#i love a version of a fictional character that is more fictional than that character | Explore Tumblr Posts and Blogs

misscammiedawn · 2 days

Text

Ange Ushiromiya's Recontextualized Memory and Unprocessed Trauma in Umineko No Naku Kori Ni

CW: Full spoilers for Umineko, a mystery visual novel game which is best enjoyed without knowing spoilers in advance. The game and thus this essay will feature discussion of child abuse and suicide.

For those unfamiliar with my blog I have a tag called Media, Myself and I where I talk about positive/accurate representation of dissociative disorders in media.

Today I want to talk about Umineko No Naku Kori Ni the third and fourth titles in 07th Expansion's "When They Cry" franchise. The game is a multi-layered fiction that starts off as an Agatha Christie inspired closed circle murder mystery taking place during the weekend of October 4th 1986. The murder mystery displayed has no more than 18 humans stranded on an island in the middle of a storm and the audience is invited to try to work out the mystery of what happened.

As the story progresses the audience are presented with a number of different possibilities, each an in-universe attempt to rationalize the tragedy that took place and killed all but two members of the Ushiromiya family.

It is eventually revealed that to the eyes of the world, no more than 18 humans were on the island that weekend and only one returned to their life afterwards. Some in the world have been quite focused on working out what happened during that weekend.

It's a complicated narrative that has multiple layers and each layer communicates not only with the audience reading the game but an audience of people in-universe trying to solve the mystery as well. When we first experienced the game we had joked that it was sold to us as Anime Homestuck but it ended up being Anime House of Leaves.

The easiest way to describe the narrative structure is that the first 7 episodes of the game, each containing about 20 hours of narrative, have within them a fictionalized version of events written in-universe by people who may or may not have been present at the event with episode 8 is mostly its own thing. To explain in further detail would distract. The point is Umineko is a complicated narrative and there is too much to cover a play-by-play.

The narrative is intentionally convoluted and contradictory with part of the fun of playing the game being to work out what events are true and what the rules are for discerning "magic" from "truth".

Even with a concept as seemingly opaque as Truth, there is the often quoted "Without love it cannot be seen" motif, that our emotional connection to events will always color how we interpret events.

The story is remarkably long. How Long To Beat puts each half of the game up at about 60 hours. So that's 120 hours of pure reading with very little gameplay.

There are multiple plural characters ("Oh, I am one yet many", indeed) and we shall discuss them in due course, but for clarity I wish to focus my discussion today upon the relationship between a survivor and their histories. The novel has much to say on the topic.

The above image discussing the nature of truth is from Episode 4, the chapter where the protagonist is Ange Ushiromiya. Younger sister of the protagonist of the first Episodes, Battler Ushiromiya.

Ange, 6 years old at the time, was sick on the weekend of October 4th 1986 and was not present on the island for the massacre. One weekend she had a full and lively family and then in the span of a single week everyone she had a connection to was killed in unknowable circumstances, she was whisked away to live with her aunt, the sole survivor of the tragedy, and would live the life of a cursed child, forever haunted by the tragedy that stole away her life.

Ange's story takes place in "The World of 1998" where she seeks The Truth. She states multiple times how she is incapable of going on with her life until she knows The Truth.

The events of 1986 are presented via "forgeries", published stories which tell the story of the 1986 tragedy utilizing facts that are known about the family. Ange pours through them, attempting to uncover the truth. She suspects her aunt may be responsible. Why wouldn't she harbor suspicions? Aunt Eva was the only one of the no more than 18 humans to leave the island and became the sole inheritor of the Ushiromiya family fortune.

Complex Post Traumatic Stress Disorder is formed when an individual endures long-lasting and repeated bouts of ongoing trauma, typically in childhood. Survivors often find themselves caught in an inescapable cycle of grieving that lasts months and years beyond the loss and remains fresh and raw in spite of the time and changes that have occurred since the event. The individual is tethered to the past by an inability to move on from their loss. In psychology this is referred to as Complicated Grief and though it is most commonly discussed with death, it can present itself for grieving lost time, stolen youth and lives unlived.

Ange is riddled with Complicated Grief. Her story takes place 12 years after the events on the island of Rokkenjima and yet she constantly tells those around her that she is unable to live without knowing the truth. Ange's unprocessed grief is unearthed when her aunt, the only survivor of the massacre, passes away while maliciously refusing to give Ange any insight into the truth that she alone knew, twisting the knife as she turned over the family fortune to a child that was not her own beloved George.

Ange's sole reason for existing is to make peace with the tragedy of her past and Eva's final act was to tell her she would never have it and would instead live a cursed life of a victim in the public's eye. Eternally scrutinized and criticized.

Ange, now knowing that the only chance she had to be given the truth and still feeling that she needs it in order to live her life, runs away and starts a journey to either make peace with her tortured past or end her own life.

Ange's suicidal tendencies are played up dramatically and much of the final episode is the conflict between Ange's inability to live with her grief being played out in hyperbolic fiction. The stakes of the story amounting to "will she be able to live after learning The Truth."

But what is Truth? Would learning who is responsible for her family's death truly give her peace or would it only serve to trap her further in her endless cycle of grief?

Trauma therapy tends not to focus on Talk Therapy for the most part as such therapy indulges a survivor to dwell on their unprocessed traumas and will only serve to retraumatize the client. In many cases it is detrimental to perform Motivational Interviewing (reflective statements designed to display to a client that the clinician is listening and interpreting their words without offering direct guidance or intervention) or Rogerian "person centered" (a similar tactic designed to keep a client talking without engaging in a back-and-forth, every reply should be a prompt that inspires the client to continue sharing without boundaries and reach their own conclusions) techniques.

The reason why is that these forms of therapy have a belief that "the client holds all of the answers" and the clinician's job is to let the client get out of their own way and walk towards the answer. It is a solutions based therapy where the client is trusted to clear cognitive distortions and navigate around mental blocks between themselves and what they need.

Ange's stated goals are far from healthy.

In survivors their Core Beliefs are informed by their trauma. Those who were raised in a house of neglect may have an unresolved core belief that they are unworthy of love, those who feel shame and guilt for what happened/how they were treated may have a belief that "I should have..." - A helpful list of common negative core beliefs and positive beliefs that can be instilled, click here.

Trauma therapy contains an element of identifying these beliefs and where they originated and working to overcome them. There are many different therapies in the world that attempt to do this but they all include some element of processing trauma, accepting trauma and committing to the future.

In Ange's case she does not need to know what happened in order to live. She has to accept what happened and live.

To make this clear, should Ange learn what is presented to be The Truth it will break her and she will be unable to accept it and in doing so ends up unable to live.

All of this is a prologue to talk about acceptance and our emotional connection to memory.

Prior to Eva's death, Ange was raised in a boarding school where she was ruthlessly bullied by the other students. Both Ange and her aunt are in the public eye for the scandal associated with the Rokkenjima massacre and Eva actively despises Ange and refuses to give her the care, nurture and privilege that the other students of the rich academy enjoy.

She lives a lonely and cursed life. Her one solace is getting to find time alone to sit and read her cousin Maria's "Grimoire", her journal. When she reads the journal she can clearly picture her cousin in her mind and interact with her. A form of "magic" that Maria taught Ange back when the two of them were friends, prior to the massacre in which Maria lost her life. In the past Maria had created a magical society called Mariage Sorciere and Ange was one of the members before being excommunicated.

