this could be the case, but it could just show that Nami is the heroine of the story, the main girl. Similarly, Luffy is the protagonist and has a crown on him and it would also lead to the idea of his dream being the KING of pirates which is mentioned by him a lot. However, the idea of QUEEN of pirates has never been mentioned of any sort. The closest we got is Boa Hancock being referred to as Pirate Empress. Therefore, calling Nami that is just pure speculation with no relevance to One Piece but I do understand what the LuNami fans mean. 

2. Nami and Luffy are the only ones that appear to be raising their hand on some of the color spread. Now Luffy is raising his hand because there's  treasure which would mean he'd be able to eat a lot of meat. Similarly, Nami is raising her hand also because there's treasure and as we know Nami loves treasure.

3. Luffy putting his straw hat on Nami's head. Now I have no idea how this turned into a romantic gesture but I guess there's no point in questioning it. If anything though, Luffy giving his straw hat to Nami shows his trust to her even though she betrayed them which shows that Luffy still considered her as Nakama. Luffy knows his nakama very well and will do anything for them. Sanji literally went on a brutal beatdown on him and he took it without using haki because he understood Sanji’s sacrificial motive. Unlike Nami, who believed Sanji’s act, Luffy knew the truth. Sanji just thought of it as Luffy just being selfish but Luffy knew what Sanji really wanted, which was to be back with them. It’s one of the reasons why Luffy is such a good protagonist his always true to his words. It goes to show the lengths Luffy will go to once he views you as a nakama. Luffy treasures his nakama and puts his hat on Nami and says "Of course I will" after Nami asked for help. My point being, his hat is his treasure and was a way of confirming to Nami that he still viewed him as one of them. This is because Luffy could've just said "You're my friend, of course I'll help you." Instead, he took the hat route as means to say you're my friend and I view you as my Nakama.

4. LuNami fans like to use movies, especially strong world, for hints. But those movies are not canon...in other words it never happened in the real story. You can call it fanservice if you will. Some argue and say what matters is Oda's intention. I'm just like😂🤷 because sure it was his intention FOR the movie which is not CANON. The hints or moments in the movie are for the movie exclusively. It's like blood type just because we're both humans doesn't mean we have the same blood. We can't use each other's blood if they DIFFER as means for transfusion. (I was not arguing please don't hate me.)

5. LuNami fans also bring up Usopp Gallery where Oda apparently called one of the SaNami fan arts 'stupid' and 'delusional'. All I can say is it's called Usopp Gallery for a reason which means that it's Usopp's commentary not Oda! Even if we say it was Oda's intention it just wouldn't make sense because Oda made those Sanji and Nami moments knowingly that it'll create some sort of ship between the two. So if it was his commentary then it wouldn't make sense because it's like his calling his own creation stupid. Usopp though calling it stupid makes a lot more sense. Also, one of the fan arts indicating SaNami commentary stated "This is Sanji's dream" which would prove SaNami right? Since One piece is all about reaching your dreams. Again, We don’t have a way of confirming it 100% if it was Oda's intention or just Usopps but if you're a SaNami fan don’t take it for granted and let it deviate your initial thoughts.

6. Portgas D. Rouge, the mother of Ace, apparently looks similar to Nami. We don’t know anything about Rogue history to make comparisons in regards with character. So saying they’re similar is quite invalid. Appearance wise they do not look alike at all: different hair color, eye shape, and eye color. I also don't think she's a navigator or part of Roger's crew because the navy didn't seem to have known her. Luffy and Roger are comparable but not really in terms of character. Roger is more intelligent than Luffy in terms of being captain; he knows what he needs to achieve his goals. Luffy on the other hand, was just lucky enough to stumble upon the right people and had to save them to build trust vice versa. Roger seems to not have a problem killing people as he did for Squard’s crew. Luffy is less proud because he is in fact willing to kneel in exchange for favors and mercy. Whilst, Roger seemed to contain a lot of pride as we can see with Ace. Luffy also has the ability to draw everyone on his side which I doubt Roger had. Luffy and Roger share the same passion of becoming the King of Pirates but they are very much different. As a result, they are not gonna have the same outcomes except of course becoming the king of pirates.

7. Nami’s punches working on Luffy actually means something other than being a GAG. Garp calls them “Fist of Love '' so LuNami fans think that there's some connection between the two. In reality, unlike Nami, Garp knows Haki so it makes sense that his fist actually hurt Luffy. In an sbs Oda confirmed that it’s not that Nami’s hurting Luffy physically but his spirit.

8. They would also point out Oda’s wife cosplaying Nami and use it as a hint and say Oda thinks of himself as Luffy. However, when asked what he thinks about Luffy Oda said that Luffy is what his “ideal child” would be. Did you know that Oda’s a chainsmoker and a pervert? Well now you do. That reminds me of someone that we One Piece fans know very well…..Ohhhh that’s right, Sanji! My point being, if anything Oda is more of a Sanji than a Luffy. Thus, this hint is logically more favored towards SaNami.

The main reason why I choose SaNami over LuNami is mainly because I don't see Luffy as someone who is interested in romance. I don't think Oda will change Luffy's character and turn him into a character that appeals for romance like Sanji. This could possibly change after he is able to achieve his main objective of becoming the king of pirates like Roger suddenly having a baby. However, for Roger he had a reason why he wanted a kid which was to inherit his will of becoming the next king of pirates. As you can see the Roger pirates were too early. 

So he made sure to have a kid that could inherit his will which we now know as Ace. Unfortunately, Luffy will be the man Roger is waiting for and become the one that he hoped his child would become. Therefore, Luffy wouldn't really need a child to inherit anything because he already will be the one finishing the mission. Now, Luffy can still definitely have a kid but he is the embodiment of freedom. I'm not sure if Luffy would desire such responsibility. Luffy can also just end up with someone with no child like Rayleigh. Sanji has a sense of commitment as I established earlier; he just needs to be loved back and taken seriously. Despite Sanji being one of the more intelligent straw hats he has yet to discover the WAY to Nami's heart. Nami could personally just ask Sanji to do so and Sanji would probably be able to maintain composure and just love only Nami and still be kind to other girls which is not a problem and Nami actually favours it though not the point of him killing himself because of it. Like how Nami respected his chivalry in Enies Lobby. Personally, I just find SaNami really cute even though it's one-sided as of now. The slow burn romance of two friends slowly becoming true lovers at the end MaMa Ma Ma! that would indeed be sooo satisfying. My headcanon is getting more severe as we speak. If you have read until here you're a legend. T'was mostly nonsense coming from me but thank you for reading have a beautiful day.

Today marks the birthday of Nami-Swaaan July 3rd

[turnaroundroundround]

Morimyu in Classical reference

So, as for the fact that music in Morimyu Op. 3 resembles classical music in both progression and musical technicality, it's interesting how it's possible to keep coming up with different interpretations after re-watching the musical again and again.

I've made a thread on twitter about this before, but 1) word limitations and thread will never be enough to list all that I have to say lol 2) I'd prefer to have a fuller version noted down, especially one that I can edit and keep coming back over and over again when ever I come up with something new.

Either way, I am still (lol) not a pro in music theory and music history as well. All that is written here are based on my very very basic knowledge on music as well as something that I've picked up (and discussed) with my friends after watching Op. 3.

What's the point of this?

Why is it important? Lol I always need this to keep myself from writing off-topic but anyways. Why do the music sound good (except for the fact that because it does lol), and what do they represent? Surely there must be, and there always are, other things that are implied not only through the lyrics but also the music, and the flow in general.

Apart from the lyrics and the lines, it's also quite interesting to have a close look at the music - melody and harmony itself - to see how they portray the stories.

Most importantly, the continuality. How did Morimyu manage to insert so many songs and still managing to connect them as a whole? And how did they use music to go beyond what's on the pages? That's the most important thing about musicals - beyond the pages. We don't see stage or anime doing so very often, as they mainly focus on what's already there, bringing them to life as close as possible to how we imagine things might happen.

