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gowns · 1 year

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Why Kids Aren't Falling in Love With Reading - It's Not Just Screens

A shrinking number of kids are reading widely and voraciously for fun.

The ubiquity and allure of screens surely play a large part in this—most American children have smartphones by the age of 11—as does learning loss during the pandemic. But this isn’t the whole story. A survey just before the pandemic by the National Assessment of Educational Progress showed that the percentages of 9- and 13-year-olds who said they read daily for fun had dropped by double digits since 1984. I recently spoke with educators and librarians about this trend, and they gave many explanations, but one of the most compelling—and depressing—is rooted in how our education system teaches kids to relate to books.

What I remember most about reading in childhood was falling in love with characters and stories; I adored Judy Blume’s Margaret and Beverly Cleary’s Ralph S. Mouse. In New York, where I was in public elementary school in the early ’80s, we did have state assessments that tested reading level and comprehension, but the focus was on reading as many books as possible and engaging emotionally with them as a way to develop the requisite skills. Now the focus on reading analytically seems to be squashing that organic enjoyment. Critical reading is an important skill, especially for a generation bombarded with information, much of it unreliable or deceptive. But this hyperfocus on analysis comes at a steep price: The love of books and storytelling is being lost.

This disregard for story starts as early as elementary school. Take this requirement from the third-grade English-language-arts Common Core standard, used widely across the U.S.: “Determine the meaning of words and phrases as they are used in a text, distinguishing literal from nonliteral language.” There is a fun, easy way to introduce this concept: reading Peggy Parish’s classic, Amelia Bedelia, in which the eponymous maid follows commands such as “Draw the drapes when the sun comes in” by drawing a picture of the curtains. But here’s how one educator experienced in writing Common Core–aligned curricula proposes this be taught: First, teachers introduce the concepts of nonliteral and figurative language. Then, kids read a single paragraph from Amelia Bedelia and answer written questions.

For anyone who knows children, this is the opposite of engaging: The best way to present an abstract idea to kids is by hooking them on a story. “Nonliteral language” becomes a whole lot more interesting and comprehensible, especially to an 8-year-old, when they’ve gotten to laugh at Amelia’s antics first. The process of meeting a character and following them through a series of conflicts is the fun part of reading. Jumping into a paragraph in the middle of a book is about as appealing for most kids as cleaning their room.

But as several educators explained to me, the advent of accountability laws and policies, starting with No Child Left Behind in 2001, and accompanying high-stakes assessments based on standards, be they Common Core or similar state alternatives, has put enormous pressure on instructors to teach to these tests at the expense of best practices. Jennifer LaGarde, who has more than 20 years of experience as a public-school teacher and librarian, described how one such practice—the class read-aloud—invariably resulted in kids asking her for comparable titles. But read-alouds are now imperiled by the need to make sure that kids have mastered all the standards that await them in evaluation, an even more daunting task since the start of the pandemic. “There’s a whole generation of kids who associate reading with assessment now,” LaGarde said.

By middle school, not only is there even less time for activities such as class read-alouds, but instruction also continues to center heavily on passage analysis, said LaGarde, who taught that age group. A friend recently told me that her child’s middle-school teacher had introduced To Kill a Mockingbird to the class, explaining that they would read it over a number of months—and might not have time to finish it. “How can they not get to the end of To Kill a Mockingbird?” she wondered. I’m right there with her. You can’t teach kids to love reading if you don’t even prioritize making it to a book’s end. The reward comes from the emotional payoff of the story’s climax; kids miss out on this essential feeling if they don’t reach Atticus Finch’s powerful defense of Tom Robinson in the courtroom or never get to solve the mystery of Boo Radley.

... Young people should experience the intrinsic pleasure of taking a narrative journey, making an emotional connection with a character (including ones different from themselves), and wondering what will happen next—then finding out. This is the spell that reading casts. And, like with any magician’s trick, picking a story apart and learning how it’s done before you have experienced its wonder risks destroying the magic.

-- article by katherine marsh, the atlantic (12 foot link, no paywall)

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originalaccountname · 1 year

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I made some funny comics a little while ago about the potential effects of Fukuzawa's ability on Chuuya's, and how it perhaps could make it revert to a pre-Arahabaki state.

I realized later that some of you lack the context for where that came from, and that I might be creating confusion, so this is a (hopefully) comprehensive walkthrough of things we learned in Storm Bringer that lead to this conclusion.

tldr; The lab created "Arahabaki" by manipulating an ability into a destructive force. That ability existed before the lab, and the nature of that ability is heavily implied to be the power to enhance other abilities through touch.

Explanation and sources below (so you can judge yourself) ⬇

- spoiler warning for Storm Bringer, hopefully written in a way that you'd understand even if you haven't read it yet -

In Storm Bringer, Chuuya meets the scientist that was responsible for Project Arahabaki, Professor N.

Project Arahabaki, N explains, was the Japanese government's secret project to create an ability singularity they could have control over and freely use as a weapon.

What are singularities? Singularities are what happens when abilities clash in specific ways and create a new, unforeseen reaction. The easiest way to create a singularity is to pit two contradictory abilities against each other to create a paradox; examples included the ability to always deceive and the ability to always perceive the truth, and to have two ability users who can see into the future (*coughs* Oda and Gide) try to one-up each other. The result is usually much more powerful than the original abilities on their own.

Some singularities are said to have been explained as god-like interventions, because of their often destructive nature. This is what inspired the name "Arahabaki", after the mythical being (here's a post of the subject and I'll it link at the end too) These events are described as very rare.

Like mentioned in that passage, there is another way to create a singularity: to have a single ability user use their ability in a way that contradicts itself. This is what the lab was trying to do.

For that explanation, Professor N gives an example. He first shows a video of a child, whose face is hidden from the camera, holding a coin (described as having a certain melancoly to it), with a moon and a fox engraved on it. The video is from one of the lab's tests. The child is made to recite some activation lines, which are directly taken from one of Nakahara Chuuya's poems, Upon the Tainted Sorrow (which does mentions a fox, as a fun fact).

The coin then starts glowing, the glow turns into a black mass, and from there the experimentation goes bad: the coin starts attracting things and absorbing them, the space gets distorted, the child's vitals flatline, panic spreads and someone calls for an emergency stop, we hear a scream. The video ends.

N explains that the child in the video had the ability to enhance the ability of others. That child then used that ability on themselves, effectively enhancing the enhancement which enhanced the enhancing, in an infinite loop. That loop created a lot of energy; the surplus of energy was so intense its mass deformed space (physics!) and it created a black hole.

Here's where it gets tricky: N claims that child died during that accident, that the child was absorbed by the black hole created by their ability. We never actually learn their identity.

But N is a lying liar who lies; he said about one and a half truths the entire book. The only reason he was telling them any of this was that he thought he'd get rid of all of them within the next few minutes. His objective was always to regain control over Chuuya, his pet project.

Plus, during the epilogue, we learn that Chuuya was assumed to have died during the war. That's what his parents think. That's what is officially recorded.

Furthermore.

Project Arahabaki was based off French research papers; someone else had done this kind of experimentation before, and their result was Verlaine.

Verlaine's gravity-manipulation is a singularity. Better yet: Verlaine also has a Corruption state, named Brutalization. Their abilities are the same, because the lab copied the techniques that were used to create Verlaine when they worked on Chuuya.

Here's a passage of Dazai nullifying Corruption, at the very end of SB:

"The self-contradicting skill, which was supporting the energy of a singularity". This passage confirms that the source of Chuuya's ability is, in fact, like the child's and Verlaine's, if any doubts remained. "[...] weakening the singularity's output. It wasn't long before it returned to its normal state, and the Gate closed." The Gate refers to releasing Arahabaki, it's basically a limiter, just like the passage above when talking about Brutalization. When Dazai nullifies Corruption, he gives that limiter the opportunity to come back and seal Chuuya's power away again, but does not stop the singularity, only allows it to go back to its stable state.

From all that, we can say that Chuuya's ability wasn't always gravity manipulation, but that it was another, unconfirmed ability that was exploited in such a way that it became a permanent, stable singularity that allowed him to have control over gravity.

Bullet point recap:

Chuuya's gravity manipulation comes from a singularity, like Verlaine, like that child;

You need a self-referencing/self-contradicting ability to create that singularity;

Such an event is rare;

There is a substantial amount of time spent describing a "random" child that was experimented on during the war;

That child created a black hole through their singularity;

That singularity was activated using a passage from Nakahara Chuuya's poems, while holding a coin that references it;

That child supposedly died;

Chuuya's parents think he died during the war;

N is a pathological liar with an agenda.

So no, there is no "confirmation" that Chuuya's ability was ability enhancement before the lab took him. But an author writes a story with an intent, so I am asking what Asagiri's intent was when writing all this, and if perhaps we weren't indirectly given the answer already.

What is Arahabaki (Fifteen and Storm Bringer lore, with too many citations)

My own perceived timeline of the true events behind Storm Bringer (was originally gonna be part of this part, also with too many citations)

#the dazai parallels are a nice little bonus because we KNOW chuuya as a character was designed to match dazai #he was most literally designed to go with him and contrast him #but that's meta analysis so i didn't include it in the actual post with the rest of the textual evidence #bsd #bungou stray dogs #bungo stray dogs #bsd analysis #bsd theory #bsd meta #bsd chuuya #bsd nakahara chuuya #bsd storm bringer #bsd stormbringer #stormbringer #storm bringer #i'll reblog this to my art blog tomorrow so the people most concerned have more of a chance of seeing it #apparently i talk sometimes

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raven-at-the-writing-desk · 19 days

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So, I been curious and I wonder if you have answers; how strong is Idia? I know physically that a new born kitten could woop him, while technology wise not even the master control could stand against him, but what about magic wise? And where does he stand in comparison to the other dorm heads? I know in ch 6 he was strong as heck but isn't that mainly because he was getting energy from the blots?

(Thank you for your time)

Mmm, well... I don't think "magic strength" alone accounts for how good of a mage someone is. You could have all the power in the world but could be a terrible mage just because of how you use it (like if you lack control), or perhaps because you can only cast a few powerful spells before you blow through your energy reserves. All spells are also not made equal; there are defensive spells, offensive spells, healing spells, and more! Because of all that, it's hard for us to really quantify how "strong" a mage is, because really each mage seems to specialize in their own skillsets. It's not "which class is the strongest?" but rather "which class fits your preferred play style?" For this reason, I'm not going to be formally ranking the dorm leaders but instead will point out their strengths and weaknesses.

