#that's why we don't have architecture critics

[yomogi-mogi-mochi]

Unnecessarily Convoluted Analysis of TWST Dorm Architecture

Putting that Art History degree to use 💪 I am getting my Masters in art history, so I am like semi qualified?? to do this. Tried my best with some of the dorms since some don't have an explicit cultural/architectural parallel irl. And obviously lots of liberties taken since I'm sure the people at Disney were not going for historical accuracy

Masterlist here

Much of this analysis can from my Spolia fic (Malleus x Light Fae MC)

Diasmonia: Early Gothic

Gothic- but early gothic. It's got a few flying buttresses, indicative of technology in later gothic movements- but in combination to the lower ceilings (lower than later gothic), fewer levels (celestory, triforium, doric columns, and shorter windows makes me think it's early gothic (more towards Norman architecture/Sens Cathedral), because it's a lot simpler and less technologically developed than high gothic (larger windows, rose windows, higher and pointier style, flying buttresses, more decorative stuff like Corinthian columns and stained glass). Still, I think the Fae would be been more concerned with its structural integrity against the waves of time- therefore gargoyles become a very prominent symbol in protecting this eternity and preservation of architecture since it basically prevents rain/weather from eating away at the building.

There's some interesting symbolism with Malleus' fixation with gargoyles, but I'm sure you can make that connection on your own based on what's out in Chapter 7 and how he reacts to both Lilia's and MC'S impending goodbyes.

Gothic was actually a term used by the French to demean the style, since it was seen as more 'savage' and 'lower' than classical architecture- which is symmetrical, solid, and values very literal and realistic (albeit idealized) characterization. Gothic architecture in contrast is a lot more airy, focuses on light and windows, and values more allegorical representations, which is why it resonated so well with the religious ruler and monarchies because they were able to not-so-subtly point to their influence and power in every single way without it being in your face all the time.

Because of this very stank contrast, it was labeled as "gothic" because people were criticizing it to be "savage" and "unkept". The goths were painted this way because they were mainly responsible for Rome's downfall, leading to the dark ages. Regardless of the French ruthlessly roasting the goths, this type of design flourished after the dark ages because technology was beginning to be advanced once more, and materials were more readily available.

My theory would be that the fae began to first develop this architecture because they had the advantage of magic, but then the humans were influenced by it- which leads them to high gothic (Noble Bell College), as well as Baroque and Rococo architecture (like the Pomefiore dorm). The Fae kept their style of early gothic since they didn't really see a point in changing much- maybe just more decorative gargoyles called grotesque as a symbol of the Fae's gratitude in their protection against time.

Also the hallways have what are almost like ribbed vaults which was one of the primary and first symbols of gothic architecture because they allowed more weight to be distributed to the vaults, and therefore allow for bigger windows.

Another distict characteristics in gothic architecture are clearly defined elevations.

Traditionally, they will have the celestial at the top, then gallery, then the main arcade (especially as we get into the later gothic periods and buildings get even taller and taller). Of course Disney isn't completely accurate with these things, but it seems that they're sort of going for that vibe, as many things end up being as our contemporary notions of historical design often creates a vague iconography of things that is often a copy of a copy of a copy of the original medium.

However I do think the intention to mimic the original design is still there overall, and combined with many of the other elements such as the prevalence of pointed arches that are a symbol of gothic architecture, and the sheer number of windows that were allowed originally due to the technological advances of the gothic era (and of course Malleus' own obsession with gargoyles), I think it would make sense to categorize this is like "gothic adjacent".

If I were to redesign the diasmonia dorm however, I would definitely begin by fixing the exterior- but I think they were referencing Malificent's tower in the Disney movie than any sort of historical accuracy lol. You win some, you lose some.

Pomefiore: Rococo with a touch of Art Noveau

Very obviously modeled after French Rococo architecture- the illustration of the hallways of Pomefiore dorm are almost exactly like the Palace of Versailles

It is definitely a toned down version- but pretty spot on, right? When I first saw the Pomefiore dorm I immediately Googled a picture of the Palace of Versailles cause I knew I saw it somewhere. Autistic spidey senses at it again.

Honestly wish they went more all out with the chandeliers, and had painted ceilings on the dorm colors- but I feel like they got the general vibes right. It feels closer to Romanesque with its simplicity but it still holds an aura of decadence and frivolity that I like. Very rich, extravagant like it's members (maybe not so much Epel lol)

Elements of Art noveau in the furniture (the peacock chair) and the embroidery of the uniforms.

Also, the peacock chair sort of reminds me of James McNeill Whistler's Peacock Room. He was an American impressionist that was sort of the forefront of art nouveau, since impressionism was one of the mainstream movements that really began the explosion of Japanese inspired design that is also used in Art Nouveau aesthetic.

(Vil would definitely have this room if he could)

The carpet in the room reminds me of William Morris' designs, and just art nouveau in general.

As far as I can tell, the exterior is based on a variety of German castle styles from 13th century Romanesque styles, to 18th century Neo-Gothic styles. Which is coincidentally what a lot of the castles on Disneyland are based off of.

Everything is very florial, Corinthian, and extravagant. I love it. It's very baroque, I dig it.

Scarabia

Please don't come for me I'm not as well versed in Non-Asian and Non-Western architecture except for religious architecture in Turkey and Jerusalem so I'm gonna try my best with this one

So I think it mixes a lot of the icons we think of in association to Arabic architecture like domes, pointed/ogee (rounded, then pointed)/multifoil (multiple curves) arches, and ornate floral designs that derive from the use of calligraphy in Islamic structures (as iconography, or pictures depicting the faces and bodies of religious figures were not allowed).

And I think all those tiny buildings resemble Minarets, or tall towers built adjacent to mosques where the muezzin can issue the call to prayer. But the artists were probably like "hm. Not enough. How do we make it more arabic??" And of course the contemporary orientalist perspectives that dominate the artistic realm made they go "quick just add a bunch of domes"

I think Kalim's room and the lounge in particular best shows the general "airiness" that parallels Islamic acthicture (ie the Sheikh Zayed Grand Mosque on UAE)

Open air courtyards are also a characteristic element of Islam architecture, which you can see with the areal view of the dorm, and also makes sense with Kalim's unique magic.

Jali window designs (the intricate gold metal covers on the arches) are also popular on Islamic architecture

The Haga Sophia in particular has been described to have a dome "suspended by the heavens", as the section connecting the building and the dome is made entirely of arches that allows the sunlight from the heavens to pour inside the building. Though the haga Sophia is a very special case, as it was occupied by varying religions with different architectural styles at certain periods- I think it's also a good representation of our contemporary prototype of Arabian architecture that makes up the final design of the dorm.

Ignihyde: Classical Greek

Looks like it's modeled after the Parthenon, which was built during the Classical period on Greece where Athens was flourishing as a center of mathematics, technology, and architecture. These are sentiments which becomes reflected in the Renaissance afterwards, such as symmetry and a very systemic way of approaching things. I think it fits perfectly with this dorm, since they're the "tech geeks" of NRC

It's got your pediment, your doric columns (would have preferred ionic columns but whatever Disney), your arcades. Pretty straight forward unlike the actual movie it's based off of lol (Hercules has so so many mythological inconsistencies. Like why are you talking about Achilles in the movie??? Trojan was hasn't even happened babe stop manifesting that shit)

I think the symmetry and order of Classical Greek design goes well with the overall futuristic look Ignihyde and the Island of Woe are going for. Pretty clever, Disney.

Heartslabyul: Tudor Revival Style

Though Alice in Wonderland is set in the later 19th century, I think the Tudorian Revival style than began in the beginning of the 20th century just shortly later fits best.

Turdorian revival style is characterized through half timbering, which is like the timber panels you see on the surface of the building; oriel windows (windows that jut out); mock battlements; and courtyards.

The Tudorian revival style also takes elements from Elizabethan era architecture and perpendicular gothic architecture, hence the long gallery and the tudorian four point arch)

The glass panes in the lounge leaves me to believe it's sort of like a glass house where part of the house is sort of like a greenhouse. This is characteristic of Victorian glasshouses that rose with the availability of timber, paint, and brick and the popularity of botany in the Victorian era propelled by botanical imports from British colonies. Architecrs like Joseph Paxton were also known for his opus magnum- the Crystal Palace, which held the Great Exhibition of 1851 (kind of like a world expo with the theme of industry and art) also popularize the movement- and was a significant sign of wealth, as glass and window taxes were especially high. But in the later century when iron and steel frame construction was advanced, people could be built out of iron and window panes, so they could be assembled easily, and also afforded by middle class citizens.

So it's basically a mix of Elizabethan and Victorian revival styles (tudorian and gothic), which is in theme with the Victorian period the original media is set in, albeit taking inspiration from styles little later in the period.

Savanaclaw:

Again- I am blind when it comes to Non-Asian/Non-Western architecture- but this one was kinda confusing cause it really doesn't have any architectural cohesivity??? Like it's just got a general "jungle vibe" which I'm not surprised at because Disney is infamous for glossing over non-white cultures and kind of just simplifying them into a "general vibe" which wow yikes my guy

Kind of reminds me of Mese Verde, which are structures made directly within a cliffside, or the Great Mosque of Djenné and the African Heritage house in Kenya which have very smoothed, natural designs that blend into the environment

What I could gather from my research and my juicy autistic brain, savannas are regularly subjected to wild fires- so a lot of the heavy, rocky architecture and interior style makes sense, opposed to one made of wood (which are mostly in the inside of the structure, besides the roof which I imagine is less likely to catch on fire). Much of the building seems also to be directly carved within natural rock formations- a very functional use of the resources around you- very savannaclaw!

The textiles in each of the dorm members' rooms resemble Kente fabric, a style of hand weaving from Ghana, originally reserved for royalty but now commonly worn for ceremonial occasions and such. Also unlike other African textiles styles, it's strictly a male practice. I think it would make sense for Sunset Savanna, a place where women are highly respected and perhaps take on more political and military positions- leaving largely men to the practice of textile making (both are honorable acts- not comparing the two). There aren't distinguished aesthetic styles of textiles that differentiate each weaving from another- rather, it is divided by technique and region- so this is not like a definite connection, just thought it was interesting to includle

Textiles seem to occupy the only decorative role in the entire dorm- so perhaps there is significant cultural significance? Maybe there is a certain region that's known for their practices? Or is weaving a symbol of adulthood or growth and therefore is why they're hung up in each of the dorm member's rooms with the exception of Ruggie, who may not have had the socioeconomic privilege of making one? Or does the practice vary across species? Much to speculate 🤔

Octavinelle: Art Deco and Art Nouveau

Saved this one for last because oh boy I don't even know where to start with this. Obviously the design is very creative and I love it, but there's a lot less historical elements I can use to analyze the style, kind of like the Savanah claw exterior.

But it leans towards the art deco style, which is most fitting for the business dorm I think.

Elements of Art deco like geometric aspects of design, thematic and aesthetic consistency, and decorative/geometric windows are seen throughout the dorm interior and exterior

But I think the art nouveau elements are also there too, with the cheeky sea-themed elements that use natural shapes and icons into the architecture, design, and surfaces of the dorm.

Otherwise, not much else to say about this dorm 🤷 it's not really based in anything historical but there are bits and pieces of art nouveau and art deco in there, but I definitely wish they would lean more into the art deco elements since I think it would go well with the general themes of the dorm values.

So uh, yeah. Told you it would be convoluted.

Feel free to add and or correct!

#twisted wonderland x reader #twisted wonderland #twisted wonderland analysis #art history #twisted wonderland theory #diasmonia #pomefiore #ignihyde #scarabia #heartslabyul #octanivelle #savanaclaw #twisted series #twst analysis #lilia vanrouge #malleus draconia #rook hunt #vil shoenheit #epel felmier #idia shroud #ortho shroud #ace trappola #deuce spade #trey clover #carter diamond #twst silver #sebek zigvolt #architecture #leona kingscholar #ruggie bucchi

[drghostwrite]

Always You pt.2

Pairing: Larissa Weems x wife!reader

Summary: Read pt.1 for some background but basically reader and Larissa are finally married and they want a baby so the steamy shower turns into something more and they later get a very life "shifting" surprise.

*******************************************************************

You had packed up your things and started to head out of your office, you quickly stopped though checking your appearance in the mirror. You were teaching in one of the many atriums of the school today, it was in an older part of the school, less travled now. But the levels used to be filled with footsteps and gossip of students, now the levels were overgrown with beutiful vines that hung towards the floor the window on top still intact allowing for golden rays to seep down in and beautiful arrays of colorful flowers reached towards the sunlight. You were teaching on architecture and nature, Life Imitates Art and so this was the best spot, though it was a hike so you opted for some ripped jeans a long-sleeve henley, your curls were pulled up in a loose messy bun and your coordinating headband held the extras in perfect placement, you looked in the mirror approving and left locking your office behind you.

You felt your phone buzz in your back pocket and raised your wrist to see a text from Larissa, Hey I hope you don't mind if I come in a little later, kind of dealing with something.

You quickly replied and then decided that you would just stop by her office, you saw the large doors cracked and slipped inside hearing her voice filtering through the cracked door, when you stepped in your saw three other teachers in the room surrounding her desk and heard Larissa talking to them, before raising her voice and shooing them away with the swipe of her hand. You hated seeing her being made a spectacle like that, dealing with and being criticized for someone else wrong doing it made your heart race and blood boil, you knew she could handle herself and yet it made the gold swirl in your eyes flow stronger. She made eye contact with you and you stepped to the side, watching as the other teachers stormed out of the room in defeat.

You slowly approached her desk setting down at the corner facing her and watching as she massaged her temples, "What is it with some people?"

"What's going on baby?" you said stepping up behind her and massaging the tensed muscles.

"Some of these teachers think that we should be living in fear the old way, and towns people think we should be kept hidden, they're helping each others case while fighting for two different causes."

"I that why we were having a sacrificial coven meeting around your desk?" you chuckled, she let a side smirk slip by.

"So you saw that?"

"Mmhmm."

"Yea, some or the older teachers think that just because I'm newer that they own me and I'll do whatever they say."

"Mm, well tell them to bad. I licked it first so It's already mine." you said whispering into her ear and swiping your tongue over the pulse point of her neck.