As for musical, they have the music. They have the arias and the songs. At some point, a character starts singing, and other characters followed suit. They have their very unique way of expressing the plot, and they have the orchestra, the arias where characters get their solo song, and the duets between characters with strong relationships, and the ensemble which emphasizes the plot, and so on.

A funny thing about duets in classical opera, they're often meant to show lovers' relationship because of the harmony but can also use opposition and all to show enemies' relationship. And in SherLiam's duet it's just both of them at the same time - thoughts connected while engaging in a chase, a hide and seek game of mystery. We'll go into that later.

Back to the topic. Morimyu follows the main plot strictly, but also uses their advantage with music to add all the side details that wasn't told in the manga to create a "complete" view of the plot. It is always available for musicals to do something unexpected (like how we never expected Lestrade's puppet show to be a whole 5 mins long piece lol). And where they did that they added arias and duets, they allowed moments where characters express and developed their emotions as well as going with the plan (yes Albert yessss). Of course there's both a good and bad side to this all the while.

💛 The good thing is they went all the way to show us sides of emotions that we don't see much in the manga or stage, the sides of the story that all of them have kept hidden while focusing on their grand plan. 💛 But then it does get too emotional at some point, especially those who came for the plot and the mind games behind all of it (like me - although I won't deny that I had a lot of fun picking out all the emotions behind the music here lol).

Musicals can always go beyond what we knew. As for Morimyu, their music is heavily influenced by opera and classical music, and it's shown quite clear. There is live music playing (instead of the entire orchestra we have a violin and piano duet), and they have distinctive arias and recitatives throughout.

So thanks to that, it's also possible to use a reference from classical music to interpret their songs.

A Sonata formation - The Narrative Series of SherLiam

Yes, songs arranged and analysed with reference to a Sonata formation, especially in the way they progress through the play.

Some notes before getting into the point

1 - Sonata = a piece of music consisting of several movements - very often 3, sometimes 4. First movement-Allegro: With the quick tempo, introducing the theme of the entire Sonata Second movement-Adagio/Largo: Slow tempo, can be emotional sometimes, as well as leading more towards the final movement Third movement-Rondo Vivace: The ending, quick-paced and vigorous, leading the Sonata to a close. A Sonata always has a general theme, a topic. The theme that I chose to write about is Mystery - the Hide and Seek game between the Detective and Lord of Crime

2 - Aria and Recitative = different types of songs used in an opera Recitative: Lines within a song that happens like a real conversation, as the characters sing they are also talking to each other Aria: A solo section where everything else is a freeze frame, while one actor remains and sing their own song about their thoughts, feelings, etc. In this post we're mainly discussing the arias of Sherlock and Liam, and the duet between them. But there's also some mention of recitatives here and there.

3 - Videos used To make it easier to understand which songs I'm talking about, I also arranged them in piano. And also to have a listen at how they might connect. Just in case the videos beneath don't work (they didn't work on my phone), the three songs discussed are Nazo, Liam's solo, Kokoro no Rondo, all piano arrangements.

All of the songs noted in this section are arias and duets from Op. 3 - the Ghost of the Whitechapel. The additional "series" that Morimyu has added spreading throughout the play, Sherlock and Liam's narratives, which portrays both their emotions and the chase between the detective and the Lord of Crime.

First Movement - Allegro: Nazo(謎) song

Starting from Lestrade's exit after his puppetshow and proceed to the scene, Sherlock's aria introduces the theme of the imaginary hide and seek game that the Lord of Crime has started. The song repeats the word (mystery) over and over again with a continuous rhythm.

Ends with Sherlock just mumbling the word Nazo (mystery) and exiting the stage - no conclusions, just like a mystery that leads into further mysteries with no answer.

♛♛♛ In regards to a Sonata formation, this is the beginning of the entire piece. Quick in tempo, written in 3/4 time and introduces the theme of the entire piece - Mystery.

Uso ka Shinjitsu ka - Lie or Truth song

Starting after Sherlock learns the truth behind Jack the Ripper, wondering if Lord of Crime is a good person after all.

Now I had a really hard time thinking whether this piece should be included or not. For one, it's not an aria. It can be viewed as a Da capo Aria, a development section of the Nazo song, repeating the theme that is introduced, coming and going rather quickly. So, for continuality.

It also does not fit into the series as a whole, being 1) a recitative. The lyrics focus entirely on Sherlock's deduction and whether he should expose the truth or not, etc. so on. 2) The lines in here, unlike the other arias, are taken directly from the manga, so it's not entirely an 'added' element to this chase. 3) Also because if we compare this to a Sonata form, this doesn't really fit anywhere

However, among Sherlock's arias, this song can also be seen as an interesting development as I have mentioned above, so I've decided to have it here, still.

There's another thing about almost all of Sherlock's arias throughout the 2 stages - they never have a conclusive end. The detective's mind is always running, mysteries after mysteries.

Most of the other characters' songs ends with some kind of closing lines, and piano continues to conclude the piece with a strong end, and then goes on to start another piece. All of their problems in the songs are concluded. They made up their minds in some ways.

But Sherlock, his songs always end with him repeating the melody, a capella, and exiting the stage. Piano waits for him to exit, then starts a new song. Or in Op. 2's Mindgame case going straight into the next conversation. We never get to know how Sherlock's songs end, because they didn't really end at those points. There's a hanging sense of waiting for a resolution, a conclusion. Sherlock never seems to have his problems solved within the songs, they just go on and on.

An idea initiates, then something happens and he is once again in the dark. And he spins around within his own mind.

Screenshot from Op. 2. Even if we look back to his aria Mindgames from Op. 2, this song doesn't really have a conclusive ending as well. He just starts singing, the music stops and he starts shooting and going on, resuming the play. It kind of has been a thing for Sherlock's arias?

Second Movement - Adagio/Largo: Liam's solo

♛♛♛ The "second movement" - the 'slower' piece - of the series, Liam's aria lol but actually the piano part of this song isn't slow at all but ok. The other side of this hide and seek game. The "development" section of the sonata series, where we see things in a much more emotional way.

This aria is much richer in harmony and melody. Not only Liam's melody, but also the piano's part which plays a beautiful melody in harmony.

I recall an interview where the stage director mentions how the "orchestra" - piano and violin are representations for Liam and Sherlock. It kind of applies here, where his music is created mostly by piano.

There is modulation, emotions rising and elevating quickly and strongly. But the harmony is beautiful, overflowing and rich with emotions. The song repeats certain lines, emphasizing aspects within Liam's thoughts.

Unlike Sherlock's train of thoughts that circles with no destination, Liam's solo has a definite ending in harmony -> Even with all his emotions in mind, Liam still has a goal already set before him. He has a brief moment of slowing down, pausing and sung about his feeling, before resuming the story.

Leading us to the final stage - Kokoro no Rondo.

Third Movement - Rondo Vivace: Kokoro no Rondo

Rondo formation: Rondo is a type of dance that revolves around a pattern, often ABA, ABACA, or ABACABA - where A is the ritournello ("meguri - kimi ni omou - meguru kokoro no rondo" section) that is repeated over and over with B, C parts in between. Rondo can also be combined with sonata form - this case applies to this song which begins with a key other than the tonic (Fm) before resolving to the tonic key (Fm) to put an end to the entire sonata series. For reference purposes, the last movement of Beethoven's Pathetique or the very typical Fur Elise is also written in a similar format. I also referred to Pathetique quite a lot when brainstorming this post.

♛♛♛ The "final movement" of this Sonata, the final scene of their "Hide and Seek" game. The song's tempo is vibrant and rapid, combining with the dancing sense, all the while strictly following the structure of a Rondo as mentioned above.

This is the stage where Liam and Sherlock's line interacts and reply to each other, as if in a real conversation - just like how the connection between them are now much stronger than what they had before.