As Idia points out in book 6:

Riddle has an artificially large magic pool because he started his magical training from a young age. He is capable of casting strong spells and favors offense, but also has low physical stamina and tires easily (from blot accumulation) because he tries to brute-force. His mental state is also said to be heavily impacted by external factors.

Leona can cast spells quickly and effortlessly; his magic pool is described to be "huge", but we don't know how this really relates to the other problem children in terms of scale. He also seems to boast precision, as he can "tailor" his defensive spells' strength to counter his opponents. Because of how efficient Leona is, he barely accumulates unnecessary blot. Stress does not have much effect on how fast he produces blot, but intense emotions do cause a significant spike in him. Additionally, Leona is skilled in flight due to playing magift/spelldrive.

Azul is a relatively slow spellcaster but makes up for that with precision and access to a variety of spells. He watches the flow of a battle, keeps cool, and then plays support/heals as needed. Idia also notes that while Azul can cast many different spells, Azul also does not have a large enough magic pool to support them and so has to be more careful about what and when he uses his magic.

Vil is very stable across the board and is quite resilient to blot. Stress does not have a huge effect on him, but the blot does seem to stick around for longer because of his larger magic pool. Something else to keep in mind is that Vil excels in making potions, which is another form of magic.

Please keep in mind that these refer to mainly COMBAT scenarios, which are not the only cases in which you would use magic... so this isn't an entirely accurate assessment; it's just the most convenient assessment since the game blatantly lays the comparisons out for us. Let's now piece together what we know of the remaining dorm leaders based on lore we have:

Kalim does not strike me as someone who has a particularly large pool of magic (it's never commented on, nor shown). I'd place him at around normal until otherwise refuted by the canon. We know he's not particularly proficient in his studies, as he just barely scrapes by in classes with intense help from Jamil. This may not always translate to poor performance in practical settings, but we also have no standout moments of Kalim pulling off impressive spells or being a notable mage. He also doesn't seem to be aware of the practical or strategic uses for his own UM unless others in his immediate vicinity are in need of large amounts of water. It's possible that he's incredibly powerful, but lacks awareness of how to best utilize his magic.

Malleus is stated in the lore to be one of the top 5 mages in the WORLD. He uses magic on a daily basis and barely blinks an eye to when he does amazing feats like STOPPING TIME ITSELF. Book 7 also reveals to us a hypothesis that fae might have access to an essentially limitless reserve of magic because they pull that magic from nature itself. I'd say that this definitively places Malleus at the top of the "magical power" hierarchy--there was never any doubt about that, the problem just comes in trying to sort everyone else under him.

And then there's Idia, whom we don't really see performing magic much by himself. No, he prefers to tinker with his computer parts which, technically, can count as magic since technomancy is the combination of technology and magic. (Does Ortho count as something resulting from Idia's "magic power"??) It's hard to say.

If I had to guess, I would think Idia is another stable user like Vil but is also highly volatile like Riddle (due to his guilt and grief being the main source of trauma). Idia HAS to cast spells or input magic into his devices because of his curse; if he does not accumulate blot, there's nothing for his curse to dine on... so it'll dine on his own magic instead, which can be detrimental to his health and wellbeing. (This is why the Shrouds are perfect candidates to work at STYX and research blot. All the blot present in STYX HQ fuels them and feeds their curses.) This implies Idia has to have output, and consistent output at that. More blot present in the immediate area may be able to power him up more and allow him to cast more spells/cast spells more frequently, but that's again highly dependent on his environment. Idia has the "flexibility" that the other dorm leaders lack, which can be a curse or a blessing given the scenario. Make of that what you will!

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forgettable-au · 3 months

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WHAT IS THIS AU? HOW DOES IT WORK?

A brief (I'm lying, this is a long post) explanation post for this AU for anyone new <3

As I've mentioned before, this AU is based on the theory that Papyrus is (was) Gaster. I did not create this theory, it has existed for a long time as far as I know and I'm also not the first person to do something like this with the concept, I'll touch up on that later.

This is a LONG post, so click keep reading if you really want to check it out :D

About the Papyrus is Gaster theory

I've looked up a lot of stuff about it but I don't actually know where it originated. It's not super popular but if you're a Papyrus theorist you might have heard of it before.

It's not a super serious theory really, it's more about pointing out the weird connections and similarities between Papyrus and Gaster and giving an explanation to the many weird things about Papyrus and his lack of backstory.

Just to mention some things:

Them both speaking in capital letters, having no asterisks, their weird way of phrasing things, Papyrus being described as forgettable, Papyrus hating hotland, pretending he doesn't know about a lot of stuff ( The lab for example, he know what a lab is but pretends he doesn't in front of Sans), Gaster being related to hands and Papyrus never taking his gloves off, Papyrus weird connection with phones (his photo-graphic memory for phone calls) and Gaster's weird connection to phones also(Fun events related to phones, using the phone in the darkworlds and only getting Gaster's garbage sounds), their love for puzzles (The CORE is a giant puzzle), THAT one quote that I still find misterious “beside, it’s rude to talk about people that are listening, right? not everyone is as though as my brother”, Papyrus DOES have Gaster blasters it's pretty much canon even if a lot of people ignore it, Papyrus is very very smart he has a LOT of books, knowledge on many subjects, building stuff, and even made a shakespeare reference when he died (why is he like this lmao), he's the character with the most dialogue in game yet we don't know a lot of stuff about him, he breaks the laws of physics and of the game, he's not in deltarune the heavily Gaster connected game.

Now that's some of the things I could think about, and look, yeah I'm probably looking too much into it and these are all just coincidences and the weird Papyrus things are related to other stuff maybe not Gaster. But I still like this theory, not because I think it's real but because I LOVE the possibilites!!!

About how this AU works

Okay, so this au is basically a -pretend this theory is real and how would the undertale timeline work then!- We're giving Papyrus his backstory and I'm also making a Gaster focused story at the same time.

I will adapt basically how I think a situations like this would play out (and also add some of my other favorite ut theories as a treat)

Papyrus used to be Wingdings and then Wingdings shattered across time and space, Papyrus and Gaster are different separate people.

Actually I kind of, treat WIngdings before and after accident as different people also... you change a lot when you become an omnipresent being. So, Wingdings, Gaster and Papyrus I treat them all as different people.

"How did Gaster become Papyrus?"

He didn't "become" Papyrus just like that. After he shattered he stopped existing like he was before, he became a being in another layer of the game but physically his body was just there

I based this on how the goners and Gaster followers have counterparts that are not, uh, goners that look different or deformed and gray

Papyrus was just kind af an empty shell at first, he still kept parts of Wingdings original personality but his Papyrus personality developed on his own with time!

"How did Gaster shatter across time and space?"

Usually everyone agrees it was because he fell into the CORE

Not here! I don't think the CORE caused his accident, it is a power source not a time and space altering machine. In this story it was some other thing he was working on, and it wasn't so much of an accident per se

About similar content

I've seen some people tell me this is a good idea for an AU and I agree!! I love this idea so much, but as I said before I didn't create this concept or theory I just love it a lot!! and was desperate for content wich I surprisingly did not found much of

I was so surprised, I really thought there would be more people that made this before but I couldn't find much, so I'm just making it myself and one of my goals is to maybe make other people like this idea and make their own takes on it !! cause i think it's neat and would love more perspectives and content

If you by any chance also like this concept as much as I do I just wanted to make this section to name some inspirations for this AU

First, you all should really see "I know that I know nothing" by linssins

It's because of this comic that I discovered that theory in the first place and really loved the concept. It's my main inspiration, unfortunately the comic is unfinished. If you see it you will definitely see how I took inspiration... Still my story and this au is a different take on the theory, it goes on a different path.

Also another inspiration for finding more stuff about the theory were

@askthesciencesquad This comic is paused but it's also a Papyrus!Gaster comic! and I was very happy to find it, it is also a very different take on the concept but I liked where it was going. The same person also has this other blog where they put a lot of Papyrus is gaster stuff :0 @deviodofmeat

Okay so that's it, maybe I missed some stuff? but if I remeber i'll just add it later, that's what's good about tumblr.

#forgettable-au #undertale au #papyrus!gaster #papyrus is gaster #undertale #HEHEHEHE #I FEEL LIKE I'M MISSING SOMETHING VERY OBVIOUS BUT EH #I hope this is a good explanation? I'm not sure if it is...#but you all tell me if there's something you need clarification on

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wizardsaur · 2 years

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Yo so....

Witchcraft is actually hella customizable. You can invent shit. I don't know how this: "By the book, uber traditional, heavily controlled" thing gained so much traction, but...

You can make your own holidays

You can make your own Gods

You can design your own divination methods

You can make sigils -however the fuck you want

You can create your own theory on energy systems based on your personal experience

Write your own ethics and codes of conduct

Describe crystals or herbs by their ENERGY instead of a keyword list you got off Pinterest

Cleanse in a completely different way than the books tell you to

Literally the possibilities are unfathomably endless. And I've successfully done all of these. Go forth and get weird with it.

#magick #witchcraft #magic #witch #witchy #spell #pagan #witchcore #wicca #wiccan #chaos magick #chaos witch #secular witchcraft #non-traditional witchcraft

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oddmerit · 2 years

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heres a few links from my bookmarks folder full of HTML and CSS resources that i used when first making my neocities website because i want other people to make their own sites as well because its fun :)

how to actually do html and css

web design in 4 minutes - this is the site that really made HTML and CSS click for me, following along as the author describes what’s he’s doing to the webpage and showing how it changes the presentation (you don’t need the book he shills at the end. i did without)

w3schools introduction to html - takes you through the very basics of creating a website, lesson-by-lesson. big goldmine for code to grab and scaffold off of once you have some basic skills

mozilla’s html guide - also a great beginner’s guide by the people who made mozilla, although i didnt use it as much as w3 schools

brackets.io - this is the program i use to write the files i use for my website. lets you do splitscreen to work with two files at once, gives you a breakdown of all the files in your website’s folder, and will let you autofill commonly-used tags and files in the code. supposedly has a live preview function but it doesnt work that well for me when i’m using a second monitor, which i normally do when coding. just save the file and refresh the page instead.