We'll discuss it further in a while however while introducing Maria I wish to note that she was most likely forming a dissociative disorder prior to the massacre. The series writer Ryukishi07 was a social worker prior to his career in visual novels. He does a remarkably good job of displaying how abusive and neglectful family dynamics can impact a young mind. Maria, despite being 9 years old, has speech patterns linked to an infant's maturity, she often switches into a "witch" persona and she will hold up her stuffed animals and voice out their speech, treating them like separate individuals. She is bullied at school and her mother hits her when she does this but she is incapable of acting any other way. It's who she is.

A small portion of the second chapter even having some of the cousins stop to discuss the possibility that her overactive imagination and play-acting may contain elements of dissociative identity disorder. It's never fully confirmed and she dies at age 9, but Ryukishi07 displays a convincing depiction of extreme childhood neglect that would lead to a severe dissociative disorder had she have grown up.

We learn throughout the story that her journal contains sketches of many magical entities impressed upon the servants of the island and toys that Maria has. These entities becoming the magical cast of the "Gameboard".

Though not the focus of this particular essay, each episode of the game is depicted as a chess match between a game master (representing the author of a murder mystery) and an opponent (representing the reader trying to solve the mystery) and these matches take place in a world of purgatory. This world is populated by a magical cast of characters each of whom is paired with a member of the mundane cast on the island.

The game often repeats that it takes "two to create a universe". There needs to be one to imagine it and one to perceive it and mark it as real. This is displayed on the gameboard but it is also displayed with the way that for every imagined character who exists as part of the magical cast, there is the one who imagines and then there is one who their imagination is displayed onto.

Maria is a child of extreme neglect, as we will discuss soon, she had no one to displace her imagination upon (spare for her mother who she imagined as being possessed by an evil witch when she became violently abusive) and so she imbued life into her toys. Bringing Sakutarou, her stuffed lion doll, and her band of toy rabbits to life. This earned her the title "Witch of origins".

The magic in the game's universe operates on a rule that "it takes two to create a universe" logic. The concepts of Magic and Love being intertwined. "Without love it cannot be seen" has many meanings but in terms of creation it means that anyone can apply "the anti-magic toxin" of mistrust/disbelief by simply rejecting another person's reality.

So much of the magic and love in this world is built on trust and being able to believe in that which is shared. The concept is explored from many angles throughout the game, Episode 6 focusing on love in the form of trust between a writer and a reader and the contract between them requiring a murder mystery to be solvable and for a reader to earnestly engage with the fiction and accept it as it is written.

Within Mariage Sorciere, this love is to accept that the characters and imaginings of its members. To be a member is to accept all as it is presented. Sakutarou is a magical lion boy who speaks. To doubt this is to be excommunicated from the order, which is why Ange was kicked out of the witches alliance. To say Sakutarou wasn't real was tantamount to trying to kill him.

Maria's love is without doubt. In Episode 7 we learn that she is not capable of viewing people as anything more than how they present to the world. Her imagination paints how she perceives the world. When her mother's behavior drastically shifts when she enters a violent and abusive rage she firmly believes that her mother has been possessed by a cruel witch.

When a familiar adult approaches her speaking as the Golden Witch Beatrice, she does not see the adult. She only sees Beato. This is vital to her testimony throughout the game regarding the murder mysteries.

One last thing I wish to go over during this analysis of Ange and Maria and their relationship to their traumatic childhoods. That is the title of witch.

By now I hope it's been made clear that magic is imagination and love is trust. Whether it be testimony being believed, the contract between author and reader or the inner reality of one being seen and regarded and acknowledged by another.

As someone with DID, I like this concept a lot. It would be so easy to simply dismiss our condition and the presentations. But with love it can be seen.

The game shows a number of different types of witch. From the witch of origins who can make new imaginings that do not require another person to validate them to the Golden witch who has enough money to make reality via sheer financial coercion or the witch of truth who can make reality by asserting it to be so or witch of resurrection who can keep those who died alive in their memory.

Each witch is using their magical ability to "create" by taking their imagination and moving it out into the world. The Witch of Truth is a detective whose deductions are believed to be fact even if the accused disagrees. The Golden Witch can take any scheme or desire and pay people to make it a reality.

And Ange, the Witch of Resurrections, can bring back the dead by remembering them and keeping their voices in her heart. They live on in her writing. In her words. In her memory. So when she reads Maria's journal she can bring the Maria of 1986 into the world of 1998. When she reads of Maria's magical companions they can accompany her.

With this context, we return to Ange in her teen years.

Lonely and consumed by grief she is only able to find solace in imagining Maria with her, imagining Maria having forgiven her for saying Sakutarou wasn't real.

As she accepts the role of apprentice witch she is allowed to perceive Maria and her menagerie of imaginary friends.

Though there's a certain amount of strain and physical discomfort in maintaining the thought process of so many at once. Maria is able to do it remarkably easy but Ange has to struggle.

It's okay, Ange, dissociation headaches are an absolute bitch. They get better after a certain amount of stabilizing and communication work.

All the while she reads about Maria's home life.

To break the essay structure and be real for a moment. This segment hit me hard. I choked up crying and needed to take a break from the game for a while. The depiction of child neglect and abuse was too real and I feel it serves the fiction to depict it as such but it is a hard read. Please be kind to yourself as you read on.

Rosa Ushiromiya is the youngest of the Ushiromiya children, furthest from the inheritance and least respected of Kinzo's progeny. She likely suffered a large amount of abuse and neglect in her own childhood both physical from the eldest sibling, Kraus, emotional/psychological from her sister Eva and a combination of both from her other brother Rudolf.

Children raised in abusive households are more likely to develop personality disorders born from attachment trauma. A typical display of this is dichotomous thinking, praising and devaluing the same subject in waves based on stimulus. Within Borderline Personality Disorder, for instance, this is where the concept of Splitting and Black and White Thinking come from.

For Rosa, this manifests with her mood swings that have her violently scream and hit her daughter before lavishing her with apologies, affection and attention.

Every character in Umineko is burdened with a painful past. Each character feels the need to displace that pain outwards and project it onto other people. For instance Rosa displaces her pain onto Maria. Both of Ange's aunts displace theirs onto her. Kyrie displaces hers onto Battler.

Generational trauma is a heavy theme of this game.

Rosa makes her way as the head of a small fashion design label though she does not see a lot of success in her role. Early in adulthood she had a relationship that ended with her pregnant with Maria. Maria's father, upon learning of the pregnancy, left.

Rosa is young, lonely and feels that having a child makes it difficult for her to find love; in the time and culture of 1980s Japan being a single mother was seen as shameful. She finds that the best way she is able to date is to act like she does not have a daughter and take extended vacations across the country on weekends with her dates.

Leaving her daughter home alone.

Rosa has a number of hang-ups about the optics of leaving Maria in someone else's care, she is shown on multiple occasions in the story to fly into a rage when her ability to be a parent is put into question and she has massive cognitive dissonance in that she cannot bare to be seen as a bad mother and so she acts like a horrible mother to avoid looking bad.

