#i do wonder where this is gonna go narratively though

[luveline]

jade my heart I’m really feeling Peter parker tonight in this chilis. maybe just Pete listening to r go on about something she likes? Like a book or a tv show and he’s just listening but also so obsessed with her and thinks she’s adorable? I love u! 🫶🏻

ily ty for requesting <3 fem

“It’s a prequel, you know?” 

Peter feels fondness for you pretty much every second of the day, but the way you’re asking without looking at him, and the way you’re laying across his lap so unbothered, he finds himself grinning like a mad man. “I did not know that,” he says. 

You nod up and down with a severe sort of look about you, as though this is of the utmost importance. If Peter doesn’t get on the same page as you soon, he’s not gonna make it. “I can’t believe you’ve never seen the first trilogy. Like, I like you so much, but where the hell have you been?” 

“Where have I been?” he wonders. 

“Anyways, that’s not the point, sorry. They’re complicated movies. You’d like them, though. Next time I’ll bring my DVD’s and we can watch them, if you want to, you’ll really like them, or you’ll really like Natalie Portman, at least. She’s beautiful. And her character is so… complicated, I guess, she’s doomed from the beginning of the narrative and she’s the catalyst for so much but she’s also just… sorry, I’m being totally boring.” 

“Says who?” 

Doesn’t take much more than that to get you rolling again, you want to tell him that badly, “I don’t wanna spoil it anymore because I really think you’ll love them if you watch them, but you’re gonna need to watch the first trilogy to get the emotional impact, and you’ll love them, don’t worry.” 

“I’ll love them,” he agrees, attempting to lean down for a kiss. 

“Wait, is this a shut me up kiss?” you whisper. 

Peter shakes his head as he kisses you, serving for a wobbly but soft press of your lips to his. “Never. Tell me everything about it.” 

You talk until you’re hoarse, literally hoarse, and Peter has to make you a cup of water. His cheeks are hurting from smiling at you. You’ve never looked this cute, not once, not even when he took you to Coney Island and you screamed the house down on all the rides. 

“I think we better go and get those DVDs,” he says. 

“It’s dark out,” you say. 

“We’ll swing.” 

“Isn’t that against your code of ethics?” You sip your drink, pointing at him. “We’ll hear someone who needs help on the way and you’ll drop my extended editions to save them.” 

“I won’t drop anything,” he says. “Come on! Come on, if you’re this excited just talking about it I wanna see how pretty you are when we’re actually watching the movies.” 

You press your smile into a line. “You’re not just humouring me?” 

“I could listen to you talk for hours, baby, but you sound like you did the second time we got off of The Cyclone.” 

You do a spinning, meandering dance into his arms. “If you insist.” 

Your feigned reluctance is adorable. He grabs you in both hands for another misaligned kiss.

#tasm peter parker #tasm peter x reader #tasm peter parker imagine #tasm peter parker x you #tasm peter parker x reader #tasm x reader #peter parker x reader #tasm!spiderman x reader #tasm!peter x reader #tasm!peter imagine #tasm!peter parker #tasm!peter parker x reader #tasm! peter parker x reader #spiderman x reader #peter parker oneshot #peter parker blurb #peter parker imagine #peter parker x you #peter parker x y/n #spiderman x you #spiderman fanfiction

[sunshine-jesse]

Control: The Strange Dynamics of Andy and Leyley or

The Incest End Is Not The Fucking Bad End, Stop Coping

EDIT:

Hey guys! This post is blowing the fuck up, but this was my first essay on this game, and I think I've had many more insightful things to say since then. Here's a link to a masterpost with all of my essays, which I'd definitely suggest reading after this one:

Anyways, without further adieu...

I heard a lot about this game going in. I knew the general story beats and the funny haha incest memes. I knew it was about a toxic codependent relationship where Ashley, the sister, acted like your standard overly-controlling person who used various abuse techniques to keep someone in line. I expected Ashley to be a yandere-type character where she was borderline psychotic, irrational, and had a skewed perception of reality. I expected her to be a crazy bitch, and I love me some crazy bitches.

But then I actually played through the game. ...That is not what I got.

The game advertises Andrew as a doormat extraordinaire who is strung along by his Very Not Good sister and has no agency of his own' that he's just a henpecked abuse victim. But in practice, that doesn't seem to be the case. One of their first exchanges that in the story is when the occultist played his music and Ashley wanted them to check it out. He says 'no', sure, but then he smirks and says 'but I'll come along if you do.'

That is not the dialogue of someone who has no will of their own, that's the dialogue of someone who willingly gives up their own agency.

This is not, on its own, a sign of anything out of the ordinary. What caught my attention with it, though, is how it flew in the face of the common narrative surrounding their relationship dynamic. But that's not the first time I noticed it, it's just the first time, in retrospect, that their actual dynamic begins to show. The first time I personally noticed it is in the choking scene.

There are a lot of ways to view this situation. But my own reading? This was not a crime of passion. This was not him trying to break free. This is him doing something he's thought about for a while. This is premeditated. In this scene, Andrew is done playing along with Ashley's shit. In this scene, I firmly believe Ashley is the victim.

Ashley is the more openly abusive of the two who seeks to do whatever she can to trap Andrew so he'll never leave her. That much is clear. But Andrew-

-clearly has these same tendencies. He says this shortly after Ashley mentions putting her name up on a call girl's wall for money. There's protective brotherly instincts, and then there's this. This is not something you'd threaten a sister with, this is something that a man would threaten his wife with, which is directly brought attention to in the story.

(hey look he accepts the framing of it being WIFE beating at face value, and says Ashley is the only one who makes him like that! HMMMMMMMMMM WONDER WHAT THAT IMPLIES???)

It also implies that this is not the first time physical force has been threatened! I mean, that much is obvious, because of the choking scene that happened before, but I more mean that this implies that Andrew either threatening or utilizing physical force is an established pattern of behavior. However, the Decay route implies that she never thought Andy would kill her (but Andrew would) which can either be for or against depending on one's perspective, so I don't hold to the idea that it's an established pattern too strongly.

Okay, so. Andrew has some controlling and possessive tendencies too. So what? Their relationship is codependent. It's advertised as such. What of it?

Well first of all, it pretty much blows the lid off of the idea that Ashley is the sole perpetrator of abuse in their relationship. I've seen a lot of people view Andrew's behavior as justified retaliation against abuse, but frankly, I don't believe that him threatening to strangle Ashley for violating boundaries by trying to hold him accountable for his actions (given the strangulation part happens after she brought up Nina's death and how Andrew was ultimately responsible) is justified. And I ESPECIALLY don't believe that him threatening to backhand Ashley for her transactional attitude towards sex is justified in ANY circumstance.

EDIT: This part was edited in from the original post for the sake of readability so they don't have to see the reblogs to see the updated version! This post gained more traction than I was expecting!

…But perhaps even more telling is what she DOESN'T do.

Pushing someone's boundaries until they lash out is a pretty common tactic in abusive relationships. It's easy to see why, too: It justifies prior behavior and paints them in a negative light to others. This can be an important aspect of using DARVO (deny, attack, and reverse victim and offender) against someone, although the two ideas aren't necessarily linked.

It's pretty easy to argue that this is what Ashley does, but if you look at the one time her boundary pushing DID go too far, when Andrew lashes out with physical violence… she doesn't do that. She doesn't blame him. She doesn't paint herself as the victim. She doesn't even try to give a reason as to why she shouldn't be killed outside of the comfort she gives him. Why is this notable?

Because the mom does, in fact, engage in what could be considered DARVO against Ashley:

(i will elaborate more on this screenshot in particular below)

Ashley is directly compared to Mrs. Graves by Andrew, and yet she crucially displays none of the habits that Mrs. Graves does. Mrs. Graves lays the blame on Ashley, but Ashley doesn't lay the blame on Andrew. Mrs. Graves tends to paint herself as the victim of Ashley, but Ashley does no such thing to Andrew. The mom denies her culpability at every turn; Ashley doesn't. Ashley tries to hold Andrew accountable for his role in Nina's death, which could be considered a kind of DARVO. But she never denies that she had a role to play in it. She just mentions that he was the one who pulled the trigger. And he was.

(and the point was more that she DIDN'T engage in it when threatened with physical violence; the perfect chance to)

In Mrs. Graves' mind, she is the victim of either Ashley, or society as a whole. In Ashley's mind, she knows what she is, what she does, and what she's about. The only thing she's oblivious to- or doesn't acknowledge, at least- is the threat Andrew poses to her. In her mind, she's the bad guy. In Andrew's mind, Ashley is the bad guy. In official art, she is the bad guy:

And yet, in the game itself, Andrew is the one holding the cleaver. Not her. Hm.

Ashley is the world's most convenient scapegoat. She allows people to mask their own worst habits and pretend they're better people than they are. She accepts this role. She embraces it. She doesn't try to deny it. But when that mask slips, people lash out at her. Both Mrs. Graves and Andy (NOT Andrew, crucially) predicate much of their self-perception on being what she's not.

But they're the ones who enabled her to become like this, every step of the way.

And that's what blew my fucking mind, and made me question just who the victim really is. She was never given a chance to be normal, because other people relied on her NOT being normal.

By the end of my second playthrough, I felt worse for Ashley than I did for Andrew, and I still do.

So. What am I getting at? What does this show me about the relationship between Ashley and Andrew?

(I also wanted to point out that Andrew does engage in DARVO too but I didn't want to distract from the behavior of the mother. Unlike what Andrew does, it doesn't require someone to reassess the narrative they have towards the game in order to realize the implications of it, whereas it's pretty easy to justify Andrew's words as not qualifying as DARVO if you buy into the narrative that he's the sole victim and/or that Ashley is the main perpetrator of abuse. A friend of mine pointed out that it's a pretty key part of the push/pull dynamic they have, and I completely agree.

However, the direct comparisons to the behavior of the mother can't be ignored no matter your narrative, so I felt as if I needed to highlight that more.)

EDIT OVER

It shows me that their relationship is all about control.

Specifically, the push and pull of who controls who in any given situation.

Andrew weaponizes his incompetence. He always looks to lay the blame on Ashley. This is drawn attention to several times, and said explicitly in the Decay route.