(side note: i work in a software external to neocities instead of directly in the neocities editor because 1. local files update with a refresh and neocities has to update the cookies AND download all the website info again once you update, and 2. it effectively gives you a mass undo button if you fuck up because you have your files hosted in multiple places (local and online). yes its kinda annoying to have to manually upload all my files especially bc you cant upload whole folders AND you cant move their locations once uploaded but i prefer it to working directly on the site. if you have a neocities pro subscription ($5/month) you can mount your website directly on your machine as opposed to the neocities dashboard, which basically means you dont have to manually upload the code every time you change something -- it’ll update automatically)

codepen - if you prefer something browser-based to work in then try codepen, i used it a little bit at the beginning when trying to troubleshoot some code i didn’t quite understand. you need an account to actually save your work and im not sure if it actually lets you upload folders bc i never signed up lol

premade engines/sites/themes/etc etc

neothemes or eggramen or templaterr - if you wanna get a quick start on a neocities site, you CAN use a theme generator/premade theme. if you go this route i would still heavily recommend trying to learn HTML and CSS, and then go into the guts of your own website to try and pick it apart and change it to your liking

zonelets - a static blogging engine that uses HTML, CSS, and javascript. made for use on neocities but theoretically useable elsewhere. takes about 15 minutes to set up (if you use a default theme, but its pretty customizable if you know what you’re doing) and requires you to 1. write blog posts in html and 2. modify some code in a script file every time you want to upload a post, but it will automatically let you browse posts in order once you get everything uploaded

rarebit - a neocities webcomic template — havent used it yet but looks cool, and seems to operate off of the same principles as zonelets.

glightbox - this is the lightbox javascript code i use when i want to display a lot of images on one page. i found this code via clicking “inspect element” on a neocities fanpage that the webmaster drew a lot of fanart for. you should click inspect element on neocities pages that you like so you can understand how they do what you like (you can even look at their css by clicking the style.css link you have to include at the top of your page)

plus a couple masterlists/directories:

yesterlinks

sadgrl.online’s webmastery directory

#unidentified gay noise #html #neocities #i took a 2.5 hour nap today and drank coffee at 4 pm and im still sleept #edit oct 22: removed the anti-t*rf disclaimer bc i havent seen any sus reblogs in a while and i didnt wanna keep seeing it in my notifs #but it still stands :)

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genshin-obsessed · 3 months

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Could I request Gepard, Dan Heng, and Jing Yuan with an s/o who starts writing and selling novels, light novels, web novels, webcomics, graphic novels, comic books, and manga about them because she believes their heroic deeds need to be known to the public?

Ooh this is super cute! Ofc as a writer this resonates with me but I will do myself not to self insert too much ^^;

Characters: Dan Heng, Gepard, Jing Yuan

Dan Heng ✧.*

As an artist, you draw quite a bit but never had a clear direction. But the thing that really got your gears moving was Dan Heng. In your eyes, this man was a hero. So, you often began to doodle his achievements and it hit you.

Comics. You could make comics about a Nameless character who was a hero. Just like Dan Heng. So you did and boy it was so fun! There was no real story tied in with it, to avoid going into details, so you just made lil pieces and posted them online for your friends and followers!

Dan Heng found out on accident when he stumbled upon your piece and felt as if... the figure looked a lot like him. He asked you, you were honest, and he was flustered. He tried to convince you to put your efforts towards something else that was worth your time.

That’s the day he learned just how much you adored him.

Geppie ✧.*

Writing was often just to relieve stress or bring out your creativity but you often felt like you were lacking something. One day while you were brainstorming, you thought of a hero who was a little too similar to Gepard. You didn't realize it until you were pretty far into the plot outline.

The main hero was based off of Gepard pretty much down to a T. Pretty much the way he acted, reacted, talked, thought- it was all a reflection of your one true love, Gepard. Your feelings of adoration was heavily indicated by your tone of how you described him.

Gepard found out when he was reading over your script and made a comment along the lines of “he sounds like me”. That’s when you confirmed it, telling him the hero was based off of him. His face exploded in red and he just couldn’t find his words. He believe no one would want to read a story based on someone like him.

You’re writing your 4th novel now, so he was wrong.

Jing Yuan ✧.*

You loved comics! Writing out the story and then drawing them out, you did it all the time. You even made Jing Yuan little chibi drawings off him he still keeps on his desk.

One day, you were just doodling when you came up with this idea for a story. It didn’t take long before the idea got bigger and bigger and basically could be turned into a novel or an entire comic series!

Jing Yuan liked the idea, but wasn’t sure why you chose him of all people. But, he was extremely flattered to be your muse. This meant that even here you were away from him, your mind was on him. But in all seriousness, he’s happy. He didn’t realize how popular your series would get- he knew of your talents and popularity but this was something else.

You don’t need to admit your hero is based off of Jing Yuan. Everyone already knows it.

#dan heng x reader #gepard x reader #jing yuan x reader #honkai star rail x reader #hsr x reader #hsr dan heng #hsr gepard #hsr jing yuan #🖊─ pocky’s writings

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sunflowergraves · 1 year

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Unpacking Will Solace’s Character

I’ve seen a lot of Will Solace hate since TSATS and it’s really starting to bother me. As a person that relates heavily to Will’s character, it’s upsetting to see him get bashed across the internet, especially considering we’ve never actually gotten to know his character. Personally, I feel like a lot of people are basing his character around headcanons and fanfiction (which I am guilty of) and were disappointed when he wasn’t who we saw him as.

It doesn’t help that the only time we got to see Will’s POV it was short and through the eyes of others. He’s also not this big hero like all the characters in the PJO universe. His powers aren’t that strong, he’s not a prophecy child, and his talents are mediocre. Will is the most human demigod we’ve ever been introduced to. I can understand why his character doesn’t feel multi-dimensional compared to everyone else, but in my opinion, he was fleshed out very well.

Yes, there are a few things I was disappointed by. I wish they talked about Will’s past more and his grief over his dead siblings. I wanted him to have his own weapon, even if it was an old bow he never used or a lyre like Apollo used in TOA. But I will always love that they changed him from the calm, collected counselor healer to an anxious, depressed, self-doubting person because it fits him so well. How could he not feel these things after losing friends and family? After being abandoned by everyone around him? Or being forced to take on the caretaker role of the entire camp because he was the only one left?

I’m going to continue this down below, so if you don’t want major spoilers for TSATS, don’t continue reading. Also this is long as hell in case you just want to skim.

Every time Will was mentioned in the books, it was from someone else’s POV and it was a few lines at best.

Will has always been described as the cool, relaxed, go-with-the-flow type of guy. He was the person with a level head and knew exactly what to do. But guess what? Underneath that cool exterior was an anxiety riddled people pleaser who threw himself at every problem because that’s what he was told to do. The Apollo cabin was always the head medic team. After Lee and Michael died, Will was basically thrust into that position of power. He was trusted to take care of his younger siblings, trusted to take care of the entire camp. If he let them down, it was going to cost lives. Of course he’s going to be scared and nervous, but he can’t show that. Would you want a doctor with shaky hands and sweat running down their neck? Would you want to be taken care of by a person who doubted and second guessed themselves out in the open?

As someone who was given a lot of responsibly and forced to grow up at a young age, I completely understand this. You want to try to make everything better for others around you, you get scared when you fuck up, and you HATE when people can’t rely on you. That’s why you will never show how scared you are to fuck up. You will never let people get inside your head because if they can’t rely on you, what good are you? Breaking out of the role that everyone else gave you because they trusted you is scary and hard.

Nico is probably the only person who knows what Will really thinks. Will trusts Nico with his anxiety and overthinking because he’s comfortable enough around him to show that side. He knows he doesn’t have to Mr. Hero in front of Nico and that’s such a precious and important bond to make with someone.

Will was valid for being whiny and irritated for most of the book.

First, Will has ANXIETY. If you don’t know what it’s like to live with anxiety, count yourself lucky. It feels like your thoughts are attacking you constantly. It’s like an uphill battle between rational thought and absolute chaos. I can’t get in my car without thinking of all the ways I could die before I buckle my seatbelt. Imagine going to SuperHell for the first time in your life! Not only that, but people told Will constantly that as a child of Apollo he was basically fucked. The three strongest demigods that made it back almost went insane! Of course Will is going to be upset, irrational, irritated, and uncomfortable.

In TOA, he voiced several times how he thought it was a bad idea and that he really didn’t like it. This is not a new thing for Will’s character at all. For him to be willing to cross a line he had made concrete shows that he loves and cares for Nico. But that shouldn’t mean he isn’t allowed to be uncomfortable.

Second, for anyone saying he could have stayed at camp instead of going has never sacrificed their comfort for someone else. There are so many instances in my life where I went way out of my comfort zone because I knew my friends/family wanted me there. Did I complain? Hell yes. Did I still do it? Hell yes! If Will had said, “Nico, I can’t do this and I refuse to at least try,” I would have lost so much respect for his character. Instead he sucked it up, even when he was already practically dying before they got there.

Three, Will was worried about Nico. He’s never experienced Tartarus, he’s never been to the Underworld. While Will has definitely faced his share of demons, he’s never stood in Nico’s shoes. So when his boyfriend is having vivid nightmares and hearing voices, he’s going to try and rationalize it for Nico because that’s what he has done his entire life. Will is the “healer.” He is supposed to fix things, not let them traipse off to hell like it’s a vacation spot.

Four, this is a 15 year old. Fuck, even now at the ripe ole age of 20, I’d still be shaking in my boots terrified at the thought of going somewhere that is practically a jailhouse for the worst creatures in creation. Will has little to no experience on the field (He ran from six guards without even trying to pull out a weapon. The worst thing he’s ever said to his enemies was “anemic loser” and didn’t even want to kill Octavian. Every battle before that he had an older sibling to look up to and care for him). So yeah, I’d just be a tad bit nervous and annoying.

Will asking Persephone how to love someone from the Underworld was honest and raw.

This scene broke me in ways I can’t even describe because of how real it felt. If you’ve ever been in a deep and caring relationship (friendship counts) you should understand. Like Persephone said, love is something you choose and it’s complicated and messy even for people who were practically made for each other. For Will to ask how to love someone from the Underworld shows that he is actively choosing to understand and love Nico.

