Junicrane/Starstruck Ramble
I will not be brief, all under the cut
To clear some things right off the bat:
No corpse, no proof with Juniper. Obligatory this is set in a canon where he's alive and adjacent to the agency in some way.
Reggie & Juniper are just gay to me, but I don't mind any interpretation of their sexuality
The games are set in 1967/68 to me (based on a couple bits in game) which is before it was legal to be gay in America at least (1971), which is relevant to how I interpret canon as being somewhat grounded in reality, despite unrealistic elements.
This is just an insane amount of headcanons/elements of and AU all culminated into one post. I will talk about some headcanons like they're just facts because they are established in my head, and it saves me over explaining literally everything, however I will explain some parts a little bit for clarity.
Alright. Actual beginning of the ramble:
Juniper is a character to me who had gotten so lost in his job as an actor and a social presence that in the end his whole life revolved around that 'role'. Because of this, by the time he's put into the situation where he's around the Agency, he basically knows nothing about himself, though he doesn't realise at first. Furthermore, what little identity he had has changed in so many ways. He's no longer a beloved famous actor in the prominence of public light, he's legally dead and he tarnished his career just before he was supposed to die, with the bonus of that making him lose the majority of his estate. From that, he also has horrific facial scarring from the electrical burns from literally having his face fried. I believe a friend of mine made a post about this a while ago (I also think they were the first to think it up also), but, to me, Juniper has a permanent trimmer in his right arm (aka his dominant hand) from the electrical current and it is messing with his nervous system.
All in all, he's not doing great, but he's too proud to admit that he's not doing great, because if anything, what's left of his ego is all he has as a defense since he's deep in unfamiliar water.
Before ending up around the agency (I have multiple interpretations of this, so I'm just going to bring it up generally), he'd never actually seen Reggie, and his only impression of him is a single voicemail, which was his only reference he had to later impersonate him. Juniper probably has very little feelings other than the ones he projects onto him because of Phoenix and that, at the very least, he's physically attracted to Reggie to some degree (that's like the beginning of how everything else would tumble into place in this sort of interpretation at least).
And on Crane's side? His feelings towards Juniper are probably very intense and muddled. On the one hand, he adores musical theatre, and that's his now ex-favourite actor. The thought of just casually being around him blows the bit of fanboy in him away at first because THAT'S the GUY, plus the inklings of a celebrity crush which still poke at him. And then there's the rational side of him, which knows Juniper has committed absolute atrocities on the side of Zoraxis, and hates him for that. Then there's how much Juniper comes off as an asshole at first because he refuses to cooperate with anything the Agency tried to put in place. He finds Juniper endlessly frustrating, and yet he's stuck working with him since, afterall, he's the one who knows the Agency's history with Juniper the best. I imagine him acting a lot like how he does IEYTD 1 around Juniper.
At this point, I'm just describing the pitch for a romcom.
I think the start of their relationship with one another largely started with Juniper trying to wind Crane up. It was a way of getting his attention, and I don't think Juniper knows why he's so dead set on that at first, because I don't think he realises he has a crush on 'this grump' at first. (I think that's actually the fun part about these two, because it's almost like a role reversal of the celebrity crush dynamic. This ex-big name actor has a TERRIBLE crush on an average joe and it is KILLING HIM.) But of course the Agency keeps them together because Juniper is at least conversing with Crane, so it's a start.
Through one way or another, they actually get talking casually, at least mildly at first. It takes Juniper a long time to fully deconstruct the wall he's built, and the thing is, Crane isn't the one trying to deconstruct it, at least at first, because yeah, Juniper realises if he wants Reggie to actually like him in any way, he can't keep winding him up. So they talk. Small talk at first, something rhythmic and almost easy to keep to a script. And over time that turns into actual conversations. Genuine ones in which Reggie rips out the occasional one of his jokes which Juniper is endlessly endeared about. The way he smiles just before he makes them, like he wants to chuckle at what he's about to say before he says it. That's probably when Juniper realised that he does have some vague crush on him, and that it wasn't going away.
This is what kickstarts John I can't-buy-you-things-to-impress-you-so-acts-of-service-it-is Juniper to do little things for him. It mostly starts off as him trying to make Reggie his tea how he likes it. However, the nerve damage in his arm makes that hard, as the weight of the kettle and trying to pour is hard all of a sudden. And he refuses to accept that, so he tries for a very long while. Long enough that Crane would go to investigate what was going on. And when he does see Juniper leaning over a cup with the kettle as he uneasily tries to pour it, and when Crane asks Juniper responds so matter-of-fact that his intention is nothing but genuine. And it catches Reggie off guard because Juniper hadn't done anything like that up to that point, and his very apparent vulnerability is so clearly on show.