In the ritournello, we have Liam and Sherlock's lines intertwining and chasing after one another, emphasizing the "Hide and Seek" element between the two of them.

The song comes to a definite ending, concluding with a strong tonic (Fm) chord. At this stage, there is no more question to be left open, for Sherlock at this point has already made up his mind to take the next step into solving the mysteries regarding the Lord of Crime.

Their imaginary game of Hide and Seek is coming to an end, as Sherlock came to a decision to take the next step - going to Durham.

That's the end of my first draft.

So far that is some of my thoughts noted down right after watching Op. 3 stream a while ago, with some edition made just now.

On the side note, at some point during my discussion with a friend, we also came up with the idea that a Suite may be a better reference. A Suite consists of 4 parts and a prelude, each of them having their specific characteristic. But we didn't go all the way analysing that idea, as 1) we couldn't find a 5th piece that can be added into the series. 2) Even if we did, the Truth or Lie song still would not really fit into the "aria" vibe of this series, as mentioned above.

But then quite interestingly, after a while, I've found another interesting fact that should have been quite obvious but I've missed for (lol) like ages.

The game of Hide and Seek between the detective and the Lord of Crime has begun ever since after Hope's case - that being said, ever since the end of Op. 1

And what is it that we have in Op. 2? "The Mind games of the Lord of Crime". The one where Sherlock went maniac rapping about all the thoughts he has and end up shooting randomly into the wall.

At first it begins like another recitative, but in the later half, the harmony starts to become more harmonious, written in 3/4 time flowing like a dance.

In that section, the melody of the piano and violin part resembles the one we have in Kokoro no Rondo, the Ritournello section, only that the melody of the violin in Op. 2 and the melody that SherLiam sung in Op. 3 are kind of reversed.

Coincidence much?

So now we have a collection of songs from both Opus, it becomes tricky. How do we connect them? And what's the story?

At this point, all these recitatives, aria and duets all in the theme of the Hide and Seek game. And they all connect to each other through harmony, progressions in harmony.

We know that the Mind games of the Lord of Crime has begun from ever since the end of Op. 1. We know that Sherlock keeps wondering about that in Op. 2, and then he wonders even further after he has been tested by the Lord of Crime. "また俺だけのメッセージなのか?" - Is this a message just for me?, as he wondered in the Truth or Lie song. We knew all of that. But Morimyu didn't let that stop them from emphasizing on this subplot even further.

They didn't let the gap between Op. 2 and Op. 3 stop them from making a smooth flow in plot either.

Correction, they didn't simply create a flow. They established a connection, all the while showing a strong progression of Sherlock's thoughts that goes on from Op. 2 straight onto Op. 3.

Very often, what makes a good plot is how their plots and sub-plots intertwine with each other. Morimyu has a main plot that follows Moriarty gang in the plan of changing society. And they have a smaller plot told from Sherlock's side of things. And they have this sub-plot told by harmony of how Sherlock is connected to Liam, or the Lord of Crime, by an invisible thread. A connection that is only expressed that clearly in Morimyu.

We have so many things going on, so many songs throughout the play. But each of those elements are all connected to something else, creating a sub-plot that enriches the main plot.

There is no loose connections. For everything that connects to the main plot, they're also linked to other elements. Each scene and every song has their own meaning not only in regards to other songs, but also to the plot as a whole.

Also, did I mention how Morimyu feels like a grand piece of music?

Opus -> What classical songs had that basically shows the order in which they are written. Morimyu - a title piece itself - has 3 Opus, 3 different parts with the same theme.

Classical music very often had all the different elements in it -> Morimyu had an overture, the song they sing just before the main theme song, just before introducing the stage. Then arias, ensembles and choruses. All of them are connected by similar harmony.

Classical music always had a big general theme, with each section having a smaller sequence connecting to each other. Subplots within a big plots. A Sonata piece has 3 movements, each having their own "sections" of development - expositions, development, recapitulation. -> Morimyu does the same to their plot and subplots, as discussed above.

Also, Opera reference

While Opus 2 used an opera reference to tell the story, I feel like Opus 3 has become an Opera itself. During Op. 2 the arias were mostly very loyal to the manga, taking their lines from the original work, like the Mind Games song. Their story progresses steadily but logically.

However starting from Op. 3, the aria became more independent. They developed and expressed even further what wasn't said in the manga. For instance, the 3 songs mentioned in the "Sonata" above. And there's also Albert's solo, and Patterson's solo and Milverton, which I haven't got the chance to discuss all.

But either way, they spring out of the original story, adding more emotions and "colours" to the characters. The aria became more original, all the while also much more expressive. We get to see new sides of the characters that we haven't seen anywhere before.

Anyways, it's probably time to go back to the main question: How Morimyu used music to go beyond what's on the pages.

-> Musicals aren't simply about music added to acting. The characters on stage don't just simply starts singing for no reason. All the songs are meant to express something, and while they do they also establish various connections to the plot's progression.

We don't get to see much of the characters' emotions in the manga. And we don't see much of the side story, the finer details behind each arc. Every time, Morimyu adds something original to enrich their plot. They express and develop what's already known to all the viewers, especially regarding the emotional and motivational side of the characters.

-> The manga shows us the entire plot, with details related, back stories that lead to the present, and all. But it doesn't give a lot of hint into how characters might feel. Surely, reading between the lines, it's up to the readers to interpret them.

But Morimyu gives us all of that, and they leave it to us to read between the music.

And even if we didn't, that's fine. Then the purpose of all of them linking together would be to create a performance where everything is connected harmoniously, allowing us to be emerged in the world of Yuumori.

-> The purpose of having a stage, primarily, is to allow the audience to engage in, experience and feel the emotions along with the characters they see on stage. The point of having a live stage, a plot, and the music, are all to let us emphasize with the characters on stage.

In Morimyu, we aren't just watching a plot between our favourite characters happening as we know it from the manga. We see a combination of mysteries unveiling slowly, the stories on the side of each characters as they slowly progress forward, as well as emphasising with their emotions in the story.

That's what I really like about Morimyu.

So, WHAT'S THE POINT OF THIS?

So I had to scroll back to the top (lol) to quote this and make sure I haven't gone too far from the main theme.

Regarding musical Yuumori, there's always so many things I'd like to talk about. And if I start going on about it then it only gets harder to focus on one single topic.

Since the topic here is Morimyu and their music, especially in classical reference, I've tried to keep everything I've discussed relevant. But whenever I start on something, there would always be something that comes to mind. Like how other songs might also have certain connections, or how they used stage directions and lightings, etc. I really want to look more into stage directions in Morimyu as well, but that would have to wait...

Anyways, I tried to keep this as simple as possible. When I sent the first version of this to my friends, I keep having the feeling that I got too technical with all the theories about harmony and structure lol

And once again, this is only some of my own interpretation of the series that I've picked up.

If something else came to mind... well. Either way, for the purpose of engaging in their wonderful music or for the purpose of watching a beautiful stage just for enjoyment, Morimyu definitely is worth watching. And to watch over and over again. I've said this for Op. 2 but I'll say this ten times as much for Op. 3. Truly magnificent.

And, that's pretty much it that I have for today, I guess.

Thanks a lot to all my friends who gave me lots of inspiration and motivation to complete this ヽ(・∀・)ﾉ Lots of love to @rikaaki as well ヽ(・∀・)ﾉ

[rwby-redux]

How do you feel about the Branwen Tribe? Were you satisfied with their portrayal in canon, or will Redux make significant changes to them?

I am so happy you asked me this, anon, because I’ve been wanting to talk about this topic for a while.

The short answer to your questions, in order: meh, no, yes.

The long answer (with emphasis on long) boils down to a handful of factors:

Why do the tribes exist? This question can be answered from both a storytelling, meta, and worldbuilding perspective. Basically, it’s discerning the intentions/motives of the writers, either definitive or presumed.

