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#vergil says things
xx-vergil-xx · 3 months
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every time i think of a scene that doesn’t fit into the core narrative/meticulously whittled structure of my weird novella, i make a little note of it. jot it down, maybe write it in full and set it somewhere else. save it to a separate doc for safekeeping. generally good writing practice, good to save nice ideas to perhaps rework for other projects, turns of phrase that don’t quite fit but are themselves good, etc etc etc, sure yeah totally
but really. one day. one day i will make a secret second ao3 acct. burner gmail. indecipherably vague username. accessed only via a vpn. unaffiliated with me in every possible way. buried entirely. and i will write those scenes. and i will post them. and in one (1) book tour interview, i will say, precisely, “well, haha, of course, the editing process is always tough for me, i just hate getting rid of stuff, haha, so what i do is, for fun, i write and post, let’s say, b-sides :) just somewhere online :)”. and at last, i will know peace
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thoodleoo · 4 months
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finally returning to my translation of the aeneid after a long time off. picking back up with book 4. prepare for me to be even less normal than usual
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tianhai03 · 2 years
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guys wake up new C coloring pic just dropped <333 have some teefs i drew awhile ago that i probably never posted here
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storytellering · 11 months
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Don't look away.
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queenmuzz · 1 year
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To this day, I cannot believe the twin that said 'Daddy'.... Was Vergil.
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meri-meri-mwah · 11 months
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DMC 5 is actually a compilation of Nero getting disrespected by his uncle AND father.
Starting with Dante's classic dead weight comment. <3
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Then Vergil snatching Nero's arm without asking nicely.
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Then V(ergil), who had sm hope for Nero... only to be disappointed.
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And Dante gotta add salt in the wound.
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AND LET'S NOT FORGET THAT ONE DIALOGUE BETWEEN NERO AND VERGIL WHERE IT'S LIKE:
Nero: You feeling accepting yet?
Vergil: Of your existence? Or your strength?
Nero: Both, you fuckin' asshole!
...now me personally, Nero, I wouldn't let my uncle and father disrespect me like that. 👁️
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prototypelq · 1 month
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this speech is a must-listen for any 'father figure Dante' trope fan
(why you should listen: a daughter of a rockstar roasts her dad at his own award receiving ceremony about him not wearing any shirts when he was picking her up from middle-school)
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egovision · 13 days
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never love an anchor by the crane wives for vergil. btw
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While I'm not much of a Lucia enthusiast - she sounds like a great character on paper, but what I played of DMC2's story didn't hit at all - I find the idea of her and Vergil being a ship conceptually hilarious because- Look, here's how I imagine it going down:
Dante: "Okay, it's time I did something about this Lucia situation. She's a nice girl, but I'm just not that into her. But what can I do? It's not like I can just find a guy who's as handsome as I-"
Dante: "..."
Dante:
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Hey there, i just read a shard of ice and its really good! Also your love for the witcher series <3 Do you think Vergil would do what Geralt does with his last wish from the djinn? Where he binds his and yen's fate together? Thank you!^^
Helloooo! Oh I'm so glad you enjoyed that one, it was really personal to me ^^
And YES, I love The Witcher!! I have to go back reading the books - Yen and Geralt's relationship is one of my favourites even if it isn't perfect. I'd argue it's precisely because it isn't perfect.
Plus, I love Geralt's adventures as a witcher around the world. It's always a treat to read ❤
Now, regarding your ask about Vergil... ABSOLUTELY. He's a dramatic storm that is approaching, 10/10 would do that.
But let's dive into it!
For those who don't know, in the first book of The Witcher series, The Last Wish, our dear Geralt de Rivia falls for Yennefer and, as she is about to be killed by a djinn who is very much pissed at her (long story), Geralt has a last wish to be fullfilled by said djinn. He ties his fate to Yen's and thus the djinn cannot kill her - saving her in the proccess. She thinks he is out of his mind because she sees what he just did as a way to doom himself, but he doesn't care. Of course, Yen falls for him but she's too proud and prizes her freedom too much to officially tie herself to Geralt.