She quickly crossed her legs and sat up a little straighter, you knew what you were doing, but you weren’t done yet. You reached up and let your hair down the gorgeous long curls falling over your shoulders, you took your headband off and ran your hands through your hair massaging your scalp, to you it was minor but Larissa loved your hair down, she loved to play with it and when in bed she loved rubbing her hands through it knowing that she’s the one that makes it a perfect mess. You let it fall around both of you and heard her intake a long breath.

“Mmm looks like someone might need a little work out later, looking a little tense there love.”

“Darling I… um….”

“Words baby words.” You said as she turned looking into your hooded eyes your signature smirk on your lips as she looked on wide eyed and gentle. She leaned up kissing you slowly rising from her chair to tower over you, you stood pretty tall for most women but next to Larissa you were shorter. She picked you up sliding you into her desk but you placed a hand on her chest breathing already heavy.

“Not here…Larissa not here.”

“But… it wouldn’t be the first time.” She smirked thinking back.

“Mmmm… I want it to be different I wanna try something new.”

“Wait like…” she gave you a questioning but excited look. You slowly shook your head yes.

“Are we going to try for a baby?”

”Why not, I told you once you out a ring on it and it’s been a year.” You met her eyes filled with excitement and the grin on her perfect red tinted lips.

“In that case.”

it wasn’t long before all her things were packed up and she was practically dragging you to the car and speeding ti get home, and your wife never sped that was your area of expertise. You made it into the door of the house and she quickly pulled you upstairs.

“Larissa hold on love I’ve been working in the old building all day and I need to shower.”

“Darling… please.” She pouted.

You gave her your look rolling your eyes and continued to the master bath, you put a little extra swag in your hips, you knew she couldn’t wait she was to excited. Did you need a shower yes, did you want to shower also yes but the intention was not to do it alone. Larissa stayed in your room warring with herself, she heard the water come on and the door softly thud closed, she waited not two minutes before deciding to join you stripping on her way to the bathroom, slowly closing the door behind her and getting in the shower.

“I knew it wouldn’t take long.”

“Mmm cause you know me so we’ll.” she said placing kisses on your shoulders and neck, she ghosts over your scars running delicate fingers over the ones on your side that ran from you me rubs down to your hip it was a sweet spot for you somewhere that you were always scared of people seeing but to her it was art and she loved reminding you.

“Well I am your wife after all.” She turned you in her arms standing over you but bending down to kiss down the front of you, placing kisses on your lips before she went to your neck and then breasts, then back up. You felt her hands traveling down your body as you explored hers, her fingers wrapped around the back of your thighs and hoisted you up pressing you against the wall.

“Indeed you are…” she smirked down ant you, “and now my beautiful wife is also going to be the mother of my children, because I’m gonna put a baby in you.”

“You sure about that?”

She let out a low laugh her eyes filled with lust, usually it was you who dominated rarely did you see this side of her but tonight was a whole different story. You were excited this was something new for both of you and it excited you to your core, you could feel yourself dripping for her, ready for whatever she was going to do to you. She leaned in close, “are you ready baby?”

You shook your head in response and that’s when you felt it the extra appendage that was never there before, pressed against your belly as she had you lifted and wrapped around her waist against the shower wall, the steam and water enveloping your bodies. You met her eyes knowing how sensitive she was, “are you sure about this?”

“I’ve never been more sure about anything in my life, Y/N I wanna get you pregnant, I wanna watch you grow and have our baby, and then raise it together and have a bunch of mini me’s running around.”

You swallowed hard, you weren’t sure you could get any wetter but you just did.

“let’s start with one.” You said kissing her lips.

“see now that I can do.” She said you could feel her sick pressing against you and felt as she too her hand guiding it into you, she gave you both time to adjust before she slowly started moving her hips. You had your head thrown back agains the shower wall her lips leaving marks along you neck and collarbones that you’d have to cover in the morning, her hands gripped onto the back of your thighs before one arms snaked around your back, she thrusted harder and faster pulling moans out of you.

“Oh God… babe, oh god I’m gonna…” you loaned as you got closer to letting loose.

“it’s okay love I’m right here, I got you.” You loaned out again feeling her twitch inside you, you knew she was close. She held you close and got faster the closer you both got.

“God Y/N I wanna put a baby in you.” With that the rubber band snapped she let out one final moan as you gasped feeling the release. Your breathing still labored she let you down, you finished showering and made your way out to the bed, you continued through the night until neither could take anymore.

———time jump———

three weeks later and you were teaching a magic class, this was on elements and how they aid in your skills whether you can control them or not, you had felt off during the day and so a colleague took your last three lectures and you went home. Larissa caught wind and was by your side as soon as the day was done.

the next morning you were still feeling off and startled Larissa by a jolt in the morning with you running to the bathroom to throw up your guts. You felt better but decided to take the day off as to not risk the students health, Larissa decided she would take a half day and come home in the afternoon. While you were lounging in your downstairs living room you got and idea, quickly running out and picking up some pregnancy tests, you took them before Larissa got home but decided to wait to look until she got there, when you heard the door open you approached her.

“Hey darling how’re you feeling?”

“Better though I did something.”

“and what might that be?”

“I took a pregnancy test.” The room was silent for a moment before she looked down at you.

“Dear god it didn’t work did it?”

“I haven’t looked, I couldn’t do it without you.”

“oh okay.” You both quickly made your way upstairs and into the bathroom, you both hesitated before looking at the tests on the counter, there jn front of you were 3 positive tests, you tuned to Larissa and she pulled you into a hug before placing kisses on your lips.

“we’re going to be moms!” She said excitedly.

“yes, yes we are.” You said tears in your eyes.

#x yn #pregnancy #fluff prompts #larissa weems #larissa weems x reader #larissa x reader #larissa x you #wednesday

[transmutationisms]

been thinking it for a while but it is both an interesting and frightening thing to see more and more people in their 20s who are usually self-professed hard-leftist progressives get more and more into emotionally-driven, kneejerk 'takes' about how everything new to them is bad and evil and 'this generation' (usually people younger than them who they seem to base all their opinions on from some teens dumb tiktoks they see) is stupid and doomed and the world/'our culture' is constantly degenerating, etc. many of the people who think of themselves as radical leftists are coming out with more and more barely-formed, incoherent and emotionally-driven reactionary ideas, and respond to any criticism of these ideas with defensive appeals to disgust or a general sense of 'everyone just knows this is bad!', bypassing needing to think over their own ideas or articulate the reasons they hold them entirely in favor of reactive outrage.

it feels to me like were watching in real-time how many of us will progressively turn into reactionary liberals or right-wingers - something many of these people have observed in older people, in their parents, but believe will simply not happen to them on account of having good intentions and progressive views, which they think means they dont need to watch themselves for impulsive, reactionary thinking, and even that their kneejerk reaction to anything is automatically the correct one because they themselves are already inherently good. of course it starts with generally inconsequential takes, its not like saying 'the tiles are ugly' automatically makes you a right-winger, but i reckon the festering of such modes of thinking shows the cracks in the foundation of many peoples professed political and social beliefs.

point being, i think there certainly are discussions to be had about the ways architecture - both as a tool that serves a material need and a form of art - changes, and what we may be losing to capitalist priorities on that front, but if the only argument people are making are "its ugly and degenerates our once beautiful culture" and their defense to anyone addressing how that sounds ends at "well its still ugly!", im thinking that kind of reactionary opinion-forming is going to seep into other, more important matters sooner than they may think. sorry for the long ask!

yeah i mean i definitely don't think this is a new problem or a generational one, it's just liberal idealism, but yes this is exactly why this type of aesthetic discourse irritates me so much lol. like i've said this before in regards to clothing but aesthetic signifiers gain their meaning in a social context and conditionally. if your analysis is "it's ugly and therefore bad" you're not only attenuating an actual read of what's being signified and why, you're also just veering directly into the most boring ass "everything is worse now and change threatens me" conservatism. the idea that ugliness and beauty are not transhistorical or transcendental truths should ideally be like, a starting point to both questioning other socially mediated constructs and to then moving toward a theory of asethetics as products of social discourses and economic conditions but instead people just cannot ever fucking resist yelling about how much beige or concrete or whatever the fuck is "soulless" or "lacks artistry" agabshxhsg it's so fucking cornball. get over yourself

[earlymornings]

regarding sumeru...

hi friends! this is my quick take on what's happening with hoyoverse, the general design of sumeru, and the stream of racism allegations that have resurged recently. i think it's worth trying to analyze why hoyoverse designed sumeru the way it looks like so far (and because i want to add my two cents to the discourse lol).

here are some context:

hoyoverse is a chinese game dev company

sumeru is inspired by the people, religions, architecture, and cultures of south asian countries (india, nepal, pakistan, etc.) and countries in SWANA* (egypt, iran, the UAE, turkey, etc.)

we are only getting a portion of sumeru and 3 new characters in the 3.0 update

here are some of the main problems players have with the current status of sumeru:

the combination of the different countries and their cultures and religions

the lack of diversity

the general lack of effort put into sumeru's design, given the release of the fatui harbingers and the outstanding quality demonstrated in the interlude teaser

in order to address these concerns, i think it's important to think about hoyoverse and the stances its employees have on this issue. this does not mean i am playing devil's advocate or excusing the company's ignorance, but i think it's critical to understand the potential root causes.

because hoyoverse is based in china, their standard of diversity is much, much lower compared to that of other countries, such as the US and canada, which experience decades worth of immigration and are known as melting pots. coupled with east asia's internalized colorism and xenophobia, mainland folks simply do not get much exposure to POC. this means two things. first, they might not understand why global players are so adamant about POC representation and diversity – the developers may not even know how to go about bringing diversity because what they think is diverse is different from our understanding. second, hoyoverse will prioritize its east asian, particularly its chinese, fanbases, and let's be real, any character that's not flour-pale will not be as popular with the latter.**

the lack of popularity then becomes a financial issue for hoyoverse. hoyoverse generates a large portion of its money from the wishing system. it's thriving because so many people whale for 5-star characters and C6-ing them. if hoyoverse's largest community stops pulling for characters, they won't be able to keep up and maintain high quality with future productions (both for genshin and other games).

i promise y'all that there are at least a few designers and staff members in hoyoverse who want diversity in the same way that we do, who want unique characters with intricate lore, and who are willing to put in the effort. but at the end of the day, they are just designers and many of them will be forced to revise darker-skinned character drafts.

besides literal money, another currency that hoyoverse is limited to is time. one thing that i think hoyoverse hasn't disappointed fans in is the consistency of the game. there is always new content, and even during its hiatus in response to the shanghai mass quarantine in may, they provided mini events and extended the banners to make it more accessible for F2P players. while having constant releases is wonderful and retains interest, that means quality will be compromised in other aspects.

in this case, it means the design and intention put into sumeru. to elaborate, by design, i don't just mean character designs (though this is debatable because the community has a pretty bad habit of hating new characters, especially 5-stars, but then growing to love them) but also the geography, architecture, and personality of sumeru.

as sumeru is marketed right now, its concept is that it is a collage of all the aforementioned countries and their respective cultures. unless sumeru is separated into geographical sections to represent the distinct cultural influences, to mish-mash these countries' religions, peoples, and traditions together is disrespectful and reinforces harmful monolithic stereotypes.***

sumeru will be a literal game-changing region because it has so much information to bring: in-depth lore, the dendro element and everything that entails, etc. this is a pivoting point, so that's why it's frankly saddening and anticlimactic for hoyoverse to not put in the effort. i understand that in update 3.0, we will only be getting a taste of sumeru, so while it's hard to judge the production of the region with the limited information we have right now, it's important to push for diversity and representation while we still can and also give hoyoverse time to make the necessary changes correctly.

to summarize: i don't think hoyoverse is being intentionally or actively racist. i think it comes from a place of ignorance, so i personally think it's better to approach this problem with constructive criticism than to send hate messages to hoyoverse staff members who work so hard regardless. if we don't tell them why and what they're doing is wrong, then the game developers won't know how to resolve the concerns. furthermore, sumeru hasn't officially come out yet, and what we have seen in the teasers will be more refined and polished in the released product. i don't think we need to panic or retaliate, i just think we should remind hoyoverse so that they don't put representation on the back burner.

as for solutions, sending messages through different media platforms, emails, etc. has worked in the past (e.g. during genshin's 1st anniversary).**** but it doesn't stop there. just like every other region released so far, sumeru isn't just limited to the 3.0 patch; we will continue getting content for it for the rest of the game, so unless we see results, we have to be consistent with the feedback. that looks like continuing to send messages until we see tangible, permanent change, not being complacent in the lack of POC representation, and more.

i probably missed a lot of great points out there, but this is all my last brain cell can come up with. please repost and add your own thoughts because the more ideas, the better! (if you want to repost this onto other platforms, just make sure you credit me!!)

hope everyone gets their kazuhas, heizous, and yoimiyas in 2.8!!!

--

*i recognize that the name "the middle east" has colonial roots, but because the region is so popularly known as such, i'm using it so that no one gets confused. edit: thanks to @najmaviper for pointing this out, but a decolonized term that is often used is SWANA. you can find more information at the initiative's website: https://swanaalliance.com/about#:~:text=S.W.A.N.A.%20is%20a%20decolonial%20word,contain%20and%20dehumanize%20our%20people.

**this is not to say that all individuals from south asian or SWANA are darker-skinned, but it's crucial to push for change to help gamers who are tan, brown, and black. this is especially important to do with games as popular as genshin impact because it can cause ripple effects.

***here's a tweet that states this argument eloquently: https://twitter.com/timelysumeru/status/1546500639970435072

****i know another method that has worked has been leaving a bunch of bad reviews in app stores, but i don't think it's applicable right now since we know so little about sumeru. if the problem persists, sure, but i think sending bad reviews right now just antagonizes the situation even further.

#genshin impact #genshin #hoyoverse #mihoyo #sumeru #genshin sumeru #sumeru leaks #dendro #collei #tighnari #al haitham #dori #dehya #genshin leaks #genshin impact leaks #dendro archon #kusanali #genshin impact imagines #genshin imagines #genshin x reader #fatui #fatui harbingers

[throwaway-yandere]

Paint (Kaveh/Reader Drabble)

a/n: not a yandere fic, i'm just a kaveh simp who cant focus on pe midterms lol. Sorry i didn't draw anything like usual– this is literally just something i wrote like 7 minutes tops lmao

-------

"What... Exactly are you doing, Master Kaveh?"

"Ever heard of rapid hardening cement?"

"Not really, no."

