#working with less dialogue is honestly so interesting

[villain-enthusiast]

Hi Hello!! Would you please continue the snippet of villain finding hero dying? A lot of whump and caretaking would be great! (By the way.. just wanted to say this...I love your work!!)

so glad u enjoyed! hope this is also to your liking ☺️

part one

.

The hero came to with a start.

They shifted, groaning as their stiff muscles and joints ached. But they noticed that their body was comfortable, sinking into a soft mattress and swaddled in thick blankets—

Wait, what?

They blinked several times as fragmented memories flashed through their head, The blinding pain of the stab wound. Their broken comms. Blood, too much blood. They were going to die without help…

The villain. The villain finding them in the alleyway, gathering them up in their arms—

“You’re awake.”

The hero jolted, head whipping to the bedside, where the villain had apparently stood up from the chair behind them.

How long had they been waiting there?

They moved to prop themselves up, but the villain’s hands were immediately on their shoulders, gently urging them back down onto the stupidly comfortable bed.

“Don’t move too much. You’ll break the stitches,” the villain warned. They pulled the blanket covering the hero’s torso away to examine the bandages wrapped around their side.

It was then the hero realized that they had been scrubbed clean and given a new pair of sweatpants, every cut and scratch from their recent altercation carefully dressed.

Their eyes met the villain’s in silent questioning.

You did all this for me?

“I swear I didn’t look,” the villain blurted suddenly. “When I was bathing and changing you. I didn’t—.” They cut themselves off awkwardly, cheeks a little pink.

Oh, that’s not… Despite themselves, the hero smiled, or what they could attempt as a smile. Their jaw was incredibly sore from being socked twice in one day.

They opened their mouth to speak, to tell the villain that it was fine and that what they really meant was thank you—

The villain shushed them. “You have some bruising on your neck. It’ll hurt to talk. You should just rest.”

The hero scowled at them. “I—,” they attempted, and immediately regretted their choice as their swollen throat flared up.

The villain gave them a "told you so" look, and the hero leveled another glare at them.

It suddenly occurred to the hero how helpless they were. Can't move, can't speak. If the villain wanted to kill them, now would be the chance. Luring them into a false sense of security, giving them one last taste of comfort before—

“I just saved your fucking life. Stop looking at me like that.”

The hero frowned. Like what? they mouthed.

“Like you think I’m gonna kill you or something. I can be a half-decent person sometimes, y’know," the villain said. Their expression softened. “I’m not a monster.”

The villain's gaze flickered with something the hero couldn't quite place as they watched each other in comfortable silence. It was an understanding, in that moment, that the villain was not going to kill them, and that they had meant everything they said and more.

I couldn’t just leave you to die in that alleyway.

The villain sighed and turned to leave the room. Panic shot through the hero—they needed to say something to the villain, damn their throat—and before they could think twice about it, they reached out and took the villain’s hand in their own. Rough calluses from what was likely decades of training scraped against their palm.

The villain stared at them, but they didn’t pull away. Their fingers wrapped gently around the hero’s, cautious. Expectant.

“Thank you,” the hero croaked, “for saving me.”

The villain was silent for several heartbeats, watching the hero with those dark—so beautifully dark—eyes.

They took a breath, as if readying themselves for whatever they were going to say. “You mean too much to me," they finally said, voice low. "I'm not ready to let you go." Their hand lingered on the hero's, as if to seal their statement, to make a promise and keep it.

Then they released their hold, and the hero wished they could tell them to stay—that they wanted them to stay—but the villain was already closing the door behind them, and fatigue overtook them before they could process anything else.

When the hero awoke the next morning, the villain was nowhere to be found. But in the chair by their bedside, they found a fresh set of clothes, a cup of water, and a note:

Be back soon. - Villain

And though their jaw still ached, the hero smiled, fully and wholly.