Do the tribes add anything meaningful to the story? As in, can we quantify the impact that the tribe had on character arcs and plot development. If we were to remove the tribe from the story, would their absence noticeably affect how it’s told?

Are the tribes being used to their fullest extent? It’s worth pointing out that the tribes are, functionally, a writing tool, and therefore a resource at the writers’ disposal. Can we imagine different ways that the tribes could be interacting with the story, but aren’t? What reasons are preventing the writers from doing so?

Does the worldbuilding for the tribes justify their existence, or enrich the lore? As in, does it make sense for the tribe to exist within the context of the story. What sort of forces within the world—cultural, economic, political, natural, or otherwise—created the ideal conditions for bandit tribes to emerge?

Do the tribes complicate/contradict the story, or create noticeable plotholes/discrepancies in the worldbuilding? When we look at the tribes critically, we have to ask ourselves what about them does or doesn’t make sense. How the tribes operate, how characters interact with them, and such.

Before I go any further, I want to preface this post by saying that my thoughts were sort of everywhere. This will be less of a structured essay and more of a bulleted rant, in part because all of my grievances with the tribes (not just the Branwen) intersect and can’t be neatly compartmentalized.

And yes, tribes, as in plural. Because in case any of us forgot (and it’s forgivable that we would, since we only ever see one throughout the series), Mistral has at least a few of them running around.

“Wandering bandits are another threat. These groups of usually fairly-skilled fighters travel the lands, never settling in one place. They often prey on convoys sending goods between Kingdoms. That's not all. These raiders will often wait for a town to be at its weakest—maybe after a Grimm attack or while its fighters are out hunting, before finally moving in at night and striking.” | Source: World of Remnant, Volume 4, Episode 5: “Between Kingdoms.”

Now, the technical reason why we only see the Branwen Tribe is because of contrivance. Raven is, after all, Qrow’s sister, Yang’s biological mother, a former member of Ozpin’s inner circle, and the Spring Maiden. The production team isn’t going to waste time or money writing and animating other bandits, when Raven already fulfills several roles within the story.

The drawback here is that reducing their existence to a few throwaway lines, and omitting them from the story, creates a vacuum. And it doesn’t take long for questions to fill that newly-created space.

1. What exactly are the tribes?

For once, I swear, I’m not asking just to be pedantic. RWBY gave these wandering bandit factions a unique designation—a tribe. Not a gang, or mob, or ring, but a tribe. And that word has a very specific meaning:

tribe /tɹaɪb/ n. a socially, ethnically, or politically cohesive group of people; [1] a social group composed chiefly of numerous families, clans, or generations having a shared ancestry and language; [2] any aggregate of people united by ties of descent from a common ancestor, a community of customs and traditions, adherence to the same leaders, etc. [3]

It’s not some arbitrary label. Tribes have a commonality, something which links its members together into a distinct, recognizable entity. We know this because “tribe” isn’t used interchangeably with other criminal organizations. The Spiders aren’t a tribe. Roman Torchwick’s gang isn’t a tribe.

This word was chosen by the writers deliberately. Granted, the writers could have called them “the Branwen Tribe” in order to make them sound more threatening (which has its own not-so-great implications), but there’s no ignoring that this term is selectively applicable. In RWBY, tribes refer to a group of semi-nomadic reavers who inhabit Mistral.

That, coupled with Raven’s survival of the fittest creed, [4] sounds a lot like the Old Way practiced by the ironborn in A Song of Ice and Fire. If this is true, then it’s entirely possible that the tribes aren’t just a loose coalition of marauding criminals, but a distinct cultural and ethnic group.

That’s a massive revelation from a worldbuilding standpoint, one which holds up surprisingly well under RWBY’s framework.

Let’s keep using the ironborn as an example. In ASOIAF, the ironborn hail from a storm-battered archipelago known as the Iron Islands. The climate of the region has significantly influenced the geography, rendering the soil nutrient-poor, stony, and unsuitable for farming. The only resource that’s readily-accessible is fish. It makes logical sense that the Old Way (their reaving culture) emerged as an outgrowth of their dependence on piracy.

Mistral’s bandit tribes occupy a similar niche. Canonically, the tribes wander from place to place to avoid Grimm. A non-sedentary lifestyle makes agriculture difficult, and thus creates a predisposition for raiding towns and villages in order to survive. Give it a few generations, and it’s easy to see how this practice could have been integrated into the bedrock of their culture.

That, in turn, could lead to all sorts of worldbuilding and storytelling questions: Would certain legal sanctions or concessions have been granted in order to preserve their culture, under the assumption that the tribes represent a protected minority? Are there any tribes that voluntarily gave up aspects of their heritage so they could avoid being arrested? In which case, how would they have adapted to changes in their way of life? If the tribes collectively refused to relinquish their raiding culture, then did the Mistral government retaliate? Would all members of the tribes’ ethnic group be recognized as criminals on-sight? What traditions or customs are exclusive to the tribes? Do they practice their own religion, or speak a language separate from mainstream Mistrali? Do children born in the tribe undergo rites of passage, like going on their first raid, or killing someone for the first time? How would that sort of cultural immersion have influenced Qrow’s and Raven’s childhood? What if someone wanted to voluntarily leave the tribe, and eschew their way of life? Would they be ostracized? Would the tribe do something as drastic as put a bounty on them? How would a person who grew up in a culturally-isolated environment like theirs navigate society? Would it be similar to the trauma faced by ex-Mormons who were excommunicated?

Do you have to be born to parents in the tribe in order to be considered a member? Or do the tribes actively recruit from outside sources? Maybe it’s like in One Piece, where Nami was made a member of Arlong’s crew because she demonstrated a valuable skill (cartography). Or perhaps the tribes recruit survivors from their raids, similar to Davey Jones in Pirates of the Caribbean 2, when he invited the helmsman from the scuttled ship to join The Dutchman after the kraken attacked.

…You know, looking back on the examples I used, it might not be a coincidence that all of them are pirates.

Anyway, the issue here is that all of the worldbuilding I posited hinges on an assumption: that “tribe” actually means something in this context, instead of Rooster Teeth just throwing a dart at the dictionary and picking whichever word it landed on. Without any sort of elaboration, the bandit tribes are left rather vague, with Raven’s group being the sole representative.

All we’re left with is the canon.

And that’s where things start to break down.

2. The way the bandit tribes operate doesn’t work.

Did you know that the Kingdom of Mistral only has ten settlements?

No, seriously. Ten. As in, I can literally count to that number with both hands.

To give you an idea of what those settlements are like, I’ve gone ahead and categorized them.

Major industrial city: Argus, Kuchinashi, Wind Path, City of Mistral

Backwater podunk village connected by dirt roads: Higanbana, Shion, Unnamed Village 1 (V4.E1), Unnamed Village 2 (RWBY #3)

Gone, but not forgotten: Oniyuri, Kuroyuri

Of the ten places I listed, four are massive cities with standardized defense systems that can repel Grimm (and are more than capable of resisting bandits). The other two are derelict villages that were destroyed a long time ago.

This leaves us with four small villages that are susceptible to bandit raids.

Oh, wait, scratch that. Shion was destroyed by Raven as of the second episode of Volume 4. My bad.

That leaves us with three small villages that are susceptible to bandit raids.

Although bandits will attack supply convoys and travelers, destroying towns [5.1] seems to be their primary means of survival. Here’s what that looks like in practice:

The destruction of Shion. | Source: RWBY Wiki contributor user:ChishioKunrin.

But there’s a problem with this business model: it’s not sustainable. With villages falling as soon as they pop up, [6] and typically not lasting more than a year, [5.2] it doesn’t make sense for bandits to systematically wipe them out.

Especially when there are only three villages left.

Especially especially when there are multiple tribes in Mistral all competing for the exact same limited resource.

A more feasible and pragmatic solution would be for the bandit tribes to implement something like pizzo, the protection money that the Mafia extorts from local businesses. In exchange for “payment,” the businesses are “protected” by the Mafia. Think of it like paying your taxes, only instead of your taxes going toward schools and infrastructure, they go toward the Mafia not breaking your kneecaps.