I have seen a lot of debate on the logic here and first off, anyone who approaches this story with a view of "it does not make sense that a character acted this way" lacks the Love required to enjoy this story in full. The author enters a firm agreement with the audience to work within the confines of the fiction and not to disrespect the fiction by rejecting that which is offered. He will deceive us but never lie. In that we have to believe in the story.

But it's also a sign of those who have grown up with a proud optics obsessed parent and those who did not. Sad to say, I have experienced a few of the things which happen in this chapter and I have no doubt that Ryukishi07 saw some of it in his social worker career.

When Rosa leaves Maria alone at home, for days at a time, she orders her to never make anyone aware of her situation. More important than anything else never speak to the police about what goes on in this house.

That. I have lived that one.

What Ange reads and what Maria shows us in this episode is a weekend where Maria is home alone, her mother having forgotten a promise that was made to her and Maria is locked out of her house. She spends an entire evening searching for the lost key and eventually needs to seek a friendly store worker who recognizes her to get help.

This leads to police intervention, a social worker showing up at Rosa's house and...

I glossed over a lot. This is a dense book and this story takes up much of Episode 4. Suffice to say, Maria's friend Sakutarou was murdered in retaliation for Maria summoning attention of Rosa's bad parenting. Rosa abandoned her daughter for a full weekend after breaking a promise and when she was locked out and defenseless she asked for help and was violently punished for doing so.

Another function of the witch of origins is the ability to break the cycle of generational abuse. She does not take her pain and push it into someone else, she creates an imagined evil mother to hate and fear while continuing to love her 'real' mother. This way she never has to doubt the love she has for the mother who she has happy memories of and who custom crafted a lovely plush lion just for her.

Which leads to the discussion of trauma, memory and processing.

Ange, upon reading this story is crestfallen. She views Maria as a pitiable child, only to be confronted by MARIA who defends Rosa. Arguing that she legitimately forgot her promise, rather than deciding that her daughter was not worth the time or effort.

She claims constantly that Rosa is a good mother and that she is happy.

Maria, a being who can only view the world with love, despite being abused and hurt; chose to be happy and so through her magic it was so. She was happy.

There's a misconception I have seen and I will admit I held for myself upon reading Episode 4 that Maria was preaching to deceive ones own self in order to be happy. That it was enabling and accepting of her own abuse.

But this is actually one of the deepest things Umineko has to say about generational trauma...

Chapter 8 revisits the idea with a version of the gameboard where the Ange of 1986 is allowed to be on the island, something which was impossible because in truth she was not. Not even the witch of miracles could change that which is certain.

In this game, set by Ange's older brother BATTLER, the 6 year old Ange is treated to a fun halloween party with her aunt Eva run by her loving family. Throughout the entire story Grandfather Kinzo was made out to be the source of all evil and in this episode he is displayed as a kind and loving grandfather.

The entire reason I wanted to write this post and include it in my Media, Myself and I series (in lieu of discussing the overt plurality in the game, even) was due to a conversation Ange has with Battler about this deception.

Source: LP Archives - The full conversation can be found on this page for anyone who wants the full breakdown.

The entire story of Umineko is a struggle for those who experienced horrors to be able to come to terms with their memories and process them. This is true for Ange, it is true for Maria and it is true for the other members of the cast also.

Memory is malleable and uncertain and can and does become distorted due to understandings and contexts gained at a later stage, particularly when bias is in play.

For a graphic of how this works please look at this:

Source

The more a memory is reactivated the more it is eroded of its initial context and additional contexts bleed in. For Ange's circumstance she remembers her parents through the lens of knowing that her father was embroiled in legal troubles from his womanizing behavior. It is unlikely a 6 year old Ange remembers Rudolf in this light but her view of her father is painted through this lens and thus when she retrieves these memories the present context forces itself into the past.

This is just how the human mind works.

EMDR and other trauma treatments are focused on hijacking this system. When a traumatic memory plays out the amygdala processes the emotions and sense of danger which activates the nervous system. This process does not even require a conscious recollection; should a trauma memory be associated with a certain scent the nervous system will activate upon smelling it even if the survivor does not recall the event attached to the stimulus, the amygdala most certainly does.

I have spent too much of my life considering which of our memories had lavender scenting…

For EMDR the process involves retrieving the traumatic memory without allowing the client to reexperience it while ensuring they do so within the context of the present while highlighting safety and security. This allows the memory to be filtered through without the activating the nervous system. In some therapies this can be a process of re-parenting in which the emotional absence is provided either by the self or via a proxy. The idea is to allow the memory to break association with the trauma and be decontextualize until the memory no longer has negative associations.

Where I had assumed Maria's choice to be happy and think the best of her abuser was an act of enabling and self-deception, I now see was an attempt to stop dwelling on the negatives of the situation and allowing the past trauma to become a defining point within the present.

Maria cannot choose what happened to her. She can choose how she intends to live with what happened with her. She cannot know for certain what Rosa's motivation was in her actions. In fact as we go through the game the audience comes to be given some sympathetic information which though can never redeem Rosa's terrible parenting, can allow one inclined to feel sympathy for her. Like everyone else in the game, she's a victim too. Quite literally in 1986.

There's no way of knowing if she maliciously lied to her child and went off on vacation abandoning her or if she legitimately forgot her promise. No one is arguing that what Rosa did was forgivable. But it helps Maria continue living a happy existence knowing that she was loved and that the good memories she has of her mother are true, even if the bad ones are also true.

Maria, filled with love as she is, elected to see The Good Mommy and The Bad Mommy. Is this right or wrong? It's unimportant. What matters is if Maria can be happy.

Sakutarou was a stuffed lion said to be handcrafted by Rosa. Given as a gift and beloved above all things for Maria. When Rosa destroyed the Sakutarou doll the lion cub boy died and could not be resurrected by Beatrice because it was a unique item created by Rosa.

In Chapter 4's conclusion, Ange does the impossible and resurrects Sakutarou. She does this because Sakutarou was never a custom made doll crafed with love. He was a mass produced toy sold in travel gift stores that Rosa happened to pick up on her way home. She lied. Ange never tells Maria this. The miracle of Sakutarou's rebirth is enough. Knowing that the beloved handmade toy was not hand-crafted would not make Maria's life any better. Sometimes believing in magic is the best thing for someone living in a world painted by despair.

Funny that Ange understood that much for Maria and yet still sought after the One Truth up until the very end.

The finale of the game comes down to presenting this option to the player and by proxy Ange herself.

In a world where you cannot change the past and you cannot fully accept what happened, is it better to continue digging up the past and re-experiencing the trauma in hopes that there lays a truth that will make it all finally make sense or to try to make peace with the past and find moments of peace to hold onto. Holding to hate and pain only serves to bring the pain of the past into the present.

Ange, the witch of resurrection, has the ability to keep her family with her long after their death. Should she be haunted by the family that she was deprived or be happy for the limited memories she had and not be tethered to a world of the past she could never have possibly been part of.

Healing in Umineko is accepting love and making peace with loss. It is learning to live unburdened by tragedy and do the best with what was done to us.

If we cannot let go then we'll continue living in the world of the past turning over the events over and over trying to make sense of it and even if we are somehow granted the magical context, the one and only shining truth... it will only serve to make things worse. You can keep the past alive without letting the past control your future.

And Umineko does a remarkably good job of showing that.