It shifts something between them.
From that point on, conversations are longer, more familiar. Both of their attitudes soften, and Reggie makes more jokes. Juniper learns how to better use his left hand while strengthening his right back to a point where it could be used again. Slowly, they're both spending time with one another not because they have to, but just because they can. Little bits at first, not too far outside what they already were doing, but those little bits turned into long bits to a point where the other person's company was genuinely desirable.
As time passes, Juniper probably realises that he doesn't genuinely know much about himself or what hobbies he's into, because he never really had the time when he got big, and his home life in his youth wasn't bad, but it wasn't picturesque. I think Reggie would pick up on it, and absolutely try to introduce him to some things he's into. Some things stick, other things don't (corn husking very much stays Reggie's passion, and John will go with him sometimes because it's him, but it's not something he strongly cares for). Crane introduces him to a lot of music, and it's something that becomes a staple between them, with tracks they listen to more than others (tragically, I know relatively little about 60s music so I couldn't really say what). Occasionally they dance, never anything intense, think slow dancing, but the closeness is nice.
Through all of it, Juniper is battling the worst crush of his life, and he can't stand it, because I think he struggles to read people since he doesn't have anything like a script or a director to refer back to, so he has no idea if Reggie likes him back or if he's just desperate for that to be true. I think because of that any sort of confession between them would be incredibly raw, not only because of the time they live in making it hard for them to be truthful about how they love, but because it's a complete show of Juniper who's worked to be this better person. I don't exactly know how that would go, mainly because I don't have one set version of their dynamic, this post is just a generalisation of main consistent points.
Reggie does like him back, because he's gotten used to Juniper being just this guy, not a figure in the public eye, not a Zoraxis lackey, and not any sort of Agency operative (despite being under their care to some degree). He's someone he genuinely cares for, because they've given one another the time of day to learn one another, and I think because Reggie was a field agent, he was a lot better at reading Juniper than Juniper was at reading him. Eventually Juniper's company becomes something he could see around him for the rest of his life, and I think he accepts that he likes Juniper a lot more gracefully.
I think any affection directed at Juniper would at first be met with him feeling a little muddled. Reggie was a very physically affectionate person when he could be, and sure the initial flirting with one another came with the occasional little touches, but everything now was so deeply intentional. I also don't think Juniper would almost ever get over the novelty of being able to kiss him, or many other gestures, because it made the fact that they were together so very real, and it was great. I do think it comes easier to Reggie, and it's a big way of showing how much he cares, so it's important for Juniper to try and show it back because he knows how much it means to the other.
I like the idea of them eventually living with one another, too. I think Juniper would have always had a quiet little daydream of sorts where he does just live a domestic quiet life, and he can with Reggie (well, as close as they can get between the Agency and Zoraxis always being at odds), and he loves that, and he loves him, and it's immense.
I think they cook for one another a lot, it helps Juniper work on his dexterity in a controlled environment, which means a lot because it's a huge point of insecurity (that and his scars). He does improve, and Crane is proud of that and shows it and it's great. I also think they'd probably cook together too, because they can deal with being in the kitchen together and they work well with one another. It's probably a good way for them to unwind because over time they can do it in relative silence.
As I said before, I also think music is a staple in their household, and that Reggie listens to things on vinyl almost all of the time because he likes the background noise. Sometimes Juniper will catch him chuntering along to the music which he finds endlessly endearing. I wouldn't put it past his dramatic ass to also join in to fluster Reggie, but I also don't think Reggie would mind that terribly because Juniper has listened to the music enough to know the lyrics, and that's huge to him.
I don't think they are without rough patches, no relationship is, but I think the good part about them is that they're willing to talk about it (... eventually). They're used to long conversations, and while they're often less fun conversations, they're needed and they know that, and it works out.
Alright. I think I'm done for now. I haven't mentioned everything, but this definitely got the worst of it out of my system. If you ever want to hear any specific thoughts my ask box is open but other than that, behold my general dynamic for these two which has been festering in my head for years. I think they're great
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A Very, Very Unfinished Pile of Theory of Everything Headcanons (Ayreon)
Last semester, my English final was a presentation relating the overall theme of the Forever saga to that of the more popular works of H.G. Wells. Details of that argument aside, the thesis was that Ayreon’s emotional core was the presence of small-scale acts of love juxtaposed against large-scale existential tragedy, balanced in their individual power. That we are messy and self-destructive, and in the grand scheme of things we mean very little in the universe, but we are resilient and alive and human and that has to be worth something.