I get that most people interpret Will’s lines as “How do you love someone so filled with death?” but really he’s asking how do you love someone who acts like he doesn’t want to be loved? How do you love someone that pulls away from your light no matter how desperately you try to give it them? How do you love someone who hides parts of themselves from you?

Will is a healer, he fixes things. It’s not until this scene that Will realizes the only thing Will needs to fix is his perspective on Nico. That darkness and hurt and trauma is okay. It’s also a scene where Will realizes he doesn’t have to force down his own trauma anymore.

Will loves Nico and it’s so obvious he scared to lose him. He thinks he’s weak and broken and incapable of helping Nico escape his trauma. His insecurities shadow him and he’s confused about how to navigate this relationship because he thinks he needs to be the leader. How can he lead if Nico won’t let him? How can he help when he doesn’t know how? Persephone’s scene was Will’s chance of finding guidance from someone who could understand exactly what he’s thinking

People in their late 40′s still can’t get relationships down. Why are we pushing unrealistic relationship ideations on a 15 year old who doesn’t even know who he is yet?

Will was not useless.

Sorry that the relationship duo isn’t Mr. Badass and Mr. Badass 2.0. Will not being a fighter is refreshing to see because honestly I’m quite tired of seeing badass couples in every book/movie. Not everyone is strong and powerful and super awesome. Will is a nerd that likes healing people. Why isn’t that enough?

“He’s described as having muscles,” “He’s a field/combat medic,” “He fought in the wars,” “He carries people all the time,” “He trains with the Apollo cabin.” Okay and? I was raised to work hard and protect myself. I work out and I know how to use a bow and knife. Does that mean I want to? No.

I’d also like to point out that almost everyone in camp is described as having muscles. You kind of have to when your life motto is Try not to die or get eaten. Also they train on lava walls, jump eight foot pits, and weapons. I get a little bit of muscle going on my silly little walks, I’d be fucking jacked if I was actively training.

Second, Will has never once been described fighting monsters/demigods. I don’t doubt that he’s had a few encounters, but the boy practically specializes in RUNNING AWAY. He’s a feral little animal that finds injured demigods and sprints them away to the medic center while occasionally bashing monster heads in. He’s strong because he needs to be, not because he wants to be. Strength also doesn’t equal battle prowess.

Not to mention, he hates killing! He didn’t want to kill Octavian despite Octavian being the actual worst. He runs away as a distraction even though he had weapons on him. He got upset when Nico threw Sherman Yang out of the chariot in TOA. Monsters are different, but monsters are also scary. Will is terrified of demon pigeons, you really think he’s willingly gonna go one-on-one with anything bigger than his pinky?

I’ll admit, I hated that he didn’t have a weapon in Tartarus. I thought it was really stupid and out-of-character because my anxious ass would have loaded up. Still, it was kind of funny when they described Will bashing rocks over monster’s heads during their fight with Nyx.

My final point for this: Will was Nico’s support system and that was the point. Will knew he wasn’t going to throw hands with anyone. He went because he knew Nico needed him even when Nico told him to stay. Will was going to trek through SuperHell with the love of his life and hold his hand to remind him that he was loved. Will wanted Nico to know that he’d literally go to Hell and back for him and that’s what mattered.

Nico didn’t ask Will to be the Hero. Nico states several times that the reason he loves Will is because he wants to heal and he’s so stubborn to find the good in everything. And that’s exactly what Will did. He offered support, care, and reminders. He was going to understand and love Nico, even through the darkest parts of his life.

Will is one of the best support systems in a PJO couple duo.

It makes me incredibly sad to see people call Will toxic when he gave his entire life to support Nico. I won’t deny that he complained a lot and said hurtful things and that he occasionally belittles Nico’s feelings. But Will didn’t know he was doing those things. He thought he was helping Nico navigate his PTSD. How is someone who is still emotionally developing his own character supposed to know how to take care of someone else’s?

Will also clearly showed love and affection towards Nico. He met all his friends and was polite to them even when they looked scary. Will risked his life several times before they got to Tartarus and still insisted on continuing. Built a Minecraft house for his boyfriend and left him a KitKat bar because he knew he would feel fatigued (also Will brought KitKat bars, meaning he was already thinking of Nico’s health beforehand). He tried to be useful by scouting ahead because he felt like he was being a burden on Nico. He kissed him, called him silly nicknames, hugged him, respected his boundaries (asking to hold him instead of trying to comfort him immediately), and oh yeah, went to Tartarus when he was obviously quaking in his flipflops.

He also helped Bob when he had no idea who/what he was, comforted Nico when he was beginning to lose hope, acknowledged his mistakes and admitted he needed to try harder, realized he didn’t need to fix Nico and that his boyfriend was perfect the way he was, and learned that Nico wasn’t going to leave him.

Love is complicated. Love is something you choose. And Will chooses to love Nico. Also for everyone saying a year is long enough to learn/realize these problems already and have them solved, you need to take the rose tinted glasses off. I’ve been with my partner for almost four years, and I’m still learning things about our relationship. We argue, we don’t always meet eye-to-eye. Our own trauma and experiences surface and it gets difficult. But do we just call it quits and throw everything into the trash? No. We talk, we problem-solve, we come back and try to understand each other even if we don’t know how to do that. A year is nothing. A year is puppy love and excitement. It’s like your favorite movie on repeat. All the problems are ignored because you don’t want to see them yet.

So for a pair of 15 year old's who just came to terms with their sexuality, I think that they are doing pretty damn good at this love thing.

Anyway, that’s all I really wanted to say. Even though we’ve had Will for years, we’ve never gotten to know his true character until now. It’s raw and weird and doesn’t fit the mold of Will Solace, son of Apollo we all created him to be. You can still hate his character or whatever, I’m not going to try to change your mind. But don’t hate on everyone else who loves him and loves this book.

#solangelo #will solace #tsat #tsats #tsats spoilers #will literally deserves so much love #he's an anxious nerd who wants to watch star wars and kiss his boyfriend

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stackslip · 2 months

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CAN YOU ELABORATE ON TLT BEING A HOMESTUCK FANFIC‽‽‽‽‽

i'm exaggerating a bit, but taz muir was a well known homestuck writer who wrote under the username urbanAnchorite. her fic the serendipity gospels is one of my fave fics ever, but was never finished and it's only by book 2 of tlt that i figured that the clear allusions to it in book 1 weren't just cute little nods but that she'd expanded on some of the ideas/concepts and worldbuilding of the serendipity gospels. to name a few:

the ninth house cult is heavily based on the juggalo church muir wrote/expanded upon in TSG, from face paint to the rituals and a lot of the accompanying prose

act 2 of TSG takes place mainly in a spaceship that serves as "cathedral" of the juggalo cult, and is described to be covered in bones that have been painted in many colors--which is close to the description of the mithraeum

act 2 also features the two main characters being much younger people mentored/manipulated into horrible acts by an old man who is thousands of years old and bickering with his other thousand year old friends/enemies, who seem to share knowledge and understanding that neither the two protagonists do but also deeply resent one another. hard to not read a parallel to john and the lyctors here!

to elaborate on this bc i just realized it: it is heavily implied in TSG that the dancestors (older people thousands of years old) went through a universe reset and built the empire in the image of their own trauma and anger, which would v much parallel what happens to john on earth and how he "reset" humanity

less of a homestuck thing and more of a taz muir thing: said old man is v much grooming the main female character and making her life miserable during the entirety of act 2

a lot of the story takes place in the background of the trolls' empire being a horrific imperialist force that the main characters were originally very excited to join and become a part of, with one of these characters in particular daydreaming about becoming ground troop for invasion while also holding a terrible secret that would have precluded him of doing so anyway. p neat parallel to gideon's own thing here

act 1 and act 2 of TSG are from two different pov characters, with a drastic shift in prose style and understanding of the situation/world when the pov shifts. which v much echoes how tlt has worked so far. part 3 was barely started before it went on hiatus, but it followed the same pattern.

speaking of, the prose of act 2 of TSG definitely feels very close to harrow the ninth's prose. you can just open the fic and check the first chapter of act 2 and how it's written, and you'll see what i mean. there are differences--the prose of TSG act 2 is more inflected with southern usamerican evangelical speak, i think? i'm not american so i can't quite 200% tell

there is an external armed resistance to the empire's violent imperialism and resistance that was supposed to be the focus in act 3 of TSG, which never happened. nona the ninth did, though, and it follows that structure.

there are also eldritch horrors that threaten the entire universe--homestuck's own horrorterrors--that are in the background of TSG and implied to be an important part of the future plot that we never saw. tlt has the ressurrection beasts

taz muir's worldbuilding around the blood castes in og homestuck that she elaborates on in TSG also somewhat parallels the way the houses function in tlt

iirc there's also worldbuilding around space travel in tlt (such as the obelisks? i think that's the name? and the use of necromancy to power them) that parallels taz muir's own take on how space travel works in the troll empire, using psionics and draining them dry in a similar way

i think the necro-cav relationship 'ideal' is based around how taz also interpreted moirallegiance in not just TSG but all her homestuck fics, down to how its legal implementation and the idealization of it vs its role in troll/houses imperialism and the reality of blurred lines in "expected" relationships. i'd love to hear taz's discourse on troll romance

i also think the necro-cav relationship parallels the other legal pairing explored in TSG--legislacerator and subjugglator.

there are probably more parallels i am missing--i need to reread TSG soon, as i haven't in a while. there are elements i'd say are more like, how taz herself elaborated on the bones of the worldbuilding of homestuck and then made it her own thing, which is rad as hell. other elements are more fun nods, such as gideon's aviator glasses being shamelessly stolen from dave homestuck, and a lot of gtn's prose feeling very homestuckey. it's def not like, just a little rewrite and boom, you get the locked tomb! imo it's more elements of plot and worldbuilding that were interesting enough to develop into something of its own and that taz made into something new, along with other elements of other stories (such as lolita and umineko) being woven into it. part of why i enjoy tlt so much is its "collage" aspect, taking elements taz thought interesting in other stories, or using these elements to purposefully evoke specific feelings/moods to construct or obsfucate certain ideas.