Not only would a system like that be more viable long-term for the tribes, but it would be harder for the Mistrali government to track and put a stop to. After all, smoking rubble is a lot more obvious than, say, a nondescript guy walking into a fuel station/restaurant and collecting lien from the owner.

Just Rite. | Source: RWBY Wiki contributor user:ChishioKunrin.

Wouldn’t you agree?

3. Qrow should have changed his last name. (Bet you didn’t see this one coming.)

While we’re on the subject, I’d like to bring up this exchange:

Bartender: So, what brings you around these parts?

Yang: Thanks. And I'm, uh, looking for someone.

Bartender: Not too many people come out here. Too far from the Kingdoms. Only person worth notin' around here is…well, Ra—

Yang: Raven Branwen.

Her tribe—the Branwen Tribe—is known by name across Anima, despite the fact that they regularly pick up and move their camp. The bartender is terrified by the mere mention of them.

Enter Qrow, whose reputation not only precedes him, [7] [8] but whose legal name on his license is the same one used by an infamous gang of thieves and killers.

Seriously, how has this not backfired on him? I mean, for Christ’s sake, he was a teacher at a school. You don’t think there weren’t students whose parents read his name on the faculty list and didn’t immediately have heart palpitations? Or, like, bars in Mistral that caught a glimpse of his license and didn’t immediately call the cops?

What about instances where Qrow sees a group of people in danger, so he jumps in and whips out his license to reassure them that he’s there to help. He wouldn’t be able to get the first three words out before the people around him started panicking because oh my god it’s a bandit from the Branwen Tribe we’re going to die.

Or what about victims that might have survived encounters with Raven, and forever bear a grudge against her? Branwen is undoubtedly a hated name in Mistral, and could be a sore subject for someone who overhears it. Why would Qrow risk his safety and invite unnecessary conflicts by hanging onto a name that’s a relic of his past?

For that matter, it’s a relic of his past. Qrow defected from the tribe to serve Ozpin, and do some good in the world by becoming a Huntsman. Why would he want to continue identifying with the name that represents a source of trauma and pain? I find it hard to believe that Ozpin, if asked, couldn’t have used his status as headmaster and pulled some strings to get his surname changed.

There’s so much more I could say about the tribes, and how I think they’ve been underutilized (especially by Cinder et al) but this post is getting long. Suffice to say, the tribes in the Redux are getting overhauled big time—their culture, their history, their relationship with other criminal factions, how many tribes there are, how the Mistrali government deals with them, how Salem uses them to meet her goals, and so on.

-

[1] Tribe. Wiktionary. Online definition. [https://en.wiktionary.org/wiki/tribe#English]

[2] Tribe. Merriam-Webster. Online definition. [https://www.merriam-webster.com/dictionary/tribe]

[3] Tribe. Dictionary.com. Online definition. [https://www.dictionary.com/browse/tribe]

[4] Volume 4, Episode 4: “Family.” Raven: “The weak die, the strong live. Those are the rules.”

[5] World of Remnant, Volume 4, Episode 5: “Between Kingdoms.”

[5.1] Qrow: “This is also why bandits never stay in the towns they conquer.”

[5.2] Qrow: “If you don't have at least a few of those, then the chances of a town lasting more than a year isn't great.”

[6] World of Remnant, Volume 4, Episode 1: “Vale.” Qrow: “Welcome to the world of Remnant. Not the best place to live, but depending on where you're staying, it can get a little easier. You've got towns and villages that pop up as fast as they fall.”

[7] Volume 3, Episode 4: “Lessons Learned.” Qrow: “Hey, I know everybody to some extent. [Team STRQ was] pretty well known back in the day.”

[8] Volume 4, Episode 7: “Punished.” Tyrian: “As I live and breathe, Qrow Branwen. A true Huntsman has entered the fray!”

[ramblingguy54]

Sonic & Tails R: A Love Letter To Miles Tails Prower’s Characterization

     Warning: This will contain massive spoilers for the short radio play series of Sonic & Tails R. If you haven’t listened to the radio play yet on Youtube, I’d highly recommend any hardcore Sonic fan who hasn’t seen it check it out. It’s one Hell of a treat.

     For as far back as I can remember in my childhood, Tails’ story of trying to step outta Sonic’s shadow has been such a resonating one for myself. Even when I was a much younger kid playing my Dreamcast, during entries like Sonic Adventure 1 & 2, there was some idea lingering about why Tails just stood out more emotionally in his journey to grow beyond depending on Sonic all the time for help. Now here I am a young adult in my late twenties having such a deeper appreciation of this little two tailed genius kiddo because he’s got an important element that’s made him so beloved for good reason.

     In spite of his genius being a rival to that of Eggman’s high IQ and of course proving to surpass it plenty of times when scenarios boil down to being a high stakes battle, Miles Tails Prower beneath it all is still just like any one of us. We’re all trying to find our place in this world about what defines us for who we are as unique people. He wants to be more than just seen as someone who’s alongside Sonic The Hedgehog’s never say die attitude, but prove he’s plenty capable of standing on his own two feet to protect everything the kid holds dear to himself. Underdog stories, when they’re naturally executed very well, can reel me in so easily. They are very much my bread & butter trope I adore seeing.

     To no one’s surprise, the two Sonic Adventure’s iterations portrayal of Tails’ characterization are hands down some of my favorite writing for the two tailed fox, regarding what the 3D era has done toward him, development wise. It gave him more of an existential struggle to endure like, “What happens when Sonic isn’t around to help stop Eggman? What if I’m not strong enough to accomplish what he can?”, making Tails plight to be seen as an equal all the more endearing when stopping Eggman in his climatic battle against the Egg Walker in Station Square. This here is a great use of a timeless lesson you can apply in life that if you set you heart and mind on anything, there isn’t a thing you can’t accomplish on your own, which is why many fell in love with Sonic Adventure 1 & 2′s writing for Miles Tails Prower’s journey of independence.

     As someone who comes from a large family tree of relatives, I feel the weight of my existence on my shoulders at a number of points more than I’d care to count, admittedly. Seeing Tails struggle with his sense of purpose, in contrast to observing how much Sonic has accomplished with his carefree, yet deeply compassionate attitude, means the world to me in watching another trying to comprehend their value as a whole on how much they matter, overall. This is a big part of why my fondness for SA1 & 2′s quality has never wavered over these years, besides still obviously enjoying most of their game play mechanics. People can try to debate to their heart’s content on whether the Adventure games still hold up in their own eyes, but I’ll always respect them for how they tried to develop certain characters, such as Tails, Gamma, and Shadow The Hedgehog notably, to attempt expanding upon their characters, as well as world building.

     I won’t bother going into a rant about how Sonic’s recent 3D games have butchered Tails’ personality & relatable nature, due to the current writers in charge of handling the cast of characters. More or less, I greatly empathize toward the notion many have already stated about Tails being so cowardly and God forbid, looking at Lost World, downright severely mean spirited. Rather, I’m obviously writing this lengthy post to breakdown why Sonic & Tails R succeeds, where these certain 3D games have greatly faltered in exploring Tails’ emotional dilemmas as an insecure, yet still having the courage to prove himself, talented boy full of hidden potential he doesn’t quite realize, until his back is against the wall in life threatening situations.

“That day, I realized I couldn’t depend on you forever. Not that I can’t depend on you, but like, “What happens when Sonic isn’t here?”, you know?”

     Sonic & Tails R further delves into this fundamental rule of what has defined Tails in Sonic Adventure 1 & 2′s stories of events where Sonic wasn’t there to aid his best bud in taking down Eggman’s evil efforts for global domination, most importantly his fear of defending the Earth without his role model. Besides what I already stated in SA1′s events in Station where he stopped the Egg Walker, as well as the missile Eggman launched from detonating before their climatic battle, Tails watched Sonic blow up in ARK’s capsule presuming him to be dead after Sonic imparted how much faith he has in the kid’s abilities to be truly strong in the face of any foe. Sonic & Tails R manages to use fan service in a way that doesn’t feel like “pandering” for the sake of it, using this past canon material to do more of an in-depth study about Miles’ anxieties of existing without Sonic.