Like I said, they are complicated and less than perfect. It's wonderful ❤
Now to our beloved Vergil.
He would NEVER do it to a loved one if there were other alternatives to save their life. BUT, if that was the ONLY choice, he would.
Since the whole last wish thing is with Yen, not Ciri, I'm going to take a look at Vergil's relationship with a romantic partner ;)
Of two things we are certain about him: Vergil can survive virtually anything and drag his body through the most adverse of situations by sheer will; and he is traumatized and afraid to lose those he loves/being unable to protect them.
If by any chance he and his s/o ever found themselves on a situation where the only solution is to tie his s/o fate to his for them to survive, Vergil would do it without flinching.
After all, he spent his whole life in a mindless quest for power to be able to protect himself - and others, even if he tries to deny it with all his might. He is indeed powerful and able to protect himself against the most vicious of foes - he can't say the same about his s/o. So, if his s/o's fate is tied to his, it won't be by his death that they will perish. It will never be by his death.
Of course, does he take into consideration the heartache that such a powerful bond can create? Like our dearest Geralt, no. Vergil is cold and calculating, sure, but he has a short temper streak just like his brother. The only difference is that, unlike Dante, Vergil doesn't go all out screaming and going in a volcano flaming demon frenzy - he glares and goes in an ice cold demon frenzy. But they are both short tempered, no one can change my mind on that one xD
Vergil can and will use logic and calculate everything. He will be cautious, observing and swift when dooming his enemies. But, if you take him by his heart, you'll have controlled-by-emotions Vergil. He doesn't really know how to deal with those, so they are mostly dreanched in anger, hurt, trauma, melancholy and protection instinct. His logic is out of question, the only thing left is a tunnel focus on being powerful to protect the one thing that can break his glass-fragile heart once more.
He can't afford to lose the very few things he has. He is 100% emotion driven, he does whatever he must (you know, like the whole DMC 5 ordeal to friggin' survive). When he's back at himself again, their fates are already tied.
And honestly? That can be his death sentence - it can shatter his heart, tear his soul apart, cause him grief and mourning in the long run... But he doesn't regret it. He never will.
It might end like Yen and Geralt in the books, or Yen and Geralt in the games. Either way, he would consider himself lucky to, after everything he did and lived through, love and be loved in such an intense way, be its end bitter or sweet.
Gods, I LOVED your question. HAHAHA thank you for sending it! It was surely a lovely thing to think about! I hope you have a great week ❤
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xx-vergil-xx · 19 days
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god Verg I love a Structure so much, it’s gonna be “despicite, dei, gaudete” for the WIP game & I would love to hear more about the said structure if you feel like sharing it!
hello!! an excuse to talk about my project? yes please thank you <3
so it’s three “layers” which are entangled (maybe laced is a better word — i’m still ironing out final structural presentation, but the core is there)
1. sopwith, a book published in 1950 about pilots in WWI — aiming for an american modernism style, steinbeck influences (god i love steinbeck) with a dash of the faintly surreal, though i wouldn’t call it experimental. presented in standard book style, not terribly long
2. the life of sopwith’s author, who was himself a pilot in the second war, discharged after a serious plane crash — sopwith is published after his stint in the air force and he spends the last six years of his life in a new york hotel (based on the chelsea) obsessively redrafting a second edition of sopwith and filling a horde of journals, which themselves are published 50 years later as an academic text (though the second edition of sopwith never sees the light of day). told in journal passages
3. the efforts of a lit studies doctorate to piece together what it was sopwith’s revised version (never published) was really trying to say while she struggles with her own psychiatric health and her relationship to literature and the world at large. told in footnotes on sopwith, journals, and letters to her brother.