#eli talks #tlt #homestuck

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headspace-hotel · 2 years

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Do you have any tips for solid worldbuilding?

Signed, an amateur fantasy writer whose only prior fantasy worldbuilding knowledge was ToG and its ilk 😭😭😭

Don't get your ideas just from other fantasy books. Get inspiration mostly from real world things that are cool to you. Read non-fiction about stuff that is really interesting to you, even if it's just wikipedia articles. Then imagine what those things might be like in a fantasy world.

If there is any topic that you know a lot about, write that into your worldbuilding. If you know a lot about purebred cats, imagine fantasy purebred cats or purebred dragons. If you know a lot about cooking, go crazy with fantasy food. If you know a lot about fiber arts, guess what

Instead of trying to make up a "new" take on an existing mythological creature, just make something up.

Don't be judgmental. When you are building cultures, remember that cultural beliefs and practices exist for a reason, so always try to see their perspective of the world and why it is the way that it is. There is really no such thing as "superstition," only the tendency of humans to grasp at patterns in situations where they don't have control.

People who are the same religion can have very different beliefs and probably could end up arguing with each other. Also, not all religions are based on "belief/faith" or have heaven and hell, that's mostly Christianity.

Don't try to force big political events in your world to line up with the individual stories of characters; the evil ruler can get killed halfway through your story instead of at the climax of the story. Your character doesn't have to actually fight in the decisive battle that changes the course of history. Your character doesn't have to be a queen or "important figure." History doesn't have main characters; 99.9% of people are just some guy, and the .1% mostly THINK they're just some guy, and none of them understand the historical significance of an event as it's happening to them. Stories are happening all the time, they don't have to link directly to kings and empires.

BUT, if you want to write about main characters who are queens and princes and stuff, don't try to ground them in realistic political issues and down to earth explorations of social problems. Stories where the "main character of history" thing works are frequently interpersonal/familial dramas exaggerated to the world-wide stage AND/OR heavily mythologized to the point where the characters have a demi-god-like status AND/OR soap opera like dramas where everyone's vices and unusual traits and charisma are exaggerated. The climax of Star Wars or of Hamlet isn't ABOUT regime change, it's about the familial relationships of the characters.

Instead of trying to figure out big things like "culture," "food" etc, pay attention to your everyday life for a while and think about how your character would do things you do, like wash their hair or go out to buy food. Where does your character go to hang out? How do they clean their teeth? How do they learn the news?

Just make stuff up whenever you feel like it and you can write it all in throughout later.

Use sensory details to describe otherworldly things and be EXTREMELY specific and EXTREMELY confident about it. If your character drinks a potion, you have to describe the taste in a way that only someone who has drunk that potion could possibly be able to guess. So don't say it tasted "sour," say that it tasted like lemon rind, except with none of the fresh crispness of citrus, but instead a perfume-like burning that seemed to cling to the inside of your mouth and make your throat feel frostbitten.

If you think of an idea that feels a little TOO weird and bizarre, that's a sign that it's exactly the amount of weird and bizarre that it needs to be.

Ignore any of these pieces of advice that you want, don't listen to writing advice too much

#worldbuilding

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unhelpfulfemme · 7 months

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More random Captive Prince thoughts, because I feel like being a sadist to all of my mutuals these books are living rent-free in my head right now. These ones are more about the plot and the worldbuilding.

Worldbuilding-wise, I loved the attention to detail, because as far as I could tell all the little details of how a medieval-ish army functions and how you would run it and what you would do with the horses and the supplies and the roads etc. etc. were pretty accurate. I mean, these books are by no means a treatise on warfare (in fact they can be delightfully pulpy, which I liked - I grew up on The Three Musketeers and the Scarlet Pimpernell and similar swashbuckling novels, and I got some of the same feelings here!), but there were details in there that most other authors don't bother to put in or inadvertently fuck up (I love ASOIAF to death but historically accurate it is not), and most of the military stuff seemed plausible enough as well, though again not described in too much detail so you can fill it in with your own assumptions or skim over if it's not something that particularly interests you. And I also loved the architectural details and could imagine everything quite well, but again, as I said previously, this may be because the author spent some time living near where I live so we've seen a lot of the same stuff probably.

Actually when I was first reading it and thinking it was going to be bad I was reading it exclusively for the architectural details lol, I was like yeah, yeah, they're all sucking each other off, but Damen please tell me again how you feel about the tiling?

What I also particularly liked is how the... scale of the conflict I guess? was refreshingly accurate for the "historical period".

The worldbuilding is a mashup of Ancient Greece and medieval France, but what it really felt like to me is a world where the Roman Empire never really consolidated to the extent that it did in our world and Italy went on into the middle ages (because these are decidedly feudal systems) with Cisalpine Gaul having the, well, Gallic culture, while the South had a Greek one. I may be thinking this because I live in Italy and so everything reminds me of Italy, but once I thought of it I couldn't unsee it.

I guess I gotta put in a cut somewhere and now's as good of a time as any?

But anyway, back to the scale of the conflict, the actual middle ages were filled with small and mid-sized countries, and petty local conflicts with family members turning onto each other over succession and stuff, and random small territories going back and forth (well, that's just Europe in general, always, TBH), and this is how it all felt like to me. Actual medieval history has a guy who started a rebellion because his brothers threw a pisspot at him and his father did nothing about it and he felt humiliated, and the war was secretly funded by his mother, so the combination of the small scale with a random local conflict that probably literally nobody cares about outside of the region we are in + everything being so intensely driven by interpersonal drama between insane people felt really authentic to me, like the kind of weird historical moment that would get turned into a funny Tumblr post. And of course the royals did a lot more sneaking around than was probably smart, but I can forgive that for the swashbuckling vibes and also because if Cleopatra could sneak into a palace in a carpet these guys can do whatever they want in my book.

Speaking of the petty interpersonal drama, I also liked the emphasis on how in this system personal reputation and the performance of kingship are king. Usually when you have a heavily political story it's much more based on the quid-pro-quo, "rational actor" kind of politics, but medieval politics also had a lot more going on in the cultural sense (and so do modern politics actually but at least pretending to be a "rational actor" IS the modern performance of leadership), and here you had people dealing political blows through meticulous management of their own and others' political reputations, which was fun to see, especially in combination with so many manipulative bastard characters. Like, how Laurent is manipulated into going to the border just because looking like a coward will lose him more political points than he can afford, and Damen's continued wearing of the slave cuff and instistence on not being served by slaves initially deals massive blows to his reputation, because these are cultures that value heroism, of one sort or another.

(And speaking of heroism, the emphasis on the physical activity-related activities that are the centerpiece of noble life in both countries were wonderful, especially since because both Ancient Greece and the European Middle Ages were really into that in their respective ways and it makes the mashup feel really well-done and coherent in how she tied it together.)

What's notable is a lack of any kind of religion, which felt particularly glaring during the whole Kingsmeet thing - in the real world there would likely be a belief in some kinda curse from the Gods or something similar to discourage the drawing of weapons, but since I'm not really religious and tend not to personally care about religion (while ofc recognizing its anthropological importance) I really didn't care and it didn't diminish my enjoyment of the series.

Still, I do have to say that the ending of the last book felt reeeeaally rushed, and that felt really glaring exactly because the rest of the series had such amazing detail work and excellent pacing and very gradual plot development.

I didn't get the part with the doctor and the letter (why didn't he say anything earlier? how would they verify the authenticity of the letter? Did anyone even have the time to READ the thing?) but I'm gonna be honest with you here, I read book 3 under a heavy fever and it was like 2 AM when I got to that part, so I'm not sure that I haven't missed something that makes it make more sense.

BUT even if that part makes sense, I feel like the Regent was dealt with far too quickly. Like in one paragraph he is in control of everything, in the next they've already beheaded him and that's it. I can imagine in my head that a lot of the nobles were probably already sick of him and took little convincing, that they were disapproving both of his meddling in foreign politics and of his likely grave breach of cultural rules via taking an aristo kid as a pet, or that he initially rationally seemed a better choice over Laurent until Laurent proved himself to be more competent and with a more competent ally, or they already had some hints about what happened that the audience didn't and the evidence confirmed what was inconclusive before.

But I feel like in a series that spends so much time detailing the shifting alliances between the characters and the public's opinion on everyone that matters? I really needed to be sold on it a bit more. Like I really needed some discussion over what to do with the Regent, I needed them to keep him in a cell for a while as they decided whether to kill him (and have the leads scared that the Regent will turn them over as Laurent often does to people), I needed them to consider the evidence just a little bit more, I needed some post mortem with the council members where they explain what was happening on their side of the things. It needed to be MUCH longer and more detailed.

Another thing I wondered at was why the Regent was so insistent to paint Laurent's collaborations with the Akielons as a bad thing when he was... also collaborating with the Akielons? Like he is foaming at the mouth calling them barbarians and accusing Laurent of sleeping with the prince-killer but it feels more like setup for Damen's big declaration of love than an actual political strategy because my brother in Christ, you are literally in the Akielon royal palace, in the middle of Akielos to which you ran after your nephew started a rebellion, with the Akielon king sitting next to you as your equal. Why do you think that you can convince your people that YOUR Vere-Akielos alliance is somehow more morally pure than Laurent's? This was also the right moment to pull out all the patricide allegations that seemed to be going around for Damen, but IIRC he didn't use that as much as he could if at all.

Since there were some Akielons in the room as well, I was also wondering WTF was Kastor doing as the Regent was shitting on his country and calling them barbarians and making it like allying with them is a grave transgression? Why was HE allowing this humiliation? It felt like a very unpolitical thing to do from a character whose strength was in his political acumen (obviously meaning the Regent, not Kastor) and the plot just let it slide by.

I feel like a lot of this is due to this being the first time that the story had to fit within the constraints of a traditional book? So it needed a decisive traditional climax and perhaps it was getting too long for a traditional format, or the author got a bit tired of it and wanted to wind it up now that she wasn't getting regular feedback as you do with serialized publishing, or she prioritized emotional impact over plot logic.

I don't know. I still think they're great books, and the conclusion was emotionally satisfying in the sense that the psychological and interpersonal threads were wrapped up impeccably, I just wanted more detail on the political side. It's still grabbed me like nothing else did for a long time, I can take a mid ending, half of my favourite series will never have one at all because the author wrote themselves into a corner and then died lol.