Gosh... that took far longer than I'd hoped. Umineko is a difficult piece of fiction to type about because so much of it is subjective and hard to present to a broad audience without providing ample context.

I'd hoped to talk about Yasu's DID but I suppose that shall have to await another update. My original draft for this discussion was to discuss the different forms of dissociative amnesia with Ange's story serving as an example of how recontextualizing memory works. I may yet go back and do a full amnesia based ramble in the coming months. I just needed to get at least one aspect of Umineko drafted as it's been living rent free in my brain since December.

If you enjoyed this breakdown and found it interesting, please check out some of my other Media, Myself and I essays.

Derealization in Night in the Woods and Metal gear Solid 2 - Describing the sensation of derealization where the brain stops connecting associations between the self and the things one perceives in their surroundings. One example displaying how this impacts a person living with DPDR and the other showing an example of a game attempting to make a player share the experience with the player character.

DID and the healing process in Mr. Robot - A run down of the experiences of discovery, exploration, rejection and healing within DID as displayed in each season of Mr. Robot, along with a disappointed rundown of why the final episode fumbled the ball.

Bruce Banner and the roles of his alters - A breakdown of the formation of The Incredible Hulk's DID and what roles his many alters play.

Romantic relationships with systems - A look at the marriage between Bruce Banner and Betty Talbot-Ross Banner in Hulk comics and a frank discussion between Betty and one of Bruce's alters about how relationships function in a system.

Personality Play in Penlight - A review of one of the routes for a hypnokink visual novel called Penlight in which the protagonist hypnotizes a woman to have an alter personality, along with some descriptions of how dangerous play like that works in real life and what the consequences could be.

#dawn posting #umineko #ange ushiromiya #maria ushiromiya #ahaha.wav #media myself and i #media essays

33 notes · View notes

callmearcturus · 23 hours

Text

okay so PC Gamer just scattered a bunch of catnip for me with an article about What If Each Fallout Game Were A Movie, Who Would Direct It and I am going to read this live and judge it

because I'm having a relapse, we all understand this

A focused, mature, pressure cooker of a movie that is short and stylishly violent? Better call the director of John Wick to take the directorial reigns. Personally, I find Leitch's movies tend to have rather underwhelming final acts, too, and also have a penchant for ending abruptly when you feel more could have followed, so he's the perfect fit for a game that's incredible until it very quickly ends without much fanfare. John Wick movies don't tend to be very wacky either, often depicting the hero's world as very serious (despite the ludicrous premise of the fiction), so again this feels a strong and apt choice for the OG Fallout. A Friday night action movie.

HMMMMMM. I feel like I disagree on the mode I would want FO1 to be in. Like, yes, you can play it that way, but FO1 is famously one of the first games to make Speech arguably the most important skill to have in a video game, so I dunno. I love Leitch and feel like while his sense of realistic-yet-stunning action is a trademark, I think the use of locations is even more of his thing, and when I think about memorable locations, I think more of FO2 than FO1.

I feel like I would give FO1 to some hyper-realistic scumbag who is more obsessed with Process than Enterta-- oh. Nolan. gdi I'd give FO1 to Chris fucking Nolan, him whomst I loathe.

Who better to direct this expansive and often wacky depiction of the Fallout universe than the director responsible for epics such as Fear and Loathing in Las Vegas, 12 Monkeys, Brazil, The Imaginarium of Doctor Parnassus, and The Man Who Killed Don Quixote? Gilliam loves a good road trip in his work, too, which fits with Fallout 2's Highwayman-based exploration, and his penchant for vast vistas with wacky and absurd details feels perfect. The combat scenes wouldn't be as slick as Leitch's Fallout movie, but characterisation and a more rambling, philosophical, off-beat narrative would deliver. Plus, Fallout 2 even has a Bridge Keeper encounter that directly references Monty Python and the Holy Grail, in which Gilliam starred. Watch on a Saturday night for a bit of everything.

......... I straight up cannot argue with that. No notes.

For a movie based on a game that is focussed almost entirely on squad-based combat in urban environments, combat where soldiers die in terrible ways and the horrors of war are all too apparent, I feel the director of The Hurt Locker, Kathryn Bigelow is perfect for this. Fallout: Tactics would be a war movie with a very tight focus and strong characterisation for just a handul of lead characters. Tense and at times adrenaline-inducing due to the flashes of extreme violence, but interspersed with soul-searching dialogue from its grizzled, war-scarred leads, this would be an erudite and focused Fallout war movie. Watch on a Monday or Tuesday night.

Looking at Bigelow's list of works is how I just now learned she also did Strange Days, so I think it's fair to say that this is giving her way too small of a pick. Give her FO1 and give Leitch FOT.

It would be so bad. Forget about A-bombs, everyone in the movie would drop an F-bomb every other line. Don't watch on any night.

Fucking weak-ass pick. Think about the history of how FO:BoS happened, i.e. they were trying to slap the Fallout license onto a completely different style of game without any respect for the source material. They swapped out Nuka Cola for Bawls product placement.

Give it to Zack Synder.

As the game that properly introduced V.A.T.S. system slow-mo to the Fallout universe, with kill shots shown off in glorious bullet time, there can be only one director for a film version of Fallout 3: the master himself, John Woo. Woo's stellar action movie work in titles such as Hard Boiled, Broken Arrow, Face/Off and Mission Impossible 2, among others, means the action in this game is off the charts. Slow-mo radiated doves and all! Woo handles the post-apocalypse war vibes well, too, thanks to his work on Windtalkers, while he communicates the hero's awakening into the future thanks to previous on Paycheck. A good fit for Friday night, thanks to the action, or midday during the weekend due to a longish, war movie-style runtime.

.....................

holy shit i cannot argue with that, that's genius. absolutely fucking yes. i think that's a perfect fit.

also, like, FO3 and Woo have the same "problem" for me, in that they know exactly what they are doing, it's just not my cup of tea, but there is a solid identity there.

yeah, fucking do it, give FO3 to John Woo.

SHUT THE FUCK UP

WHO WROTE THIS ARTICLE, AND DID THEY WRITE IT FROM MY FUCKING ATTIC?!

Casinos, gritty environments, extreme violence and heist movie vibes mean I think of Guy Ritchie for this film adaptation. Ritchie's also a fan of slow-mo combat shots, too, so we've got the game's V.A.T.S. system represented well, too, while the game's macho factional warfare as undertaken by factions like Caesar's Legion and the NCR, is right in keeping with Ritchie's love of gang-based conflict. There's not much romance in New Vegas, either, which is a weak spot for Ritchie, but as shown in movies like Sherlock Holmes, Snatch, The Gentleman, and Lock, Stock and Two Smoking Barrels, he's good at holding together movies with various interconnecting narratives. His work on Aladdin also shows he can handle the comedic and wacky aspects of New Vegas, too. A mid-week action-comedy treat.

/rubs face

I am unfortunately a massive fucking fan of Ritchie movies. this is so powerful.

i think........... Ritchie is so thoroughly uninterested in saying anything philosophically profound, you cannot give him The Most Profound Fallout Game. like, I want to love this idea, I really do, but no.

....................... You need someone with snappy dialogue that actually means something, who is willing to veer into borderline magical realism, who loves an overdressed set, and who can manage a lot of different characters with well-reasoned motivations.

I think you need Rian Johnson.