"Well, you're about to find out what it is." 

Kaveh peeled off the straw-like material from the solid concrete, revealing the final product of his casual 2-hour-long project. It was a miniature house, adorned with bricked textures and tones. Something at this level is mere child's play to him, but to everyone else? It's quite a masterpiece, not even his roommate can refute that statement or criticize his work. The light of the Kshahrewar honestly never ceases to dazzle and amaze you.

"That looks fantastic…"

Kaveh shrugged. "Eh, can't say I agree. It's a bit too basic for my standards– I'm quite indifferent about the results."

"Still doesn't make it any less great for everyone else." You were awed, unable to tear your eyes away over what he called a 'basic' project.

Kaveh's expression softened. "Thank you."

He quickly looked back at his model. "A-Anyways, the only thing that would complete it now is a bit of color. Are you good at art, (Y/n)?" 

"On the contrary, no." You sighed. "The only art form I practice are social dances, and I presume you meant a more visual display?"

"Unfortunately yes." Kaveh frowned. "Anyone else you know I could ask?"

"There's the traveler but..." You muttered inaudibly, not wanting to bother her with the eccentric architect's antics. "No, I don't."

"Well, why don't I teach you how to paint?" Kaveh smiled. "Come, sit beside me. It's a fun exercise! It'll help you act a little less rigid."

"Rigid...?"

"Yes." Kaveh nodded solemnly. "I pity the victims who had such sparks of creativity die so easily between the rough hands of the corporate and cold life. (Y/n), you act like such a grandmother that I sincerely did not believe you when you told me we were roughly the same age."

"W-Well, the Akademiya never taught us this so–"

"We're gonna change that today."

Kaveh brought up his painting materials. There were posted paints, glitter, fake grasses, and–

There's not a single paintbrush.

"Kaveh, I'm afraid you don't have a brush. Might I run to buy you one?"

"What? Who said we're using brushes? I make and break the rules of architecture around here."

Kaveh pulled your hand, his fingers locking with yours. His hands were warm. With a youthful smile, he forced you to sit beside him. He hastily grabbed a capped red paint, before pointing at the roof. But you can't seem to focus on the task at hand– how can you, when his face looked so aesthetically pleasing?

This man...

He set this whole thing up perfectly.

"Today's mission is to bring back the childlike wonder in your eyes– you'll find out what a joy it is to finger-paint!"

—--

The next day, Alhaitham comes back to his desk carrying a large pile of paperwork, not knowing where to put it as he mentally screamed at his roommate for making his workplace more paint and glitter-filled than last time.

"I swear– I'm going to take both keys the next time he asks them out."

#kaveh x reader #kaveh genshin #genshin impact #genshin impact x reader #genshin impact imagines #genshin impact kaveh #alhaitham #ansy-writes

[cmyksky]

I have my fair share of criticisms for Sky lore, but I can't quite empathize with some of the things people say about it. Forgive me if this results in me sounding like a prick; this is my opinion, and nobody is obligated to agree with it. Ramble under the cut.

One such idea I can't get behind is that nothing/very little is confirmed; this is a game that relies on conveying ideas nonverbally, aside from some introductory/game mechanic stuff. I think a line has to be drawn when deciding that something is "unconfirmed" just because the game doesn't hold your hand and tell you "Hey, this is what happened" with a narration/cutscene sequence.

Tangentially related is the idea that Sky cannot be understood without supplementary material from outside the game. I do agree that some things would be harder to grasp or deduce, such as dark stone specifically being a source of conflict in the kingdom. However, I think Sky makes quite a few obvious points. If you breeze through the game without pondering it very much or paying attention, then sure, you miss a lot. Sky is fairly linear and cyclical, but there's plenty you can easily pass on your first few runs. But let's think about a few things that we can make connections between through the game alone, because I find it a bit surprising that some people don't think twice to pick up on the themes.

Your flame is the key to everything in the game: activating mechanisms, helping spirits, burning darkness, and so on. The Elders also take your flame in every cutscene in various ways. Elders have entire temples dedicated to them; the flame must be very important for these authority figures to accept your offering. The entire game beckons you to follow the light, and light creatures guide and assist your journey (pun unintended). I don't have to mention the title of the game, right? And yet, why do we see some spirits guide these creatures while others trap and kill them? Why do we free caged mantas from the forest temple and encounter a "light miner" in one of the most somber realms in the game? Why do we see war waged against these creatures? I personally do not believe it requires much complication to guess that the ancestors wanted their power and exploited them as a resource.

The game starts with our birth/rebirth, with dawn, with simple mechanics and architecture. The game ends with our death, with night, with the grand pinnacle of the kingdom and the worst of the destruction. We see joyful, carefree spirits who connect with light creatures and live in peace. We trudge through polluted waters and sludge-clogged pipes, relive memories and view murals of spirits dying and fleeing from dark creatures and war.

And no, I'm not saying I've never been disappointed or that the game should be immune from criticism simply for its format or intent in terms of player experience. I have been left wanting more, and I have oftentimes wished the devs would give at least some spotlight to the kingdom’s destruction outside of the base game and a handful of seasons/seasonal quests. I can't help but wonder why TGC wants to keep a long-lived, dedicated fanbase without giving us the deeper lore that we want! And yet, I feel like many of the criticisms I observe are skewed by burned-out players or simply exaggerated due to frustration. Hope this coheres; I just like contemplating this game's lore.

#pulselog #I wouldn't be writing if I didn't want to see more from the lore myself #but these are my two cents #does anyone suppose their lore focus was going more into the two embers rather than the game? #not that I think it's unreasonable to want to focus more on their series #it's just something that occurred to me after reading about how it's been in production for two years now #sky cotl #sky: children of the light #thatskygame #these aren't my full comprehensive thoughts on the matter but they suffice to get the idea across

[thana-topsy]

Hello! I hope this isn't too much of a loaded question, but do you have any general tips for writing? I'd like to give fanfic writing a shot at some point.

Not at all! I'm always happy to talk shop about writing! As far as general tips go, there are some things that I think everyone could benefit from, so I'll try to condense my opinions and suggestions into A Numbered List. (We'll limit it to 5 suggestions for now).

Read Actively I mean this in the sense of really chewing on whatever it is you're reading. Dig into the meat of That One Paragraph and look for things you enjoy, things that tickle your brain. I'll give an example from something I read recently, which is our lovely @kookaburra1701's newest story "Aristeia" "They crested the final hillock; Mor Khazgur dominated the shallow valley below. When she had been younger, Borgakh had often imagined the longhouse was a lazy cat asleep on a bright green rug, curled up against the rocks of the Druadach Mountains. When the stronghold’s goats were pastured in the glade, they played the role of mice scurrying about under the cat’s nose." I was just ENAMORED by this passage. The whimsy, the rhythm of some the repeating consonants -- stronghold's goats, glade -- and just the imagery it drummed up, reminding me of those fanciful imaginings of my own childhood. So don't just read a lot, but read actively. Read works that inspire you, authors that impress you, and subject matter that's similar to the type of stuff you want to be writing. And think about why you like the things your like, and draw that inspiration into your own writing. Imitate your heroes until you're no longer imitating and it's just how you write.

Accept Constructive Criticism This one is always a challenge in the beginning. The Ego is a powerful little devil, and it'll try to confuse you. It'll tell you that your value is tied to the words on the page. But I'm here to tell you that YOU are NOT the words on the page. Take an objective stance on your prose and your plot. Everyone starts somewhere and (hopefully) nobody ever stops learning or improving. NOTE: Notice I said constructive criticism. This does not mean you should let people tear your work into shreds in bad faith. Listen to people who want to see you improve and also find joy in the craft of writing.

Read Your Writing Out Loud This is kind of self-explanatory. You'll get a really good feel for your own rhythm and flow VERY easily this way. And you'll catch almost any mistakes right away.

Cut All Unnecessary Words This is getting into the technical side of things, but why not? One of the first books I read on the craft of writing (whose title unfortunately escapes my mind at the moment) contained this advice, and it is STILL something I struggle with. Obviously, when you have a character with a specific voice, sometimes they get flowery in their internal speech and observations. I'll use Aiden as an example: "The fort loomed over them, massive and severe. Aiden attempted to judge the architecture and found he wasn’t quite sure what race or nation could have possibly built it. Or when it was built, for that matter. Second era, perhaps? The design seemed more Breton than Nord: austere, angular, and formal. But so close to the Velothi mountains, it could have been Imperial."  I bolded words that don't actually add anything of value to the descriptions here. We lose nothing by cutting them out. But they're how Aiden thinks about the world around him. So I keep them to give shape to his internal processing. I'd say to try to write without these kinds of flavor words first, then start adding them in. Learn the rules before you break them, or break the habit before it becomes the ONLY way you write.

Write Every Day This one is tough in the beginning, but it's so crucial to becoming a better writer. WRITE. EVERY. DAY. Even if it's just 200 words, do it. Make it your little morning ritual or evening wind-down. Pick a time that's just for you and your words. Close all your tabs, put your phone on silent, and just write. Be alone with the world that you are trying to create. And soon enough, you'll find that you can't go a day without writing something. And what a joy that is.

That's my list! I hope you found these tips useful! I also recommend reading books on the craft of writing, too.

Best of luck on your journey! You have infinite possibilities before you.

#topsy's asks #writing meta #writing advice #on writing #fanfiction #fanfic meta

[romchat]

Ripe Town Ep. 1 visuals: Under the cover of light

I am absolutely LOVING the historical crime drama Ripe Town. It's moody, nicely paced, and has really solid acting. The show reminds me of a grimmer, more ruminative A League of Nobleman, and its restrained but equally masterful cinematography caught my eye from the first scene. If you're looking for a prestige drama, this is it.

I wanted to share some of the cinematography choices the show makes in its first episode that help set the perfect tone for a crime drama. Film nerds, there are so many goodies in this show.

Under the cover of light

What a great cold open.

The show drops us (literally) in a farm field with our main character, Qu Sangeng, and his partner, Gao Shicong. They are bailiffs who have been sent out into the fields to investigate the mysterious appearance of a scarecrow, and they soon discover it's the dead body of Sangeng's mentor, Captain Leng.

(Side Note: There's something intriguing about the way the camera lingers on this sea of gold as it swallows and propels Sangeng and Shicong toward the scarecrow. It's almost like the field is its own character with its own memories. I don't think this will be the last time the plot returns us to this location.)

We learn at the coroner's that Captain Leng had not only been strangled but also pierced with a wooden rod bearing the Confucian quote "My principle is unified." This inscription paired with the theatricality of the body's staging (in broad daylight, in an open field) lends a deeper meaning to the murder. As an officer of the law, it is Captain Leng's duty to uphold justice, so why else would the murderer distort a classic work of philosophy if not to indict Leng of some moral malpractice?

And to a certain extent, we can understand that indictment by how the show portrays Captain Leng and Sangeng's colleagues in the criminal court system. Just look at how these officials are introduced:

They're filmed in darkness or shadow, the use of low-key lighting giving each a suspicious air. The strategic use of props further reinforces our first impression of them as sinister, incompetent, and corrupt men.

It makes you think about what other crimes have been committed in these rooms under the guise of justice.

The virtuous (but unstable) lone cop

Given how the show portrays the police and court system, it's notable how our main character, Sangeng, is often blocked in relation to them. As a bailiff, Sangeng is intelligent and principled. When we look at the composition of his scenes with men in power, he is often positioned towards the other end of the screen with the vertical lines of beams or doors physically demarcating his separation from them. He doesn't share their ethics nor does he tolerate their power plays.

And yet in Episode 2, we see the usually stoic Sangeng display a startling amount of violence and abuse of power, similar to a colleague he had criticized for the same behavior during this episode. I'm curious to see if and how this investigation continues to unravel him.

If these walls could speak

Ok, my favorite part of this show's cinematography is its use of dirty framing. Look at these gorgeous shots:

Dirtying the frame is when the camera crew uses things like architecture, objects, or even people in the foreground to add depth to a shot. Ripe Town constantly uses windows, plants, etc. to frame our characters as they discuss the case, which is such a smart way of upping the show's creepy factor. It feels like there is always someone (possibly the killer?) watching from beyond the frame

But maybe even cooler is the constant use of background action:

Check out how often there are people in the background near enough to our main characters to observe but far enough to not be intrusive (or helpful). Throughout Episode 1, we see farmers, bailiffs, and other workers stand around as Sangeng works the case. Like with the dirty framing, there's a sense of surveillance but this time from the townspeople as a whole. It's the classic small-town mystery trope where you suspect everyone knows more than they let on.

I wonder if this notion of surveillance will become one of the show’s major themes: are people watching because they’re trying to protect a secret or are they watching because they're hoping someone will reveal and take accountability for those secrets?

Together, these filming techniques create a fascinating world where murder is committed during the day and secrets are revealed in the dark. I can't wait to see how the story continues to deliver more and more interesting visuals as its mysterious plot unfolds.

#Ripe Town #繁城之下 #Under the Prosperous City #Fan Cheng Zhi Xia #cdrama #bai yufan #meta #a league of nobleman

[friendofcars]

i've revised my trb chapter 36 notes and they've somehow expanded to ~15 pages. you can read them here (i've also pasted the text into this post under the cut). the notes don't constitute an essay or produce a coherent thesis but they're a pretty comprehensive list of observations and interpretations i drew from the chapter.

TRB chapter 36 notes (content warning for abuse)

Last updated: 230610

“’The buck stops here,’ Ronan said, pulling up the hand brake. ‘Home shit home.’” This is the first chapter where Adam and Ronan are the only main characters present- their first scene entirely alone, set in the BMW before Adam gets out. I’m thinking about a few things: how differently Ronan and Gansey talk about Adam’s trailer, his parents, his poverty, etc.; how Ronan’s flippant insults and nonchalant offers of help (despite genuine concern) are less alienating to Adam than Gansey’s more openly heartfelt concern, since it’s paired with criticism of Adam’s pride and a tendency to command rather than suggest (full disclosure- I love Gansey and understand his point of view, but it’s clear why his approach upsets Adam more, and I think Ronan, having felt smothered by Declan, is more capable of empathizing with Adam on the matter of refusing help moving out); the recurring theme of cars being a place of refuge and solace for Ronan and how he wishes Adam would stay inside the BMW (even though he knows he won’t). I didn’t verify what I’m about to say so if I remembered incorrectly please let me know, but I’m pretty sure that we see Ronan drive Adam in the BMW to the trailer park twice (in this chapter, and in TRK when Adam scries while Ronan drives [the “wrong devil” scene]). Nobody else drives Adam home (although Gansey repeatedly stops by to pick him up). Gansey is constantly bringing Adam away from the trailer, for good reason (and practical reason too- sometimes they’re just going to class). Ronan brings him back, setting Adam up to confront his life and make decisions to change it. I know someone else has written a tumblr post about Ronan putting Adam in these types of situations and it’s very insightful and I’d love to cite it here (so if you wrote it or know who did, please tell me!). But ultimately this sets up an arc that ends with Adam driving the BMW alone for a final conversation with his parents, in which he can come and go from the trailer independently and in control of his interactions with his parents- the effects of the abuse are not erased, but his character arc has such a trajectory that he’s able to get some closure on his own terms via his hard-won autonomy and healing (the BMW/Ronan has played a key role in establishing both).