He is always surrendering control to her, and yet he never HAS to. He could always just say no. He could always refuse. What are the consequences? Her being upset? Well, unfortunately, it's not that easy. That's not how abuse dynamics work. He probably feels like he has to, or rather, feels like there's no other option. That he's in too deep, and stuck with her no matter what. But personally, I think it's pretty clear from his willingness to surrender control to Ashley that he still feels like he has it at points, because the moment he feels like he's about to lose it, he either considers violence, even as a child-

(the actual scene of slicing her finger is pretty sus too with this reading in mind)

-or resorts to it, outright, in both the choking scene and the vision in the Decay ending... when Ashley doesn't have enough bullets to defend herself (this will be important later!).

SO WHAT POINT AM I TRYING TO MAKE??? AM I JUST MAKING ABUSE APOLOGIA (the answer may surprise you)?

No. I don't think so.

Ashley is obviously very bad. She's controlling and uses pretty textbook abuse and entrapment tactics on Andrew whereas everything he does to her is inference, with Ashley too daft to realize just how much danger she's in until the vision in the Decay ending spells it out for her- and I don't know if a true abuse dynamic allows for one to be completely unaware of the consequences of breaking free. She could just let go of her desire for control and Andrew would be a much happier person.

And that's the point, because so would she.

I bring up control because that push and pull- that desire for control over each other- is exactly what's tearing their relationship apart, and this effect most obviously manifests in the two endings of episode 2. In the Decay ending, Ashley either tries to exert control over Andrew due to a lack of trust, or Andrew allows his feelings of entrapment to truly take root in his mind and guide his actions. In the Decay ending, Andrew becomes a true doormat with no will of his own, allowing his feelings of bitterness and resentment to fester and grow, eventually resulting in their deaths.

In the Burial ending, Andrew does the exact opposite. He takes control of the situation and does exactly what Ashley would do without much of a fuss. This eventually culminates in THAT scene (assuming you take the Questionable route), where his facial expression alone speaks volumes:

Look at how fucking confident this man is. This is not the face of someone who's unsure of himself; this is the face of someone who knows exactly what he wants and takes it. He is absolutely in control of this situation, and everyone is happier for it.

And what does Ashley have to do to get this ending?

Let's go back to Decay for a moment. If Ashley has bullets in her gun, she has control over the situation. She, at any point, could put an end to Andrew and survive. And yet, at the very end of it all, she could choose not to. She could choose to surrender control to Andrew, allowing herself to die. And that ending, I believe so much of his life and willpower will have decayed that there's nothing left for him to take control of, leaving him no choice- or rather, no use for the control he now has- but to die with her.

And in the Burial ending, she has to let him out of his cage before it's too late. She has to surrender control to him, and when she does-

-He will become everything she ever needed him to be.

It's all about her surrendering control, and it's all about him taking control. Because, no matter what, as long as that happens... the two of them will be together forever.

In life...

...or in death.

How romantic.

So no, the incest end is not the fucking bad end. They're going to be together forever in the end either way, so they might as well live through it.

#gaming #the coffin of andy and leyley #gravecest #ashley graves #andrew graves #someone help me i can't stop thinking about this fucking game

[ohno-the-sun]

Spoiler heavy fnaf ruin dlc rant up ahead

I am so fucking proud of steal wool they really took every criticism from the original game and fixed it and even added more

Like Cassie actually acts like a human being?? And like her knowledge of the original characters and cute little comments on every item are so endearing there is so much detail going into this.

The fact that they expanded on one of the fan faves Roxanne and giving her a great arc I’m in love I’m so happy

They honestly gave more depth to all the animatronics too like we finally see Bonnie’s design and get and get a taste as to what happened, also that poster Freddy gifted him I’m crying they are so cute and gay I love them

😭😭😭

Also the whole dark ride section with Monty is so fascinating like is that narrative kind of true or is it just fabricated by fazbear inc to cover up the decommissioning of Bonnie

Why replace Bonnie with Monty?? Why not make a new Bonnie model?? With the prototype label on Freddy it may be confirmed that they make multiple models (well we already kinda knew that with Freddies comments but oh well)

Also Freddy?? Like is that our Freddy or a different one?? They very clearly highlighted the prototype label so they want to emphasize it, but then the head is still missing like in the princess quest ending so what is the truth??

Feel bad for chica fans tho she really was sidelined hard

Aaaaa and my baby boys!!! There’s 3 now aaahaga

I was really not expecting eclipse to be the way they were, very… normal? Is that the right word?? Like obviously a little delusional on when the daycare is gonna open again, but in the right mindset of like this child needs to leave this place is not safe. It is interesting to me that both he and Roxy thought that it was Cassie’s birthday, maybe that was the last day before she left the plex? Or maybe that was the day the plex caught fire? Or maybe most depressingly we are playing on Cassie’s birthday so the animatronics have it in their systems what her birthday is and wish her a happy one (if they are in the right state of mind lol)

Some peeps are upset moon is a little too villainous

I think you can still say it was mainly the virus but I would argue even if it’s not the virus I feel like moon is kinda justified here. Like sun has been shutting him away for a long time before this (if the books are to be believed but also in general) so when he finally gets a chance to roam free of course he’s gonna take it. And idk about u but if my alternate personality was constantly trying to shut me out and I finally got control, I probably too would try and keep my control for as long as possible. Also from what I have seen so far, not even moon is all that aggressive? Like he grabs you at the beginning, but I think that’s just his very ineffective way to get kids to sleep and other than that he just kinda stays away

Poor sunny baby is stuck in the ar world 🥺🥺 I didn’t notice at first but yeah everytime you talk to him it’s only in the ar world. And the end part where you switch them out for eclipse if you do that in the ar world, he says not for me it’s for moon.

I will say though I noticed the voice acting for them changed a little this game, like both have a higher pitch and are more goofy sounding? Like more gremlin energy than evil villainy. I wonder if that was on purpose? Both of them sounded more like the other so maybe that was the reason? Interest interest

Also their mouth moves?? Sort of?? That’s so silly to me they have a whole working mouth system and their face mask doesn’t work with at all 😭

Does give me lore intrigue tho cause like why do their mouths move but not anymore?? Did something happen?? Are they just not maintained enough?? They also move outward instead of up and down (at least from what I saw) so is the mechanism different?

Also the way that sun and moon talk about eachother is so interesting. Like moon says the light hurts “us” and sun says “no the other me” like they seem to almost consider eachother more connected than we first thought, like they’re not just coworkers or strangers they are almost like two sides of the same person. It’s very interesting and I wonder where people will take this.

Overall great job I’m so excited to comb through the game and find every little secret (especially regarding the dca) aaaa

Ok ok update moon does have a jump scare but it’s ridiculously hard to get and I’d still argue he’s not as vicious as he was base game. I mention in another post but eclipse being as kind as he is and being (presumably) a combination of both AIs, gives even more evidence moon is supposed to be kind and caring like his posters suggest but something went wrong. Also Cassie’s comments on their plushes show that there were kids who truly liked the daycare.

#fnaf ruin dlc spoilers #ruin dlc #ruin dlc spoilers #spoilers #fnaf spoilers #ruin spoilers #fnaf dlc spoilers #fnaf ruin #fnaf dlc #sundrop #moondrop #fnaf daycare attendant #fnaf #also please please pleas if someone wants to discuss #or just have me rant to them one sidedly #please I’m bursting at the seems aaaa #thoughts

[honesttoglob]

Ok so few thoughts on the Season 2 Bigtop Burger Supercut:

- Apparently the "freakazoids" that Cesare and the underworld have been keeping tabs on are Cryptids. I had suspected the freakazoids in question might be demons as Hell is taking some responsibility for them but they're cryptids??? Man, that just makes me sad, leave bigfoot alone :(((((

- One of the cryptids pictured is Flatwoods Monster, who, according to legend, is also an alien. The other two appear to be Mothman and though I'm a bit fuzzy on this one some sort of bigfoot or yeti creature. He's wearing a lil stetson hat. Did Cesare use the stetson hat trick before?

- The second still shown in the credits appears to be Munkustrap descending onto Earth on some sort of spacecraft as the Bigtop and Zomburger crews watch. They appear to be in the same positions/outfits as when Cesare whack-a-moled Steve into hell. Which is????? Idk what to make of that. Could Flatwoods Monster have some kind of alien technology that they used to contact Clown World? Are we finally gonna have Clown vs Undead War??????? I wonder how Munkustrap will react to seeing other clowns in the pink-yellow-blue spotted outfit which Tim, Penny and Billie are wearing, which seems to be a pattern which all banished clowns are exiled in. Looking forward to see how he looks now that he's aged! Also, I like that this scene implies the Zomburger and Bigtop gangs stick together! Which I want them too! SO BADLY!!!

- As @fr0stmask mentioned in a reply on this post, the spacecraft Munkustrap is seen on is actually a tire, as in the musical Cats, cats who are deemed worthy are sent up to the Heaviside Layer on a TIRE!!! Thanks for the info!

- What if the Cats performance is literal, and one clown actually gets sent "up to the heaviside layer", and that's what happened to Munkustrap and how he got the tire spacecraft. Steve got booted out via banishment and Munkustrap was chosen to ascend, but in the end they both ended up in the same place.

- Frances, Conrad and Allen look visibly upset when they realize Cesare isn't actually proposing a truce and is still up to his antagonistic bullshit.

- The image of Cesare in his weird little Cabinet of Dr. Caligari coffin makes my stomach do little back filps. We've seen Tim, Penny, Billie, Frances, Conrad, Allen, and Steve all in their own homes (For Steve it's his truck where he sleeps) but Never Cesare! Seeing him in there makes me nervous honestly because in the image, his box/cabinet has two doors on its front, with no handles inside, which suggests it closes from the outside and he's "stored" in there and deanimated (seeing as his eyes are closed and this is the only time we've seen him at rest) when not in use. This would add metaphorical meaning to Cesare's comments about being a puppet vendor, as now that's all he is- a puppet. He looks like a little doll being stored in his box. This seems to suggest something I've long suspected, that the "1000 year sentence" Cesare is being held on by the underworld may be bullshit, and he won't actually be allowed to go on retirement. Instead, this idea of his sentence one day ending is merely meant to motivate and control him, like a carrot being held in front of a horse. Could that candle shown at the end be his lifeforce? When its lit maybe he's animate, while when its snuffed out, he's a lifeless husk kept in a box.

- You think Cesare's and Steve's footie pajamas have a similar narrative role? Like to make them easily identifiable as rejects (in Steve's case) or property (in Cesare's case)? You think they're just meant to be dehumanizing or a source of shame?