OR DO I JUST WANT RIAN JOHNSON TO MAKE A VERSION OF "DEAD MONEY" THAT DOESN'T SUCK? WHO COULD SAY.

I feel Ang Lee is a good choice for a Fallout 4 movie adaptation, having good form in handling large and sprawling fictions with plenty of characters and side-stories. Just look at films like Crouching Tiger, Hidden Dragon and Life of Pi as an example of this. He's got some form with action, too, thanks to his work on Hulk. There's probably more romance/relationship offering in Fallout 4 than in any other Fallout, and Ang Lee has form here too. The result, though, is a movie that ends up being a bit flabby and unfocussed at times, despite technically bringing more to the table than Fallout 3, and being funnier and lighter overall. Watch on a day off due to a chonky runtime.

what are you fucking talking about, Ang Lee's best movies are Brokeback and Sense & Sensibility, and his worst are probably Hulk and Gemini Man. Fallout 4 is the one where Bethesda just stopped pretending to give a shit about story and roleplaying, instead pivoting the game into a skinner box of tightly-honed but ultimately soulless mechanics.

I'm not even trying to mock Marvel, but I feel like the MCU's Design-By-Producer-And-Executive-Oversight is actually the answer here. It doesn't matter who directs it because the main voice will be a board room.

oh shut upppppp

Fallout Shelter would in some ways be the most obvious setup for a movie: the self-contained story of a vault-dwelling society, interspersed with the surface adventures of random dwellers. Sounds a bit like the TV show when you put it like that, which is why there's only one Nolan for the job: Christopher! Yes, fresh off Oppenheimer it is time for Oppenheimer 2, focusing on the aftermath of all-out nuclear war (hell, Cillian Murphy can even have a cameo as a brain in a jar, I'm that generous). Moody, intense, riven with twists you didn't see coming, and with all special effects done for realsies, this movie could only ever be rad. The only downside is that, like the TV show Silo, you'd spend an awful lot of time indoors.

absolutely fucking not. the thing about Nolan is that his shit is so meticulous, it like.... pitches past hyper-realism and lands in this weird uncanny valley of "he wouldn't fucking say that" but it's for a character you've only known for ten minutes.

FO: Shelter is about emergent storytelling that feels almost accidental rather than arranged or scripted. you need someone who is hands-off the script but can capture a.... good moment..............

oh god, it's JJ Abrams, isn't it? god dammit. or, frankly? Spielberg. so I'm saying no to the director i hate and offering instead two other directors i dislike, but for different reasons.

yeah. yep. that's what i'm doing.

SPITTAKE

As an MMO that takes many aspects of the Fallout universe to the extreme, it feels a movie version of Fallout 76 would be akin to a huge-budget, climatic MCU movie where it really helps if you've had previous with the series to get most enjoyment. As such, I feel the Russo brothers would take the reigns for Fallout 76. The result would be a jack-of-all-trades action-adventure that borrows bits of every previous Fallout to make something that appeals to a lot of people but, after watching, doesn't go down as something you'd rewatch for most all of them. Big, bright, wacky and action-filled, there's no doubting though that you get a spectacle and fun, though. Watch in two sittings over two nights (as the movie's runtime is 3 hours 47 minutes).

no. fuck you. i reject your premise. the Fallout game that shipped with no NPCs and expected the story to be entirely conveyed by set-pieces, environmental design, and audiologs?

resurrect Tarkovsky and give us FO76, desolate and beautiful with environmental shots that last seven minutes without a cut. because the only good thing about FO76 is the setting, the amount of effort put into building the actual space, so I want 90 minutes of film and seven pages of script.

Russo Brothers, get tf out of here

#fallout #fonv #THIS SURE GOT LONG AND SURE HAS SOME OPINIONS IN IT HUH #WHOOPSIE DAISY

25 notes · View notes

aleksanderscult · 1 day

Note

so. First of all I love your blog. Seriously I think you are one of the person who have comman sense in this fandom. I like everything you post. While scrolling through Tumblr I came across the usual anti darkling post ( he is groomer , murderer etc etc ) i did the thing I usually do when I came across such thing : I skip. A tag caught my eye. I don't remember but it's say something like : the only reason you like him is that he is Ben Barnes if darkling is a girl you couldn't like him. Which made me think what if darkling was a girl and alina as a boy. I just image a sexy hot black hair women with pale skin and grey eyes and morozova genes. Which..........is enough to made me think if I am a Bi 🤔. That image has not left me for a week and my dreams. So my question is

What do you think might happen if darkling is a girl and alina is a boy. How might the events of SaB and SaS will be affected. And m*lina too,of mal is a girl too. You thoughts 🤔

Thank you so much, anon! It makes me happy to know that others enjoy my blog and content. 😍

First of all about what that anti said: I personally didn't like Ben Barnes as the Darkling so it obviously doesn't apply. And even if the Darkling was a girl I would still root for her. I root for any character that fights for something better, for a positive change to happen among such oppression. And I think that's one of the major reasons his fans love him as well.

Now about your question: Boy, I would love to see that. I was always attracted to dangerous women, especially the ones that combine beauty and slyness (like Milady in "The Musketeers" or Morgana from "Merlin" post season 2).

But I don't think the story would be affected that much with the only exception that Alina in a male form would probably not be slut shamed for his attraction to the Darkling (in this version she would be called Aleksandra which is a fact that I love!)

The Darkling would remain an interesting character but, God, does that mean that Alina as a man would still avoid his duties?? 😭

And Mal as a girl. She would obviously be popular and well-liked by everyone but imagine that: she would sleep around with many guys and then attack her best friend for falling in love with a girl that isn't her. Well, for one thing it doesn't stick. You see if Mal as a girl fucked around then she would be called a whore (just like Alina was indirectly called one by Mal for wanting Aleksander) while in the original story when Mal did that no one raised a single eyebrow. So we live in a fictional world where if you do that as a guy then you're okay but if you're a girl then you should be called a prostitute. And Leigh had Mal get away with his behavior so she was more willing to let Mal pass with his sexist behavior than the Darkling who had enough and tried to put end to his people slaughter for good.

Anyway, I believe Mal's character would change a lot if he was a girl (primarily his fuckboy nature because the author doesn't allow a girl to have sexual liberation in her books) and I have a feeling she would be boring (again). And I don't think she would be a tracker?

Alina as a man wouldn't be slut shamed (because he's a man 🤷) but he would still avoid the Darkling. Nevertheless the chemistry would be off the charts. And the Darkling would slay like always. She would be the personification of femme fatale but her goal would be selfless and true like always. For some reason, I imagine her as a very seductive figure (although my wishful thinking might be speaking here).

The real question here is how the relationship between the Darkling as a girl and her mother, Baghra would be. Would Baghra want a daughter in the first place but she got stuck with Aleksandra because it was her only child that shared her powers? Or if Baghra had no problem with her child's sex, would she still be that possessive and controlling over her?

My own answer is yes and Baghra would most definitely leave a trauma to the Darkling even if she was a girl. That woman has no parenting skills in any universe. Just like I can't see the Darkling be anything else other than a fighter and a survivor in any other scenario.