“In the dark, the Parrish family’s double-wide was a dreary gray box, two windows illuminated.” The description of the double-wide has gone from pale blue in daytime to an absence of color- things are even more grim. No love, no liveliness. A strong contrast to the home from which they’ve just driven (300 Fox Way, which has a bright blue exterior). The illuminated windows seem like omens or warnings rather than beacons. “Box” implies simplicity, a lack of architecture, a constraining place, a place in which one might be trapped. I’m thinking about how the flat ceiling of a box-like trailer also contrasts with the multi-sloped attic of 300 Fox Way, perhaps symbolizing Blue’s family’s proclamation of Blue’s potential versus Adam’s family’s stifling of his talents, needs, wants, etc.

“It was a comfortable enough arrangement; Adam and Ronan weren’t in a fight at the moment, and both of them were too startled by the day’s events to start a new one.” Not that they don’t get genuinely upset with each other on page (things get heated in BLLB as the development of their relationship becomes more prominent/less subtextual), but I feel like we get told that Adam and Ronan don’t get along but they…usually…do, from our vantage point. When they do have conflict in the first book, it doesn’t seem as heavy/personally directed as when Adam and Gansey fight. I get the sense that a lot of their bickering is routine and low stakes, especially since the passage tells us that the day’s chaos and threat to Gansey’s safety has jostled them out of their typical (mundane?) arguing.

“Adam reached in the back for his messenger bag, the one gift he’d ever permitted Gansey to give him, and only because he didn’t need it.” I remember this sentence being critical to my understanding of Adam’s character the first time I read this series. Adam accepts the one gift he doesn’t need because he could get rid of it and suffer no dire consequences if the friendship ended. He wouldn’t have to rearrange his carefully made plans over a messenger bag if he wanted or needed to give it up at all. There’s no desperate gratitude or a gnawing need to pay back a debt- it’s superficial, not connected to his precarious survival, no implied reliance. There’s also something in here about a bag being used to carry things (burdens?) that I’m trying to tease out into words but haven’t yet. whoreshoecrab also made the brilliant observation that a messenger bag is more of an academic, white collar (and relatively impractical) choice of bag which I think plays into Adam’s willingness to accept something since it doesn’t highlight his desperate need for the bare necessities.

“Another silhouette, distinctly Adam’s father, had joined the first at the window. Adam’s stomach curdled.” We don’t get much information about the relationship between Mr. and Mrs. Parrish (although Adam’s later concern about leaving his father’s gun behind implies that Robert also abuses his wife), but here there’s an implication of a united front against Adam. His stomach going sour is a visceral description of his fear- how terrible to go home to danger rather than safety. This sentence reminds me of one from TDT in one of the Gray Man’s chapters: “The Gray Man’s stomach wrung itself out… His brother had never intended for him to pick up; he merely wanted this: the Gray Man stopping the car, wondering if he was supposed to return the call. Wondering if his brother was going to call back. Untangling the wired threads in his gut.” (TDT, chapter 7), both serving as descriptions of a particularly physiological, visceral fear stemming from abuse.

“He tightened his fingers around the strap of his bag, but he didn’t get out.” Tightening -> builds tension in the narration as Adam braces himself for a confrontation. I mentioned this already, but cars often serve as places of refuge in the series. Ronan goes to wait in the Camaro after his brawl with Declan in TRB chapter 7 and after Calla goes for his neck in TRB chapter 15; Adam lingers in the BMW to delay having to go home in this chapter. Adam joins Ronan in the BMW in TRK in silent solidarity as Ronan grieves.

“’Man, you don’t have to get out here,’ Ronan said. Adam didn’t comment on that; it wasn’t helpful. Instead he asked, ‘Don’t you have homework to do?’ But Ronan, as the inventor of sly remarks, was impervious to them. His smile was ruthless in the glow from the dash. ‘Yes, Parrish. I believe I do.”’ A suggestion, not an order (i.e.. You don’t have to get out here vs. don’t get out here). Adam’s arguments with Gansey are often about how Gansey views/treats Adam; Adam’s arguments with Ronan are often about how Ronan wastes the time he has, the time he could be using for school work, the time Adam wishes he had. He’s genuinely frustrated that Ronan wastes such a precious resource, but the frustration is with a behavior that doesn’t have anything to do with himself (if he doesn’t compare himself to Ronan, which is another can of worms). Adam ignores Ronan’s comment- would he have ignored such a statement from Gansey, or started to argue? Would Gansey have ever phrased it like that? We get more insight into how they interact/communicate; Adam avoids arguing over serious circumstances but is comfortable resorting to banter since he knows there’s no risk of actual offense. There’s also a microscopic bit of dramatic irony here if you’re re-reading since the outcome of the events in this chapter directly lead to Ronan doing his homework in earnest.

“He didn’t like the agitation of his father’s silhouette. But, it was unwise to loiter in the car — especially this car, an undeniably Aglionby car — flaunting his friendships.” This chapter obviously shows Adam’s father’s physically abusive nature but also demonstrates how absolute his effect on Adam is, whether or not he’s actively enacting the abuse. Adam is constantly tuned to his father’s posture and follows a set of rules designed to minimize conflict and harm to himself. For someone running so low on time and sleep, this perpetual monitoring must add an additional layer of exhaustion. There’s no place to hide- to stay safe in the BMW is to potentially worsen his father’s mood, and to go home is to put himself in the path of danger anyway. Re: it being unwise to flaunt friendships: this was also crucial to me understanding Adam and his independence/lonesomeness; because the Parrishes are poor and Adam’s friends are wealthy, and mentioning his friends (which is criticized as flaunting) threatens his father’s insecurity about their poverty, Adam is conditioned to see connection and community as shameful, as a betrayal to his roots (which he is also taught to see as shameful- there is no winning). In the context of his family, he is safer on his own (but in the context of the world, he cannot move forward alone, and this is a lesson he must learn).

“If he shows up for class,” Adam replied, “I think that the reading will be the least of his concerns.” Subtle threat/hint at Adam having zero remorse for Whelk in future chapters

“There was quiet, and then Ronan said, ‘I better go feed the bird.’ But he looked down at the gearshift instead, eyes unfocused. He said, ‘I keep thinking about what would’ve happened if Whelk had shot Gansey today.’ Adam hadn’t let himself dwell on that possibility. Every time his thoughts came close to touching on the near miss, it opened up something dark and sharp edged inside him.” Like Ronan calling Adam “man” and “Parrish,” referring to Chainsaw as “the bird” serves as an example of Ronan keeping his emotional distance, maybe as a way of giving Adam space in a tense situation, maybe to disguise Ronan’s intense emotions. Ronan engages with his concern for Gansey by obsessing over the worst case hypothetical outcomes; Adam (who is typically concerned with planning for all the possible futures) chooses to avoid thinking about such fears at all. As explained in the remainder of the passage (next section), Adam cannot fathom a life without Gansey. This is a clear reminder that Whelk is Adam’s foil, not someone on a parallel path- for Adam, harming Gansey/Gansey’s mortality is too heavy to even think about, much less plot out. Something dark and sharp edged- a hole, a grave? In BLLB when Adam figures out that Gansey is on the St. Mark’s Eve death list, the narration says, “his heart was a grave” (ough). A place to bury impending grief? Or, if you’ve read TD3, this sounds a lot like the Lace, which is to say it sounds a lot like fear and insecurity and terror and being seen and the infinite and abandonment and grief and a lot of other things I haven’t processed yet.

 “It was hard to remember what life at Aglionby had been like before Gansey. The distant memories seemed difficult, lonely, more populated with late nights where Adam sat on the steps of the double-wide, blinking tears out of his eyes and wondering why he bothered. He’d been younger then, only a little more than a year ago.” Not only is Adam currently repressing the thought of a life without Gansey, he recurringly prevents himself from crying. Adam alone at Aglionby, struggling to adapt and feeling like a fraud, with no one to believe in him but himself, is incomprehensibly sad. “Lonely” followed by “populated with” makes it seem like the late nights themselves were Adam’s only company.

“His hand worked on the steering wheel; something was frustrating him, but with Ronan, there was no telling if it was still Whelk or something else entirely. “No problem, man. See you tomorrow.” This assessment of Ronan (aside from an incidence of Ronan in motion/his kinetic way of processing emotion), in my opinion, serves to illustrate Adam’s self-perception and paradoxically egocentric and unselfish thought process (he’s self-centered in the sense that he has to prioritize his own needs to survive and is constantly worried about how he acts and feels and interacts with others and looks and on and on but is unselfish in the sense that he doesn’t consider the possibility that Ronan might be frustrated and worried about Adam himself). Ronan is reeling from grieving Noah, worrying about Gansey almost getting killed (which was a pre-existing fear, as we know from chapter 16 and the wasp encounter). And while we’re on the topic of chapter 16 and the aftermath of chapter 33, I hadn’t realized until now that Gansey’s “dual vision” when death is imminent (“Two narratives coexisted in his head. One was the real image: the wasp climbing up the wood, oblivious to his presence. The other was a false image, a possibility: the wasp whirring into the air, finding Gansey’s skin, dipping the stinger into him, Gansey’s allergy making it a deadly weapon.” And “Gansey had that same, detached feeling that he’d had in Monmouth Manufacturing, looking at the wasp. At once he saw the reality: a gun pressed against the skin above his eyebrows, so cold as to feel sharp — and also the possibility: Whelk’s finger pulling back, a bullet burrowing into his skull, death instead of finding a way to get back to Henrietta.”) is perhaps an effect of him living two lives at once, at both dying and surviving twice (but sort of at the same point at the time loop because both deaths and rebirths are temporally linked to Noah’s favor, powered by Cabeswater and the ley line). ????????????????

“With a sigh, Adam climbed out. He knocked on the top of the BMW, and Ronan pulled slowly away. Above him, the stars were brutal and clear.” Who else notably sighs? Noah, another target of physical violence. Ronan is slow, reluctant to leave. Over the next few pages (as Robert berates Adam and accuses him of lying) Ronan continues to slowly leave the driveway because Adam can still see his break lights (antithetical to a stereotypical Ronan response- speeding off recklessly). The brutal and clear stars- perhaps an acceptance of the inevitable cruelty he is walking into? Adam feels destined or cursed to suffer, maybe as if fate, is cold and uncaring. (but does he believe in fate? Evidence in TDT chapter 8 says yes, if not literal fate but a general doomed-by-your-origin/bloodline sentiment, although he also persistently rewrites his narrative and seeks autonomy in his own life, so I don’t think there’s a clear answer. If anything, if he does believe in fate, he sees it as mutable and probably something not named fate at all). I think it’s also notable that the stars are a source of calming comfort to Blue, rather than harsh and distant observers of her struggles. “The stars were brutal and clear” always reminds me of Javert’s Suicide from Les Miserables: I am reaching but I fall/ And the stars are black and cold/ As I stare into the void/ Of a world that cannot hold.

“Hi, Dad,” Adam said. “Don’t ‘hi, dad’ me,” his father replied. He was already revved up. He smelled like cigarettes, although he didn’t smoke. “Come home at midnight. Trying to hide from your lies?” Adam graciously attempts civility; Robert eschews all pretense of acting like any sort of father at all. He’s already agitated, by Adam breaking curfew (which he’s broken for good reason, though Robert doesn’t and can’t know this) or by anything else in the world- his anger is out of Adam’s control. We’ve recently learned Adam does not like to be accused of lying from his encounter with Declan (TRB, 31). The cigarette smell on an adult non-smoker is probably indicative of the company they keep- co-workers? Friends, if he has them? An affair if Adam’s mom doesn’t smoke? The midnight curfew is surely a measure of control rather than care, and is relevant to interpretation of Adam’s constant meticulously meted out aliquots of time (for school, for work, for friends, for sleep) and deep envy for/resentment of those that have time and waste it- not even his own time exists outside the shadow of his father’s fist. 

“Adam’s knees were slowly liquefying. He did his best to keep most of his Aglionby life hidden from his father, and he could think of several things about himself and his life that wouldn’t please Robert Parrish. The fact that he didn’t know precisely what had been found was agonizing. He couldn’t meet his father’s eyes.” Emphasizes Adam’s need to always be hiding, keeping secrets, protecting the truth. Ronan is also familiar with the burden of keeping secrets in the name of safety. More description of the physical impact of abuse on Adam (in addition to the actual physical abuse- here I’m referencing the physical manifestations of fear and dread). I’m really interested in Adam’s relationship to his body throughout the series (and I’d have to dig up some other notes to elaborate but his POV chapters often pay acute detail to physical sensations, he dissociates on a number of occasions, his sacrifice of his hands and eyes and ongoing struggle for autonomy on physical and psychological levels especially as the unmaker/demon gains access to his hands and eyes, his healing occurring metaphorically via ley line work/outside of his own body, being alive because he bleeds, perhaps positing his awakening in BLLB as a reintegration of his mind and body after that pivotal scrying scene, etc. I would LOVE to discuss this more but I think I to collect my thoughts or the input from someone else on which to reflect- but this is probably the foundation of a legitimate essay imo). The liquifying sensation intimates a dissolution of the body, or the loss of restrained solidity and form, an unwilling spilling out of his tightly rehearsed outward projections. And finally, not knowing what his father found = lack of control = lack of strategy to defuse the conflict and protect himself.

“Robert Parrish grabbed Adam’s collar, forcing his chin up.” This is a repeated gesture in this chapter: a proprietary, controlling action, forcing Adam to make eye contact he’s trying to evade.