#hero #villain #villain and hero #hero and villain #villain/hero #hero/villain #hero x villain #villain x hero #putting those tags bc how could i not #enemies to lovers #injured hero #hurt/comfort #my writing #writing snippet #villain-enthusiast #ask #continuation #working with less dialogue is honestly so interesting #really makes u focus on mood and description

[dedalvs]

Just saw the Dune: Part 2. What do you think of the empire and fremen languages seen on screen?

I wish they would have let us do something ourselves for the Harkonnens (we could've created a badass Harkonnen language), but we certainly can't complain, given how much screen time our Fremen language got. We translated and delivered over 500 lines of dialogue for Dune: Part Two, and MOST of it ended up on screen. That is absolutely astonishing for a film. I invite you to go through the dialogue for previous films I've worked on—including Dune: Part One—and add up all the lines we've translated, and then see how much of it ended up on screen:

There's more Castithan in Defiance than language work in all the other movies I've worked on combined. For films, in general, they ask for little and use less, and err on the side of not subtitling where possible. Dune: Part Two is extraordinary in the amount of conlang dialogue that actually appears on screen. The only thing to compare it to, honestly, is Avatar (the first one, not the second, where they decided everyone should just speak English most of the time, which is lame).

So, yeah, Jessie and I were very pleased.

Oh, and by the way, those who follow my Tumblr may remember how disappointed we were that only I was credited on Pixar's Elemental, despite the fact that my wife Jessie and I worked together to create that language. Not so with Dune: Part Two! We are both credited. Furthermore, they really treated us right—especially Jessie, as she didn't work on the first film with me. I'd understand if they were a bit hesitant, given the fact she wasn't there for part one, but they welcomed her, treated her as part of the team, credited us both, and even credited her as Jessie Peterson, despite the fact that she hadn't yet changed her name (we were engaged but not married when the credit roll was locked).

And, let me tell you, Jessie was responsible for most of the brilliant semantic work that went into translation for this second film. We've done a lot of press of late, and we often get asked what are interesting words/idioms we've come up with, and every time we find one, invariably, it was Jessie who came up with it. I may have come up with the flesh and bones of Chakobsa, but Jessie gave it the heart that pumps its blood.

#conlang #language #quothalinguist #dune #chakobsa #fremen #harkonnen #avatar #castithan #defiance

[theminecraftbee]

so, first, accountability statement: I plan on trying to finish the “zedaph steals a baby” fic by the end of the month and god is that one-line summary no longer accurate but we’re sticking to it, said here publicly so now I have to do it. obviously I also have recursive exchange and the writing I have for hotguy comics zine, but I am not SUPER worried about either of those time/inspiration-wise at the moment and also for Reasons I know it won’t be long until I have more free writing time after that, SO.

various items that are on my potential writing docket, I am curious which of these appeal most:

I dust off the supervillain support group au. two ways this could go: I chip away at the second arc of my original outline and acknowledge this will be like a 300k fic I’m not ready to feel “done” with or “ready to post” with for ages, or I re-work it into something a little more doable and less ambitious keeping the same premise (ren runs a support group for supervillains, doc pov as he starts to heal and redeem himself). this MAY honestly be a target for “if I don’t hate the first 50k on re-reading it and I can actually make my brain write the second arc, do a slower release schedule and then start releasing chapters before I’m done writing”? but this ALSO runs the risk of “I stopped writing it, which is often a sign I was having trouble writing it”.

pearl monster au, which has been cooking in my head for a long while. the basic premise is “one day, pearl, with no memory of how or why this happened, wakes up in a facility as a monster and must try to figure out how she got there, escape, and find her way home, even knowing she may be irrevocably changed”. now with bonus season 10 fish flavor to add to this creature design I’ve been iterating on in my head for forever! this one is ALSO an experiment for me in “can I write a fic where I can’t write dialogue for basically the entire first act”, which would be interesting to see from me, you know?

the related “bigb folklore au”, where after secret life bigb is woken up by Cat and Dog by the tracks of the King Snake, which bigb can recognize as the railroad track, and decides to journey down the railroad to see if he can figure out what the fuck is going on. I need to do video review of life series bigb for this one. this is my excuse to get Weird and Metaphorical and also assign everyone to various animals for no reason, along with using some very specific aesthetic I have wanted to use for some worldbuilding but hadn’t gotten around to yet in any of my stuff. man walks through the desert with animal, confronts train that might be the watchers, might be death, and might just be a train. also, realizes that “confront” is the operative word there and has to deal with that. you know how it is.