#captive prince #this one's a plot and worldbuilding analysis #I just have so many things to say I'm sorry ._.#they really scratched an itch #RIP to everyone who followed me for anything else (so basically everyone)

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quasitsqueeries · 4 months

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The Emperor wasn't 12 feet tall

I see this meme a lot in my Instagram feed and it really grinds my gears:

Not because it seems to be trying to shame a fictional antagonist for being "wrong" (although that really doesn't help), but because whoever made it seems to have missed that depictions of the Emperor as superhuman are meant to be Imperial Propaganda.

Now, I realise I'm going to be fighting an uphill battle here because there seem to be people working for Games Workshop and producing their media who also missed that memo, and for a while now the studio has started producing actual depictions of the Emperor, and some of those depections show him as 12 feet tall and immortal. This might be controversial but I think what this shows is that Games Workshop don't understand Games Workshop's source material.

Here's a picture of the Emperor from the original Rogue Trader rulebook.

Even this is obviously meant to be a propaganda image, but here he looks like just a regular guy in armour, he's about the same size as the people around him. Not a superhuman, just a guy with an excess of hubris.

There's this literary construct called the unreliable narrator. When I studied literature we were given this short story to read called Bartleby the Scrivener. It's told from the point of view of an employer about a clerk who was apparently really difficult to manage. The subtext is that the narrator is trying to manipulate the reader to make themself look good.

For a long time, that's what Warhammer 40,000 did, the Imperium was made out to be an unreliable narrator. Stories about the Imperium's "glorious past" were told through the haze of ten thousand years of unending war, by an ecclesiastical class with a vested interest in keeping Imperial citizens committed to feeding the war machine. To the Imperium, the Great Crusade and the Horus Heresy serve the function of myths, more than history. I've gone on before about how important heroic figures like Siegfried and Perseus and Prometheus were to the Nazis. The Imperium, being a fictional state that draws on the aesthetics and ideology of Fascism, uses the figures of the Emperor and Primarchs the same way.

Basically what I'm saying is that when Imperial sources state that these people were twelve feet tall and immortal and could, um, turn a giant ork into a lightbulb on a whim, it's not because they had these powers, but because they've been ascribed these powers by their priesthood, who have total control over the flow of information in this setting.

And I get that this is hard, because most people don't get taught this stuff, and often people are probably looking for escapism from their fiction and why would the book I'm reading lie to me? But I think it really makes the setting more interesting if you look at it this way.

Also, I realise that since 2006 there have been books around that describe the Emperor, and they do show him as superhuman, and I think those depictions are based on the writers misunderstanding the material they're working from. I guess Tolkien wrote the existence of The Hobbit into Middle Earth as the Red Book of Westmarch so I can tell myself that the Horus Heresy novels are meant to be in-universe Imperial propaganda.

ADDENDUM: I need to add this because I've been reading about Perpetuals, which is apparently what the Emperor is since the Horus Heresy series was published. Apparently these individuals are human mutants that are both immortal and invincible. I remember Mechanicum heavily implying that the Emperor and St. George are the same person. Here's the problem with that. There are two themes that I think are really important in Warhammer 40,000. One is the Emperor's hubris, the idea was that he was playing god, genetically engineering monstrosities in the form of the primarchs. In the Greek tragic mould, it's this hubris that leads to his downfall. This kind of loses its sting if he's just trying to recreate what what he already is.

The other theme is the Imperium's superstition. This one is really the core of 40K. The Imperium has taken the corpse of a man who tried to rule the galaxy, told themselves he's not dead, plugged the corpse into a machine that "regenerates" him, and founded an intolerant, violent and expansionist religion around this husk. This theme changes significantly if the Emperor actually was as powerful as the Ecclesiarchy makes him out to be, and actually isn't dead, and has somehow been regenerating for the last 10,000 years. There's a question here about what would make an entity worthy of worship, or being called a god, and I probably shouldn't get into it but this is my blog so I'm going to. It seems like there's an assumption among some writers that if something can be rationally explained then it's not a god, because gods ipso facto don't exist. They've incorporated nonexistence into their definition of gods. This is where you get the idea that the Chaos gods aren't gods, because the setting explains their existince "rationally" with its internal logic (nevermind that there's nothing rational about the warp). If there were gods in a rational sense, then our model of the universe would have to change to accomodate them. I think the upshot of this is basically that if what the Horus Heresy novels claim about the Emperor is true, then the Ecclesiarchy are right and he is a god within the logic of the setting. That doesn't justify the genocide and expansionism, but maybe it does justify the worship, and that's something that I think takes away from the setting.

#warhammer 40000 #horus heresy #emperor of mankind #games workshop #wargaming

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mayfieldss · 1 year

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I don't know - Spencer Reid

Description: both Y/N and Spencer are unsure if their feelings for each other are reciprocated. Based on the song 'same boat' by Lizzy McAlpine (:

Warnings: fluff, slight angst, mentions of fire, not spellchecked :(

Spencer Reid was the smartest man you had ever met. He knew things that you never thought could be possible, he memorized things you thought nobody cared about, and he remembered things about you that made your heart ache. Your favorite color, the foods you loved and the ones you hated, the way you loved the idea of love but were too afraid to pursue it. He knew these things about you and more, and you knew just as much about him. Spencer wasn't perfect, he was anxious and troubled, and he cared so much that it might one day kill him. He was human and, as much as you had tried to deny it, you loved him.

You hadn't intended to fall so heavily, but Spencer had a tendency to captivate you, and pay close attention to how you felt, making it almost impossible to stay on the ledge and keep your balance without toppling off the edge. You had lasted a while, avoiding the inevitable drop, but eventually, you found yourself falling into the deep end for the man. From then on, the idea of Spencer wanting you just as much was something that would linger in the back of your mind like a song stuck in your head. The idea of him came to you as you watched tv or read your favorite books. The thought of him consumed you as you listened to music or prepared your dinner. You loved him, or at least you thought you did, but given the chance, you weren't sure you would have the courage to tell him. To ask him if he felt the same.

Spencer was head over heels for you. He had always found that phrase, 'head over heels' rather confusing and mindless, but that was before he truly understood it. The first time he felt it, the emotion of it all, he could hardly breathe. It had been after a case, and all you'd done was hug him, a tight hug that told him without words that you were glad he was safe. That one moment had left him holding his breath as if keeping the air inside him would make those few seconds last forever. Breathing would have disturbed the peace, he thought. You had let go anyway, but that was the moment he knew. His mind was racing, his heart beating fast and at that moment he was head over heels in love. As cliché as it sounded, he found it to be true.

He'd done research on the feeling that night, reading hundreds of articles about coping with love, the words instructing him on how to tell you how he felt. Spencer knew you couldn't trust everything you read on the internet, and he didn't know if the information he was receiving was something he should trust, but one article, in particular, was telling the truth. Spencer knew it was because he couldn't have written it better himself. The piece described everything Spencer felt for you in perfect detail, one line specifically holding more accuracy than others. 'Every time that I think of home, I can picture you.'

Something about the words struck him, and he sat thinking them over for far too long. Spencer had never really thought of home as one place, partly because what people called home had so many definitions that it couldn't be defined by one single thing. Spencer considered his apartment and though it was comforting, it held little importance compared to how fondly he thought of you. He had never thought of home as one specific place, but it had never occurred to him that it could be a person.

He thought of you on Christmas day a year ago, standing in the snow with so many layers that he could hardly see you underneath. The one piece of you he could see was your face, cheeks flushed from the cold wind that rushed against them. He had felt something for you then too, though he hadn't known what it was at the time. Now he did. Spencer found himself never wanting to let go of the feeling, the warmth that filled him even as he remembered you standing in the cold on that winter's day.

But one problem still arose from the memory. How did he tell you?

The BAU was quiet that morning as you made your coffee. You'd come into work early, hoping to catch a few moments of peace before you were forced to work on another gut-wrenching case, and so far, the quiet building was giving you just that. You were never one to show up late to work, but you had never been this early before and you supposed that was the reason behind Spencer's surprise when he saw you.

He was standing in the middle of the bullpen when you finally saw him, a nervous smile on his lips as you carried your coffee to your desk.

"Good morning to you too Spence" You laughed, the man snapping out of his state of bewilderment just enough to wave at you. His silence was deafening for the short moments it lasted, Spencer Reid always being the one between you who knew what to say. It brought worries to mind, that perhaps Spencer wasn't as fond of you as you thought.

"You're not usually here this early" His voice is soft as he makes his way to his own desk, placing down his satchel as he sits

"I thought I'd get a head start for a change. It's peaceful here in the morning, I like it". You take a sip of your coffee, trying not to cringe at the taste. You had never been a fan of the drink, but it was nessacary for your daily function. Spencer knew this, he'd asked you once why you drink it if you think it tastes so foul and smiled when you gave him the answer, before listing the benefits and drawbacks of caffeine. A few times he had brought you back coffee when he went to get lunch. He brought you mochas and Frappuccino's of the sweeter variety in the hopes you would enjoy the drinks more. You loved that he took into consideration what you enjoyed and what you didn't. It was sweet.

"I don't know how you can get here this early every morning," you muttered as your gaze drifted around the bullpen, taking in everything in its quiet glory. "I've never been good at rising early".

"You know," Spencer begins, and you’re sure he's about to race into a statistical tangent. "Studies have shown that succus is linked to getting up early."

"Are you saying I'm not successful?"

Spencer shakes his head "No, not at all. It's just that waking up early is proven to lead to higher wages and better grades for students."

You cut him off before he can continue. "I had great grades as a kid" It's not exactly true, Spencer knows it and smiles. "I wake up early when I have to, working here robs me of sleep so much as it is. If I can get an extra hour in, I'm taking it."

Spencer nods in understanding. Sleeping on the jet on the way back from a case is not the same as sleeping in a comfortable bed. Everyone at the BAU knows that.

Soon the rest of your colleagues file in, first Rossi, then Prentiss and JJ, until finally, everyone is ready to begin another day. You miss the quiet as soon as it's gone, but you've got work to do.