“Think fast, Adam. What does he need to hear?” Adam ends up carrying the burden of resolving the abuse inflicted on him, as if it’s his responsibility and not just a deescalating survival tactic. In TRB chapter 32, Blue muses that Adam isn’t often lost for words- but here, he’s scrabbling for words (he’s too panicked for his words/intellect to cooperate). This is another example of Adam’s solution oriented nature (the mechanic, the scientist)- here is a problem; how do I solve it?

“His father drew Adam’s face a bare inch from his, so that Adam could feel the words as well as hear them. ‘You lied to your mother about how much you made.’ ‘I didn’t lie.’ “Do not look in my face and lie to me!’ his father shouted.”  This is one of the more visceral, tactile chapters in the book, with the narration appealing to sensation to convey the intensity of the conflict. The physical nature of the scene also highlights the running theme of Adam’s relationship to his body- how it’s integral to his survival but also how he bargains it away and how it betrays him, the duality of mind and body, etc. I’m remembering that in chapter 31, Adam is highly displeased to be accused by Declan of lying. And not that it really matters, but I wonder if Robert not originally realizing how much money Adam has to accumulate in order to cover the remainder of his tuition is due to a) a lie by omission or b) him simply not listening to Adam’s needs in the first place. Robert also keeps invoking Adam’s mother as she stands idly by, perhaps to emphasize that everyone is against Adam, as if Adam alone is in the wrong here. It’s also interesting that the yelling here is italicized rather than capitalized. I don’t think the books are entirely consistent about this, but I believe we see capitalized yelling from Maura, Neeve, and Jesse, at least. Because the characters’ internal monologues are also italicized, we get a visual representation of how Adam’s parents’ cruel statements worm their way into his own self-talk and therefore self-esteem, self-perception, and reflexive victim blaming (Adam later muses that he has some sort of Stockholm syndrome). The italics in external dialogue and internal monologue collectively simulate abuse survivors’ internalization of abusive rhetoric against themselves. It’s also a little impressive how quickly a knot forms in my stomach at hearing a father say the phrase “your mother.” Has anything good ever followed that phrase?

“When his father’s hand hit his cheek, it was more sound than feeling: a pop like a distant hammer hitting a nail. Adam scrambled for balance, but his foot missed the edge of the stair and his father let him fall.” I’m thinking about hands as tools used as weapons (recurring knife motif in the books, especially in TDT, and how Adam works with his hands, offers up his hands to Cabeswater and in the process the demon uses his hands to nearly kill Ronan). Previously, sound and feeling converged; here, they diverge; Adam is possibly dissociated from the violence to some extent (like a distant hammer, more sound than feeling, etc. … a hammer is also a tool that could be used as a weapon). Adam is literally scrambling for balance here (but also does so figuratively at all times and is often quite successful at maintaining his tightly orchestrated and exhausting equilibrium). The precise nature of Adam’s fall here is brutal- the hit doesn’t make him fall, but it knocks him off balance and the subsequent misstep makes him fall, which his father makes no effort to prevent- the abuse not only aggression but neglect, which is to say control in both positive and negative (not good and bad, but additive and subtractive/maliciously neutral) ways.

“When the side of Adam’s head hit the railing, it was a catastrophe of light. He was aware in a single, exploded moment of how many colors combined to make white.” The prose... The pain is absolute, infinite, world-ending. A railing is a safety feature; a parent is obligated to prioritize their child’s safety. Adam’s injury involving the railing is a testament to his parents’ failure to consider his safety at all. When Adam comes to on the ground, his face, especially his mouth, is “caked with dust” (which frequently appears when Adam expresses shame about his roots); I take the dust as a symbol for a dearth of love given that water repeatedly stands in for love and longing. It’s also a reference to Adam from the Bible being made of the earth. I think his mouth being mentioned in particular references his usual ability to talk his way out of scrutiny and concern or hold his own in arguments, but in the trailer park, his words don’t work as weapons.

“Adam had to put together the mechanics of breathing, of opening his eyes, of breathing again.” A bit of a symbolic rebirth moment, coming back to life. Similar sentiment: “a miracle of moving parts, a study in survival.” My original notes for this chapter said, “I do think this could have been revised though- ‘breathing’ is repeated but not rhythmically or frequently enough (in my opinion) to actually simulate the act of deliberately inhaling and exhaling to self-regulate.” But as I’m re-reading, I understand the choice better. It emphasizes that to live, you must breathe, and breathe again, (and this is relentless), which in turn emphasizes the labor Adam puts in to take yet another breath, to keep going (but the effort to breathe is so great that it’s impossible to consider anything past this breath and the next). Maybe it’s not meant to be a cycle but a Sisyphean climb. Adam has to choose his path forward over and over again.

In Adam’s head: “Just go, Ronan.” He thinks this as he’s rising to his feet after his head hits the railing and sees Ronan’s brake lights go on. The light (Adam indirectly associates Ronan with light multiple times in the text) should be a symbol of hope, but Adam is both too proud and too ashamed to want to hope/accept Ronan stepping in on his behalf. Is this the first time someone not-Parrish has observed the abuse first hand and not just lingering evidence of it? Ronan becoming a direct witness is a line they can’t uncross, a truth Ronan can’t un-know.

“’You’re not playing that game!’ Robert Parrish snapped. ‘I’m not going to stop talking about this just because you threw yourself on the ground. I know when you’re faking, Adam. I’m not a fool. I can’t believe you’d make this kind of money and throw it away on that damn school! All of those times you’ve heard us talking about the power bill, the phone?’” There’s just so much awful here- the victim blaming, the immediate trivialization of Adam’s injury, the devaluation of Adam’s education and opportunity for freedom, and the guilt-tripping over financial burdens a child shouldn’t have to cover, the implication that Adam is running some sort of con, etc.

“His father was far from done. Adam could see it in the way he pushed off his feet with every step down the stairs, from the coil in his body. Adam drew his elbows into his body, ducking his head, willing his ears to clear. What he needed to do was put himself in his father’s head, to imagine what he had to say to defuse this situation.” Keen observation of body language, pattern recognition, (and conscious use of empathy – understanding his father’s thoughts to protect himself). We see these behaviors from Adam in a variety of contexts outside his household; his survival tactics have become ingrained, and while they keep him safe and probably make him a better student too, what is the cost? Exhaustion, mistrust, hypervigilance, repression, isolation. Defusing the situation is what Gansey references back in chapter 7- Adam keeping things quiet.

“But he couldn’t think. His thoughts crashed explosively across the dirt in front of him, in time with the rhythm of his heart. His left ear screamed at him. It was so hot that it felt wet.” Re: previous discussion of mind/body duality, dissociation, etc. his thoughts feeling like they’re outside his body in a dynamic/describable way, the distinction between his ear and himself and the pain transmitted between them, etc. An inability to think as a critical loss given his reliance on his perceptive and intelligent nature.

“Grabbing Adam’s collar, he pulled his son up, as easy as he’d lift a dog. Adam stood, but only just. The ground was sliding away from him, and he stumbled. He had to struggle to find the words again; something was fractured inside him.” In this instant, Adam’s body is at the mercy of his father. This is from where his desperate drive for autonomy comes. Gansey fears that something essential in Adam will break- I’d posit that Gansey fears Adam’s inherent goodness or happiness or youth or curiosity or humor will be trampled beyond help; Adam’s fear of something breaking is more along the lines of his self-assumed potential to be violently angry/a threat to others being unleashed, as if his ability to choose to be good will shatter. Dog/collar – what does this evoke? Adam often laments his upbringing through metaphors about animal behavior (he feels cursed by both nurture and nature. I think this observation is in conversation with my earlier questions about Adam’s thoughts on fate). The ground slides away- the foundation of the world moves (much like the earthquake when he sacrifices himself in Cabeswater); the moment is unstable and unsafe; Adam is unsupported. Struggling for words is unusual for sharp-tongued Adam, but he’s too threatened to think as he usually does.

“’To do this,’ Ronan Lynch snarled, smashing his fist into the side of Robert Parrish’s face.” Reading about Ronan swinging at Declan from Gansey’s POV (nooooo) versus Ronan decking Adam’s dad (YES). I get the feeling that Ronan has been waiting for an excuse to do this for a rather long time. A core aspect of Ronan’s character is not hesitating to cause some damage for a cause in which he believes (especially in TD3).

“Beyond him, the BMW sat, the driver’s side door hanging open, headlights illuminating clouds of dust in the darkness.” Ronan (the BMW) being a source of light in a field of dust, taken with Adam finding the light switch in a previous chapter (29) only once Ronan appears -> Ronan as a source of light (probably more accurate to say source of energy) in Adam’s life.

“Out of his right ear, Adam heard his mother screaming at them to stop. She was holding the phone, waving the phone at Ronan like that would make him stop. There was only one person who could stop Ronan, though, and Adam’s mother didn’t have that number.” Adam’s mother has been a silent bystander while Adam’s dad screams and berates and hits Adam, letting him fall and blaming him for “theatrics,” but as soon as Ronan steps in, she yells for the violence to end. Gansey helps mediate the fight in Nino’s parking lot (TRB, 7)- but Gansey (i.e. Ronan’s impulse control) is not here. The bit about Adam’s mother futilely waving the phone of all things at Ronan is so fitting- she’s found the person perhaps most scornful of phones and telephonic communication on earth.

“Get up, Adam. He was on his hands and knees. The sky looked the same as the ground. He felt fundamentally broken. He couldn’t stand. He could only watch his friend and his father grappling a few feet away. He was eyes without a body.” without a body: dissociation from the current pain and overwhelm; foreshadowing to sacrificing his eyes (and hands) to Cabeswater. The empty, unreal sensation of incredulous “how can this actually be happening” is terrible, and he feels it here. (The sky mirroring the ground reminds me of one of my favorite concepts, probably because of the tomb/shroud quote from the Les Mis chapter about the drowning man; the motif is best summarized as “as above, so below”, which is particularly fitting for the Magician.). I can’t help but think of the sky and the ground as mirrors, reflecting one another in perpetuum like Neeve’s in the Fox Way attic, between which Persephone’s soul gets lost from her body. In “my” tv adaptation (or any visual adaptation really) I’d have Adam’s posture on the ground here (before he gets onto his knees) be the same as Persephone’s on the attic floor when she dies scrying. The fight proceeds without Adam; he has lost a say in his narrative for the time being.

“It was all just noise. What Adam needed was to be able to stand, to walk, to think, and then he could stop Ronan before something awful happened.” The cops show up incredibly quickly here, unless the fight is particularly long and/or Adam’s sense of passing time is warped. “What Adam needs” is a recurring and often tense theme in his character arc, and as usual, his needs are linked to a drive for autonomy, capability, and independent action. We get evidence of Ronan and Adam’s developing, mutual, and unspoken care for each other- the instinct to protect the other, often at the expense of their own wellbeing. Adam, while he’s already gravely injured and unbalanced, worries about something awful happening- but something awful HAS happened, has been happening.  I’ll go on a bit of a tangent here because “it was all just noise” that Adam wants to filter out reminds me of things like signal to noise ratio, electrical impulses and synapses, electricity and ley lines, and how once Adam becomes the magician, he learns to scry intentionally (metaphor- healing from, or at least understanding, dissociation) and to rewire the ley line (metaphor- rewiring his brain as he heals, eventually distinguishing Cabeswater from his father, and accepts the necessity of connecting with others to do so/accepting the dual risk and reward of love, connection, magic, etc. which are double-edged swords in this context). I’m jumping ahead here, but I think Adam’s awareness of the way in which he takes in data from his environment, synthesizes a response, and acts accordingly is always relevant. Ever the scientist and all that.

“This can’t happen. He can’t go to jail because of me.” This is one of Adam’s sacrifices – pressing charges and losing his home/a say in how and when he leaves the trailer, all to keep Ronan out of jail (and expulsion, and Declan-induced eviction from Monmouth, and self-destruction, et cetera). In some ways, this is The Big Sacrifice of the book (and the bargain with Cabeswater at the climax gives an additional magical and metaphorical layer of commentary? discussion? on how and why Adam makes sacrifices and the consequences that arise from them). There are a lot of similarities between the sacrifices. I haven’t read the latter chapter in a little while, but from memory: “he was eyes without a body” links to “I will be your hands, I will be your eyes,” both of which play into the overarching theme of Adam’s fight for bodily autonomy, dissociation and eventual reintegration of body and mind (BLLB I am alive because I bleed chapter is crucial to this), a focus on his senses and how they become unreliable as he processes the events of the first book, etc. The foundations of Adam’s world figuratively (first sacrifice) and literally (second sacrifice, with the earthquake/stampede) shift beneath his feet. In the center of the pentagram, there is no sound at all. These vestibular and auditory effects of the magical sacrifice emulate detail from the mundane counterpart, which sets up the narrative about Adam learning to distinguish between the two (Cabeswater is not the boss of you, etc.). There’s also the parallel intervention of Ronan/Cabeswater on the behalf of Adam’s safety that forces him to make decisions/confront the consequences, even though Ronan intervening catalyzes Adam’s sacrifice of his pride, autonomy, and home and Cabeswater intervenes against Whelk after Adam sacrifices himself to the forest…much to chew on here. Mirroring experiences, perhaps. I’ll also say that one thing I really appreciate in TRC is that the metaphors don’t obscure the real life experiences (like you pointed out, Adam dissociates because of his magical connection/sacrifice to Cabeswater, but also as he copes with his father’s abuse, so the metaphor enriches and further discusses rather than sanitize the effects of the abuse; another example of this is Ronan’s dreaming, at least in TDT, doesn’t supplant him being gay and the associated identity, isolation, exploration, etc. experiences- the magical counterpart to the real experience is additive, not obfuscating or censoring. [I say at least in TDT because in TD3 I think the dreaming takes on additional metaphorical meaning such as chronic illness, generational trauma, amongst other things).