     Wouldn’t put it past them if EmuEmi & crew were using SA2′s Sonic death fake out scene in that space capsule to further add trauma to Tails’ psychological attachment to Sonic, as well as his insecurities of depending on him too much, to boot. While it’s never obviously outright stated in their radio play, I definitely believe they were factoring this element into adding dramatic exploration for why Tails is so self-conscious about the worst case scenario of permanently losing Sonic. Watching Sonic supposedly die put Tails into a deeper state of self-reflection, so I very much enjoyed how they went using these past events to create a thorough exploration about him learning just as it’s important to realize you need to stand up for yourself without using someone else as a crutch all the time, it’s doubly important to remember there’s nothing wrong about asking someone for help when you’re about to be down and out with little options left.

     Sonic & Tails R beautifully builds upon the foundation these two games’ stories left behind years ago, creating new damn great material to explore with the most iconic characters of this cast, Sonic & Tails brotherly dynamic. I’ve been praising Sonic & Tails R out the wazoo for how well it captured Tails underdog story of overcoming death defying odds, but it managed to remind me how simply adorable and outright wonderfully endearing their brotherly chemistry is as a whole. This is a big friendly reminder Sonic isn’t all about being cocky wise cracking character making meta jokes left and right, but he can be plenty capable of showing serious compassion to anyone he values as an ally and friend. This is no greater evident, than with him verbally lifting Tails up in his time of need when he’s self-depreciating his own significance. It can be seen in Episodes 2, 4, and 7 giving Tails motivational pieces of advice.

    Episode 2 In Adabat’s Cavern

-Sonic: Wasn’t it your radar that helped us find these Emerald shards in the first place? How could you be slowing us down when you’ve gotten us this far?

-Tails: But, I...

-Sonic: I could never make something like that. You’re the smartest person I know, Tails. One way or another, we’ll figure this out, count on it.

         Episode 4 In Holoska After Helping Silver Save The Chao

-Sonic: So, what was that back there? At the cave, in Adabat? -Tails: What do you mean? -Sonic: Frozen stiff. Confidence shot. It’s not like you. It was more than feeling like you were “slowing us down”, right?

        Episode 7 Inside The Egg Carrier 3

-Sonic: Let’s split up! I’ll distract them and you can go after the energy source. -Tails: You’re gonna take them on all by yourself!? Let me help, Sonic! -Sonic: No time for this, Tails. Stop overthinking and just go! If I can get their attention, I’ll take the heat off of you and that room you’re going to probably won’t have any security. Take this emerald and I’ll take the other one we have. It’ll lead me right to you after I beat these guys. -Tails: O-Okay... -Sonic: Hold on, Tails! Listen to me. Don’t stop moving and be careful. I’ll be fine and so will you!

     Sonic & Tails R remembers the most crucial detail of their important relationship. One isn’t better than the other and needing to always rely upon that notion for helping one outta a jam, but instead showcases how they’re equals as a team/bros. Sonic may be super fast and strong, however Tails has his intelligence to analyze situations in a different angle Sonic wouldn’t necessarily consider, per say. Which isn’t to say Tails couldn’t put up a fight either, as we’ve seen in SA1 & SA2′s stories where he faced Eggman one on one with no outside help to best him at his own game of wits & strength.

     We get see the apex of this idea through Tails facing Eggman in his super improved mecha walker. Although Tails may get thrown for a loop here at first by Eggman, it’s his villainous speech about winners and losers in their world that ironically does the exact opposite of what he intended. Eggman wanted to crush Tails’ sense of self worth before finishing him off, but all it did was reignite the very lesson Sonic told him earlier before running to distract Eggman’s robotic minions. That said lesson of he’s more than capable of facing dangerous threats

-Eggman: Poor boy. We all have to learn this lesson, sooner or later. In every game there’s no one you can depend on. You’re all alone and you’re either a winner, or a loser. And as you know, loser’s lose all of their lives. Say goodbye, fox!

-Tails: You’re wrong! I can depend Sonic! I won’t let him down! I can’t because...Because he’s depending on me! And because of that I won’t lose to you!

     This radio play strikes a good balance in utilizing the grey moral area about depending on someone vs it being an unhealthy display of attachment derived from serious insecurity. Word’s can’t begin to describe how much I loved this moment to pieces because it’s oh so important for writing Tails’ characterization. If you’re going to tackle him being super self conscious about his reliance on Sonic, then you gotta remember why they are so close to one another to begin with. Sonic & Tails have an unbreakable connection, considering they’ve brought out their best qualities in themselves from being together as individuals. For Sonic, it’s his older brother compassion to Tails to bring him outta feeling melancholy. For Tails, the kid finally understands there isn’t anything wrong with depending on Sonic when he needs it most.

     After all, that’s what a real healthy friendship is all about. Whether you’re giving someone a dose of tough love, or simply a piece of motivational advice, it defines how much you truly care about someone, period. Sonic & Tails have this very same power from their bond, which is why new emeralds form from their compassionate friendship that hasn’t been shaken after all the years they’ve been together. Another detail worth noting is it adds to the lore in an impactful manner when Tikal expresses in Episode 8 about positive connections and thoughts from users of the Chaos Emeralds having a strong will & heart. Using the ideas they had for encapsulating Sonic & Tails’ dynamic to create new emeralds from their love for each other as brothers adds an emotional weight.

“So, Sonic’s not the only one who harness the power of the Chaos Emeralds? I can too!?”

“Yes, you have a strong heart! There is a power waiting to be unlocked within you, as well.”

          I’d always daydreamed about in my childhood seeing Super Sonic & Tails take down a threatening villain, whether it was Eggman or different powerful creature such as Chaos or the Biolizard. You can imagine how fucking giddy I was beyond belief to see this artwork of Episode 9′s cover for the radio play. Tails not only got to have another one on one with Eggman, but a team up with Super Sonic in his own respective Super form? Sign me the Hell up! Talk about an all you eat buffet of good writing for Tails’ journey reaching its climax. Getting to hear this play out, alongside the amazing song of Fly With Me, made it authentically feel like something straight outta if there were an installment of Sonic Adventure 3 being brought into reality, which certainly feels like it now.

     Episode 9 has so much awesome stuff with Sonic & Tails working together in their super forms. Particularly, my favorite scene is at the beginning when Sonic teaches Tails how to navigate his newly acquired speed in his respective Super form. My heart melted hearing Sonic help Tails through it all, while he was overjoyed about how fun this new form is for himself. Wholesome Sonic & Tails content is the perfect daily serotonin for me, easily. It’s an awesome fun fact to know they used a scrapped boss from Tails Tornado segment in SA1 for Eggman’s flying dragon three headed robot in their big final battle, once again using old canon material in a very effective manner to boost the quality of their fan made story.

     It’s been a real thrill to hear Mike Pollock play a straight forward serious Eggman making my day in more ways than one, considering that’s another thing I’ve been yearning for desperately besides Tails being a competent character again. His performance in Episode 9 when Eggman gave that speech about how long he’s been at odds with Sonic & Tails stubborn will power was simply excellent. The moment he told his mechanical dragon to crush them I got serious chills. That’s the Eggman I remember and grew up with. He could be a hammy villain sure, but Eggman wasn’t a doormat that could be swiftly beaten. Robotnik can be considered a serious threat in his own right and this radio play nailed it down to the very letter with how much he predicted their actions.