#you see TGT contains some very specific sexist views #if the roles were reversed (the Darkling was a woman. Alina a man and Mal a woman) then things would be complicated #People wouldn't even accuse Alina that she had a thing for the Darkling. They would just call the latter “a manipulative selfish bitch”#anon asks #lovely asks #grishaverse #AU #shadow and bone #the darkling #alina starkov #anti mal oretsev #pro darkling #aleksander morozova #pro aleksander morozova #grishaverse trilogy #pro darklina

21 notes · View notes

deepestuniversallove · 5 months

Text

Name: Mewtwo Lunar

Pet name: Miodzio (only Monika calls him that)

Origin: Kantonian Mewtwo created under orders from Giovanni of Team Rocket (He's Mewtwo from the first movie)

Birthday: 6th February 1998

Astrological signs: Aquarius Sun, Gemini Moon, Capricorn Venus

Height & Weight: 2m, 128kg

Nature: Adamant

Sex & Gender: Male, he/him

Accessories: Mewtonite X in a round crystal cage necklace (obtained after Kalos arc), Moon ball (after proposing to Monika), some various clothing

In a romantic relationship with Monika

Personality:

Has a calm demeanor and prefers to observe first to deduce if any stepping in will become necessary

Very loyal to his friends

Values intelligence and knowledge, likes to dabble in intellectual pursuits.

Suffers from depression and existential dread, feels like an outsider to the world

Can be a bit cocky sometimes and act high and mighty

Displays a great need for freedom and roaming, doesn't like being confined to small spaces

Sometimes may come across as 'emotionally constipated', preferring to rely on rational reasoning than emotions

Can act a bit 'tsundere' at times

Rough Storyline:

Is virtually unchanged from the first movie and the prequel with Aitwo

Is genetically related to Aitwo to the point of them being siblings (due to an experimentation by Dr. Fuji to infuse Aitwo's genes with Mew genes in later clones)

Difference in the story happens after the first movie and results in a changed storyline for "Mewtwo Returns"

During travels to find a new home for himself and his clones, he encounters Monika, a young human girl who is a fugitive of Team Rocket

Monika has known about Mewtwo beforehand due to her connections to Team Rocket, and was inspired by him to live on

Mewtwo finds himself in love with Monika eventually and the two begin a romantic relationship

This eventually falls apart for a few years during Monika's later teenage years, as the two lacked experience in serious relationships

Mewtwo spent a few years by himself in self-discovery, making new friends in the process

Later reunites with Monika during her travels in Kalos, rekindling their romance

Eventually starts a family

#mewtwo #selfship #selfshipping #mewtwo reference #time for me to update my reference for my version of Mewtwo #my theme for him is interspecies romance #i am convinced he has a thing for human women more than he would for any fellow Pokemon #aromantic/aroace Mewtwo? Not in my house!#but no honestly #i truly love Mewtwo #for a fictional character he turned my life around for the better

23 notes · View notes

rainbowresurrection · 24 days

Text

I ended up reading The Price of the Phoenix and while it didn't make me want to bleach my eyes like Killing Time, I still didn't like it as much as I hoped I would. Don't get me wrong, the homoeroticism was intriguing to me, but the actual writing and storyline itself left me with a headache. I think I get my hopes up with these books, given all of the possibilities that the written word has for Trek, and it inevitably sets me up for disappointment lol

#if u liked it thats fine I just kind of hated it #star trek #The only ones Ive genuinely liked so far is STTMP and the one about Garak written by Andrew Robinson #i wish Roddenberry had written more. STTMP was no literary masterpiece but his writing style had a lot of potential and I feel that #he actually captured the characters authentically and you could relate to their feelings #Price of the Phoenix had all of this corny alpha male shit going on that almost made me feel #like the author just didn't know how to write men or something #Like they relied a lot on stereotypes of the time which sucked considering that Kirk and co. are supposed to be living in the future #the dialogue was clunky and even confusing at times #and the characters were just #idk. vapid to me #Like Kirk and Spock's love for each other is portrayed which is nice but basically everything else about them just didnt feel #accurately characterized or otherwise explored #it was basically just muliple chapters of several different versions of Kirk getting his ass kicked & this big weird villain dude taking up #space on the page with his plan to take over the universe or whatever #the reincarnation concept was intriguing but the themes just weren't clear enough for me #the end haha #sttos #k/s #review #price of the phoenix #well Im glad I read it anyway I was curious #i get kind of leary of certain K/S content TBF since a lot of it- esp around that time- comes off as voyeuristic towards M/M relationships #a lot of those ppl didnt exactly care about queer movements as much as they cared about seeing their two fictional favs fuck #yes there were queer writers but we didnt always exactly get center stage in these things #you can tell what is written with respect and whats just kinda. written. you feel me #i love K/S and its history but Im not gonna pretend all or even half of it was written with the intention of uplifting queer men #i ended up having more to say than I realized uhhhhhh to be continued at another date

3 notes · View notes

halyorke-vampiredisaster · 1 year

Text

#going a bit insane over micah nemerevers these violent delights #no i'm not becoming a book blog but I'm rediscovering an old passion #books feel like my first language of fiction and they are #and this one is so beautifully insane and intricate and the characters are so fantastic and their relationship so natural yet wild af #it's like watching two buildings slowly collapse into each other and in the end you can't find which pieces belong where anymore #but they're definitely both shattered and they would probably still be standing if they hadn't been so close to each other #both of them started out with such potential for so many things but brought out the worst versions of themselves in each other I LOVE IT #[their names are paul and julian btw. yes they're gay]#it's like they were waiting for someone to come along and utterly wreck them and they probably were #and if this sounds like they were violent with each other they weren't really at least that wasn't the point most of the time #they loved each other so completely but also so brutally that they fed each others fears and insecurities more than anything else #they'd have done anything for each other AND THEY DID and that was the catastrophe #it is such a fantastic book #obsesses with the way julian clearly only starts smoking when he meets paul fully aware that he is already missing half a lung

2 notes · View notes

forecast-rain · 1 year

Text

man I love reading stories where someone rough around the edges gets a friend and softens up/learns how to be a better person as a result. or just people navigating friendship? I love to read about people becoming friends... it's just so <333

#cloud posts #just #friendship <3 #...hm it's a theme with my ocs too isn't it?#I'm generally more focused on their relationships to each other than the world they inhabit #Huh #I guess I favor more character-driven stories #I'm p sure I've always been that way lmao #fight scenes don't really interest me #in fiction at least but I'm p sure also in just media in general?#I live for the character interactions #I live for the emotions #I live for people learning about each other and becoming friends #I live for characters becoming better versions of themselves #just... friendship in stories.#(inspired by a bnha fic I just read <3 about bakugo <3 where it focused on him making friends with like half the 1-a class <3 I love <3)#lmao when writing out bnha I thought of sumi (hi) and how I'm p sure I remembering seeing a post from him about anime names?#or smth #and I'm just like lmao #I don't remember why I use the bnha acronym or call it boku no hero academia generally #maybe in part because when I watched the anime I watched it subbed cause I couldn't stand the english dub kid izuku voice?#hm #oh well this post is getting long I shall write no more now

5 notes · View notes

ectoplasmer · 1 year

Text

I don’t think I’ve ever truly articulated just how special these characters are to me. I’ve never stayed this interested and invested in a piece of media before, at least within recent memory