“He knew he looked drunk. He needed to get himself together. Only this afternoon he’d touched Blue’s face. It had felt like anything was possible, like the world soared out in front of him. He tried to channel that sensation, but it felt apocryphal.” Concern with outward appearance- his injury is internal, so there’s no way for the cops to believe him without his or Ronan’s explanation. The assumed concussion temporarily robs Adam of his resources- clear headedness, analytical skills, etc. “He tried to channel that sensation, but it felt apocryphal” is such a painful and effective way to describe someone grasping for hope and having it slip through their fingers. Adam, whose faith is “imperfect” to start with, is further challenged here. I always think of the word “apocryphal” when I think of this chapter. The infinite (the world soaring out in front of him) previously gave him a sense of optimism, but in this chapter, the infinite mirrors (ground and sky) trap and dwarf him. Blue’s face (which is to say connection with Blue) felt like potential. I think you could interpret this chapter as the beginning of the end for Blue and Adam’s romantic relationship- the attraction and care for one another persists, but there’s a distinct shift in their interactions after this chapter that disconnects them in a way they don’t resolve until after they break up.

Adam replaying what his mother has told him previously to keep the abuse quiet: “Don’t say anything, Adam. Tell him you fell down. It really was a little your fault, wasn’t it? We’ll deal with it as a family.”  Encouraging him to keep secrets, to lie, to blame himself, to believe in the guise of a family his parents hide behind (he’s ostracized in his own home for acting “against the good of the family”). This rhetoric from his mother gets woven into his own internal monologue.

“If Adam turned his father in, everything crashed down around him. If Adam turned him in, his mother would never forgive him. If Adam turned him in, he could never come home again.” These statements are written like hypotheses. If _, then _. Scientific. Even though she’s watched him endure so much pain and violence and has done nothing to help him, he grapples with the guilt of leaving behind his mother. This moment is a crucial turning point for Adam, when he’s standing at the crossroads of two of the existing paths described in TRB chapter 15 at his reading. It’s one of several explanations of his hesitation to live somewhere safer, of why the more arduous and painful way of doing things is in some ways easier for him.

“Adam couldn’t move in with Gansey. He had done so much to make sure that when he moved out, it would be on his own terms. Not Robert Parrish’s. Not Richard Gansey’s. On Adam Parrish’s terms, or not at all.” Full names invite the reader to consider [confront?] these characters as complete and distinguishable entities -> what defines each character/what is intrinsic to each?, how can you distinguish their own goals and personal ethos? If Adam succeeds in the world, he can claim all credit. If he fails, he resigns himself to shoulder the blame alone without the messy implications of shared culpability. He doesn’t see anything as worth doing if he can’t do it independently in the way he’s meticulously determined to be optimal, in the way that keeps his pride most intact.

“Adam touched his left ear. The skin was hot and painful, and without his hearing to tell him when his finger was close to his ear cavity, his touch felt imaginary. The whine in the ear had subsided and now there was … nothing. There was nothing at all.” The loss of his hearing is representative of greater loss- of literal (vestibular) and figurative balance (oh by the way do you know what requires good balance…riding a bike), of the ability to observe the world in the precise way in which he observed it before, the curse of an invisible injury he must explain by telling rather than showing as well as the unquantifiable psychological impact of surviving abuse, etc. Adam feels that he has nothing after losing not just half of his hearing but his home, even if said home is dangerous, the opposite of a sanctuary. He ends up at St. Agnes, which he thinks of as “Adam Parrish’s nothing,” something visually unimpressive but valuable in the way that it is his alone, untainted by the authority of others. I’m thinking about “Gansey. That’s all there is.” versus “There was nothing at all.” and how their experiences are so heavily shaped by their families and the associated expectations based on their upbringings and how they worry that others perceive them as their origins rather than their actions. “His touch felt imaginary” echoes the sentiment of Blue’s touch feeling apocryphal; the abuse disconnects Adam from others and from himself.

“Ronan was defending me.” Adam’s mouth was dry as the dirt around them. The officer’s expression focused on him as he went on. “From my father. All this … is from him. My face and my …” A couple observations: Adam breaking his “keeping things quiet” habit to the cops; Ronan has already begun to make him loud. It might just be a function of his injured state but I think Adam referring to Ronan as Ronan, as if anyone would automatically know his name, posits Ronan as some essential figure in Adam’s life (although to be completely fair there are few enough people in this scene to make it obvious to whom Adam’s referring- but I do think the word choice is deliberate, especially since he doesn’t use Lynch, which to an outsider might imply more distance between them). The dirt/dust motif returns as he thinks of his father/his origins; his dry mouth indicates the strain of making this sacrificial confession. And finally, the double entendre of “All this.. is from him. My face and my…” to mean the immediate state of Adam’s injuries but also his pervasive concern that he has inherited his father’s violence and cruelty. We know that Adam resembles his mother more (at least facially), but these books are about mirrors (and Adam looks into them frequently, literally and figuratively), and he’s most concerned about seeing his father looking back at him.

“His mother was staring at him. He closed his eyes. He couldn’t look at her and say it. Even with his eyes closed, he felt like he was falling, like the horizon pitched, like his head tilted. Adam had the sick feeling that his father had managed to knock something crucial askew. And then he said what he couldn’t say before. He asked, ‘Can I … can I press charges?’” To make this decision is to completely disrupt his carefully planned life; he’s falling into a version of his life he wasn’t prepared to live in yet. Adam’s fear about being permanently altered echoes Gansey’s fears about Adam. I think, on a less central note, his view of Ronan is also knocked askew after this incident (him using violence on behalf of someone other than himself). I’ve been musing on the decision to mention his mother one last time at the end of the chapter, and I think it’s to emphasize the complexity of Adam’s decision (and that he’s considering the repercussions of leaving his mother alone in the trailer with Robert. I think the fact that she doesn’t have a canon first name indicates that she also lacks power and autonomy in the household, or will especially lack such things once Adam leaves).

I think it’s significant that we never see inside the Parrish house- the violence we see on page happens outside. The audacity of Adam’s father to yell at him and assault him on their front steps for anyone to see is…really something. Even in his own POV chapters, which are quite introspective and descriptive, Adam doesn’t let us in to the extent of his life at home (from a meta standpoint, this makes sense- it’s just as effective and less exploitative to characterize the extent and impact of abuse through Adam’s self-image and relationships and behaviors rather than saturating the text with repetitive, gratuitous, and graphic sequences of abuse). And while I’m dancing around the subject of private vs public spheres, I am very interested in discussing Adam in terms of unheimlich/the uncanny and I’m hesitant to do so because so much of it will come from Freud’s essay on the uncanny and with that comes all sorts of cans of worms but there’s something about the domestic vs public spheres and in the home and out of the home (stemming from the etymology of heimlich and unheimlich) and homelessness and Adam’s uncanniness and strangeness (both as in odd and as in foreign/estranged). Freud’s essay even talks about the loss of eyes as a castration metaphor in a different work that I’m forgetting at the moment, but even if we exchange castration for loss of autonomy (which might be a misinterpretation of the text but I’m still percolating), it works so well with I will be your eyes/the demon taking over Adam’s eyes/his visions that begin in TDT chapter 8/the blindfold on Adam and the figure on the two of swords and eight of swords cards, etc. (A lot of associated themes work for Ronan too- the intentional use of the word strange at the beginning of The Dream Thieves and the Lynch brothers’ estrangement from the Barns and Ronan dreaming about going home and him existing of and between two worlds and how these two uncanny and strange characters find themselves in these weird, isolating social valleys and seek a sense of home with from other…) anyway this is hopefully an actual essay I will write someday, but it will require a good amount of reading outside the series.

I did a final read-through of the chapter after I revised my notes to see if I missed anything (and of course I did) and I did want to highlight the switch from “his father” to “Parrish” when Adam describes the brawl that ensues when Ronan hits his dad, which I think serves the purpose reminding us how Adam separates himself from violence as a dissociative coping mechanism, how Ronan’s intervention grants Adam some distance from the situation, etc. but also how Adam views the Parrish name- violent, on the ground, in the dust. I also forgot to consider the purpose of flashing back to Gansey right before Adam makes his sacrifice (to press charges, to keep Ronan out of jail): You won’t leave because of your pride? We’re given a clear example of the circumstances necessary for Adam to give up said pride (it would be reductive but not incorrect to say the circumstances = Ronan).

#rchl #trc #as always i am so open to discussing trc/td3 so please come chat if you want to share your analysis too #also to the very nice person who sent an anon about the mask dream i saw it and i am intending to draft something over the next few days #the raven boys #the raven cycle #adam parrish #ronan lynch

[good-cop-bad-cop]

FAN GUIDE: Firstly, thank you for doing this interview. We know you're a very busy man. Are you working on anything in particular right now? LORD BUSINESS: I have a diverse portfolio of interests including building removal, building renovation, recycling building materials, building design (interior), building design (exterior), urban planning, architecture and world domination.

FG: A man in your position is probably not used to taking orders. How was your experience working with the directors of this movie? LORD BUSINESS: It was very, very collaborative. They submitted their ideas. I took it and we workshopped it for a few days with a bunch of screenwriters and a couple of improv guys I know - you know, comedians mostly and dialogue punch-up guys - and then we put it up in front of a few executive friends of mine... you know, like a black box kind of thing. Plus, I had to let marketing and the music people take a crack at it. Then we recorded that and cut the best stuff together and took that to the suburbs for a few recruit screenings. We assessed the feedback and did another Q&A with our target audience about what they liked and didn't like. And then I came on set and told them what we were going to do.

FG: You're a very rich and powerful man. Why play a villain? Why not use your powers for good? LORD BUSINESS: Well, you know what Nietzsche said about good vs evil?

FG: No... LORD BUSINESS: Oh, well, neither do I... I was looking for a little help.

FG: In one word, can you describe what the perfect world would look like? LORD BUSINESS: Obedience!

FG: Some of your critics have said that you named yourself "Lord" because you have a God complex. Is that true? LORD BUSINESS: No, no, no. It's a family name, from my German ancestors. It means Breadkeeper, Master of the Household, Ruler, Superior and... God.

FG: Did you get many hugs when you were young? LORD BUSINESS: There's a word you used there that I'm not familiar with.

FG: We'll move on... Is there anything you'd like to clear up about yourself, for people who might have the wrong impression of you? LORD BUSINESS: I'm much taller in person.

FG: The fate of the world is in the balance in The LEGO Movie. That sounds like a lot of pressure. How are you coping? LORD BUSINESS: Oh, don't worry about me. I'm taking care of business...

🔸️ An interview from back when the first movie was released. Thought some people might find this interesting, since the Good Cop/Bad Cop routine was in circulation again a few days ago.

#lore

[disco-elysium-via-polls]

🎵 Instrument of Surrender

There is something down there...

The musty smell of a potato cellar in spring emanates from the air vent.

We're going to stop by Siileng on our way.

Changing into the White Satin Shirt triggers a new thought.

CONCEPTUALIZATION - Why does art inspire you so much?

It does, yes -- but what *is* art?

No, art is for arrogant blowhards. Why am I getting this?

[Discard thought.]

CONCEPTUALIZATION - Excellent question. Art is a diverse range of visual, literary, auditory, and performative creativity! It's an expression of imagination and technical skill. Additionally, it's history, criticism and pure enjoyment...

In short, art is the highest form of human communication -- representation, narrative, emotion and agency intertwined.

Would I fit into the art world? I mean...

CONCEPTUALIZATION - Have you looked in the mirror lately? You have the exact features of a savage art critic, with that beard and those clothes! Dishevelled and *prophetic*. Perhaps you should try to critique architecture too!

Hold on, is architecture also art?

I guess I *have* been feeling critical lately.

That's stupid. Architecture is stupid.

CONCEPTUALIZATION - Of course not, it's autism. Box-drawing. Masturbation with a ruler and a sextant or whatever they use. You should demean and criticize the genteel institution of architecture. While extolling the virtues of the *pure* arts.

Wait, what about music? Is it art?

CONCEPTUALIZATION - Only the most experimental kind.

I guess I *have* been feeling critical lately.

That's stupid. Architecture is stupid. Music is stupid.

CONCEPTUALIZATION - Yes! You seek substance. No vapid representations and reproductions of social mores, as made manifest in stuffy biennials, we're talking real *living art* here. Become the Art Cop. Half art critic -- half cop.

Wait, but don't I have to be 100% cop -- to get the case finished and all that?

Okay. If 50% art critic is what's needed to free me from rote repetition, so be it. (Opt in.)

No. I cannot risk another copo-diversion at this point. Go away! (Opt out.)

CONCEPTUALIZATION - Quit being so indecisive. What are you going for here? Some kind of indecisive and *camp* aesthetic now? Strike a bold shape here. Go art or go home.

2. Okay. If 50% art critic is what's needed to free me from rote repetition, so be it. (Opt in.)

CONCEPTUALIZATION - Exactly. It's not *only* your duty to only catch the criminals of the street, you must also apprehend criminals of the printing press and the gallery -- the trite and derivative artists and writers of the world!

Thought Gained: Actual Art Degree

Go ahead and provide savage criticisms, Art Cop. The world is yours to rip to pieces and reassemble!

ACTUAL ART DEGREE

Temporary research bonus: -1 Perception: Can't even look at this shit Research time: 1h 30m

Yeah, it's another copotype -- the worst one. The most savage and brutal. The Art Cop. Nothing is good enough for him. Everything is *shit*. You have to employ an armada of adjectives to depict and demean the mediocrity of the works and visual institutions around you. Really *flex* that critical muscle. Until the vocabulary for PUNISHING mediocrity becomes second nature. Here we go...

SIILENG - The shine on these sunglasses lasts a lifetime, officer! One hundred percent guaranteed!"

3. [Conceptualization - Formidable 13] Try again, maybe you can find *some* interesting sunglasses in the box.

CONCEPTUALIZATION - Ah, I see... A pair of waterblue shades. The writing on the left temple says: "Sub-Insulindic Rendezvous." The frame appears to be hand-carved out of bone.

SIILENG - "Oh, very interesting choice, officer, very *high-culture*..." For the first time the street vendor's voice trails off, as he watches you inspect the glasses.

Try them on.

CONCEPTUALIZATION - This is how a sea monster sees the world. You've become a sea monster, Harry -- giant, hidden and... strangely tender at heart. All is blue.

PERCEPTION (SIGHT) [Medium: Success] - Alright, but these actually make your vision worse. It's like literally being under water.

INLAND EMPIRE [Easy: Success] - Yes, but they also make your soul quiver like jello. So deep.

SIILENG - "Wow, officer, you look so cool," the street vendor has picked up his pace again, as you observe the world through deep sea-tinted lenses.

"And they can be yours for a mere three reál. My regular customers have passed them all up because they've got no taste, but *you* found them..."

"Kim, what about these?"