“Sonic, all I ever wanted to do was be like you. You’re not scared of anyone or anything. I could never be like that. At least, so I thought. I grew from that, but then I got so caught up in trying to prove it that thought it wasn’t okay to depend upon anyone, especially you. I just didn’t want to be that scared little kid in Station Square anymore, but now I understand. It’s okay to depend on your friends. It all means is that we’re stronger together, so the next time Eggman comes back and wants to start any trouble with you, or any of my friends. Emeralds or no emeralds, he’s gonna have to get past me and he won’t!”

Sonic By Episode 1′s End: Aww, yeah! Adventure, here we come!

Tails By Episode 10′s End: Aww, yeah! Adventure, here I come!

Turn your thoughts into power. Be all that you can be.

     The ending legit got me choked up because what of they decided to do for wrapping up Tails journey in a poetic fashion. Having Tails go off on his own separate journey to grow more independence pulled on my heart strings perfectly. Very much so, as I’m transitioning slowly, but surely, into gaining more freedom to go out into the outside world in my own life. Concluding the story, by Sonic & Tails holding onto the two Emeralds their bond had formed from positive energy, due to their powerful friendship, was so heartwarming. This is how you write an overview of what makes Sonic & Tails chemistry work so well as it does.

     Sonic & Tails R’s ending represents while some things never change, like Sonic and Tails bond for each other, it also shows there’s very much a necessity for people to grow, hence Tails’ whole solo journey in the epilogue. People can’t stay in the same place forever and will need go about finding their own path, even if it means saying “goodbye” periodically for a notable amount of time.

     It’s for these reasons I’ve listed in great explanation above throughout this detailed post cement Sonic & Tails R high on my list of favorite Sonic fan projects. They captured the magic of what made the Adventure games so beloved. Gonna be looking back on this passion project for many years to come. Everyone involved in this year long effort of a project dating all the way back Summer of 2020 ought to be immensely proud for how much their hard efforts paid off in the long run.

Thanks for taking the time to read my thoughts here! 

Hope you enjoyed. 

[theartofdreaming1]

Slightly paraphrased, but Peeta talking about that moment he developed his crush on Katniss is just too sweet 😊

As usual, my thoughts regarding this week’s prompts and random thoughts on chapters 22-24 are below the cut (sprinkled in some psychology thoughts again).

heart

Honestly, I think the people in Panem would perceive the whole everlark storyline the same way we perceive and react to our ships on tv (desperately wanting to reach through the screen, shoving the characters forcefully together, screaming “And now, kiss!”); especially the Capitolites who barely recognize the tributes (or people in the districts, in general) as people. The people in the districts would definitely view the whole thing more under a “reality tv” kind of lens, questioning how much of the relationship is real or not (we know that Finnick certainly thought that the entire thing was just a spiel, until Peeta hit that forcefield). The time spent in the cave must have been pretty convincing, though.

mind

I think that Katniss is still torn here - On the one hand, she kind of wants to believe that Peeta is actually into her (remember the happiness she felt when Peeta told her how his crush on her began, and it all added up and seemed so real), but on the other hand she’s terrified of that possibility because A) lingering trauma from her mom’s depression in response the Mr. Everdeen’s death, B) Katniss never even considered falling in love, so that’s a sudden unexpected thing to deal with, and C) maybe it’s just for the sake of the Games; and wouldn’t that hurt, getting your hopes up only to learn it was only for show? (How about we ask Peeta about that?)

soul

Yeah, that quote about Peeta only eating stale bread also struck me as quite sad. It just further adds to his understanding how there should be more to life than just survival, though. (One day, I’ll make that post about Peeta, Katniss, and Maslow’s pyramid of needs, I swear! I’ve already gathered some research material)

Chapter 22

My mother’s hand strokes my cheek and I don’t push it away as I would in wakefulness, never wanting her to know how much I crave that gentle touch. How much I miss her even though I still don’t trust her. - Ugh, I can’t... Katniss misses her mom, misses being cared for😢 I’m so glad we’re going to see her patch up her relationship with her mom in CF... On a different note, Katniss craving that gentle touch just perfectly illustrates why she’s so drawn to Peeta, who is generally such a gentle soul (I mean, he’s literally the person stroking her cheek here 😊)

He [Peeta] doesn’t seem angry about my tricking him, drugging him, and running off to the feast. Maybe I’m just too beat-up and I’ll hear about it later when I’m stronger. But for the moment, he’s all gentleness. - As I was saying... 😉

“I’ll go hunting soon,” I say. “Not too soon, all right?” he says. “You just let me take care of you for a while.” - I love them so much😊🥰 And then Peeta makes sure she’s well-fed and hydrated, he rubs her cold feet and tucks her into the sleeping back... and she let’s him! 💗

“He [Thresh] let you go because he didn’t want to owe you anything?” asks Peeta in disbelief. “Yes. I don’t expect you to understand it. You’ve always had enough. But if you’d lived in the Seam, I wouldn’t have to explain,” I say. “And don’t try. Obviously I’m too dim to get it,” he says. - Oof. This exchange here is interesting in many ways: 1) it highlights their different experiences, tied to their different socioeconomic backgrounds, basically, and 2)  that Katniss is very much aware of this difference, but we also see hints of her own ignorance here - because Peeta didn’t have to starve in his childhood, she thinks that he can’t possibly understand this level of hardship; but there are other ways in which one can suffer/lack fundamental needs, which brings us to 3) Peeta’s response about being “obviously too dim to get it”; I think this is a clue to his mom being also verbally abusive towards him: she called him “stupid creature” when he burnt those loaves of bread for Katniss and when he’s losing it in the attic of the Justice Building in D11 in CF he is mad that Katniss and Haymitch keep things from him “like [he’s] too inconsequential or stupid or weak to handle them”, which - to me - sounds like he’s tired of being treated that way (i.e. the way his mother treats him)

“I want to go home, Peeta,” I say plaintively, like a a small child. - God, this is a teenager in a murder-arena who feels like wanting to go home is a childish notion instead of a totally legitimate wish for anyone in that situation, regardless of age 😢

It’s not that Peeta’s soft exactly, and he’s proved he’s not a coward. But there are things you don’t question too much, I guess, when your home always smells like baking bread, whereas Gale questions everything. What would Peeta think of the irreverent banter that passes between us as we break the law each day? Would it shock him? The things we say about Panem? Gale’s tirades against the Capitol? - Geez, Katniss, give Peeta some credit here! A) It’s not like Peeta can walk around District 12 talking publicly about the injustices happening there - she and Peeta hadn’t even talked with each other before the reaping, whereas Gale is her best friend who rants to her while they are outside the confines of D12 and B) Peeta is literally the one who introduced the whole “not a piece in their Games”-idea to her; why would he be clutching his pearls over Katniss and Gale’s irreverent banter?! Just because Peeta didn’t live on the brink of starvation (she again brings up how his house smells like bread and - at this point - still thinks that the family running the bakery actually gets to eat what they produce just like that), doesn’t mean he doesn’t see how shitty life in D12 is - he can still want better conditions for those who are worse off than him!

“I did do the right thing,” I say. “No! Just don’t, Katniss!” His grip tightens, hurting my hand, and there’s real anger in his voice. “Don’t die for me. You won’t be doing me any favors. All right?” - Well, we’ll see this song and dance again in CF...

And while I was talking, the idea of actually losing Peeta hit me again and I realized how much I don’t want him to die. [...] And it’s not about what will happen back home. And it’s not just that I don’t want to be alone. It’s him. I do not want to lose the boy with the bread.” - I wish CF Katniss would remember this moment when she is questioning her motives about saving Peeta’s life in the arena - You. Care. For. This. Boy! You. Value. Him. For. Who. He. Is!!!