I really like this aspect of the main story, and it got me a perfect score on that assignment. It had a ten minute time limit and I was fighting for my life to stay under it. While I was downsizing the script, I couldn’t help but think of an earlier idea I had drafted about how The Theory of Everything on its own was a really incredible example of the mad scientist archetype turned completely on its head (it was a science-fiction analysis class). Specifically how that script was almost three times longer than the original H.G. Wells one, that took me a solid twenty minutes to read aloud.
I literally wrote an hour long lecture about The Theory of Everything. No headcanons. No extra theories. Literally just picking apart its canon plot.
I think this is why I have so little extra writing for it. The story as its given is airtight and just…fucking incredible. Arjen wrote it with a very clear theme in mind like he did with Transitus, but TToE isn’t missing half of its story because he couldn’t pull in the cash to make a movie out of it. You can feel the intention behind every single character, they feel like real people, it has so many layers to it and it is literally, objectively, the greatest prog album ever made. Fight me.
But anyways: For lack of better phrasing, there isn’t much to “fix” in that sense. Almost all the headcanons I have for The Source or Transitus boil down to a few things:
I was being self-indulgent with a favorite character and it snowballed into a genuinely informative trait/subplot that informs the main story (a certain hc I have where Henry just fucking shoots Daniel in the back by mistake sometime between Two Worlds and Talk of the Town, turning into this weirdly effective commentary of how Daniel is conditioned to his brother’s shitty behavior and Abby hauling ass to get him out of that headspace)
I am curious about aspects of an album’s worldbuilding and get a little excited while filling in the blanks that were perfectly fine being left alone (doing mental gymnastics trying to build a version of The Source where these five academics, three politicians, two religious figures, one robot and one random spaceman viably know each other)
The rarer option that I am genuinely disappointed by how a part of the story was handled and completely ignore this small part of canon to make the overall story be more effective. Or attempt it, at least (Lavinia’s entire character undermining Transitus’ themes and her contradicting her own motivations, and me, in turn, just writing her character from scratch while keeping with the basic story beats [her seeing ghosts, doing shady shit with Henry, etc.])
But with TToE I’ve felt very little need to do any of these. If I were to really dive into it with intention I think I would start building off of the whole bank robbery plot in Phase III (just a slightly weirdly framed plot point for me), but I haven’t thought about it. It’s not that glaring of an issue and there’s few other places in the story where I think adding anything would make it more effective.
This isn’t to say that Transitus and The Source are objectively worse in any sense, but they leave a lot more up to interpretation, allowing me to write so many add ons that they become structured and essential to each other’s function.
It’s fun with those two albums. With TToE I really have to look for cracks to fill and it’s kind of useless.
Not entirely, though. I’ve got a few hcs, and maybe they’ll warrant dozens of google doc pages of context one day like the other two albums:
Two central things sparked curiosity. Setting, and how the parent characters came to hate each other that much. Naturally.
This started four-ish years ago when I was pacing around my parents’ house with TToE on the mind (as it often is), and my brother put on this show called His Dark Materials. I watched the intro to it all of one time and just…knew this was the aesthetic TToE should have.🔗 At least combined with dark academia. It’s an album about physics and ghosts, that seems reasonable enough.
…funnily enough, as I later found out, His Dark Materials itself has a very dark-academia-esque vibe, and the plot is entirely based upon the intersectionality between science and mysticism and trivial human attempts to make sense of it.
So. Pretty fitting.
This really stuck with me, and a handful of the characteristics of the show and books became the basis for the way I picture The Theory of Everything. Mainly the visual aesthetic, like I said, but also the fact that the story starts at a parallel version of Oxford University. I don’t have some giant case study for this like with Transitus/New England. I just think it’d be a cool and vibey setting. Maybe it’s the American in me but there’s something about a thousand-year-old college with a campus made of literal goddamn castles that borders on the fantastic.
From there, you have a decent excuse for The Prodigy to run off to Ireland, where you can choose from one of like 200 different pretty little isolated lighthouses for him to lose his mind in, far enough away for him not to be found as long as he did. Not to mention it lowkey matches with the overt Celtic influence of the music. Or Scotland, if you want some weather symbolism from the North Sea.
Solid setting, if I say so myself, and it actually influenced the family’s whole situation. Here, The Father (Mike) is a physics professor at Oxford, and The Mother (Cristina) is the director of the Bodleian Library. It’s how and where they meet in 1991 (though the mother is in an attendant position at the time), as shown by the only part of this I have drawn out:
They hit it off, and marry in 1993. Their first and only child is born two years later and they love him half to death. Everything is more or less nice and normal.
In 1996, Mike stumbles into “proof,” more or less, of the theory of everything being a singular, solvable equation through his work, practically by accident, and begins focused work on it with enthusiastic support from his wife. Life is going great, Cristina is promoted and the two are balancing things well enough.
