astarion’s “i’ve almost forgotten how much color there is in the world” line is so infinitely more heartbreaking when you realize he’s an elf- which means by dnd/baldurs gate rules he has darkvision
darkvision, which allows certain character races to see in the dark but only in shades of gray
this man quite literally has been living almost 200 years in complete colorless darkness or at the very least with a very limited visualization and only just now is able to see a full spectrum of color….
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Something that always confused me when I read TPOTO was why The Phantom chose box five out of all the private boxes to be his.
Out of all the seats in the house, box five is among the worst and would be (and still is) sold cheaply (average 65 francs at cheapest in 1880, now sold a between 10-25 euros nowadays) on general sale. A higher profit would've been made from a year-long booking, especially since there are multiple seats, so it would be 65 francs per person on a yearly booking no matter how many people are in there at once, but still not as much as other seats.
Visual wise, a good chunk of the left side of the stage is cut off and parts of the performance that would occur in the higher wings would be completely unseen, so, why choose it? Isn't the main point of going to go watch an Opera is to actually see the performance?
(A screenshot from the Palais Garnier's seat listing stating the best seats for viewing and the view from the box five via this video)
Having been there myself in late May, I found an answer to my own question and I'm gonna share it with you guys because maybe someone else was asking the same thing!
Although yes, the stage is half cut off, it's one of, if not the, best seats acoustic wise. You're a perfect distance from the orchestra as well as the stage for everything to sound just right. As much as The Phantom would've loved the operatic performance, I don't doubt he would've been more focused on the music itself as well as the vocals, and, mainly, Christine.
Further, although going to the opera was more of a social thing than an entertainment thing, so the boxes were built for aristocracy to be seen above all things, you can disappear from public view quite easily in that box. There are two to three rows of seats going backwards to the door, so all one would have to do to disappear from sight of anyone on stage or in the audience would be to just move a seat backwards (which means he wouldn't have been able to see the stage at all, but would still be able to hear everything perfectly well).
Plus, the box is located right at the end of the row of private boxes, as well as very close to entry and exit stairs, both public ones and private ones meant for stage hands and general workers.
All in all, those three reasons are why the box was chosen and kept in high priority for The Phantom, because he could quite literally disappear, like a ghost, by just moving himself in the box, as well as disappear out of the box and hear Christine almost perfectly.
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I love the fact that cannonically Martin considers that the thing that makes Jon recognizable to strangers it's not the myriad of scars but that Jon looks like someone that has not sleept in ages. He could not more enphatically make the point he wants Jon to just take at least a nap already except he makes his point to a total stranger Jon just traumatized instead of saying it to Jon.
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I think the reason why I got so immediately attached to Jonathan sims can be traced all the way back to Geronimo stilton
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ah yes. the twins. from the dnd show. yeah the guy and the girl. yeah of elvish descent but left their family early. right. relied on each other for everything and always knew where they were in relation to each other. joined up with some loveable doofuses to save the world several times. yeah one of them died and it really fucked up the other one and they blamed a member of their party for it. being separated was Not Good for them. uh huh yeah one of them eventually became an emissary of the raven queen. why the fuck are you talking about mexican food now. what does that have to do with this.
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Not the son you were looking for
The Fentons were sure that their son was dead. They didn't understand why Phantom pretended to be their little Danny, nor why he made so many illogical excuses like "being a hybrid" and so on. At first they played along, but they were angry, angry that the truth was being kept from them, angry because they were sure that the supposed hero had done something to their son, and he even managed to trick Jazz!
It all made sense when Phantom was declared Ghost King, of course, he surely had Danny captive! It shouldn't be hard for the King of the Dead to manipulate a soul, maybe he was gaining power from that. They were sure, they had seen the King argue with one of his ghost-capturing devices and keep it always guarded, a big secret surely.
Unfortunately for them, the GIW had disbanded, so they had to turn to their second choice: The Justice League. It was an organization of heroes that had only recently formed, but the Fenton's were sure they would help them, so they contacted them and explained the situation. The League was skeptical but when they heard that a child might be in danger they acted immediately.
They didn't confront the King directly, they weren't idiots, but they stole the thermos, willing to give the child trapped in it a break. They could deal with the Ghost King later.
Unfortunately for everyone, as soon as the Fentons hit the "release" button what came out was not their son's soul, no. Dan Phantom watched them with a wide grin, free for the first time in years. The League had a feeling they had made a grave mistake.
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In light of the info about the properties of souls in The Unwanted Guest, I want to shout out that Gideon — with no grounding in the theoretical underpinnings of the subject whatsoever — actually makes basically the same observation about the permeability of the soul at the end of Harrow the Ninth, when she's in Harrow's body and (with some justification) is pretty sure she's about to die in the River:
Harrowhark, did you know that if you die by drowning, apparently your whole life flashes in front of your eyes? I didn't know, as I died and took you along with me—having kept you alive for what, a whole two hours?—whether it was going to show me both. Like, at the end of everything, if it was going to be you and me, layered over each other as we always were. A final blurring of the edges between us, like water spilt over ink outlines. Melted steel. Mingled blood. Harrowhark-and-Gideon, Gideon-and-Harrowhark at last.
‘As we always were’! ‘Melted steel, mingled blood’! (Also interesting that despite saying earlier in the book that all she ever wanted was for Harrow to eat her (oh Gideon), the metaphors Gideon reaches for here are not about consumption ala what Ianthe’s deal and thus traditional lyctorhood is presented as in TUG, it’s about similar and equal substances joining together to a new whole, more like what we see with Paul. I personally feel like a Paul-style merging for Harrow and Gideon is not in the cards and would not be a satisfying ending — it worked as a bittersweet conclusion specifically for Pal and Cam because those two are utterly nuts in all their sanity lol, but I don’t think the series means to present it as The definitive answer to the central question of individuation vs. connection. There is something so moving to me, though, in the fact that right at the end this is what Gideon wants for her and Harrow. Not for Harrow to eat her, not simply to be of use to her, but to be made together from the same stuff. It’s a longing for connection and union that’s finally at least in imagery free from the imbalance within the ultimately hierarchical roles of necromancer and cavalier that Gideon internalizes through her corruption arc in Gideon the Ninth, understandably so as it’s the only model she’s presented with in their society to understand intimacy and attachment and devotion through. But Gideon says Harrowhark-and-Gideon, Gideon-and-Harrowhark at last, mutually and equally. And I’ve written about this before, but at what must be almost exactly the same time, the same process is happening in Harrow’s mind through the evolution in the symbolism of her dream bubbles. Help I am emotions now)
Palamedes is so right, Gideon is a lot smarter than most people -- including Gideon herself -- ever give her credit for.
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