#i’m always talking about how the way i feel towards my f/os is ‘different’ but like #i don’t think i’ve ever really explained why it’s different??#with my past f/os even though i would insert them into my life *occasionally* everything i did with them was mostly contained to an s/i-#-that i just projected heavily on #most of the time i wouldn’t even imagine them in my house or with me unless i was having a really hard time #my love for them was still there of course but it wasn’t as nearly direct as it is for my current f/os #with my current f/os something was just… different. that’s what i keep saying #the way i felt towards them was different. the way i approached calling them an f/o was different #i didn’t look at them and immediately go ‘yeah that’s gonna be my favorite character’ like i did for most of my other f/os #this was… different. it felt almost more personal somehow #heck i think the whole reason i got so attached to ryou was because i played nightmare troubadour and got him onto my friends list #maybe it’s because they might’ve played a role in my childhood maybe it was because there was more about them to learn about #the way my love grew for them was just… that. it grew. it wasn’t there from the start but it’s definitely there now #most of my other fictional crushes didn’t work that way. is that weird?#it felt more personal because it took longer for me to feel what i feel for them now. there’s also something about them that just felt more #i almost want to say ‘real’? something sbout them felt more real to me than my other f/os were #even though my f/os face ‘shadow games’ and dark ancient egyptian magic on a daily basis… they felt more relatable somehow #when you really get down to it they’re just… teenagers. teenagers that are lowkey messed up and probably need help #and y’know what? on a much smaller scale i might be exactly that too. and maybe that’s why they felt much more real and understandable to me #any ‘issues’ or similar problems i share with them are obviously much more smaller when compared to their versions of it but #seeing someone else face those issues (even on a much larger scale) makes me feel less isolated in it. less like no one could understand #because i see that *they* can understand how i feel. *they* can feel just as alone as me with a problem despite the both of us sharing it #i can understand them and why they do things because we’re both just. absurd teenagers. and that gives us familiarity #my feelings towards my f/os are ‘different’ because they’re different. they’re more real and feel more familiar than any of my other f/os #and in someway… i think my love for them feels more real too.#quartzshipping #anyway it is absolutely horrific yet amazing that i have been interested in this series for a year and (almost) five months now #i’m happy regardless that it’s gone on this long. sometimes i worry that maybe it’ll end at some point but #i think i need to stop worrying about it and just enjoy it as it is now #it’ll fall off when it falls off. all that matters right now is that it makes me and others happy and that i feel something towards it

2 notes · View notes

sylvainahyperfixation · 5 months

Text

#also the fact that rpg games like this bring out the truth in people #at least the people who cant accept that fiction doesnt equal reality #praying for the people who want some irl version of these companions as their partners #honestly so much therapy needed for all of them #that isnt to say im not all for the people who saw the dynamics in game with certain interactions and bad endings and said wait #this is a reflection of my life and it's staring me in the face and it's bad #we love learning moments from media #im going to keep adding to these tags rip but #i do NOT like the people that take the interpretation of a character one way because it resonates with their personal experiences the best #especially people who have gone through Bad Events in their life so they use it as leverage and they shoot down other interpretations #because these companions with their different personalities all deal with The Bad Shit in such different ways #it doesnt make one method more valid than others #but in a game revolving around so much trauma and (possible) healing ive seen some TRULY unhinged (in a bad way) takes #please for the sake of something anything keep your mouth shut ashkjdflsajl #actually funnily enough minthara's insight into the companions is so real and im here for that

1 note · View note

prokopetz · 1 month

Text

Something I love about The Far Roofs is how much of a swerve its premise is if you're coming to it uninitiated.

Okay, so there's these talking rats with a culture of swashbuckling heroism – basic Redwall/Reepicheep stuff.

Also, there's a magical realm called the Far Roofs which exists above every human community, and that's where the rats go adventuring; a little weird, but you can see the precedents in popular fiction. It's like wainscot fantasy taken to its logical-yet-absurd conclusion.

By default, the game wants you to play as a fictionalised version of your (presumably human!) self and go up onto the Far Roofs to have adventures with the rats. All right, now it's coming together: it's like isekai fantasy meets The Muppet Show, with you as the obligatory human character, right?

Then we get to the nature of those adventures: the rats have this whole culture built around questing against beings they call "the Mysteries" – beasties with names like Harpy and Goblin and Unicorn. So basically it's a bunch of muppety rats on the roofs fighting Dungeons & Dragons monsters, and you go up and help them do it. Great.

And then you get to what the Mysteries are actually like, and... well, I'm going to let the following excerpt carry the weight here. (This particular bit of text also appears in a previously published work by the same author, so I'm not giving anything away that's still under wraps.)

Unicorn, which is named Numinous, dwells three steps away and beyond the world, but most often in the Farthest Roofs, where the Steppes of the Sky come down to touch the Vast and Earthen Court. There it is stepping upwards from the world, as it has always been stepping upwards from the world, caught in a moment of transcendent glory that does not complete. It simply is. Melanthios heard the footsteps of Unicorn. Melanthios heard the ringing of Unicorn’s bells. So Melanthios chased Unicorn off to the Farthest Roofs, and Melanthios did not return. Anton and Karel, who were his sons, were wiser than their father. They heard the bells but they did not follow. Instead, they memorized the scent. They gathered swords, and ropes, and nets, and they went out. They brought food and water and all manner of gear. They clung to the roofs with all four feet wheresoever after Unicorn they went. It proved no good. Anton looked up, and Karel to his brother. The world came down— That’s what Karel said. He had time to look away. He had time to bury his head in his paws. He did not see the fullness of Unicorn’s presence. He only saw Anton his brother become unreal. In the light of the moment of the Unicorn, Anton became as a paper figure in the fire. His reality burned out. His shadow seared into the roofs behind him. Where he’d stood, for just a moment, the Steppes of the Sky came down to touch the Vast and Earthen Court; and Anton was gone away. So Karel ran and Karel ran and Karel ran from the Unicorn; and all his life, he envied but was more fortunate than his brother.

These are gods. You're going up there to kill God.

Like, it's still silly wainscot fantasy with funny talking rats, but there's that tension. It's like if Fraggle Rock occasionally took a hard turn to serious cosmic horror – Lord Dunsany by way of Jim Henson – and that tonal juxtaposition was treated as something unremarkable.

Basically what I'm saying is go back The Far Roofs.