- Tim was the first one to find Steve, which makes me feel fucked up that Steve still doesn't know his name and seems to mis-name him the most :(((((( Tom and Toby???????? I mean I get that my man likely has memory issues, he's very old and he hit his head very hard on the ground and he refuses to go easy on that fckng juul

- Baby Tim is so cute and handsome I'm dying

- The alley Steve emerges into in the after credits scene seems to rememble the alley with the hole in the ground that Conrad recounts Cesare getting money from. Is this because the underworld was able to track Steve's ascent through the ground to Earth's surface? Is this the same hole Cesare enters and exits the underworld from?

- Also, Steve spits out some rocks when he reaches the surface. U think that's how he started thinking of rocks as food? They just kimda got in ther and he thought "mmmnm yummy!"

- Based on the timelime and my own calcumalations, Steve landed in Sweden, creating the crater which is now known as the Siljan ring, and emerged a whole continent over in North America (at least I'm assuming the show takes place in North America. The driving wheel is on the left side, right? And everyone has American accents? (Except Tim) Is that enough?)

I have a theory that Penny reminds Steve of his own mother. Both women have the same voice actress (Lindsay Small-Butera, my beloved ;-;), and in season one, while Steve is high, once he hears Penny's voice, he shapeshifts into his child form (which I think might have been the last time he saw his mom before she dropped him off at Christian-Acting Camp) and asks her for soup. He's even in the same Little Lord Fontleroy outift. Also, at the Food Truck Expo, when Steve sees Cesare approaching him, he hides behind Penny's back. Also, they have a similar appearance in hair color and clown makeup.

- Speaking of Steve's family, in the scene where Steve is about to be shot into space, there are three clowns who stick out from the crowd. One, with a haircut resembling Steve's mother's on the right (I believe this is her), Munkustrap in the center (at least I believe this is him, their hair and faces are similar) and a male figure on the left. I believe this figure on the left is Steve's father, and Munkustrap is either Steve's brother or past love interest (I think him being his brother is more realistic because him being Steve's love interest and sending him into space is I think too dark even for this show).

- I think the clown actors in Cats may only refer to eachother by their character names. Munkustrap is given no other name, and Steve being stripped of his name as "Old Deut" is seen as a big deal.

- I noticed whenever male clowns get old, their hair develops into sort of a tonsure style with a little dollop of hair sitting right in the middle of their bald spot. Peanut has this, along with Steve's father, and Steve is also developing this as well, based on the wicked widow's peak he has whenever his hat is off.

- bro I wanna see Cesare and Munkustrap interact so bad. What if they get jealous of eachother like, "No! I'm the only emo twink that gets to make Steve's life a living hell, who the fck are you???"

- I want them. To fight lol

- Cat fight!!!!!

- I may be stretching with this one but Munkustrap and Cesare just look kinda visually similar to me? At least with the black onesie and the dark unkempt hair. You think there's a reason for that? Or is it more metaphorical, as in these are just two people who have an impact on Steve's life in that they do their best to not let him fit in with the general society?

- In the still of Munkustrap descending from the sky, Conrad is build like a brick shit house frfr

Just needed to get these thoughts out of my head so they don't weigh down on my humors and make me bad at art and work and remembering to eat food and sleep and bathe and breathe for the next however many months it is before another episode O-O

#bigtop burger #worthikids #btb #btb steve #btb cesare

[twyftwyt]

here’s a short Noah imagine i scrabbled in my notes app while rotting in bed, i’m wondering if i should write more.

…you have more pieces of me than the desert has sand

and i have less pieces of you than i can hold in my hand…

I knew we weren’t dating. I knew we were never gonna be together officially, so what was the point of fighting over it? What was the point of this whole thing, actually? I wasn’t his to claim and he, for sure, was not mine to call. He was gone almost 300 days of the year. He had gigs, festivals, signings, award shows, record meetings. And I had a 9 to 5 job. I went home, cooked, cleaned, went on vacation sometimes but my routine was way different from his.

So why were we sitting in his car, at 2 in the morning, fighting over “labels”?

“I’m not about to argue with a man who doesn’t even know what he wants.”

“Do you hear yourself? I don’t know what I want? Me? Is that how we’re turning the narrative now?”

“No, Noah. The narrative’s been the same this whole time. Just admit that you don’t want a relationship and we can call it a day and I can finally go home and sleep, cause I have work tomorrow.”

My eyes were burning and so were my cheeks. I was flushed with anger and I could already feel the tears coming.

“I never, NOT ONCE, said that I do not want a relationship. I am INCAPABLE of maintaining one. You wanna miss me for a month straight, see me for a weekend, travel the whole world to spend a day, maximum two with me in between shows? You want me calling you in the middle of the night, waking you up just because where I’m at it’s midday and it’s the only possible time for me to call you? You want to put us in a position where my trust will be questioned all the time? And you’ll be anxious if you see me with another woman just because I HAVE to work with her? You wanna go through all of this?”

“Seems like you don’t want to, so what’s the point of having this conversation? Please, just take me home.”

I couldn’t contain myself anymore and I felt the tears streaming down my face. I was starting to shake but I didn’t want to make a bigger scene than what this conversation had already turned to. I was spent. And hurt and tired. And he was just sitting in the driver seat, looking at me, not knowing what to do. He looked so pathetic, it was insane how much I allowed myself to fall in love with him. He was just. a. stupid. man. He never knew how to react properly and most of the time it was funny watching him struggle to pick the right words, but he was always big on physical contact, so he’d just pull me in his arms until I stop crying. He didn’t do that now though. He was just staring at me, blankly. I turned to face the window and put my legs up on the seat, curling into a little ball.

I heard the engine start and the radio came back to life with the most gut wrenching song Spotify could pick. God, I hate that shared playlist. And I hate myself for falling for him.

#noah sebastian #bad omens #bad omens cult #noah sebastian fic #Spotify

[bakuhatsufallinlove]

re: 405

This is gonna be long.

First, I'm bringing this post back around to remind people that kocchi is a pronoun of ambiguous plurality.

This means that an interpretation of "we" is just as correct as an interpretation of "I." Readers may interpret it differently, but on simply linguistic grounds, they are of equal validity.

You will often see this kind of ambiguous language used in Japanese, even with characters that are forthright. The reason is one part cultural expectation that the listener will read between the lines, and one part a willingness to accept two things as simultaneously true. This exists and is frequently found in English as well, there just isn't a direct parallel for kocchi itself.

What I want most out of writing this blog, aside from personal enjoyment, is for people to understand that there can be more to a story for you to engage with, think about, and be moved by, when you step outside the boundaries of your own language and culture.

I think that is a much more interesting space to be in than a gotcha-laden approach of trying to prove something wrong or bad.

But if we are going to talk accuracy, the fact is that the fan translation many people have been upholding as superior has just as many problems as the official one. It takes just as many creative liberties, they are simply different ones.

The fan translator centered an "I" reading and, rather than using either of the two pronouns provided by the text ("OFA" and あいつ, meaning "that guy"), added a narratively-charged word ("nerd") that did not exist in the original and which (as far as I can tell) Katsuki has never used when speaking to villains. As a translator myself, I really disagree with that second choice. The official clearly missed the callback, but noticed the theme of "everyone who has faced AFO until now" and went with "we." The rest was just style over substance which prioritized edgy language to capture the aggression of the line; this falls squarely in line with what Viz has consistently maintained as its in-house aesthetic. It's disappointing, but unsurprising to me.

Fandom oscillates pretty violently between vilifying the official English release and fawning over it. Whole fan theories are built upon nitty gritty bits of the official release's phrasing; people will get excited over how homoerotic a line sounds, and it's because of how the official translator worded it, rather than any innate implication in the original Japanese.

If you do not speak Japanese, your experience of MHA is fundamentally dependent on the work of translators. I respect that everybody has their personal tastes or hopes for how the series will go, but it is deeply demoralizing as a Japanese speaker and translator to see fans who don't speak any Japanese at all act as though their opinion has the same weight of authority as people who do.

You are entitled to your preferences, but please recognize that they are based in taste, not personal knowledge. Not all Japanese translators will even agree in their interpretations, but it weirds me out that some non-Japanese-speaking fans will use this fervor to spread misinformation far and wide that proclaims as inaccurate perfectly good official translations, simply because the choices don't suit their own tastes.

The lists of "times the fan translations were better" I've seen mostly contain instances where the fan translators took greater liberties than the official release did, and some fans just happened to like the liberties that were taken.

We all reasonably hated the "best friend" fan translation of chapter 359, but somehow that isn't a point forever against fan translations the same way mistakes in the official release are?

At this point, it makes me wonder what the point of writing about linguistic nuance is, if the interest is primarily not in learning but in being told what you want to hear.

I know posting this won't win me any favor with anybody, but it's how I feel. I'm bummed about 405's last line in the official. I do hope it gets revised. But the vibes around translation details are getting decidedly unfun.

One last thought: if you well and truly want to experience MHA unfiltered, learn Japanese. I mean this sincerely, I'm not trying to be a jerk. We live in an age where it is easier and more possible than ever to acquire a new language, talk to people around the world, and absorb yourself in culture and history.

If you want to remove middle-men and develop your own relationship with a work unfettered by the tastes, biases, or choices of others, learn the language. It won't be easy, but I can guarantee you won't regret broadening your horizons and discovering even more beautiful stories in the world.