Spencer is going mad. He'd had a chance to tell you how he felt, and he'd almost said it. He had been alone with you in the early hours of the morning, and he'd almost got up the guts to tell you how much he cared. Well, not exactly. He had thought about asking you out to lunch or maybe bringing up that winter's day that replayed in his mind when he looked at you, but with every passing second, it became harder and harder to do. He was terrified that if he told you everything, he would ruin what you already had. He was worried that maybe you wouldn't feel the same, that you wouldn't give him a chance.

Spencer had never been good at expressing how he felt and now at a time when he needed his words the most, he couldn't find the right ones to say. He also couldn't find the right time to say them. Right now, the BAU was on a case, and that meant that every ounce of focus from the team had to be put into saving lives. Spencer had great focus, for the most part. He could put his head down and work without distraction from anyone or anything for hours. Unless the distraction was you.

You were sipping your coffee quietly across from him, shuffling through stacks of eyewitness reports when he looked up at you. He couldn't help himself from stealing a glance, but once he did, his thoughts went racing. He wanted to talk to you, say anything just so that he could hear your voice, but you had work to do and so did he. Catching this unsub was the top priority, so he forced himself to look away. Not that doing so helped him at all. Spencer had committed you to memory, every detail of you that he had ever seen, was now used to paint a picture of you. Every freckle, no matter how faint. The lines that formed under your eyes when you smiled, and the way your lips tilted when you laughed. Once again it came to him, the idea of picturing home as a person rather than a place. He couldn't help it, even in a situation as serious and dark as the one the BAU was dealing with, he smiled.

"What's so great over there?"

Your voice startled him, and Spencer could feel the blood rushing to his cheeks as he looked up at you. You had one brow raised in his direction, a small, tired smile finding residence on your face. It made Spencer's stomach flip.

"Nothing."

You swear if only for a moment, that your heart stopped. The explosion was loud and left a ringing in your ears, and even though you were nowhere near the flames, the smoke brought tears to your eyes. Or maybe the tears were for Spencer and JJ who were still inside the building.

You could hear Prentiss shouting into her earpiece, trying to get in contact with your two friends, as the smoke was carried by the wind to the air above you, where it loomed like the boogieman to a child. Your gaze followed the lines of smoke to the sky and then back down toward the now-burning building, to which your friends had yet to emerge. It was painful, to stand and watch. You were used to saving lives, running into flames whether metaphorical or not. Now all you could do was stand and stare, under strict orders to stay put. Not that you could have moved if you wanted to. The shock froze you on the spot, hand over your mouth to stop yourself from screaming.

And then there they were, covered in soot, coughing as they stumbled from the flames, but JJ and Spencer were alive, and you couldn't be happier. You could feel the tears of relief escape you as JJ approached, and before anyone else could get in first, you raced to hug her. She coughed as you squeezed her tight and with great reluctance you let her go over to the medics standing by. And then there was Spencer. He stood there watching you, unmoving as paramedics tried to move him toward the ambulances and your body shook with a sob as you moved forward to meet him.

You had always been the one to initiate the hugs in your relationship but this time, before you could even lean in to grab him, Spencer pulled you close. You gripped him back just as tightly, holding him to you with such force that he might just break. "I thought you didn't make it".

Spencer shook his head, chin on your shoulder. "Still here".

You released something between a laugh and a sob and soon Spencer was doing the same until you were both shaking so heavily that you could hardly breathe.

It turned out Spencer had inhaled a lot of smoke and JJ had done the same, but overall, they were going to be okay. It just meant that for the next few days they had time off work, and you were left to think about what would have happened if they hadn't made it out of that building alive. It left you to wonder about all the missed opportunities you had to tell Spencer how you felt, and how you had almost lost the chance to tell him at all. Even with this information, the thought of telling him and being rejected, embarrassing yourself in front of him was horrifying. You didn't want to have to excuse yourself, only to go and cry in the bathroom over wild feelings that you were stupid enough to believe Spencer shared with you. You were scared, unknowing that you and Spencer were in the same boat.

Spencer was going to tell you. The way you'd hugged him back that day, held onto him when he had needed you most, held onto him as if you needed him more, had pushed him to breaking point. He was going to tell you everything, even if it hurt.

It was the end of the day, nearly, and Spencer was standing outside your apartment waiting for you. You and the team had just got back from a case, and Spencer knew you would be tired. He felt bad for bombarding you when most likely all you wanted to do was fall asleep, but he couldn't wait any longer. He had to tell you before he changed his mind. Spencer had written something down, some kind of speech of everything he wanted to say. An organized format of words that he planned to tell you in a specific order. Even with his masterful memory, Spencer was worried he would screw this up. The edges of the paper were ripped, Spencer tearing at the corners as his nerves took over, time ticking down, until finally, there you were.

You held your bag in one hand, and your keys in the other paused in the middle of the hallway at the sight of Spencer before you. He tried for a smile, though it was tense, his nerves swallowing him whole.

"Spencer, Hi." The way you said his name made Spencer's stomach knot, and he thought about you on that Christmas day once again. If home was a person, if Spencer's home was a person, it would be you.

"Hi," Spencer raised a hand to wave, an instant wave of regret washing over him at the action. "I have some things I need to say to you, things I've been meaning to say for a while."

You opened your mouth and closed it again. Then you nodded. "I have some things I need to say to you too."

You took a few steps toward him, and Spencer thought about running away. Maybe he could back out now and keep all his feelings inside. But then you smiled, and Spencer knew he had to tell you everything. He crumbled the paper in his hands and threw it behind him, dangerously opting to improvise as he took your hands in his. You frowned at the paper flung over his shoulder, but he spoke first before you could question it.

"Y/N, I don't know how to say this, but I think about you a lot more than I should." He could feel himself shaking, Spencer's anxiety shifting his whole body as he spoke "I think about you so much that I feel like I'm going crazy."

Your eyes were wide as he spoke, and Spencer wondered if that was a bad or good sign. Perhaps he had startled you so much that you were frozen in time. "Nothing I do can explain how I feel, but I think I could be in love with you, Y/N. I'm in love with you".

Your mouth dropped open just slightly and you let out a breath that was something between a laugh and a sigh of relief. "You love me?"

Spencer couldn't believe you would question the fact, but he was so nervous he couldn't explain how he felt with any other word. "I just need to know if you and I are in the same boat." Spencer stuttered all throughout the sentence, but as he said it you started to smile, and with your spreading grin, his confidence began to grow.

"Spencer Reid, are you asking me if I love you?"

"Only if your answer is yes."

You laughed at that, and Spencer went to follow suit, but before he could your lips were on his. It was a short kiss, polite and sweet, and when you pulled back the hallway lights reflected like stars in your eyes. "I do love you. Way more than I should."

Spencer got his chance to chuckle at that, mostly out of disbelief that it had been so easy. He hadn't thought you would ever feel the same, but here he was, in this moment with you. Spencer kissed you again, slowly to savor the feeling. Something about kissing you was calming, like a piece of a puzzle long lost that had finally been slipped into place. You were in the same boat after all.

GENERAL TAGLIST: @heliads @candywh0r3 @caplanreads

CRIMINAL MINDS TAGLIST: @reidsbookclub

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spiders-notagain · 2 months

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How to tell if your vulcan buddy is into you

The first thing to establish is why your vulcan chose you in the first place. There are two main methods vulcans use to choose an intended mate. The first is obviously based on logical criteria. This is a process that evaluates personality, ethics, and life goals to estimate compatibility. Mental/psychic compatibility is also evaluated alongside other criteria but is often weighted more heavily, with psychic incompatibility being a huge dealbreaker. The other method is shon-ha'lok, loosely translating to love at first sight. This traditionally describes the state of being in romantic infatuation/obsession with someone but is often used by vulcans to describe one who chooses an illogical choice of mate. It is however possible to be in shon-ha'lok for someone who is also a logical choice of mate.

As with human courting, actions are functional, either being used to demonstrate worthiness as a potential partner or to fulfill internal desires. They can be sorted into the five love languages.

Gift Giving: Gifts have a long history of relevance in vulcan marriages. In historical times, gifts were often expensive and extravagant. This is not necessary in a post scarcity society so vulcans commonly give gifts that are thoughtful and personalized to the receiver. Vulcans very rarely give gifts in this manner to another vulcan who is not A. their intended or B. a family member because it may be seen as nosy. Gifts given may be functional (ex. a can opener), decorative (ex. an art piece), or just enriching to your life (ex. a tea flavor you just ran out of, a book you mentioned was hard to find again)

Quality Time: Spending time with another is a logical way to measure compatibility through conversation and psychic proximity. However, vulcans have a looser definition of how much quality time is needed before marriage than humans. Any time spent together that fulfills these criteria is counted as quality time including time spent together for work or social group purposes. Additionally, vulcans avoid complete isolation with their intended (they're trying to avoid the temptation to maul you) and will prefer instead partial isolation, such as public parks or restaurants.

Physical Touch: Hand-to-hand contact is not only a logical way to measure psychic compatibility but is also physically desirable. This may be expressed as subtle touches (ex. brushing hands when giving each other objects, resting your hands near theirs.. etc.) or deliberate (offering the ozh'esta, touching their arm to get their attention, pressing their shoulder to lead them along.. etc.) Physical contact is taboo in vulcan culture so touching someone unnecessarily is specifically notable.

Words of Affirmation: In general vulcans only say things that are true and do not exaggerate facts to flatter. Excessive praise is thus reserved for things that are truly extraordinary. However if excessive praise is given, it could possibly indicate a romantic bias. This includes praise that is a personal expression of emotion (ex. I like your eyes, I enjoyed your performance) Pet names and expressions of endearment are usually reserved for relationships that are more cemented but occasionally if a vulcan is really down bad for their intended, they may use them earlier.

Acts of Service: Caring for one's intended is a logical way to demonstrate capability as a logical mate. This includes an attentiveness to your needs that outpaces even human friendships (ex. providing food or snacks, fetch quests for you) In the courtship stages, vulcans will temper this desire, balancing it with public decorum. However, this may include actions that are nosy and intrusive by human standards (ex. organizing your cupboard, folding your laundry) By vulcan standards, inviting your intended to your home to hang out casually is an intimate milestone and indicates a deep commitment to the relationship, soon before a proposal. So touching their things is not especially more intimate than the mind meld you'll have soon if not already.