““office au””, in air quotes because it’s not REALLY what anyone going to an office au is looking for so much as an excuse to write weird horror. iskall, normal-ish software developer man in a boring office job who does game jams in his free time, goes to work one day to work in his boring downtown office on a payment system for a client. and then things, uh, Take A Turn. this would be a LITTLE me going “what if I wrote an au with a guy who works in tech but like, the boring side of tech I’m in. like, banks and consulting and manufacturing and shit. where you sit in meetings all day and tweak java 8 code even though that language is ten years out of date. but THEN. something exciting happens in the worst way possible.” I’m doing to iskall what I did to mumbo stuffed bird is what I’m saying. it’d be fun.

DO ANY OF THESE PARTICULARLY INTEREST ANYONE. your input will be valued. like 50% chance i get hit with a strong bolt of inspiration then IGNORE that input but it’ll be valued all the same,

#note that me telling you about these ideas is ALSO accountability #on account of both ‘anyone can make whatever based on my things forever’ meaning one of you could make one now #and on account of people will start asking me about them on rare occasion now lol

[kikokus]

Lucci and Kaku: An Analysis

I haven’t done long analysis/meta/essay-style posts in a while, but after seeing a comment that amounted to “every time Lucci’s shown an interest in something that doesn’t have to do with killing, Kaku’s involved” it made me think about whether or not that's true and, more specifically, whether or not there’s been sufficient build-up to justify what happens in Chapter 1111.

So let’s explore, shall we?

First of all, basic disclaimer that I’ve been heavily into One Piece since 2008 and Water 7 has been my favorite arc since the first time I read it that summer. Kaku, in turn, has always been one of my top characters in the entire series for various reasons…but this isn’t about him (at least, not entirely), so all of that is just to say that I’ve thought about these characters a lot over the years.

And I think what always struck me about them is that not only are they so fundamentally different, but that realistically Lucci should not tolerate Kaku at all. He’s pretty much everything Lucci’s not, and they’re more-or-less a perfect example of the ‘someone will die…of fun!’ meme in a lot of ways (and honestly it’s what I think of every time I see this card, but I digress):

At the same time, what happened in the latest chapter didn’t surprise me, because there’s been hints all along, and I’ve personally been waiting years for it to pay off…even though part of me thought it never would, or at least not in the way it did!

Still, how did we get here?

But First, A Bit About 相棒

So. Why is the fact that Lucci calls Kaku his “相棒” (aibou) so significant? Mostly because of the…individualistic meaning of the word. It literally translates to ‘partner’, but not in a romantic/life-partner way (not to say that it has never been used like that, but it’s not the inherent meaning of the word).

Unlike words such as 友人 (yuujin), 友達 (tomodachi), and of course, with Luffy, 仲間 (nakama), aibou generally only refers to one person. You can have many friends, teammates, crew members…but only one aibou. So by calling Kaku that, Lucci’s already placing him on a different level to anyone else in CP9 or CP0 and acknowledging openly that Kaku’s important enough to him to have earned that distinction.

Which is why a lot of us were very excited about it, since this is not a common occurrence where Lucci’s concerned.

That aside, let’s get to the actual canon content.

Water 7

Obviously at the beginning we find out they both work at the shipyard, but that in and of itself isn’t entirely significant…until you consider that, since Kalifa is pretty much with Iceburg all the time and Blueno’s running the bar, the two of them are working in much closer proximity to each other than to the other CP9 members in the city. 

The first real indication we get regarding their comfort level with each other comes in chapter 327 when Kaku gets back from examining the Merry and goes to sit down to explain what he’s discovered. Paulie’s the closest to him, but he actually ends up stepping past both him and Lucci in order to sit directly beside Lucci on the same level.