#mha 405 #mha manga spoilers #mha spoilers #bnha spoilers

[trans-cuchulainn]

you tend to write about irish mythology but at the same time you seem knowledgeable about other myths, so i was wondering if you could answer a question? my question is, would be offensive to create a version of arthurian myths but with most of the christian elements removed? christianity seems heavily baked into each and every arthurian story so i was wondering if it would be wrong, or outright offensive, to remove it?

i don't think it would be OFFENSIVE (christianity being a dominant religion so it's not like erasing a minority culture; the texts being literary rather than for religious purpose themselves means it's not like using canonical religious material – people share a belief system with the stories rather than believing in the stories themselves, barring probably a very few outliers; plus it's definitely been done before, tons of modern retellings don't engage with the christian aspects although frequently this is done in a boring way)

arthurian literature comprises a huge range of stories written over a huge time period for a variety of purposes. some of them are super duper christian. some of them are just kind of culturally christian because they're being written by christians within a christian context and that's what they know. some of them only have a light touch of it and some of them are dripping with it

i think whether it can be done effectively without leaving you with a story that no longer bears any resemblance to the story you started with depends very much on which stories you decide to retell. for example, a lot of the lancelot-grail stuff is extremely bound up in christianity and removing it without patching the holes is probably gonna weaken the story. now, you might want to reimagine them entirely within a new belief system. i would consider that to be patching the holes, as long as it's done carefully and effectively as with all worldbuilding. but just taking the story and excising the christian elements and not doing anything else is probably gonna undermine the story a lot

on the other hand there are other stories, particularly some of the romances (knights getting up to shenanigans in a self-contained story within an arthurian setting) where christianity is just the set dressing, and taking it out isn't going to leave such massive gaps; these would be easier to rework in a new context without needing to develop an entire belief system for the characters to be operating within. although tbh the whole of chivalric literature does rely on some pretty specific assumptions about hierarchies, loyalty, obligations, righteousness etc that are often bound up in, though not synonymous with, medieval christianity, so even there you do need to think about what is going to replace it

i would say if you're trying to keep a medieval western european setting, you can't really take the christianity out (of the setting, and really of the characters too in 90% of cases) without making it completely ahistorical. so it also depends if you're trying to retell it as in "i am reworking this story in a world and context of my choosing" (sure, do whatever you want) versus "I am producing a version of this text to introduce people to this story" (taking the christianity out makes it far less accurate and misrepresents the text, maybe don't do that)

i would also say that medieval christianity is much more exciting and weirder and often very different from modern christianity, and a lot of modern engagement with those aspects overlooks this fact and makes it boring and staid. but actually a lot of it's batshit and adds some fun colour to the stories in a way that can be enjoyable regardless of your personal beliefs about any of it. taking it out as many modern retelling seem to do often just makes the story more boring, so something interesting needs to fill the holes imo

so tl;dr. morally wrong, no, not in my opinion. narratively wrong, depends on the story and your purposes.

#arthurian #answered #anonymous

[thesherrinfordfacility]

Hi! I'm kinda here to ask for clarification on something you said; hope you won't mind^. You say that Crowley's dark grey comment is one of the more honest and introspective things he says: that kinda comes across to me like you saying that Crowley's saying he's mostly bad with a capacity for good* and that's a fair assessment of him. I would have said it's more that he's mostly good with a capacity for bad**, baggages worth of issues and a bunch of flaws, primarily related to arrogance***, but that's technically beside the point: I also felt like that was the direction your character analysis of him was going. I'm now wondering whether I misunderstood the dark grey comment or misunderstood the analyses... what does your exactly mean, exactly?

*Concepts decapitalised because I'm talking about more human than Heavenly or Hellish standards of good and bad.

**Concepts decapitalised: see above.

***Blinkered was the word you used, I believe? It's a lovely expression.

^This isn't meant accusatory and I did my best not to sound like it, but I know you've had to field a few asks about yes, you do like Crowley very much, your criticism of him doesn't mean that's not the case, and I can only imagine how annoying that must be: feel free to can this if it comes across that way.

oh anon sweetheart 💕 don't worry about the tone or wording - your tone is perfectly polite and courteous, and i thank you for that!!! others have not been as conscientious 💀 though, be careful what you wish for in asking this, because it's gonna be lengthy 🫠

how you interpreted it is exactly as i meant it; i do think, when taking crowley's characterisation in the show (his book characterisation, for me, is rather different), crowley for me is a darker character with the capacity for light, rather than the other way around. and im going to specifically use darker and lighter, as opposed to bad and good respectively, because upon reflection, maybe that's more accurate.

yeah, to me, he is a dark character; if you've read any of my other asks/metas, please forgive me for repeating stuff, but imo the narrative tells us that he is more commonly swimming in darker tendencies than light. feel free to skip the next part and scroll to here*, because i will be recounting specific scenarios off the top of my head (going in chronological order):

not really explored fully in the pre-fall scene, because it runs throughout the show as a prominent theme; crowley is either unaware of why he fell (possibly true), or blatantly lies to himself and others about why he fell (equally plausible). his story about it changes, or at best is simply told in fragments... but his overall demeanour of when (e.g.) he's confronted with news of the apocalypse ("why me?"), when coupled with this, suggests a tendency towards blame avoidance, with a hearty dose of chip-on-your-shoulder complex

tempts aziraphale into eating in job; it doesn't really matter whether or not aziraphale ends up liking food and wine or not - he rejects the wine, and crowley immediately changes tack to offer food instead, citing that he can't get drunk on it, and of course he's not tempting him (absolutely is) so it's fine. aziraphale may have been curious about it, and this may be what crowley picks up on, but compare this scene to where aziraphale offers muriel a cupperty, and doesn't push when they refuse drinking it... hmm. (perceived feeder kink or not, crowley's face at the end of this scene screams satisfaction at his corruption)

this one is a little iffy, granted, but adding it anyway - blatantly dismisses aziraphale's concerns about the arrangement (heaven would be rather angry, but nowhere near how hell would retaliate - "they'll destroy you!), and pushes anyway. it's again another case of pushing for what he wants (and yes, true, what aziraphale secretly wants - which crowley detects and capitalises on), dismissing aziraphale's worries that, as we can surmise later on, were not unfounded

lets the french guard be taken off to his death. this is debatable, depending on whether you consider the guard to be a good or bad person in the context of the reign of terror, and deserving of execution as a result, but they could have easily escaped the cell unscathed without unfreezing the guard - ultimately, who are they (yep, including aziraphale here too, he's equally as culpable) to decide if he should die?

in the same vein, sends two watchmen falling to their deaths down a deep pit, and his only remark is, "might have slightly overdone it on the hole..."

(this one is tricky, but it rubbed me up the wrong way on first watch and thereafter so im including it) when morag dies, crowley's handling of the situation only really serves - imo - to rub it in aziraphale's face, when he already feels guilty enough for the both of them. i realise that he had to labour the point to aziraphale, and was just being honest - fair, he has a point! - but it came across as simply unkind and uncharitable... again, towards someone we are assuming he cares deeply about...

this one is in fact going to lean on some interpretation, but i think it's one that is so widely implied in canon that i think it might as well be; something happened to crowley between 1827 and 1862, and within that time, i don't think he was on best terms with aziraphale, given aziraphale's coldness when he arrives in st james' park. so, we could - could - surmise that he just suddenly asks for holy water from aziraphale, something that would be dangerous for them both and seems to exploit their friendship. he doesn't adequately explain why he needs it ("just insurance" is not sufficient at all imo), and taking offence to aziraphale's use of 'fraternising ' then contextually feels a little hypocritical

lies to aziraphale about having experience with a gun, banking on using a miracle if need be - which ultimately puts aziraphale's 'life' on the line, rather than being honest. he may well just want to make aziraphale happy, sure, but aziraphale goes into the bullet catch without all the facts - his face when crowley admits he's never shit (edit: meant to say shot, obviously, but leaving it in for @fabledshadow💕) a gun before says it all, really

when aziraphale saves his life with the photo trick, he doesn't thank him, or acknowledge any kind of gratitude at all, that it saved him from a rather bleak fate at the hands of hell. he may well be insulting aziraphale's skills to dissuade him from a repeat occurrence of the bullet catch (fair!), but he is also insulting the very thing that got him out of danger... and the very thing that aziraphale obviously takes a lot of joy, pleasure, and pride in (and, yk, what crowley was actively encouraging just a few hours previous). it was justified, to a certain extent, but it was... unkind

(the Big One - so let's get it over with) tries to tempt aziraphale into killing a child - antichrist or not - and continues to persuade him into it despite aziraphale evidently being uncomfortable with the prospect. it also indicates how little he knows aziraphale in this respect; regardless of whether it would be the antichrist or not, this is the angel who tried to preserve humanity by offering a sword to pregnant eve, and was ultimately crucial in protecting job's children. even in mesopotamia, you can see how subtley appalled he is with killing children - despite him trying to rationalise it by saying it's the great plan etc. killing a child, id wager, would destroy aziraphale. i digress, but if crowley loves aziraphale as much as he (and the fandom) likes to think by s1, it's rather dark that he would try manipulating aziraphale into doing this in the first place, and return to the suggestion again not once (bandstand) but twice (airfield)

sets up an elaborate trick just to make a point to aziraphale on the use of guns, and then lets innocent humans get arrested on what i would say would be very serious charges in s1 (i mean, let alone firearms offences, arguably it could be charged as attempt murder 💀)

hits anathema and acts in such a way that he probably understands that he equally hit her and she hit him, yet is more preoccupied with fixing the bentley, something he could miracle repaired later on... as opposed to helping her back to her feet and ensuring she was alright. he also is prepared, after all this, to reject offering her a lift, excusing that there's nowhere to put her bike

backhands "clever" with "stupid", because aziraphale is doing something (trying to reach god directly as a last resort) he doesn't think is worthwhile. aziraphale finds out that that is true, but once again, im gonna ring the 'unkind' bell

doesn't tell aziraphale about what went down with gabriel, or how closely hell is keeping an eye on him, or the threat of the BOL, or that he's living in his car, or what happened in heaven/the issue of the second coming. there are loads of other little things too, but he lies by omission, whilst maintaining that he doesn't lie to aziraphale, and routinely keeps information from aziraphale - not only information that would be beneficial to share in the general sense, but information that directly impacts aziraphale, and comprises both of their safeties. has a tendency towards a hero complex that ends up either going wrong/unfulfilled ("i won't leave you on your own" then immediately buggers off to heaven) or attempts to remove aziraphale's agency and dismisses him outright ("i have a suggestion-" "ive got this.")