You may notice that many of these things are very typical for a normal human friendship and thus not particularly intimate. This is because vulcans are so ridiculously reserved that expressing the love languages at all is very notable.

There are of course, cases where vulcans may do these things not because they've chosen an intended, but because they've chosen to integrate with humans and reciprocate their actions of friendship. In this case, you can tell the difference because vulcans can't pine romantically for years. Not only is it illogical, but biology will inevitably force their hand in some way. If rejected they will either enforce distance and move on (abruptly ending all displays of affection whatsoever) or stubbornly attempt to change their intended's mind, increasing their displays and attempting to resolve any perceived obstructions (if it's another person this can lead to violence)

Vulcans technically have a sixth love language which is their mental contact but nothing substantial is done with this until bonding.

#star trek #vulcans #vulcan culture #the spirit of amanda grayson inhabited me i suppose #this is more or less an amalgation of stuff ive seen in canon and in fics #with a few of my own hcs #fandom ramblings

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averywiseanimatedcat · 7 months

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I’ve yet to see anyone talk about this:

The verse on the matchbox being highlighted so obviously stuck out to me. Neil is clever. He did this for some reason. I looked into this a while ago but only just got round to writing it out because I’ve been sick and had the time to hyper fixate on researching something I didn’t need to…

So buckle up because Job 41 is a parallel of the minisode scene when God is talking to Job. But I think the whole of Job 41 relates heavily to Crowleys character and his storyline because it’s about a sea snake.

Full warning this post is long, but it’s all important I promise.

Disclaimer you have to read if you’re gonna comment about me being wrong in my interpretation of Job 41: I am someone who doesn’t believe it’s possible to perfectly understand the bible. I’m not presenting anything as fact because there’s looottts of different interpretations of literally everything in the bible. This is my interpretation of the chapter. I don’t care if you think I’m wrong cause you have a double degree in know it all religious studies. Disclaimer over.

So where does the verse come from?

Job 41:19

‘Out of his mouth go burning lamps, and sparks of fire leap out’

This verse is part of Gods description of a leviathan that takes up most of the second part of chapter 41 in the book of Job. If you want to read the entire chapter before reading this I’ll paste it at the bottom of the post. It’s from the King James version. You can also just google it.

But what’s a leviathan? Glad you asked. I spent to long looking it up.

Leviathans. The general consensus is that the creature referred to in Job 41 is some kind of sea monster. The Hebrew word that translates to Leviathan (Livyatan) appears six times in the Old Testament. One of them is in Job 41. The word is derived from the root Iwy or ‘ twist, coil’ and means ‘the sinuous one.’ So I think we can establish that this creature is at least indicated to be snake-like. It could be a crocodile, a whale, a dragon, a snake, or just an indescribable monster. But we have no modern reference because this creature doesn’t exist in modern times if it ever existed at all. So for the purpose of relating it to the show, I think its important to note that one of the interpretations is that the leviathan is a snake like creature or a sea serpent Iike what’s shown in this beautiful piece of art.

The Destruction of Leviathan by Gustave Doré (1865)

Now, these two verses from the first part of Job 41 are important,

Job 41:10

None is so fierce that dare stir him up: who then is able to stand before me?

Job 41:4

Will he make a covenant with thee? Will thou take him for a servent forever?

Prior to chapter 41 Job, has been questioning God about the mysteries of creation. God responds by chastising Job for questioning him and describing how Job would not be able to subdue the great leviathan and make him his servant, so why does he think he has a right to question god?

And in our minisode Job comes back from talking to god and says:

“I think the point was, if you want answers, come back when you can make a whale.”

What’s happening when Azirpahale and Crowley come across God talking to Job is exactly what’s happening in Job 41. I also noted that in the minisode Job said God talked alot about whales. Which is funny, because it seemed random at the time, but one interpretation of the ‘leviathan’ is that it’s some kind of whale.

So that scene in the minsode is based off of Job 41! Amazing. But I don’t think the connections end there…

The more obvious potential reference to Crowley in Job 41 is how God describes the leviathan being able to spit fire. The verse on the matchbox comes from this part of the chapter.

Job 41:19

Out of his mouth go burning lamps, and sparks of fire leap out

Job 41:20

Out of his nostrils goeth smoke, as out of a seething pot or caldron

Job 41:21

His breath kindleth coals, and flames goeth out of his mouth

We know Crowley has the ability to summon fire. He summoned that giant sun thing that shoots fireballs to smite goats at the start of the minisode, then he sets fire to the house before saving Job’s children. So leviathan/sea serpent spits fire, our fav snake from Eden can summon fire. Fire is also just quite central to his storyline with the bookshop fire, the road/his Bentley setting fire, Heaven trying to burn Aziraphale with fire and the bombing of the church when he saves Aziraphales books.

But there’s some less obvious connections in Job 41 to Crowley. There’sa few interesting verses here that seem to relate to Crowley

Job 41:4

Will he make a covenant with thee? wilt thou take him for a servant for ever?

God isn’t talking about killing the leviathan, he’s talking about enslaving it

Job 41:24

His heart is firm as a stone: yea, as hard as a piece of nether millstone

Nether millstones, according to my googling, are millstones obviously, but it’s also a phrase that indicates something that is tough and unyielding, unlikely to submit. It’s describing the leviathan being unyielding to negotiations. God also says this about the leviathan,

Job 41:29

Darts are counted as stubble: he laughter at the shaking of a spear

I couldn’t help but think all these verses are very Crowley sounding. He is stubborn and willfull, unable to be controlled and won’t submit to servitude. He (both actually and metaphorically) laughed in hell's face when he and Aziraphale were body doubling and the holy water didn’t destroy him.

Crowleys wilfulness and refusal to be subjugated is the reason he fell in the first place. It’s the reason he fell out with Hell as well, he refuses to fully go along with either side. He believes in autonomy and freedom. He said no to Aziraphale because he cannot return to a life he perceives as slavery, especially as Aziraphales ‘second in command’. He doesn’t want to be under anyones command or to command anyone. It’s so against his very nature to return that the suggestion was ridiculous to him. And this chapter of Job is a parallel in that God uses the leviathan as an example because it’s ridiculous to imagine a giant sea monster being enslaved by a human to do his bidding. Just like in the minisode how it’s ridiculous to tell Job to make whales before he can ask God anything.

But that’s the point. That’s the whole conflict of the show, Gods ridiculous answer to everything is that it’s ‘ineffable’ and therefore you can’t ask questions.

I also think it’s also fitting that the leviathan is perceived to be a monster that must be slain or enslaved.

And it makes me think of how Crowley has always been labelled as evil because he fell. I think of how, at heart, he is truly gentle and kind, he’s a starmaker. But his fall, his appearance, his desire to be autonomous and his grey moral campus make him feared and a target. He’s a boat rocker, he keeps asking questions even when he gets told ridiculous answers and that’s the problem for those in power. It makes me think of this quote

“Draw a monster. Why is it a monster?”

-Daughter by Janice Lee.

So in conclusion, not only is Job 41 the chapter that would’ve inspired the scene where Job is talking to god, I think Crowley represents the leviathan being discussed in Job 41.

So do I think this has any meaning/hint to season 3?

I don’t think there’s a direct hint. But it reminded me that Crowleys character is truly unrelenting. He’s a nether millstone. And he won’t give up that easily. He absolutely won’t submit to anyone, and he’s shown time and time again that his blustering about running away disappears as soon as someone or something he cares about is in danger (ie Aziraphale). And the second coming will also threaten his creation (the universe) so I’m really hoping we will see so much more of Crowleys power and history in S3.

I’m really happy I looked into this, because I could be completely off the deep end with this analysis but it actually wouldn’t even matter because this universe Terry and Neil’s created is built around it being transposable. You can put any lens you want on it. And I had fun deep diving into Job 41. I never thought I’d ever say I had fun reading the bible but Neil you did it. Sneaky buggar.

Full chapter of Job 41:

41 Canst thou draw out leviathan with an hook? or his tongue with a cord which thou lettest down?

2 Canst thou put an hook into his nose? or bore his jaw through with a thorn?

3 Will he make many supplications unto thee? will he speak soft words unto thee?

4 Will he make a covenant with thee? wilt thou take him for a servant for ever?

5 Wilt thou play with him as with a bird? or wilt thou bind him for thy maidens?

6 Shall the companions make a banquet of him? shall they part him among the merchants?

7 Canst thou fill his skin with barbed irons? or his head with fish spears?

8 Lay thine hand upon him, remember the battle, do no more.

9 Behold, the hope of him is in vain: shall not one be cast down even at the sight of him?

10 None is so fierce that dare stir him up: who then is able to stand before me?

11 Who hath prevented me, that I should repay him? whatsoever is under the whole heaven is mine.

12 I will not conceal his parts, nor his power, nor his comely proportion.

13 Who can discover the face of his garment? or who can come to him with his double bridle?

14 Who can open the doors of his face? his teeth are terrible round about.

15 His scales are his pride, shut up together as with a close seal.

16 One is so near to another, that no air can come between them.

17 They are joined one to another, they stick together, that they cannot be sundered.

18 By his neesings a light doth shine, and his eyes are like the eyelids of the morning.

19 Out of his mouth go burning lamps, and sparks of fire leap out.

20 Out of his nostrils goeth smoke, as out of a seething pot or caldron.

21 His breath kindleth coals, and a flame goeth out of his mouth.

22 In his neck remaineth strength, and sorrow is turned into joy before him.

23 The flakes of his flesh are joined together: they are firm in themselves; they cannot be moved.

24 His heart is as firm as a stone; yea, as hard as a piece of the nether millstone.

25 When he raiseth up himself, the mighty are afraid: by reason of breakings they purify themselves.

26 The sword of him that layeth at him cannot hold: the spear, the dart, nor the habergeon.

27 He esteemeth iron as straw, and brass as rotten wood.

28 The arrow cannot make him flee: slingstones are turned with him into stubble.

29 Darts are counted as stubble: he laugheth at the shaking of a spear.

30 Sharp stones are under him: he spreadeth sharp pointed things upon the mire.

31 He maketh the deep to boil like a pot: he maketh the sea like a pot of ointment.

32 He maketh a path to shine after him; one would think the deep to be hoary.

33 Upon earth there is not his like, who is made without fear.

34 He beholdeth all high things: he is a king over all the children of pride.

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