It’s quite a while before we see the two of them alone again, and it doesn’t happen until chapter 339 when they’re speaking with Robin. Of course at the time we’re not supposed to know it’s them, but there’s really nobody else it can be since this is happening at the exact same time that Blueno’s talking with Franky and Kokoro at the bar. So, as will become fairly common, the two of them are again acting as a unit of their own within the larger group.

And then, of course, we get the infiltration of the mansion prior to The Big Reveal (which I’ve spoken about before because for me it’s still the single greatest reveal in the entire manga because of how carefully crafted it is, right down to Kaku’s limited dialogue in this section being completely devoid of his usual speech quirks in the original Japanese text). Once again, Blueno and Kalifa are doing their own things while these two are working together.

This panel has always been interesting to me because immediately prior to this Lucci says he can’t let Paulie live, and then he decides to just restrain him instead. In Luffy’s case it makes sense because they gave their word to Robin not to harm the Strawhats, but he has absolutely no reason to spare Paulie, and the little lines of shock/surprise beside Kaku imply that he hadn’t expected Lucci to do that, either. The ‘why’ is still unclear, but it’s interesting nonetheless, and it’s also…noteworthy that it’s the only thing Lucci asks Kaku to do. All of the actual damage Paulie takes comes from Lucci and he never asks for or expects Kaku to harm him.

I never connected these two panels before but it’s obviously very deliberate to have Lucci telling Iceburg that feeling emotions is a sign of humanity followed immediately by Kaku…demonstrating exactly that and thanking Iceburg. It’s important to establish that part of Kaku’s character, but keep in mind Lucci’s lack of a reaction here because it’ll come back later.

Again, very tiny moment, but there’s a lot of examples of Lucci deferring to Kaku or letting him take the lead without any hesitation, and I like this because Kaku’s noticed something that Lucci hasn’t and Lucci just goes with it immediately.

I’d forgotten about this but Kaku’s also the one that decides to take Usopp with them, first by recognizing him as one of the Strawhats and then going through with it even after finding out he doesn’t consider himself a part of them anymore. And Lucci just…stands back and lets him give out orders to the others while doing so.

Okay so this is what I was referencing earlier. Kaku shows actual emotions with Iceburg and Lucci’s silent, but the moment Kalifa gets even slightly happy about completing the mission he’s berating her instantly. Kaku’s expression here is interesting too because he looks absolutely haunted and it’s very telling.

And also another visual representation of Lucci and Kaku being equal to/on the same level as each other.

I didn’t include the panel but Kaku was ‘sleeping’ when Corgi was giving them all of the information about Nero while Lucci was (seemingly) wide awake, and yet Lucci has no idea who he is and relies on Kaku to have all the information. Which he does.

Kaku being the one to take charge again and direct the others even though Lucci’s standing right there. They do this more than I’d realized at first, especially since Lucci always seems to be looked at as the unofficial ‘leader’ of CP9.

Enies Lobby

We’ve made it to Enies Lobby, which is the first glimpse we get of these two interacting with the full CP9 group outside of any sort of ‘mission’ environment.

Mostly it entails Lucci being more combative (especially with Jabra) and Kaku being more annoyed, but again I can’t really imagine anyone else taking this tone with Lucci and getting away with it while Kaku does it fairly often and Lucci never retorts or gets angry with him.

And while Kaku’s not immune to taking Jabra’s bait in the right circumstances, his typical tendency is to de-escalate situations if he can and here he’s refusing to engage despite being deliberately called out…and Lucci, without being asked, immediately takes his side and defends his choice.

This is practically the next panel and while both Lucci and Jabra are kind of equally at fault for this little display, Kaku only berates Jabra for it while Kalifa’s directing her comments at both of them.

Now that I’m actually looking for these sorts of things it’s becoming more obvious, but again we have Lucci and Kaku in an equal position to each other at the front of CP9.