abandons aziraphale when he is set in doing something that is not only in his very nature to do, but when he does it because he doesn't have all the facts (hides jim). despite his assertion that aziraphale shouldnt do it because jim poses a threat, he then leaves aziraphale to face it alone. it's unknown how soon crowley would have come back to the bookshop if it weren't for the BOL threat - we literally do not know this - and he reluctantly does the apology dance (arguably when he wholeheartedly believes he was in the right) in order to be allowed near aziraphale again. it's also implied that aziraphale always does the dance, whereas crowley doesn't - which suggests to me once again the whole thing about crowley avoiding blame

pushes jim into remembering stuff despite it obviously causing him pain and discomfort - on one hand, sure, he's not certain that gabriel isn't lurking about in there, but he does it again in ep5 when, as far as he's assessed with the whole jump-out-the-window thing (a whole other thing that need addressing), jim is in fact... just jim

plays around with maggie and nina (the both of them do, and they're both at huge fault for this, it's insane) like they're toys, without any regard for their personal thoughts or feelings, as if they have the right to do this

encourages jim to jump out a window!!! okay fine, yes, he fears that gabriel is lurking in there and is doing it as a test, but even he looks somewhat alarmed when jim is clambering over the windowsill - and objectively it's an atrocious thing to do. and ultimately it doesnt exactly prove anything more than what he already knows; if gabriel was chilling in there, and was so committed to the bit to drink hot chocolate, call crowley his friend with a straight face, speak to crowley as such as friend, and generally act the way he does... if gabriel is that good an actor? well, i can't imagine jumping a window would be beneath gabriel to do, to maintain his cover. so to me, crowley realised that what he's asked has crossed a line

and, im sorry, but - kisses aziraphale. now is probably the worst climate imaginable (ie. the "do that again" era) to be discussing my take on the kiss, but my read has largely always been that it was a temptation, and a cruel one at that. it was desperate, and heartbreaking, and i understand why crowley did it - but it was imo a largely cruel and selfish manipulation for aziraphale to betray himself, and stay with him. i love the kiss for what it is and represents, but as a result i just... yeah, im not a "do that again" girlie, because i think aziraphale absolutely recognised the kiss for what it 'was'.

anon, if you have made it this far... im so sorry. it's been helpful to summarise all of it though, so thank you for giving me an opportunity to do so!!✨

*now. the thing is, the vast majority of these incidents, these actions and behaviours (and probably loads besides that ive missed) are not evil. they are not even necessarily bad, not in the classic sense. a lot of them have well-founded explanations, sometimes outright justifications, and it's totally understandable why crowley makes them (even just narratively ie. even without speculating or inferring in any kind of trauma he may have suffered behind the scenes if the story as it currently stands).

id argue, personally, that each one of these is dark in their own way - dark, in the sense that they are morally ambiguous at best, immoral at worst. they might not be bad on their own merit, but arguably it is possible to see them as wrong.

we can absolutely look at crowley and think he is good - and i agree!... to a certain extent. even if you oust a good few of the above examples, there are a few that, imo, if ignored or excused, kind of strays into blatant mollycoddling of the character. crowley absolutely has the capacity for good and right - his objection to the flood, saving job's children, stopping the apocalypse, helping aziraphale many a time, are all prime examples (even if you could argue against each of these which... well, this ask is long enough so another time, maybe) - and i think will ultimately be guided by what he considers to be the right thing to do.

but when i say that his assessment of being "very dark grey", the above is why i think this is him being either extremely honest, or accidentally incredibly insightful about himself. it's not necessarily a dislikeable thing to be - crowley being more dark than light - but given the evidence as i see it, he's aware that he's not a wholly good person, more one that leans towards the objectively immoral than otherwise, giving more weight to when he does do good. and the thing is, he regularly asserts this - being 'bad' - to aziraphale.

in doing so - constantly saying he's not nice, rejecting thanks etc - maybe, actually, it's not as humble or self-effacing as aziraphale, or the fandom, likes to think it is. why shouldn't we consider that crowley might, actually, be a bit of an anti-hero? it doesn't make him any less of an empathetic, likeable, or compelling character - it just simply acknowledges that he may not be as irreproachable or scrupulous character as we might like to think he is!✨

#i will die on this hill #good omens #ask #s1 meta #s2 meta #crowley meta #honestly just all the meta #WHY DOES PROOF READING NOT WORK ON ME WHY CANT I DO IT

[chromatic-lamina]

chapter 1081 spoilers—okay, angst is fun and all but...

Shachi literally means orca in Japanese. Ikkaku means narwhal. They can dive deep (Narwhals, deeper than most submarines go, I think) and survive. Penguins are pretty good underwater for a while (though I don't know about depth). The ocean is the home of sea urchins and sea angels (Uni and Clione). And have we forgotten how hardcore Penguin and Shachi went here?:

And do you think that Jean Bart looks a little fishman here? ( A little Namur-like).

Now, I don't know about snow geese, but we'll give Hakugan some magical properties. So while it is heartbreaking that the Polar Tang

will no longer sail the seas (and, yeah, the boys had had it forever, but this is the sub's own Going Merry moment, perhaps), I think we should believe Bepo here:

where he urges Law to have faith in the hardiness of his North Blue crew in the depths of the ocean. His concern is more with Law (but we know he'll be okay):

Bepo urges Law not to die, but the Hearts will continue to overcome. I don't know that they'll be captured either, but they must've almost escaped because Jean Bart was on land, right? In chapter 1064:

But look at this instruction (also from 1064):

where Law urges Penguin and Shachi into the water. The Hearts are fine, but I understand the angst (it's glorious, isn't it?!). I think Law's worried, obviously, but I also think he picked his crew and mode of transport for a reason beyond just remaining hidden.

But, the Polar Tang:

the Victoria Punk

the Jewelry Margerhita?

Although, the Wiki says they don't know what happened to it after Bonney was captured by Blackbeard way back when, but in Egghead Jinbei does ask her:

where her ship and crew is. She states that her ship (which might be the Jewelry Margherita) was eaten by the monsters (controlled by Lilith, right?) outside of Egghead, and that she came alone.

The wiki says: (according to Vivre Card - One Piece Visual Dictionary (Card #0511), Information about Bonney is revealed), that:

Bonney seems to prioritize her own safety over her crew's as she managed to escape Marine detainment but chose not to rescue her subordinates.

That's stark contrast to Law, and we've mostly seen her operate alone, but I'm not gonna believe the Vivre cards just yet.

Also, Kid's obviously alive if Law is and if their losses were similar in wording and visuals. I think Kid's crew have saved him, if not Shanks' crew.

BUT, once Law recovers, he'll not be sequestered in a cell for ten years before he becomes relevant again (poor Kid. Damn!).

As @purplehairedwonder pointed out, the Polar Tang was carrying Law's poneglyph copies, and I bet that the crew is carrying them. Hope so. He'd be wise enough to have them waterproofed. BUT it makes more narrative sense to have them destroyed.

Now, someone was talking about how a Klabautermann is only seen when a ship is doomed (this wikipedia article supports it, but that's as far as my sources go) and therefore they didn't include images/stories/prompts about it for the Polar Tang. I can't remember who it was! Ahh, well it seems that the Klabautermann of various ships have been very busy lately.

Kuzan, too. Kuzan is cool (haha). I'm glad we saw him. And the dialogue with the Blackbeard pirates and Kuzan. OH, I almost forgot, this angst:

where Blackbeard taunts Law with the fact (yes, fact!) that there are a hundred pirates on Pirate Island still without their hearts, due to Law, and BB would be thrilled to punish Law for the fact, can't help but stir the whump-writer's heart (I'm sorry, Law).

AND, Koby and Law were in cahoots in some way, I'm sure of it (probably be disproven). Something similar to Luffy and Smoker at Alabasta, perhaps? Anyway.

Side note, do you think that Chopper used Caesar Clown's science and ego to help produce the rumble-ball like power-up he gave Bepo? If so, I wonder if this will come to play in the future when Caesar and Judge enter the fray again, if they do.

#one piece #trafalgar law #trafalgar d. water law #bepo one piece #chapter 1081 #one piece meta #opmeta #op meta #blackbeard #marshall d. teach #heart pirates #polar tang #one piece spoilers #opspoilers #op spoilers #chromameta #chromanga #chromacaps #chromalami #jewelry bonney #eustass kid #victoria punk #jewelry margherita #long post

[bambamramfan]

Scott Alexander just de-paywalled this piece, and I agreed enough with its perspectives and understanding of fantasy narratives that I wanted to make sure other people saw it.

But I disagreed enough that I wanted to spend a lot of time describing what it misses.

First off, he says "Each part of the fantasy universe has a load-bearing psychological function." Psychological, as a word, goes too far and is misleading here. Scott is entirely correct to look at these elements in functional terms: what do elves, and magic swords, and ancient civilizations DO to the narrative? And we find more enjoyable and memetic stories benefit from these functions, so we end up seeing them over and over again. But it's not a psychological need. It's not about the inner-workings of our mind, it's about the structure of stories that lets them flow well. It would be like saying that the fact that airlines list too-low ticket prices and recover it with hidden fees has a psychological basis, when it's more proximately caused by a broken market system.

For instance, one common fantasy trope Scott didn't mention, but is completely obvious, is the "disposable, unredeemable race or nation." Many fantasy stories have a large army that is either evil-in-essence, or immediately threatening, such that we have no moral qualm about seeing the heroes kill as many of them as possible. Why? Because it makes it a fun "tactical" game of how many soldiers can the "good guys" kill. That's a fun story! It's not because psychologically we want to dehumanize our enemies. It's because Gimli and Legolas's race for who can kill more orcs is a simple and narratively entertaining device.

Scott talked about Unsong in relation to this essay, and I really wonder if his reaction to that was "why Unsong doesn't do these things" or "Unsong leaned into these." Because well, Unsong has many of these tropes. The laptop with a talmudic AI on it is a macguffin. The angels are an ancient civilization. Etc.

Scott undersells just how rich the function of the ancient civilization is. He's correct that the ancients are a way to imbue the magic sword/whatever with non-reproducible power, but it's deeper than that. Many stories and ideologies are "prelapsarian" which means they describe an Edenic time "before the Fall" where everything was right and harmonious. Somehow they got corrupted and we now live in a fallen world where evil runs free. Our heroes, at least in part, want to return to that purity (even if in some aspects it is impossible.) That's what the ancient civilization is really: Eden.

I am stymied by the race question: why do fantasy stories keep going back to elves and dwarves, and sometimes halflings or goblins or dragons, but with extremely little diversity in the type of being we could share a world with. What necessary function do these specific races serve? There are several HALF descriptions that explain a little of this, but don't go the full way: 1. The most thoughtful fantasy authors see these humanoid races as standins for groups in human society, and think you should just write human-only fantasy to wrestle with those questions properly. 2. The people who are most interested in writing genuinely alien intelligences, just write science fiction. 3. Elves and Dwarves DO serve specific functions. Even though every different story has a twist on their elves and dwarves, they do all share some sort of class-identity. In short, Elves are french aristocrats, and Dwarves are semetic scottish. Elves are the groups higher on the class ladder, who are more beautiful, longer-lived, quieter, taller, and more tranquil and quieter (also more tragic.) Dwarves are the groups lower on the class ladder, who are rougher and more practical, more scientific or at least technologically-focused, and whose lives are more easily spent by the narrative. Most fantasy societies are gonna have a "higher class" and a "lower class" standin, and they might as well be Elves and Dwarves anyway. 4. Tolkien did not invent Elves, or Dwarves, or Halflings, or Dragons. But all of these are very old in mythology, and fantasy is much more interested in telling twists on 1000-year old stories, than it is about adding wholly new elements (if only because of what sells.)