This is the first kiss that we’re both fully aware of. [...] This is the first kiss where I actually feel stirring inside my chest. Warm and curious. This is the first kiss that makes me want another. - Whoo! Is it hot in here or is it just me? 😉

I’m struck by his immediacy now. As we settle in, he pulls my head down to use his arm as a pillow; the other rests protectively over me even when he goes to sleep. No one has held me like this in such a long time. Since my father died and I stopped trusting my mother, no one else’s arms have made me feel this safe. - He makes her feel safe in a murder-arena!!! 😭 This is the kind of stuff that makes everlark just a top tier romance, tbh

Peeta telling Katniss about his crush starting on their first day of school 🥰😭 - and her reaction to it... For a moment, I’m almost foolishly happy - yes, because you have a crush on him, too! - and then confusion sweeps over me. Because we’re supposed to be making up this stuff [...] So, if those details are true... could it all be true? - YESSSSSSSS!!!

“You have a... remarkable memory, “ I say haltingly. - as a severely socially awkward person... I felt that lame response in my bones 😅

“You don’t have much competition anywhere.” And this time, it’s me who leans in. - God, this would be such an amazing moment if it didn’t get tainted by that immediate sponsor gift, which just serves to muddle Katniss’s feelings with her sense of survival, further complicating her relationship with Peeta... *sigh* 

Chapter 23

“What was that you were saying just before the food arrived? Something about me... no competition... best thing that ever happened to you...” “I don’t remember that last part,” I say, hoping it’s too dim in here for the cameras to pick up my blush. “Oh, that’s right. That’s what I was thinking,” he says. - Peeta is the master of being a cheeky little shit and adorable flirt at the same time

“So, since we were five, you never even noticed any other girls?” I ask him. “No, I noticed just about every girl, but none of them made a lasting impression but you,” he says. - I appreciate that while Peeta has had a crush on Katniss forever, he clearly didn’t spend the entire time pining after her, oblivious to the rest of the world - he has a life outside of Katniss Everdeen, but ultimately, it all lead back to her

A disturbing thought hits me. “But then, our only neighbor will be Haymitch!” “Ah, that’ll be nice,” says Peeta, tightening his arms around me. “You and me and Haymitch. Very cozy. Picnics, birthdays, long winter nights around the fire retelling old Hunger Games tales.” “I told you, he hates me!” I say, but I can’t help laughing at the image of Haymitch becoming my new pal. - Laugh all you want, this is going to end up being your future anyway 😄

He [Haymitch]’s at something of a disadvantage because most mentors have a partner, another victor to help them whereas Haymitch has to bready to go into action at any moment. Kind of like me when I was alone in the arena. I wonder how he’s holding up, with the drinking, the attention, and the stress of tring to keep us alive. - Katniss is already worrying about her “new pal”, I see ;)

Maybe he [Haymitch] wasn’t always a drunk. Maybe, in the beginning, he tried to help the tributes. But then it got unbearable. It must be hell to mentor two kids and then watch them die. - Honestly, that sounds absolutely awful...

Poor, Katniss, when she learns of Thresh’s death :( - But no one will understand my sorrow at Thresh’s murder. - It’s horrible how compassion and basic human decency gets construed as ‘weakness’ in the world of Hunger Games (esp. the Capitol)

Then I escape into sleep, comforted by a full belly and the steady warmth of Peeta beside me. - Honestly, I think a word analysis of THG-series could be interesting; how often does Katniss mention “warmth”, “steady/steadiness” “safe/safety/security” in connection with “Peeta”?

“We make a goat cheese and apple tart at the bakery,” he says. “Bet that’s expensive,” I say. “Too expensive for my family to eat. Unless it’s gone very stale. Of course, practically everything we eat is stale,” says Peeta [...] Huh. I always assumed the shopkeepers live a soft life. And it’s true, Peeta has always had enough to eat. But there’s something kind of depressing about living your life on stale bread - Katniss is starting to realize that the lives of the merchants isn’t a cushy as she thought; also, in a way, we see a “prettier” version of how Panem treats the districts overall -> feeding the districts just enough that they can do their work (plus/minus a couple of people who’ll die of starvation, but at a small, for Capitolites insignificant margin), but not so much that they are in good shape to rebel; here, the merchants of D12 have just enough that they can live a “decent” life (they know it could be worse -> the Seam), but they don’t have enough to live a free, comfortable, self-determined life either. This also just further drives a wedge between the inhabitants of D12 (the merchants won’t want to rebel because they don’t want to get ‘demoted’ in their lifestyle, starving like the people from the Seam, and the Seam folk feel resentful towards the merchant people, while also not having the resources to rebel, due to their awful socioeconomic conditions)

What would be my life like on a daily basis? Most of it has been consumed with the acquisition of food. Take that away and I’m not really sure who I am, what my identity is. - It’s so sad who Katniss has been so consumed with ensuring that her most base needs are fulfilled that she barely has had the time to really figure out who she is and what she wants from life (If we’re talking Maslow’s pyramid of needs, Katniss would primarily be stuck on the lowest tier 😢)

At least, we’ll be friends, I think. Nothing will change the fact that we’ve saved each other’s lives in here. And beyond that, he will always be the boy with the bread. Good friends. - Honestly, Katniss counting on being good friends with Peeta after the Games is the highest honor she can bestow on him at that moment (she’s so into him, lol); of course, knowing that their relationship is going to be a bit rocky once they’ve come back makes this thought a little sad... but we also know they’ll make up (and out ;) in the future

Peeta licking his plate and blowing a kiss out to Effie is such an adorable goofball-moment 😊

I cover his mouth with my hand, but I’m laughing. “Stop! Cato could be right outside our cave.” He grabs my hand away. “What do I care? I’ve got you to protect me now,” says Peeta, pulling me to him. - This moment would be so cute (also, Peeta’s so confident in Katniss’s skills to protect him, which is adorable - toxic masculinity who?) but... Ugh, he’s just so giddy here, it kind of breaks my heart for when he learns later that (at least some) of Katniss’s reactions were just for show

“If we want food, we better head back up to my old hunting grounds,” I say. “Your call, Just tell me what you need me to do,” Peeta says. - Love how Peeta’s always ready to follow Katniss’s lead :)

Ideally, I’d dump Peeta now with some simple root-gathering chore and go hunt [...] “Katniss,” he says. “We need to split up. I know I’m chasing away the game.” [...] “Show me some plants to gather and that way we’ll both be useful.” - Teamwork! If it weren’t for Katniss worrying for Peeta’s safety, they’d be on the same page here

“What if you climbed up in a tree and acted as a lookout while I haunted?” I say, trying to make it sound like very important work. “What if you show me what’s edible around here and go get us some meat?” he says, mimicking my tone. - I really like how Peeta’s challenges Katniss here; he doesn’t just go along with everything she says, while still being quite reasonable

I feel like I’m eleven, again, tethered not to the safety of the fence but to Peeta, allowing myself twenty, maybe thirty yards of hunting space. [...] I allow myself to drift farther away, and soon have two rabbits and a fat squirrel to show for it. - I don’t know, but Katniss feeling tethered to Peeta makes me think of Mary Ainsworth’s attachment theory, according to which children with a secure attachment to their primary caregiver use  their “attachment figure as a safe base to explore the environment”... Of course, Ainsworth’s Strange Situation was conducted with young children, but attachment styles are supposed to influence the relationships we form with people in our later lives as well (including romantic relationships)... I dunno, just a random association that popped into my brain 😅

Chapter 24

Peeta’s a whiz with fires, coaxing a blaze out of the damp wood. - Heh, Peeta sure knows how to handle fire, huh, Katniss (or should I say: Girl on Fire?) 😏

I order him into the sleeping bag and set aside the rest of his food for him when he wakes. He drops off immediately. I pull the sleeping bag up to his chin and kiss his forehead, not for the audience, but for me. Because I’m so greateful that he’s still here, not dead by the stream as I’d thought.  - Aww, this is so sweet (and domestic)!

It’s funny. I feel almost as if it’s the first day of the Games again. That I’m in the same position. [...] But no, there’s the boy waiting beside me. I feel his arms wrap around me. - They are a team! Katniss doesn’t have to face the horrors of the Games alone anymore! It keeps boiling down to this.