The boy shows little to no social development into his toddler years, but his parents don’t think much of it. His father was similar at his age; they’re not worried. They even go as far to say he’ll turn out just as ambitious and smart as his dad and relatives, coworkers and family friends go along with it, setting insanely high expectations for this literal three year old. Mike keeps working on his theory.
The boy enters preschool at age four; still no improvement. Just isolates himself and draws indiscernible patterns on everything you put in front of him. His parents finally try to intervene to some degree, hiring private instructors and talking with some other psych/child development people they know through the university, to no avail. Nothing changes. He just stares off into space, doesn’t interact with any of them and supposedly doesn’t pay attention to lessons. He still isn’t speaking. Cristina is finally concerned
Around the same time, Mike makes a significant breakthrough in his work, gaining worldwide attention. He receives massive grants from in and outside of Oxford to continue his work, and quits his teaching job to make more time for the endeavor. Cristina is left as the family’s sole provider. She understands and is in agreement on that decision, that’s not the problem yet. The problem is that Mike is becoming more or less indifferent to their son hits five, not seeing any previously projected greatness he was supposed to have in his father’s footsteps. Cristina, much more conscious of balance in her life and how having kids works, isn’t sure what to make of that. Their relationship starts to strain.
From there, as Mike keeps working, Cristina takes the kid to all sorts of specialists around England but none of them can pinpoint what’s “wrong” with him. She tries much more actively to connect with him like they’re telling her to (though she still enrolls him in the university’s affiliated primary school program, against their suggestions), bringing him everywhere. Buys him little memory games since that’s all that seems to hold his attention. She’s past any belief of him being some secret genius like his dad, not that her opinion of her husband is super positive at this point anyway. She’s just dead-set on her son having some sense of normal in his life.
By 2002, Mike has completely secluded himself and works nearly constantly. He has made no progress on his theory since 1999 and the fame garnered from his breakthrough has faded. The family is running out of money and Cristina is exhausted. The boy is ostracized at school and still (almost) totally nonverbal. Her coworkers keep suggesting these weird holistic remedies that she refuses. She knows better than to fall for all that new age, pyramid scheme bullshit.
The son’s condition, whatever it is, worsens until mom, desperate, puts her foot down in 2008 (or “gives up,” if you wanna put it like that) and drags her husband and son to this private practice in Scotland she was told about by a friend, suspicious but ready to put up with anything at this point.
😐👍
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While still on my 2HA high, I really want to talk about Chu Wanning's love for Mo Ran.
It is strange, isn't it? How deep his love goes when he only met little Mo Ran for a short while.
IMO, Chu Wanning is like Goj0 Sat0ru - the strongest but the loneliest. Everyone puts them on a pedestal which isolates them from building true connections with others.
For example, Xue Meng obviously loves and cares for Chu Wanning. However, he deeply respects and fears him too. He never sits beside his teacher when eating after all.
Coupled with Chu Wanning's temper and horrible social skills, he is an intimidating figure that would be really difficult to befriend.
Then little Mo Ran barges into his life. He disregarded all the social propriety bullshit and straight up demanded Chu Wanning to pay attention to him. He reached out and interacted Chu Wanning as a person - not some powerful figure to be revered and feared. For someone who has been treated as almost a "nonperson" because of his abilities for his entire life, that simple demand was special and kind in Chu Wanning's perspective.
So, imo, Chu Wanning is like Goj0 and Mo Ran is his "Get0". He loves him because, through sheer luck (aka fate), he is the first to see him beyond his powers and treat him as a real person.
So the next question then is when did Chu Wanning fell in love with Mo Ran?
I don't really know. In the beginning of the new timeline, Wanning is already in love with Mo Ran - he feels jealous of Shi Mei and feels wrong about having such feelings. I guess his love grew over time? Kinda like how Shi Mei and Mo Ran developed their feelings for him.
Maybe that's the case in 0.5 too but far more complicated. Chu Wanning loved Mo Ran. Fell in love with Mo Ran but never did anything about it because of Shi Mei. Probably fell out of love because of Taxian-Jun being Taxian-Jun. However, Chu Wanning's love for Mo Ran still endured despite everything especially when he realized his former disciple needed saving.
As for lusting after Mo Ran, I can only say poor Chu Wanning in the current(second?) timeline. The guy's already in love and ready to take his forbidden feelings to his grave. However, the soul fragment 0.5 Wanning put into him made him remember all his horrific experiences as an abused sex slave by Taxian-Jun... which he misinterpreted as wet dreams and triggered his lust. What a fucking mess. It would have been funny if it weren't so dark and depressing.
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