[king-crawler]

Recently when I tried to figure out why Turbo went, well Turbo I realized something. At first I came to the conclusion that it was because of his code, but then I remembered the plot of the movie and completely scrapped it (though there might still be some merit with it). Then i thought that “hey, this fucker has been surrounded by picters of himself since he was plugged in, hes the star of the show, so of course he would get a huge ego out of it, said ego also being his subsequent down fall, but why diden't Felix also fall in the same trap? he was the hero of his game too”. And I think it's because he wasn't alone. Now I'm not gonna overshadow the twins. They're there too but considering how Turbo treated them in the little screen time we got to see them together I doubt that they were on good terms, they might have been in the games early days but I digress.

Felix, unlike Turbo, had friends within his game, a small community to look out for him just as he does for them. They made him pies, dedicated parties to him, cherished him, but Turbo?. Who was gonna bake him pies? Who was gonna throw parties for him? Who was gonna cherish him? The Twins? FUCK no. And i think that's what tipped him over the edge, his ego made him push oway his friends and coworkers just to get a sliver of stardom. And when he had all the attention ripped oway from him by another racing game had to have been his last straw (you saw the face he pulled in the flashback. God, just imagine seeing one of your neighbors destroy their own career live, in broad daylight too, must have been horrifying). I love a good character that just dooms themselves to the narrative with their own actions (Turbo was a whore for the limelight).

Going a bit of topic here but “going Turbo” wouldn't work if it was any other main character in the movie, “going Ralph” just doesn't work. Could be because “Turbo” isn't really a name, it's a word, the name of his game, “Turbo Time”. So my proposal is that whenever there is an au where say, Calhoun game jumps (for whatever reason) they call it solo mission. “You're not going on a solo mission are you?” sounds more riveting, to me, and in character for Calhoun. Perhaps that was the last thing she said to her men before she left. For Vanellope id imagen something like “going on a sugar rush” and something about crashing. Because when the sugar rush ends you typically crash.

And that gave me another thought, how many “Turbos” are there out there? How many characters went outside their game or against their script on working hours. How many of these incidents were considered bugs or glitches (how many were turned into creepypastas). It feels like a huge liability risk and the only instances of us hearing about it is with Turbo, which I find strange. Is it like a silent rule? That no one is allowed to leave their game and that's it? That's a super thin line, like yeah you can argue that its there to keep them alive but who told them that? And the second movie doesn't help that, it's just, eurghhh, i don't like the second movieeeee… But it does give the homeless game characters a chance to find a potential new home. There's so much out there in the wilde wilde internet to explore and find new potential in, to not be tied to the arcade has to be a bit liberating for some :)

Sorry for the sudden rant, I just got a kick and could not not write this down.

DONT BE SORRY !! GO OFF!!!! THESE ARE REALLY COOL DISCUSSION POINTS

The whole turbo vs Felix thing really stuck out to me. Turbo Living in a game with only 2 other people who hate him ? While Felix gets praise and attention from dozens? No wonder Turbo went haywire 👀 like do you think he envied Felix ………

#long post #TRUE #going on a ‘solo mission’ and ‘a sugar rush’ really tickle my brain #also I saw your ask about your oc SHES SOO EPIC #they better add jolly delightning to the roster #ask #turbo #wreck it ralph

[viridiave]

Spoiler-heavy thoughts about Crick and how the Game Mechanics treat Temenos’s story

So. yeah if you press ‘Keep Reading’ I should probably let you guys know that these thoughts are just a tiny bit unhinged. And again - spoiler alert! You’ve been warned!!

GAME MECHANICS AND UI

- Gonna preface THIS section by asserting that yes, not EVERY mechanic needs to be taken apart under a microscope and re-contextualized into the greater lore of the game. Not EVERYTHING has to mean something to everybody. Some of my classes in game design disagree though and honestly for the genre that Octopath Traveler is, that being a story-heavy role-playing game where the narrative is half the game, I'd say that integrating lore into the mechanics and vice-versa wouldn't hurt - in fact it ENHANCES the experience. The second game does this pretty handily through the EX Skills (the first of the skills being Divine Blessings, and the second being earned at the end of the story.) and the Latent Powers.

Okay the Latent Powers? Honestly that part's mostly for Hikari. Shadow's Hold/Light's Radiance is STILL one of the best examples of Gameplay and Story Integration that this game has

No I swear I don't have a bias for 'other selves'/'deep parts of yourself made manifest' what are you talking about -

I swear I can write an entire separate post JUST about the EX Skills. Mostly for Osvald, Castti, and mOTHERFUCKING TEMENOS AGAIN

aND THIS IS WHY I GO FUCKING BONKERS WHEN I THINK ABOUT THE DEMO VERSION OF THE GAME LIKE WHAT THE FU-

- Literally the fucking emblem for Temenos's story is a staff and a sword over the Sacred Flame like - they REALLY want you to know how important Crick is to this tale

- tHE FACT THAT CRICK IS THE ONE WHO HAS COVER. NOT EVEN HIKARI OR THE WARRIOR CLASS. IT'S CRICK - DOES THIS COUNT AS FORESHADOWING???

I'll like - write here what I should have written in the bath - and that's me being like 'oh it's because he's recklessly protective. OH SHIT IT'S BECAUSE HE'S RECKLESSLY PROTECTIVE'

I fully acknowledge that it doesn't have to be that deep. MAYBE I'm pulling stuff out of my ass. But allow me to go bonkers over Crick and his for-some-reason-worryingly-appropriate moveset

Man I wonder how bonkers I'd go over Malaya if she was allowed to throw hands. I want her to complement Castti's moveset so bad

- Also the fact that both of their kits complement each other. Crick's bulkier build was made specifically with supporting Temenos in mind.

My guy's Sacred Sword reduces the enemy's elemental defense. Wonder if that implies that the Sanctum Knights normally work with magic and/or magicians

aGAIN HE HAS FUCKING COVER which is PERFECT because early-game Temenos can and will faint if a monster blinks at him too hard

Then there's his OTHER skill Godsblade's Shield which RAISES his physical defense to SO HE CAN COVER FOR TEMENOS BETTER LIKE. AT SOME POINT I SHOULD JUST ASK WHY THEY TRIED SO HARD FOR HIM SPECIFICALLY

And I mean. It makes SENSE but I don't think any of the other helper characters really had this level of chemistry in their mechanics as these two do

Emerald and Gus both have healing moves for better survivability considering how squishy Osvald and Agnea are

And it makes sense, Temenos already has access to a healing move because he's a cleric

The thing that separates Crick from them is that neither Emerald nor Gus really have moves to further support their leads on the level that Crick does. Emerald is fast and he breaks well and Gus is clearly meant to be the DPS of Agnea's Chapter 1, but again - Crick has moves tailor-made for Temenos to go off and do his thing

You lose Pirro and Scaracci/ Rai Mei and Ritsu after the intro and none of them really complement the Throné and Hikari and vice versa as much as Crick and Temenos do with each other

The difference with them too is that they have established relationships with their lead characters prior to the story, sometimes even encountered as antagonistic forces

Pirro, Rai Mei, and Ritsu are all bosses that were once considered close comrades of Throné and Hikari

Scaracci displays mutinous traits throughout Throne's Chapter 1

Emerald subverts this by acting mutinous - which, his conflict with Osvald amounted more to a sacrifice of goodwill

He knows Osvald and how he acts even prior to the beginning of Chapter 1, so he's in this category of having an established relationship

Gus averts this completely by just being a genuinely supportive part of Agnea's life

Mechanically, you never have anything to do with these characters again past Chapter 1 - save for Rai Mei and Ritsu being bosses. Hikari's companions also play an integral narrative role in his final chapter, with Ritsu being encountered as a boss again for the final time

Crick is a subversion of all of them in that he doesn't have any direct relationship with Temenos prior to Chapter 1, and though we never use him as a helper character ever again he consistently shows up as an integral part of Temenos's story up until his death in Chapter 3: Stormhail

Weirdly Crick is also the only one out of all of them where the use of Path Actions is required more than once - Osvald has to Scrutinize Emerald at one point

AND GODDAMNIT OF COURSE THE FIRST AND LAST TANGIBLE INTERACTION WE HAVE WITH CRICK IS TO FUCKING GUIDE HIM I'M SO MAD ABOUT THIS BOOKEND IT'S SO MEAN AKSJKAS

And this in itself makes complete sense given that he has larger roles to play outside of Chapter 1 - just not in the same vein as Ritsu or Rai Mei, but the fact is that Temenos's story is VERY good at establishing and building up chemistry between its characters

bUT FOR MECHANICS WE NEVER HAVE TO USE AGAIN AFTER CHAPTER 1?? THEY WENT SO HARD AND I WANT TO KNOW WHY

- It's not as big of a deal as it looks but I also find it funny just how much fun the devs seemed to have with Crick's introduction and entry into the party - using the Path Action to fucking TROLL with him.

- ON THAT NOTE, LET ME FREAK OUT OVER GUIDE AS A PATH ACTION A LITTLE MORE

I saw a post on Reddit earlier about the 'summoning townspeople' Path Actions and it kind of shook my world a little, so I'll just put my response to it here

For a guy who makes it a point to tell people not to follow anything blindly it's INCREDIBLY hilarious to me that Temenos's Path Action is getting people to follow him blindly.

MECHANICALLY, it's because he's the designated cleric. Temenos has Guide, because Ophilia has Guide. But thematically it's interesting to think about just how antithetical it is to his central creed of doubting, and how this specifically applies to Crick.

I did go back and check and yeah - Crick's one of three individual people I was able to find over the course of the stories that has a required Path Action used on them more than once.