Put them back.

KIM KITSURAGI - The lieutenant tilts his head and steps back, eyes narrowed in a thorough examination. It's a case to him.

"You look like a musician," he declares, eyes still squinted behind his own glasses. "Like a *blind* musician. But you could do worse. Take them if you want."

The Sunglasses "Sub-Insulindic Rendezvous" gives +1 Inland Empire and -1 Perception. Not too useful with our already high Psyche. They also put the entire game under a blue filter.

Ok, we're actually here.

WATER LOCK CONTROL PANEL - A rusting control panel with loose wires dangling out from the hole where an indicator light used to be, and a mechanical lever sitting in the middle.

Pull the lever -- again.

WATER LOCK CONTROL PANEL - You grab the handle and pull the lever up. As soon as the metal connects against the contact pins you hear a loud *clunk*, then...

The water lock starts moving...

Task complete: Close the water lock on Wednesday

+10 XP

KIM KITSURAGI - "Okay..." The lieutenant looks across the canal. "If we ever need to get to the coast, then this is the way. But please, contain your *wanderlust* for now. I don't want us to get sidetracked. Not with everything that's going on."

ESPRIT DE CORPS [Easy: Success] - Focus on one thing, achieve it, then the next... he thinks. That's the task chain.

I prefer to take a more *holistic* approach to detective work.

The radio relay hums with electricity.

Traffic beyond the gate. More abandoned motor lorries.

The sign says "No Entry." Someone's scribbled an inverted star on it.

Prying this panel open with the crowbar, we discover a pair of sunglasses.

JAMROCK BIKER-COP SUNNIES

+1 Empathy: Feel the streets -1 Logic: Leave the reason behind

For taking your Harmel-Rioux Supersonique out for a ride -- on the streets of Jamrock, where your heart is buried.

🎵 Disco Elysium Pt. 1

Someone has broken down the fence *and* the barbed wire.

The swing is missing -- no one's been here for a long time.

INLAND EMPIRE - Rust peels off the bent iron posts of the swing. The wind whistles through the skeleton of the small house behind you. There's desolation... everywhere.

EMPATHY [Medium: Success] - Yet someone used to live here. Laugh here. Thought it was a good idea to build a *swing* even...

"What happened here?"

[Discard thought.]

KIM KITSURAGI - "In this yard?" The lieutenant looks at the small building. A flock of grey swallows takes off in the distance.

VISUAL CALCULUS [Easy: Success] - He's assessing the situation. How long ago was it abandoned.

KIM KITSURAGI - "Someone thought they could have a summer house in a *bloc obscur*. For cheap. It didn't work out. They abandoned it about a decade ago."

"Wait, what's a *bloc obscur*?"

"So this part of the coast is a *bloc obscur*?"

KIM KITSURAGI - "A black bloc, a part of the city left unrenovated after the war. Or one that has fallen to gang violence. Or has become inhospitable in some other way."

"So this part of the coast is a *bloc obscur*?"

KIM KITSURAGI - "Practically. It's not an official term in any way, but..." he spreads his arms, "look around -- no sewage, broken power lines, crime, drunks... Life is tough in the blocs. It's no place to build a summer house."

"Maybe they left something useful behind?"

"You're right -- it's no place. Let's go." [Finish]

KIM KITSURAGI - "Yes -- for you to pick up as part of the Jamrock shuffle." He gives you a weary smile.

ESPRIT DE CORPS [Trivial: Success] - It's not meant as nagging, just an observation.

KIM KITSURAGI - "We should move. I don't think we will solve the murder with forays into the urban hinterland. At least in this phase of the investigation."

"Glory," says the graffito, "to the ghosts of us!"

Someone has left their music collection beneath the tarpaulin.

TAPE "SMALLEST CHURCH IN SAINT SAËNS

The tape you found from a shack on the coast. The A-side has Smallest Church in Saint-Saëns written on it, while the B-side is supposed to contain the instrumental version. Requires a boombox to play.

>INTERACT

There's no way to listen to the tape without a working tape player or porta-reel at hand.

INLAND EMPIRE [Easy: Success] - But even just holding the tape makes you feel a little sad...

REACTION SPEED [Easy: Success] - A pawnshop -- a pawnshop would have a tape player...

Birds in the birch tree -- barely audible coos from above.

There are tyre tracks in the sand here. As we approach them, Harry begins to slow down.

A breaker box to power the radio pylon above you. Maybe there's something inside?

Ahead: decades old concrete defences. Children play on them now.

All that's inside the box is 90 centims. I've been picking up some other loose change and medicine here and there.

A creaking ahead -- a broken axle grinding.

A bottle, drained of all its booze, is frozen to the ice.

BANGED-UP FUEL CANISTER

A dented stainless steel canister for transporting and storing heavy fuel oil. A logo on its side has been partially stripped over years of use. The government-issued red-dyed fuel oil inside looks like paint -- though it smells much, much worse.

LOGIC - This is it -- the scene of the party. The fire pit, cigarettes, and empty bottles all evidence it.

Hold up -- don't you mean scene of the crime?

Yeah. Sure does look like a lot of folks partied here.

(Dismiss thought.)

LOGIC - Not as such. I'm talking about what came after -- the party scene.

Yeah. Sure does look like a lot of folks partied here.

LOGIC - Looks like they were here a while, judging from all the bottles. The sunken motor carriage provided them a focal point -- like a goose ice-sculpture or a chocolate fountain.

"Hey, Kim. Looks like we've had a couple of party-goers here."

Guess I'll be on my way. (Finish thought.)

KIM KITSURAGI - "Looks like it."

"Looks like they had a great time laughing here."

"This was some kind of theatre to them. A circus production by a great clown."

"Was this party against the law? On the ice like this -- it was probably a public danger."

KIM KITSURAGI - "Hey -- let's keep moving, detective." The lieutenant adjusts his glasses.

EMPATHY [Easy: Success] - Somehow he doesn't want to dwell on it...

The ice just off the coast cracks, shifting.

SUNKEN MOTOR CARRIAGE - A banged up motor carriage lies half-submerged in the icy water, slowly sinking into the Insulindian ocean. Only the cabin top, rear wheels and the engine remain visible.

EMPATHY [Easy: Success] - It must be cold and lonely down there, in the icy water.

VISUAL CALCULUS [Easy: Success] - Remember the tyre tracks in Martinaise? This is where they were leading.

"So this is where all the tracks were leading to!"

KIM KITSURAGI - "It appears to be so." The lieutenant has a peculiar look in his eyes as he inspects the wreckage.

"Let's investigate."

"We don't have time for traffic hooliganism right now." [Leave.]

KIM KITSURAGI - "I agree," the lieutenant replies, his eyes never leave the sunken vehicle. "We should definitely investigate."

INLAND EMPIRE [Trivial: Success] - You get a sudden sinking feeling. Stomach acid comes up as you look at the motor carriage in the deep, dark, cold water.

VOLITION [Easy: Success] - Why the doom and gloom? It's just a sunken motor carriage. Some motor carriages are bound to end up in the sea.

Run your hand over the cold metal.

What is the make of this MC? Can I see a logo?

"How long has it been here?"

"Well, well, well. Looks like Jacob Irw's journey came to an abrupt end here."

"What should we do?"

SUNKEN MOTOR CARRIAGE - The motor carriage is properly stuck in the ice. Getting it out would require a team of specialists.

2. What is the make of this MC? Can I see a logo?

SUNKEN MOTOR CARRIAGE - The logo is too deep in the murky water -- you can't make it out. But you *do* see a monkfish float by.

3. "How long has it been here?"

KIM KITSURAGI - "The ice hasn't closed around the vehicle yet..." He leans forward to peek into the cold water. "My guess is it's been here since last Saturday or Sunday."

VISUAL CALCULUS [Medium: Success] - The estimate is correct. The incident probably occurred on Sunday evening.

4. "Well, well, well. Looks like Jacob Irw's journey came to an abrupt end here."

SUNKEN MOTOR CARRIAGE - Your mocking tone finds no response but the motion of the waves.

"Did you say something, lieutenant?"

"Yes, yes..." (Rub your chin.) "Crazy recklessness."

"Yet another case of the engine displacement triumphing over the driver's IQ."

"Enough gloating. This is serious."

KIM KITSURAGI - "Yes. Quite." The lieutenant seems to be inspecting you more closely than the motor carriage.

5. "What should we do?"

KIM KITSURAGI - "Let's wait for the low tide and see what's inside."

LOGIC [Medium: Success] - Great idea! Then we can get the things inside. The joyrider must have left something good inside. Guns? Papers? Maybe a cool jacket? A joyrider jacket?

ESPRIT DE CORPS [Easy: Success] - A joyrider jacket? You feel a strange connection to this joyrider. Maybe he's from some kind of Joyriders district and likes blue and white racing livery? Like a cop would.

"How long will it take for the low tide to come in?"

KIM KITSURAGI - "I don't know. An hour or two tops."

6. Sit on the swing and wait for the tide to recede.

SUNKEN MOTOR CARRIAGE - As you sit down in the old, rusty playground, the world around you becomes very silent.

PERCEPTION (HEARING) - The hinges creak under your weight -- dangerously so.

SUNKEN MOTOR CARRIAGE - Nothing but the sound of seagulls, high above in the sky, echoing like distant laughter. Ice cracks around the blue motor carriage in the sea.

"Hold on, it looks very blue." (Point to the sunken vehicle.)

[Drama - Medium 10] Whistle a tune.

Wait in silence.

KIM KITSURAGI - "Yes, yes, it does."

2. "What's your favourite blue thing?"

KIM KITSURAGI - "Hmm..." The lieutenant is staring at the wreck. "Let me think about it..."

2. [Drama - Medium 10] Whistle a tune.

+1 Art cop.

DRAMA [Medium: Success] - The tune on your lips forms a strange, yet undeniably beautiful contrast with the surrounding bleakness.

KIM KITSURAGI - The lieutenant gives you a quick glance. Then, still looking straight ahead, he joins you with a higher-pitched and slightly more melodic trill.

+1 Morale

+1 Reputation

+5 XP

CONCEPTUALIZATION [Medium: Success] - Two birds on a wire, whistling by the seaside. Looking at the water. And a sunken car.

SUNKEN MOTOR CARRIAGE - The clouds pass in the sky and the shadow of the swing moves like the hour hand on a time piece... Thirty minutes have passed.

RHETORIC [Easy: Success] - Looks like this might take a while. Time to present a good topic for discussion.

#disco elysium #kim kitsuragi #siileng

[astrojulia]

Anything that makes us sick take us away from ourselves, just as said in DYLAN DOG MATER MORBI, “the first thing that the disease takes from you is your identity”. In the last year, for example, I got badly sick and had to stop everything to treat it, in that moment you would not see my aquarius energy even with a magnifying glass. When this progresses to your mental, it means that there’s a part of you that i always sick and that needs to be worked on, and when you heal your wounds you will be yourself and your sun sign again (but don’t blame yourself is some scars got left).

You've heard that words have power and that our life is governed by what goes through our mind, right? Sometimes we wish so much to be another thing that we delude ourselves! You know when we want to be part of the cool kids and change the way we are, even mocking what we once love to do? The way that popular astrology degrade some signs, I can undertand why some want to act like “this is not related to me, I’ve never lied in my whole life, Gemini always say the truth” even though.. everyone lies! Work on who you are and who you want to be, we can only be better if we know who we are now. Don’t try to be someone else.

To be born on the cusp in to be born at the beginning or end of a sign’s season (normally between day 18 - 23). When you’re on the cusp, the “intruding” sign dilutes or water down your Sun sign, so if you were born in the beginning of the Aries season you can have a finger or two in Pisces and that changes the bright red color from Aries to a more cold one.

To simplify it, your astrological signature sign is the zodiac sign that is the most unique to you. This signature summarizes the others, to find it you will the element and modality you have the most in your chart, and then see the sign that represents the element+modality combination. So, if you have Aries Sun but counting all the other planets you have a dominance in water and fixed, your signature sign is Scorpio and it may change you red tone a little.

If your Sun is in Aries, the Zodiac sign by Mars, but Venus is the dominant one in your chart, her energies of peace and harmony will overpower the competitive and fighting that Mars could give you. Dominant planets are really important in someone personality, but this is rarer because the Sun itself is an important part of knowing which is your dominant planet.

This can happen for many reasons, adoptions, people who grew up without tutor or someone older to tell them when them where born, I even saw a post of someone on internet who get confuse with the date of birth because as it was born close to Christmas, it parents celebrated on another date to be able to celebrate. Without the time of birth, it is already difficult to make a natal chart (some even say impossible), imagine without the date too.

I refuse to say "you don't believe in astrology" because astrology is not a belief… nobody says they don't believe in architecture, biology�� Being critical and questioning things is great and I encourage you to do that with everything (my posts included). However, there is a big difference in having critical sense and being skeptical about a subject. Being critical is everything you see is questioned and revised, being skeptical is you will never agree with a subject because you’re sure that what you know is the only answer to that question.

Progression - Our planets do not stop in time! We learn everyday (thanks lord) about something and our planets accompanies our evolution, your Aquarius Sun can be progresses to the Pisces Sign and you can feel like you’re not so cold like you always ready about Aquarius.

Your annual chart (or Solar Return) - Every year the currently planets aspect our own aspects (natal chart) and that’s why we are a little different every year. So that’s why you can be feeling a little to much Virgo this year, but maybe the next will be Sagittarius.

Sources:

Servant of the Fates - post inspiration (When I wrote this she still hadn't reposted...)

Naiad 1/Naiad 2

Template by sorberts on tumblr

PSD by wildfireresources on deviantart

#astrology #sun sign #all about astrology #astrojulia #astrology tips #astrology observations #zodiac signs

[tobiasdrake]

Here at last. The Clockwork Castle. I am going to unleash ungodly amounts of violence in this place.

Rude. How am I supposed to unleash ungodly amounts of violence if you won't let me in the front gate? Guys? GUUUUUUUYS. Come on.

Assholes think they can keep me out. I'll have you know that when I set my mind to breaking noses, I can be very hard to discourage. Nothing is going to stop me from--

STORY TIME STORY TIME STORY TIME STORY TIME STORY TIME

Important clarifier. We are not the "prime" timeline, so to speak, that all of the branches split off of. There probably isn't a prime timeline.

Aephorul uses our reality as a war engine for feeding his efforts in other timelines.