#gaming #tabletop roleplaying #tabletop rpgs #the far roofs #dr. jenna moran #crowdfunding #kickstarter #violence mention #death mention

4K notes · View notes

elucubrare · 10 months

Note

What are your biggest turn-offs when reading/watching historical fiction or retellings of myths?

this is really complicated - i can put it in two boxes, both of which are packed very full.

disconnection from the material reality of the past

when characters display a very specifically modern mindset (about social issues especially, but other stuff too)

(I also get bothered by some kinds of modern language - I don't mind it when, idk, an author uses "sensible" with the modern connotation of "practical" and not the 18th century "emotional" or "empathetic", but "yeah" or "okay," or even, as i found out when someone used it in medieval fantasy, "holy shit" will get on my nerves.)

there are modern things where (made up example!) a character who's supposed to be a cook will talk about making caprese salad for a fancy restaurant in December, and someone snarking on the book will say "yeah, right, they should know better than to make something that depends on a fresh summer vegetable!" and even with greenhouses, that's pretty fair. and that's even more extreme in the past. it's 1650 in Verona, it's December, you cannot obtain fresh tomatoes. i don't think this means that people in the past were, necessarily, more emotionally or spiritually in tune with the cycle of the year, or the labor it took to get clothes, or furniture, or any other material item, and of course wealth can insulate people from some of that difficulty, but it does mean that the seasons had more direct impact on people's lives. It's possible to, for example, buy clothes ready-made, but for anything fancy, it's more likely that it'll be made to fit if it's new, or altered extensively and painstakingly if it's not. that means that tearing or staining a fancy dress isn't just an issue of looking bad - you can't just replace it, and you probably won't throw it out - you figure out how to reuse it. those concerns of access to material goods are just a lot closer to the surface of the world than they often are now.

my objections to modern attitudes about the world are not that people in the past 100% accepted the views of their contemporaries - there were always people who didn't, and it makes sense that a protagonist would be one of them. but people wouldn't phrase those objections in the same way that modern people would - say your main character doesn't want a woman accused of being a witch burned. "God's power is such that the Devil cannot give this woman the ability to sour milk" is most likely going to be more persuasive to the crowd than "witches aren't real." and sometimes that's rough - it's not super fun to read about a Roman with Roman attitudes about provincial wars, or slavery in the city, but I put something down because a Roman character said (in internal dialogue) that he was disgusted to see that a man had been tortured because "Romans simply didn't do that." Historical Romans did do that, routinely - a slave could not testify in a law court unless they had been tortured. Even with distasteful things like that, I'd much rather it just be glossed over than to have them say the "correct" modern thing. It just makes it feel too much like the theme park version of the culture.

Both of these are because of specific things I come to historical fiction for - I want that sense of alienation, the gulf of experience. I hate that most historical fiction (and fantasy set in semi-recognizable periods) characters don't really care about Honor, except as a joke, because I love when characters organize their lives around arcane rules and systems that cause tiny things to escalate into blood feud. I just think they're neat! I like it when people's worldviews are shaped by their lack of scientific certainty about what causes crops to fail! If I wanted to read about people who thought and acted like me, and had lives that were mostly similar to mine, only cooler, I'd just read contemporary fiction.

#my thoughts on...

3K notes · View notes

theyanderespecialist · 3 months

Text

(Remake) Base Yandere Alastor Headcanons (Part1) Hazbin Hotel

[Hello, My Sexy Muffins! Now That the show is out (The first four episodes) this is the remade Headcanons for Alastor, The Radio Demon! As we know more about his character. Though I feel we will learn more about him, so this is just part 1. I hope that you all enjoy this chapter here!]

(DISCLAIMER: Alastor is AroAce but in this headcanons and possible scenario and video (on YouTube) he is yandere which means love sick. So the love he has for the reader or listener is not romantic and is more obsession and possession than anything. Asexuals and Aromantic or anyone on those spectrums are NOT like this in reality! Thank you!

DISCLAIMER 2: Alastor is not yandere in canon. This is just for fun and not to be taken seriously at all! Simping for fictional characters and yanderes is fine, just do not be illegal or gross about it! Yanderes are not ideal partners to have in real life, and neither are demons! Please remember to separate fiction from reality and headcanon from canon! Thank you!)

-Remade Base Yandere Headcanons With Alastor, The Radio Demon Part 1-

.Alastor he is not interested in sex or romance.

.He is a bit of a chaotic evil or neutral (It is up for debate)

.Though when he did see you, he got this strange feeling in his chest, a feeling he had NEVER felt before.

.It made him feel unnerve like you had done something to him.

.So he would start to watch you, like a hawk, having his shadow watch you at all times.

.Sooner or later he realizes that he wants you, not sexually or romantic. No.

.But he does want you to be HIS to own you and to have companionship with you

.To spend the rest of eternity together.

.It is very less romantic and more controlling and possessive.

.Where he very much sees you as a prize and as HIS And HIS ALONE!

.He would want to keep you though, and he would learn that sex and romantic acts help his cause of courting you to be his.

.He also does like that when he does these things for you it makes you happy.

.So even though sex and romance are not his thing, he does them for you! cause they make you happy.

(Mid-headcanon disclaimer: Asexuals can choose to have sex and physically enjoy it (Sex is a physical act and anyone can do it regardless of attraction) Asexuality is a lack of sexual attraction. Choosing to have sex while on the ace spectrum is being sex favorable. And you can still choose to do romantic acts as an aromantic. Asexuality is a spectrum. Aromantic I am not 100 percent sure how that works but I know that Aromantic can still want to have a life partner and or closeness to other people just without the romantic parts, now! Back to headcanons!)

.He does want you to be happy and content with him and he is willing to do those things cause of his twisted version of what is, for him. That is the closest he will ever feel to romance.

.Of course, he is a yandere so there are some toxic traits as well.

.Such as he is a tad bit controlling and very manipulative.

.Using his charm and affection to manipulate you to want only him.

.And also manipulate you from being near anyone who could try and trick you into being with them.

.Cause let's be for real, Alastor has a bit of an ego and he for sure is confident that he is the best option for you.

.That he is the only one that is good enough for you.

.So there is no chance that lesser demons will be able to woo you.

.But he knows that you, his sweet darling, could be manipulated and tricked into being with another demon or WORSE giving your soul to another demon.

.Speaking of which, he will very much make a contract with you for your soul there is no way he is going to let that chance to have you bound to him and where he Will QUITE LITERALLY OWNS YOU!

.So yeah, be ready for that.

.He will of course not have it be a normal contract, but instead a marriage contract where you will be made his spouse.

.That way you belong to him. And also, will be his life partner.

.Still, he would have your soul, so it would not matter what you do, you will be his spouse FOREVER!

.Now back to how else he would be as a yandere! He is beyond PETTY.

.If he had rivals (Which he does not consider to be rivals) he would be SO Petty with them.

.Always showing them and you, how much better of a partner he could be and how pathetic they are!

.He is willing to humiliate them.

.Though he does have a bit of a possessive jealous side of him.

.If someone was to try and kiss you or touch you? Well, he is going to rip them from limb to limb.

.He would take sick pleasure in destroying anyone who would DARE To defile you with even something as small as kissing your cheek or holding your hand!

.It is unforgivable.

.Though he fully outright denies being the jealous type. (He may even gaslight you into believing he is not the jealous type)

.He loves to cook for you, and will slowly condition you to eating deer meat.

.Do not worry he is not going to give you a bloody dead deer right away. He will cook it for you.

.It makes him feel connected to you and feels a stronger bond and closeness to you when he cooks you a meal.

.He may even teach you to cook, another bonding experience.

.Though I am sorry vegans and vegetarians he is going to make meat for you and most likely trick you into liking it. He just would he is a cannibal he is for sure not going to let you eat like that!

.Side note he may even take bites of you, maybe even during sex.

.And lastly, for part one, I will go deeper into other things and dynamics he would be a bit more okay with you touching him.

.THOUGH He prefers to initiate physical touch with you, as he would still tense up if you caught him off guard, but he would not fling you away. More just accepts it as he is a little uncomfortable. (I am pretty sure he is a touch-adverse AroAce and is only fine if HE is the one touching!)

[YASSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSS Part one is done, I hope that you all enjoyed this and, stay sexy, all of my sexy muffins!]

400 notes · View notes