Malaya is one other example with Inquire, and she even one-ups him with one use of Soothe. And I'll get to HER when I get to Castti's essay - I mean infodump - because it's like. Somehow even MORE heartbreaking than this instance of Guide

While I'm here I'll also mention Roque, who also has two instances of a Path Action used on him, namely Purchase and Hire in Partitio's Chapter 5

But back to the dramatic aspect of it it's like. I really want to shake the devs because it's so mean of them to have Temenos's relationship with him begin by guiding him towards not only the cathedral but to a healthier way of thinking, and to end with Crick's fucking GHOST leading Temenos to the crucial truth that he's lost so many people to find, including Crick himself

- I won't scrutinize everything about the cleric class itself but I WILL talk about the EX Skills, because to me it's ironic just how mean they are. I'm glad that the irony isn't lost on the fanfic writers like I see you guys use these as fanfic titles - bless you all

First - Prayer for Plenty, the sequel's answer to how absolutely fucking broken Saving Grace was as a passive in the first game. Limiting it to JUST Temenos's natural moveset feels like it should be sending a message honestly - it's a way to prolong the lives of his comrades and he couldn't do that for the ones he held dear in his own story. Can't help but feel like the fact that this is the one he gets from AELFRIC'S SHRINE rubs salt in the wound - no pun intended -

Secondly is Heavenly Shine and it's like. It's a holy nuke filled with divine power that drains Temenos's magic reserves completely. He invokes Aelfric's name when he uses it to and to this day I think the reason it feels cathartic to use is because it feels like a manifestation of Temenos's wrath

Unlike Osvald's own magic kamehamehadouken nuke where he learned it out of a need to protect Elena, Temenos learns this AFTER his story - and maybe it's just my concern speaking but man I really want this to represent his sheer need to go absolutely fucking apeshit like my man is NOT in a good place after his story is done

- This is the part where I go into the tinier, 'definitely stretching this past the realm of MATTERING' details that actually have something to do with the game mechanics

Some of Temenos's class lines are reminiscent of Crick's own. We've drawn the comparison with Temenos's Sweeping Cleave line already and it's adorable

Temenos Sweeping Cleave [insert handshake emoji] Crick Sacred Slash: I'll cleave you in twain!

Reaching even further here. His lines for Lux Congerere and Sacred Effulgence also somewhat invoke Crick's declaration of 'cleaving the shadows from this world', but it's not exact and I'm just indulging

Lux Congerere: Banish the shadows from this world!

Sacred Effulgence: Aelfric, banish the shadows from this world!

I'd also be extremely remiss to NOT mention the recruitment of Ort in postgame and it physically hurts me to summon him because of the way he says 'I will avenge you, Crick!' like DUDE. Oh well at least he's grieving healthily

Sacred Slash brothers let's gooo

There's like. No way that I'll be able to fit all of this in my other thoughts about Crick that are dedicated mostly to his and Temenos's arcs so. It's like not even in a ship sense anymore even if I do think they're fruity as hell

Honestly I'm just glad to get this all out of my system EXCEPT THERE'S MORE, because Temenos's story loves to torture my brain and its themes resonate with me a bit TOO much

#octopath #octopath traveler 2 #temenos mistral #crick wellsley #vir rambles about octopath yet again #this time - FOR WAY LONGER THAN IS NECESSARY #these aren't even like half the overall thoughts i have about crick #let alone TEMENOS #i honestly don't know why it matters to me this much #it's kind of scary lmao #this is why i should talk to people more #shoutout to jae for some of the lines here because there really was no better way of putting it #temenos why are you such a STICK #ot2 spoilers

[the0verboss]

I can't believe the first piece of ficlet I'm gonna write for this is fricken Sad Gale Hours. I keep debating continuing this narrative from other companions view points

Gale POV angst/abandonment, Major character death(not Gale)

Gale/ Cleric Male!Gith Tav (it's Iss'tav'in let's be real but he's not named or described for the most part)

✨☀️💀🌙✨

His beloved leaves their home in Waterdeep so soon after they return from Wither’s party Gale can hardly mount a defense against it. He wonders if he should have expected this, if he’d missed signs of this on coming meteor amidst the revelry. When his mind cycles through the memory, it seems obvious. He and the others had sat around the table eating and feasting, Wyll and Astarion taking turns telling grand adventure stories while Shadowheart and Karlach heckled them. Gale’s darling husband had spent the night tucked away in a corner with Lae’zel after making the rounds. Gale hadn’t wanted to begrudge his githyanki love a chance to catch up with his kin, to hear how the war against Vlaakith was faring, to speak in his mother tongue with what might amount to his sister.

He is certainly begrudging him now.

They fight. Gale tries to argue from a logical stance at first. They have a life that requires they be present, responsibilities to the Academy and to the the Spires. His mother expects them both to be in attendance at her next soiree, newlyweds that they are. Gale’s continued research on the orb, dormant as it is, requires his attention. Surely they can take some time to prepare for a voyage of this magnitude.

He runs out of gentle patience quickly in light of his husband’s pre-arranged plans. The man has taken leave from the temple for now, and of course he doesn’t expect Gale to join him. Someone must stay and care for Xan.

It feels utterly patronizing and for the first time, since they shared a night in a conjured bed under false stars, Gale thinks back on his time with Mystra. The feeling is sickenly familiar. He thinks of his mother, her place in the Dekarios clan, noble as it is, but alone. He thinks how everyone always says he favors her, in looks and demeanor.

They do have a child he reminds his love, righteous and growing furious. Xan needs a good githyanki role model. He's still so young, and Gale has only a passable knowledge of tir’su.

And when even this pleading falls of deaf ears, then, there is anger.

He rages, throws things, yells, says things that he knows he'll regret later. While his husband continues to pack the last of his travel bag Gale can feel his composure unravel. It feels ugly. Worse than that even, he feels volatile,a yawning chasm where his breaking heart resides. Dark, desolate and afraid.

“Gale, I love you, but I'm going, my people need me. Lae'zel would not ask lightly.”

“You can't just abandon your family on a lark!”

But he does. The last Gale sees of him is a cape draped back, glowing Blood of Lathander in one hand, shimmering gold helmet tucked under the other. Then he's gone.

They don’t kiss good bye, though Gale imagines that would be difficult with the way he was snarling.

Gale stands in the open door of their, no, not theirs, not anymore. He stands in the door of his tower long after the love of his life has gone. Fists clenched, eyes wet, but silent save for the occasional sniffle. The sea is quiet, he can hear no gulls as the sun begins to dip beneath the waves.

He doesn’t hear the baby crying til Tara comes through her cat flap of displacement and bites him on the hand.

“Mister Dekarios, Gale, what's happened?”

“He left. He just….left us.”

“Well, I never…is he coming back?”

As Gale cradles the small githyanki baby in his arms, rocking and trying to soothe him, he chokes on the answer.

Yes. No. I don't know. He says he is.

The orb feels hungry again for the first time since they defeated the brain. But if his heart feels broken and consumed as he stands in his tower clutching the small body of his son then, it's nothing to what he feels months later.

It's nothing compared to the unexpected agony of seeing Lae’zel standing, blood drenched and solemn, on his balcony. She’s alone, a shroud wrapped bundle under one arm, glowing with divine light. Under the other a familiar shimmering gold helmet.

#bg3 #bg3 fic #gale #gale dekarios #gale of waterdeep #bg3 tav #angst #iss'tav'in

[sirowsky-stories]

Temple of Love

Sirowsky's 600 & 700 Followers Celebration

Submitted by @bilibiche Prompt #12: How did you do that? Prompt #15: I swear I'm not drunk. Character: Pero Tovar

Rating: Mature 18+ONLY Warnings: Pero Tovar x Gender Neutral Reader. AU. Meet cute. Pero has no right to be this hot while twirling deadly weapons around like chop-sticks, okay! Sexual tension galore. Highly suggestive narrative. Soundtrack: Sisters of Mercy - Temple of Love Word Count: 1570 Masterlist of the Celebration Sirowsky's Main Masterlist

   You’re late for the first class, rushing into the building where you find no staff at the front desk who can direct you, so for a moment, you just stand there looking around, wondering which door you’re supposed to take.    There are only three people working here, all of whom are instructors, so the front desk is only manned in between classes or when one of them doesn’t have anything on schedule.

   A whiteboard behind the desk shows which classes are available today, and at which times, but it doesn’t say where each one is. So, you’re just gonna have to peek through the doors at random, hoping you won’t disturb anyone.    Fittingly, the first door you crack open leads to a cleaning and maintenance room, both of which you should really apply to your own life so that you might regain some order.

   Opening the second door on the same side of the hallway reveals what looks like a lunchroom for the staff, and now you’re getting seriously frustrated with yourself, so you move to the other side of the corridor and click the closest door open.    It’s the wrong room but you end up frozen on the threshold as the sight that meets you leaves you breathless.

   A man is training alone in there. You’ve never seen the actual man before, but his picture is on the wall in the reception, so you know that his name is Pero and that he works here, but that’s also all you know about him.    You had no idea that he’s apparently an expert swordsman.    While you stand there, mesmerized by the rapid glimmer of the lights reflected in the metal as the man twirls and swings in perfect synchronicity, you can hear how the swords sing.

   Without even knowing it, you’re drawn into the room, carefully closing the door behind you, not even glancing away from the hypnotizing display before you.    But you remain right by the wall just inside the door, afraid to get too close and even more afraid that the guy might get angry at you if you disrupt his routine. So, you just stand there, like a statue, trying to work out how he can do any of this without cutting himself to pieces.

   Then suddenly, he stops. It happens so abruptly that you flinch at the sudden lack of motion, when just half a second ago you were having trouble keeping up with the lightning-fast movements.    He’s not done, though. He seems to be ending one routine and starting another, and if you’re not mistaken, you see his eyes momentarily lock with yours when he steps to the side to turn on some music, before he starts going again.

   And amazingly… impossibly… he’s moving even faster now.    Building speed as he goes, finding the rhythm to Temple of Love, he’s now using the entire floor, whistling past you at a mere three-foot distance, leaping into the air and flipping around in what looks like impossible maneuvers to your eyes.    He’s not just fast, he’s crazy agile too. And you feel like maybe he’s showing off. Just a tad.

   Not that you mind. You’d happily watch this all day.

   Sadly, it soon ends, when he returns to the center of the room and once again becomes completely still, this time even dropping to his knees and putting the swords down.    It isn’t until he’s gotten up, turned the music off and is walking towards you that you remember why you’re even here.

   “S-sorry… I was looking for…” you try, but your mind goes blank when he pulls his white t-shirt off and starts using it as a towel on his literally dripping wet neck, chest and arms.

   “Yes?” he softly prompts you to continue, and you could swear that you see a small smirk in the lines around his mouth as he watches your eyes follow the contours of his muscles.

   “Um… I was looking for the self-defense class.”