that’s the simplest sort of breakdown — the lit. studies doctorate ends up living in the same hotel the author lived in while she’s working and enters a psychological spiral where she becomes entangled with those last years of the author’s life and the thing he was trying to excise via his book, so the lines get a little blurry as the whole thing progresses. there are lots of throughlines about doubling/communication/the effort of people to corral the world with the written word/etc — inspired a lot by jorge luis borges and also house of leaves. i’m still in the glorious haze of Throw It All On The Page so i expect there’ll be some. refinements? (please god)
despicite, dei, gaudete is the first thing the author ever wrote and published — it’s a novella about an odd family myth a grandmother is telling her grandson, but taking a borges tact what we read instead of the actual novella is the lit doctorate’s essay about it, an excerpt from the middle of which i shall offer you here :)
thanks much for the ask my friend <3 <3
The seemingly obvious moral is twofold: old gods are infinitely cruel, and splitting up in strange forests is a terrible idea (a fact any B-list horror film will readily remind us of). Little chou hears this story, and when the telling of it is over, we discover that chou is now an old man, telling the tale to his granddaughter, and we have been hearing the telling of a telling, itself impressed upon by dimly-recalled circumstance and the erosion of an old man’s memory. Now we see why the impressions of intermediate narrative — a family dinner, a bedtime, a certain firelit drawing room — are so loosely sketched, so half-filled and yet so elemental. They are the memories of a child.
Most take Despicite as Witten’s first establishment of in loco, absentia on the basis of the fact that the real narrative concealed within is the life of chou, understood to us by the particularity of the details he does remember: his mother’s hand vividly recalled, posed mid-stir over a soup pot, thought by many to imply both her early death and chou’s pursuit of the culinary arts; the flames in the hearth and the strange vision chou has of the stones blackened, suggesting at one time that the house burned down; chou’s exquisite ekphrasis of the ceiling in his childhood bedroom, so vivid one cannot help but think that this is where we find him now, perhaps confined to the same quarters he slept in as a child, an old man at the end of his life. Legion readers have pointed out the obvious Biblical influences, the echoes of Cain and Abel (raised as a Protestant in his hometown of Valentine, Nebraska, it’s no small wonder that Witten’s works tend to touch on Christian themes). The first brother, killed and then dismantled by the second, plays our ready Abel, and the second our more hapless Cain, whose inciting sin is perhaps his abandonment of his brother to the dark wood in pursuit of his own reckless belief. He then attempts to “hide” his sin by rectifying it, collecting his brother in an attempt to reverse his transformation into earth. It’s no great leap. Our Cain, of course, is not condemned to wander, but instead condemned to a miserable stasis, from which he similarly does not escape.
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homostacis · 17 days
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Actually yeah it is really interesting the way DMC uses its relatively repetitive plot cause like despite literally every game having the basic premise of "demon attack some guy is doing crazy shit" none of that really ever, matters. It's always set dressing for what Devil May Cry stories really are about and that is extremely personal conflict within families, especially the Sparda family. In 1 Dante get's brought to Mallet Island cause Mundus is trying to unite the demon world and the human world but like, does any of this really matter? No not really, it's just an excuse to get Dante there. Mundus isn't an antagonist/villain to face because he's ending the world, it's because he's the one responsible for destroying Dante's family. This keeps true for the rest of the franchise and it's also why the antagonists* themselves aren't necessarily that deep, because their desires to rule the human world are just stepping stones for the central familial conflicts/narratives the story explores. The asterisk there is obvious, it isn't a coincidence that Vergil, who can be considered the overarching antagonist of the franchise and clearly its best, is the antagonist directly tied to that familial conflict.
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tianhai03 · 2 years
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another C’s coloring post! my sparda twins body type headcanons but now in Color
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catilinas · 10 months
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aeneid 6.638-41, 6.672-5 trans. a.s. kline / plutarch, life of tiberius gracchus 9.4-5 trans. perrin
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lululandd · 1 year
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so i uh
its uh
daddy
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palebloodcvrse · 8 months
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Not to be a fuckin weeb but imagine going to a japanese festival with Vergil
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