Depending on how long ago TIA fractured reality, the other timelines might look vastly different from ours. I'm curious to see them now.

What, he didn't just send an Open Invite to all the best artisans and then magically compel them to build a village and remain in perpetuity to serve his efforts? That's what all the cool people do.

Yoyo.

Hold up, were the Three Sisters already a thing before Fleshy and TIA got to our timeline? Huh. I guess that makes sense, seeing as TIA discovered Solstice magic rather than creating it. The Three Sisters are in the same Category of Things as Solstice Warriors.

It just keeps surprising me how... all at once local and yet not TIA and Fleshy are. How godlike and yet how mundane. They just happened yesterday; They've been around forever. They're complicated.

Oh, not Yoyo.

The Watchmaker... Shit, I feel like I've heard that name before. The Watchmaker... the Watchmaker....

If no one could understand Aephorul's magic then how was the Watchmaker able to account for it in her schematics? Like. You've got two people designing a castle and neither really knows what the hell the other's doing; That's a recipe for flawed architectural design, even if they're both masters of their craft.

Ooo, sabotage. See, this is why Aephorul wanted people who are morally neutral. You don't get the same level of professional courtesy out of slaves forced to work at gunpoint.

Ohhhhhhh, good. Implication that the Watchmaker is still here, and adding fuel to the fire of my theory that Cael and the other kid geniuses are those dipshit Acolytes we keep transmuting into bloody stains on the grass.

"Whoops, my bad. I accidentally tripped over a cog and spun the entire mechanism into a blue-screen system crash. Sorry, I would have watched my step better but nobody understands how any of the magic here works so really, my ignorance is your fault."

Anyone inside the castle is functionally immortal but if you live here too long, you turn to sand and die when you walk out the front door. That would be difficult to get around for the Portal Bros.

So maybe they aren't the Acolytes? Unless those weirdass cultist suits counteract the effect in some way.

In any case, let's try not to spend a hundred years in there. This place sounds horrifying.

Having no idea they tried to trick him, he pulled some shit to make them more dependent on him anyway because he's a prick. Thus ensuring that his eternal workshop would always have a supply of hands to do the work, while unknowingly caging his own saboteurs in a pen with his critical workings.

Seems like the kind of thing that could bite him in the ass. Aephorul needs to learn to pay more attention.

That's what's throwing me about the "Maybe these kids are the Acolytes?" possibility. The Acolytes are pretty solidly in Aephorul's corner, but you'd think Cael and his gang would be coming up with more shenanigans to screw him over.

Yeah, that. They'd be doing that.

Between that and the "Can't leave the castle" thing, it seems very unlikely that Cael and the others are the Acolytes. I think that idea is solidly sunk.

So. Key takeaways:

1 - We have learned nothing about the Acolytes but a lot about their base of operations. Time is frozen in the castle but we shouldn't linger.

2 - The Watchmaker honestly doesn't give a shit one way or the other about any of this, but she is inside the castle. We might have to feed her some of her own teeth if she tries to start shit, but she's just as likely to let us do whatever as long as we don't get in the way of her own work.

Like Yoyo, she has no real allegiances whatsoever which makes her an ally to none but a valuable resource to anyone who knows which strings to pluck.

3 - Cael and his crew are also inside that castle and would be more than happy to help us ruin Fleshy's day.

Alright. I feel slightly more confident than I did before story time. Let's move out.

#sea of stars #drake plays sea of stars

[oldshowbiz]

The Woman's Club of Hollywood is located at 1749 La Brea directly south of Franklin Avenue. It is right in the dead center of Hollywood, California. The venue is sometimes rented out for weddings.

However, their website has completely scrubbed its sordid history.

The LA Conservancy doesn't mention it either.

This ancient building has always had a weird vibe. Well, no wonder.

For ten years, from 1958 through 1968, it was the home base of "Christian Identity" preacher Wesley A. Swift.

He was bankrolled by an anti-Semitic haberdasher from downtown Los Angeles named James Oviatt. The downtown Oviatt Building is also rented out for weddings and the LA Conservancy leads an architectural tour of the building in which they fail to mention its Klan history.

Oviatt gave money to Wesley Swift to help assemble militias in the Antelope Valley for the purpose of weapons training with the ultimate goal of doing violent battle with Dr. Martin Luther King Jr. and the Civil Rights Movement. The organization became better known in the 1970s as the "Aryan Nations."

A sermon delivered by Wesley A. Swift in this venue in February 1965 was typical:

"I have here one of the most unique pieces of writing in a newspaper. This is Baldwin. Black Baldwin. The scum of Negroes today. Called a brilliant writer and a great author and a great intellectual. Well, his kind of intellect belongs in a pig pen. What he says in his writing, in a piece of literature, called literature, that goes into our schools as literature ... every time he sees a white girl - he wants to rape her! He wants to assault every white woman to bring her down to his level, which proves he knows he's not up on your level. And he can only think of depravity and immorality to bring the levels together, that means to bring you down ... He says we don't have any nation, we don't have any flag, but we're going to get one! We're going to get it by violence and bloodshed and revolution! The Negroes gonna rise and take over! And that was in the San Francisco Chronicle last week. You say: what caused all this? It's because we have not heeded divine law and we have permitted those that are not willing to follow the laws of God to gain ascendency in our nation."

During a sermon delivered here in July 1964 he railed against the Civil Rights Act:

"This tyrannical bill known as the Civil Rights legislation which passed the house this week … The house passed a bill ... which is so filled with state and federal tyranny that it denies you and any establishment, even a church, the right to criticize or to disagree with any law relative to desegregation and anti-discrimination! "Makes it all so mandatory that there be prosecution against anybody who violates this law by securing the facts. A church would not be permitted to advocate the gospel of Christ or preach the content of this bible without violating their law as it relates to discrimination against pagan religions and against other gods. "One could not tell the story of the advocacy of God selecting and electing your race to this responsibility of world leadership without a differentiation between races … and if you declare the thing that God is advocating you'd be subject to prosecution!

"Civil rights legislation, which is not civil rights, but wrongs to the great Christian majority intended on mongrelizing your race and destroying your faith and reducing your nation ... to ... an elite core of evil … I think it should be a basic Christian project of every Christian to do all that he can to see that the persons who would surrender the liberties of these United States into the hands of the dictatorial authorities [are not re-elected]."

From his La Brea Avenue pulpit, Swift ranted against the changing immigration laws of the mid-1960s:

"Why do they want to destroy our immigration laws? Because immigration laws are the result of the Church's recognition that if we permit a flood of immigration into America of pagans and Africans and Asiatics that can out vote and out maneuver Christians, that they'll take over America and our freedoms will go!

"If you don't think this is the strategy, then you turn very carefully and examine the texts … which these Swedish and Negro Communists wrote."

Swift frequently invoked terms like "freedom" and "liberty" in defense of his view point and characterized Civil Rights laws and anti-bigotry as "tyranny."

He delivered horrific, racist sermons right here in the heart of Hollywood every single Sunday for a decade - and I have yet to see anyone acknowledge it.

#hollywood extremism #labrea #franklin ave #civil rights era

[eldritchwyrm]

finally watched dune (2021). assorted thoughts

i really enjoyed this movie but i'm having serious trouble explaining why. i didn't get the same type of enjoyment out of it that i'm typically looking for in a big-budget sff movie. i wasn't worried about the characters' fate at literally any point. i didn't find it "exciting," i didn't "relate" to anyone, and i wasn't "emotionally invested" in the character relationships. i wasn't even intellectually invested in the adaptation project from a critical perspective. i was drawn in by... something else?

felt like timothée chalamet phoned in all his lines. it was like he was doing a cold read of the script over a zoom call and the vibes were just absolutely flatlining. but i don't actually think that was his fault? i think that was an accurate depiction of the character as given to him?

as far as i can recall this is the first time that a sci fi movie actually gave me a gut-swoop feeling via its portrayal of LARGE SCALE. every other sf movie tries soooo haaaard to get me to care about Identical Giant Spaceship #28489211 Did I Mention It's Big, but this is the first time i actually had a "oh that's BIG" feeling

pretty sure that effect was almost all shot composition. lots of extreme wide shots in which architectural features / space objects formed austere, abstracted shapes

i really liked every shot EXCEPT, ironically enough, the ones that featured dunes (lowercase).

me pointing at a generic sand dune: i've had enough of this guy

related to the sand imagery. i am Aware that dune enacts a complex critique of imperialism over the course of several novels and that the Point is to make you uncomfortable at first. i am still uncomfortable. this is fine. this is the point. but i find the move of "immerse you in white saviorism for a whole novel, then subvert it" a lot easier to handle in book form? the cinematic gaze is very different from the novelistic gaze. it does Things to the portrayal of otherwise very similar plot events. still deciding if i like that

then again it's been so many years since i read the novel... idk

i did feel like maybe i should've seen this on a big screen. and i will probably attempt to see the sequel in theaters? something i have not done of my own volition in many years, even before the pandemic?

whatshername who played jessica was an incredible actor. profoundly weird in exactly the correct way

i was surprised by how little emphasis they gave to the litany; it was present just enough but they didn't Make A Scene of it. i'm guessing that's being saved for the sequel

okay now that i've thought about it more: i think i enjoyed this movie the same way i might appreciate an art film.

so the thing about arthouse films is many of them prioritize reflective, reflexive commentary, often in a brechtian or approximately brechtian mode. often this promotes certain kinds of immersion (an ill-defined term! which we use a lot regardless!), especially the intellectual and aesthetic, at the cost of other kinds of immersion.

there's a certain liveliness of character that can be found in the best "commercial" artworks — the sort of thing that makes people say the characters "jumped off the page". that particular brand of liveliness is much rarer in "literary"/arthouse texts because the particular flavor of reflective mode that's fashionable right now puts up a barrier between that "liveliness" and the reader/viewer/etc.

i don't mean that these texts can't directly engage audience emotion or deliver a gutpunch or whatever -- i'm trying to get at the fact that they exhibit a deep distrust of charm. charm as an affect is contradictory to brechtian detachment. that's not particular to 21st century literary fiction or arthouse film, that's a cultural movement that's been happening in fits and starts in america and britain for a while now?

(this is reminding me i still need to read erin horáková's dissertation)

(damn that's reminding me i need to find her dissertation)

(i could always. ask. but that seems. embarrassing)

anyways these aren't inherent qualities of genre. they're not foundational.

you see plenty of texts that employ "commercial" modes of audience engagement that are later recuperated into the literary canon and treated as literary fiction, even if they weren't originally marketed as such. to kill a mockingbird is a decent example of this

ANYWAYS i'm almost sure i enjoyed dune (2021) as an arthouse film? i found myself wishing i could turn down the character voices into a low murmur so that i could just be whisked through the interplay of light and shadow without being bothered with "plot"

despite my apparent lack of investment in the characters, i thought duncan's death was a great example of a classic trope done right? i just found the whole scene incredibly satisfying, narratively? idk.

i got seriously tired of seeing dreamy wordless visions of zendaya's face tho. so you paid for zendaya to be in this movie. WE GET IT.

#small scream

[your-tutor-abacus]

Fikwakyet

Translated to "Fairport" in the English versions of the Sunspot Chronicles, Fikwakyet is a city that is more unique than any other in the Garden of `etekeyerrinwuf.

I explain a bit about the why of that in my own book, Ni'a. But, to recap:

When the Sunspot was built, the Founding Crew designed the shapes of the corridors, the contours of the Garden, and the placement and foundations of the cities. Then they let the Children build upon and between all of that and make the ship their own.

But Fikwakyet was a special project. Fenmere (a.k.a. Fenemere) wanted to run an experiment, and managed to get the Crew Council to approve it.

Part of the whole point of the Sunspot was to make a strict and sudden cultural break from the millennia of fascism that had been plaguing their predecessor ship, the Terra Supreme (Feruukepikape). And for most of the Sunspot's architecture and culture, everything was derived from shapes and themes found in nature, and everything that reminded the Founding Crew of the Terra Supreme was done away with.

Fenmere contended that certain aesthetic choices were not inherently fascist, and wanted to demonstrate this by having one city where certain old elements could be reintroduced, starting with rectangular foundations for its buildings (instead of the scutoid structures found everywhere else on the Sunspot).

Fenmere had other reasons for doing this, besides trying to prove this point, and those reasons are likely to be visited in the last few chapters of the Sunspot Chronicles (I'll refrain from spoilers here).

The result is that, somewhat coincidentally, due to how right angles tend to work, when we finally made contact with Earth through the Tunnel Apparatus, it was remarked upon how similar Fikwakyet is to many Earth cities.

There are some critical differences, of course. The scales of things are not the same, because we build to accommodate both the largest and the smallest of our people, as well as for many disabilities.

Also, we have nothing like industry or commerce. At least, not driven by anything remotely like profit.

@ashwin-the-artless explains this in nems post titled Cities.

But, I'd like to use this opportunity to highlight another aesthetic difference. The alignment of our windows.

This is something that can be seen in almost all Sunspot cities, except perhaps Agaricales (which is a little more chaotic than most).

There are two axes of spectacular views on the Sunspot: foreward and aft; and spin and antispinward.

To the fore and aft, you can witness the sunbirths and sundeaths, and also the moonbirths and moondeaths. It some people really value that, and build their houses to give them as much view of that axis of the Garden as possible from anywhere in their house.

Perpendicular to that, spinward and antispinward, you can see the curvature of the Garden on a clear day, and the geography of it and neighboring cities, and honestly, even though I've lived with those views for the entirety of the Sunspot's existence, I still find them utterly breathtaking.

We try to show this off with the other photos of the Sunspot we share with you. This photo, here, however, demonstrates the effect on the architecture of the houses.

It's pretty rare that you'll find any building that is not aligned with one of these axes. And those that are tend to have wrap around windows that accommodate views of as much of the Garden as possible all around.

Another difference between the Sunspot and the Earth at the time of this writing is that our windows are more durable, more insulating, and more configurable. We can change their transparent and reflective properties on command. Which means that we have very few incentives to not make a wall a window, except perhaps to give us room to hang something or to place furniture against it in an aesthetic way.

But, solid walls and ceilings are still just a tad more insulating than our windows, so some people do opt for more opaque housing.

But if you don't want the views or the light, you'll usually choose to live belowdecks anyway.

#Fikwakyet #Fairport #the Sunspot Chronicles #a tour of the sunspot