   “That’s at the end of the hall. Another three doors down,” he politely directs you, and you know that you should leave, that you’re already way late, but somehow your legs aren’t moving.

   “You should put some numbers on the doors, or something,” is all you can think to say, and he smiles and nods.

   “We’re waiting to have them repainted with chalk paint so that we can write on them.”

   “Oh. That’s clever,” you dumbly reply while your eyes once again drift away from his, tracing the slow movement of a single drop of sweat, trickling down his Adam’s apple and then briefly stopping in the little dip between his collar bones, before continuing down his sternum.

   “Find something interesting?” he asks, snapping your attention back to his face, but thankfully finding him only bemused by your ogling.

   “Well, uh, I was just wondering… How did you do that?” you manage to say, despite your growing shame at your own lack of restraint.

   “I first learned as a young boy. And as with anything you want to master, it takes thousands of hours of practice, first with sticks, then blunt blades, and finally the real thing.    But what I teach here is more basic. Usually, actors who need to learn not to look useless holding a sword in a movie or tv-show.”

   “That seems like a waste of talent, if you don’t mind my saying so.”

   “No, that’s alright. There isn’t much need for my level of skill in the real world. I don’t do this as a way of fighting, it’s more like… meditation,” he explains, and you’re a bit surprised at the admission that he might need that kind of soul cleansing.

   He notices your slight reaction, but it only makes him smile.

   “I have plenty of reasons to need meditation. Everyone does. And most of us do find our own way to it. Some play golf, some play video games. Others walk dogs or ride horses.    What’s your thing?” he finishes by turning the topic over to you, and you’re momentarily stunned.

   “I don’t know… I like to read, I guess. That usually helps me relax.”

   “Good,” he nods approvingly, but then his smile turns a bit sly. “Still not great at reading the time, though.”

   “Oh, shit!” you gripe, remembering your class. “I’m so sorry I bothered you, sir.”

   “Don’t worry about it,” he kindly offers, and you finally manage to coax your legs into turning you around.

   But as you turn, you stumble down from the thin mat which protects the floor, and people’s limbs from breaking, and you’re about to fall on your face when he catches you.

   “Careful, there. It’s easy to snag the soles of your shoes in the added grip of the mat.”

   Afraid that you’re just gonna embarrass yourself even more if you try to speak, you just smile and nod before heading for the door.    You hadn’t even realized that you’d stepped onto the mat at all. When had you done that?    The question becomes moot, however, when you go to open the door, miss the handle and end up walking straight into the wooden frame.

   Instead of stepping back, you just rest your forehead against the door, putting your hands on your hips in pointless defiance of your own stupidity, trying to bury the humiliation by just not looking at him, because you know that he saw it.

   “I swear I’m not drunk,” you grumble, surely looking like a complete idiot but too far gone to care.

   “I didn’t think so,” he replies, and you can hear the smile in his voice. “Still… maybe I should drive you home.”

   You lift your head away from the door and drop your arms down your sides, frowning deeply as you try to ascertain if he actually just said that or if you merely imagined it.    Your own brain is too unreliable right now, so you turn around to look at him in the hopes of finding an answer, but he’s just standing there, as leisurely as ever.

   “What?” you try, and after a moment, he smiles again.

   “I said that maybe I should drive you home. You seem dangerously distracted.”

   “Well, I wholeheartedly and unapologetically blame you for that. No one should be so talented and look that good,” you retort, before mentally chastising yourself, because you might as well be drunk.

   You never talk like that to strangers. Not ever.

   He steps closer then, until he’s crowding you against the back of the door, and his smell hits your senses like a sledgehammer.    Sweat, of course, but remnants of deodorant as well. And when his hand comes up to brush a stray hair back into place, you can smell the metal and leather of the handles of his swords.

   “If I do take you home,” he starts, and his voice is honey now, deep and low, “then I’ll need to come inside and make sure you get to bed alright.    So, with that in mind, I’ll ask again: Do you want me to drive you home?”

   You try to think rationally, to weigh the potential dangers against the potential benefits, but if your mind wasn’t working before, it sure as shit ain’t working now.    All you’ve got is how you feel, in this moment right now, and there’s no ambivalence present. You know exactly what you want.    For once, it’s an easy answer.

   “Yes. Please.”

THE END

Massive thanks to @bilibiche for putting the image of a sweat-soaked Pero Tovar showing off with shiny swords into my head, cause that's gonna take a hot minute to scrub out! XD Seriously though, this was a hoot! Thank you, love.

@pedrostories @harriedandharassed

#Sirowsky's 600 & 700 Followers Celebration #pedro pascal characters #pedro pascal character fanfiction #pero tovar fanfiction #pero tovar x gender neutral reader #pero tovar x reader #modern!pero #modern!au #au fic #the great wall fanfiction #the great wall au #halloween writing #halloween fic #spooky season fic #spooky season #sirowsky stories

[cephalofrog]

finished reading monstrous regiment

they weren't kidding that book can queer rep

spoilers below cut ofc

I kinda already knew about like... a queer relationship + trans character existing in the book but it still kinda caught me off guard - like I guess I shouldn't assume stuff to be generic from terry pratchett but I didn't know anything about jackrum aside from him being trans going in and it caught me off guard just how damn GOOD a character he is.

I'll admit I wasn't even certain that he was the trans character for a lot of the narrative, like I thought I maybe misremembered the posts or something cause surely the fat, extremely skilled, morally grey man with a lot of PTSD but who clearly cares deep down isn't actually gonna turn out to be a trans man right cause no one would write a trans character THAT interesting and good in 2003 and god dammit I underestimated terry pratchett so much. I am a fool.

the fact that he's like. no I don't want to reunite with my kid + grandchildren cause I can't stand the thought of just being their old granny cause he can't imagine a life for himself where he can exist as a man outside of needing to do so to survive then to have polly suggest it, giving him a new idea, letting him let go of not only the dangerous life of existing in the army but also giving him permission to himself to exist as someone's grandfather?? as a man, not because he has to, but because he wants to??????

god that final conversation between polly and jackrum is fucking perfect. I'll admit I need to consume more media centering trans narratives cause I don't really have a comparison point but it feels like the first piece of media I've ever consumed that honestly reflects how I feel about being trans. you don't need permission or a logical reason to exist a certain way - you're allowed to exist in a certain way just because you want to exist that way.

it's super impressive how deconstructive the book is - like it makes me wonder whether terry pratchett learned about queer theory prior to writing the book or whether he just developed the way that the book talks about gender of his own accord cause the entire damn plot hinges on the fact that gender is socially constructed and fully based upon perception. people see the characters as men, they treat them as men, and so they are men. the entire concept of men and women having some impossible-to-overcome differences is questioned, stereotypes are introduced and then used to disprove themselves.

I think the only thing that the book kinda dropped the ball on was maladicta's character - she gets a lot of focus and is super cool and likeable in the first half but I feel like she gets left behind a bit after running out of coffee, and I do wish there had been a more interesting conclusion to her being the last of the regiment to be confirmed as female (since we all kinda knew it was coming but for some reason it takes a long time to get around to it with no real reason since everyone knows everyone else is a girl at that point).

I'm glad polly and maladicta end up leaving on the boat together though. (they kiss after the book ends, terry pratchett appeared in my dream last night and confirmed it as canon)

#discworld #monstrous regiment

[chaikachi]

Hi! I was wondering if you had any favorite headcanons (made by you, or thought of by somebody else) about RoseGarden? There's a lot of things one can come up with for this sort of pairing, so I'm really curious about them.

I've seen some posts from others in passing, but can't tell you any one place to look for them specifically. I do invite anyone that sees this post to share any they have though!! As for me... ough where to start aha. oh wait an easy one

OSCAR FELL FIRST RUBY FELL HARDER AND I WILL DIE ON THIS HILL.

Bro literally said "woah" when he first met her and is Aware of just how Down Bad he's been this entire time. He's fine with it never being reciprocated though and doesn't want to pressure here. A very selfless love. Whereas I expect Ruby to get back from Total Trauma Island to a series of small "oh." moments that build up to a much bigger:

"Oh."

I like to think Ruby is demi-aroace. I can see her realization being an 'oh i have been a little bit in love with him this whole time' situation, but she just didn't realize because - like all her other feelings up to that point - she had been suppressing them. OR she looks back, acknowledges how much she's always cared for him and has a sort of "if it was ever going to be anyone, it was going to be you" moment. And in the face of all her loneliness and fear and grief she decides to 'trust love' and be a little bit selfish about this one thing.

aka just as Ruby chose adventure and adventure chose Oscar, Ruby chooses to love Oscar on purpose while he is sitting there like "I never had a choice but to love you. Okay this is getting long and less narratively focused so i'm gonna put it under a read more:

I like to think that Oscar doesn't stay a 'morning person' and instead becomes reallll grumpy if you wake him up too early, which Ruby does often cause she's always been an early riser. Meanwhile if Oscar manages to get Ruby to sleep for 'five more minutes', she turns into the grumpy one.

While still travelling together or working as huntsmen, Oscar always carries around some grab and go snacks that he knows Ruby likes cause she can sometimes forget to eat and giving her food is one of his love languages.

Speaking of 'love languages', I know the system has some ~questionable~ origins, but I do like to think Ruby is more of a "physical touch & words of affirmation" girlie as opposed to Oscar who is more "acts of service & gift giving". They're about even when it comes to quality time together. Are happy to be very engaged in whatever activity they've chosen or just like enjoying the other's company while they're both doing their own things.

Sparring is one of their favourite things to do together, but they are also known to dance (slow or silly) in the kitchen while they're waiting for baked goods to come out of the oven.

Oscar isn't a fan of dogs after the Hound incident and Ruby isn't big on cats after the Ever After, so they either don't get pets or choose something a bit more adventurous. Like a bunny or a lizard. Maybe chickens.

Oscar is very affectionate once they're properly in a relationship and he doesn't have to hide how he feels, but the two of them are never 'loud' about it. It's always been a quiet, subtle, natural thing. Very balanced and good communication. Patience and understanding whenever the other needs it. And they almost never fight... until either of them is about to do something dangerous and Protection Mode is activated, in which case all bets are off.

This is all I can come up with for now. Thank you for giving me an excuse to ramble abt RG and for your patience in how long it took me to answer. And again to anyone that would like to share their headcanons, please do so!!

#asks #ask #anon #anono #rosegarden #rwby #ruby rose #oscar pine #headcanon #headcanons