This isn’t just to Kaku since Kalifa’s there as well, but Lucci’s still encouraging them to eat the fruits and I have to believe it’s coming from a place of good faith because he’d know whether or not being able to swim is that big an issue in their profession. I also want to note that Kaku echoes Lucci’s ‘it’ll be fun’ line when he actually does eat his fruit, so obviously that resonated with him.

I’ve put these two together because they both highlight the same thing, that being in both of these sequences we get almost all of CP9 giving out their individual thoughts/comments on what’s happening but Kaku’s statement both times is a direct reply to what Lucci says, so again the two of them are paired off in a way that doesn’t include anyone else there. 

The only other thing of note in this section is that while Robin’s talking about what happened during the Buster Call on Ohara, Kaku and Lucci are the only CP9 members to kind of…break formation and actually look at her while she’s speaking, which is interesting.

And for the rest of Enies Lobby they aren’t together so there’s not too much more to say here other than Kaku of course being the one to have the actual key to Robin’s cuffs, but it’s never made explicit who came up with that plan or handed out the keys so…if I ever actually do the thing and write a full analysis of Kaku’s character we can talk about it then Lark you’ve been saying you’ll do this for years IF I EVER--

Interlude - CP9’s Independent Report

Besides the fact that this is still one of my favorite cover stories, there’s a couple of noteworthy things here, the first of which is that Kaku again is taking the lead. Even though he’s the only other CP9 member other than Lucci to be injured badly enough that he can’t walk on his own, he’s still the one directing them where to go.

Other than that, I love seeing all of them just…interacting like friends and being very relaxed and casual, and pretty much every panel where Kaku and Lucci are together they’re directly beside each other so I’ve included a bunch of those here.

Dressrosa & Egghead

The next time we see Lucci and Kaku is at the end of Dressrosa, where they’ve been promoted to CP0 Oda can we please get some explanation of how this happened and let me tell you, I remember this vividly because the spoilers at the time just said that Lucci was talking to ‘someone’ and when the raws came out you can bet I went right to the dialogue to see if it was Kaku because his way of speaking is so telling.

But even in this little scene, we can see they’re having an equal conversation and there’s a major difference between how Lucci’s speaking with Kaku and how he addresses Spandam mere seconds later.

After this we have the Reverie/Levely/what-even-is-this-thing-called arc where they get all of a single panel together and while it’s the first time we actually ‘see’ Kaku after the time-skip, nothing really interesting regarding their relationship happens, so let’s move on to…

The end of the colored manga! And Egghead.

We start with a very familiar situation: Lucci asking Kaku what’s going on, and while Kaku this entire arc seems more outwardly annoyed with Lucci than he ever was in the past (which is never really explained but then again, Lucci spends a lot of the arc doing things he’s specifically been told not to do, so maybe it’s understandable…), he still has all the information and relays it.

Though Kaku’s also much more comfortable letting his real personality show despite them being on a mission while before he was always completely serious after the Water 7 reveal, especially around Lucci. It came through with Zoro and Jabra but during the cover story he’s smiling and laughing a lot with Lucci right there so it makes sense he’d be more willing to let his guard down even ‘on the job’ by now.

So here’s the first real instance of Lucci showing concern for Kaku, something which escalates pretty quickly throughout the arc. It’s subtle, and though he’s framing it as a suggestion to Stussy, if he didn’t care at all he wouldn’t have said anything. 

At this point it’s fairly obvious that Lucci and Kaku don’t really have any authority difference between them and Kaku spends a lot of time in this chapter especially telling Lucci to Not Do The Thing. Anyone that’s ever lived with a cat knows how well this works.

I’ve always found this bit of dialogue particularly interesting because Kaku’s very openly…praising Sentomaru for choosing his loyalty to Vegapunk over assisting the government, and there’s no way Lucci doesn’t hear him say this but he doesn’t say anything in return. There’s no real evidence that Lucci knows about Kaku willingly giving up the key to Zoro or how conflicted he was about Paulie and everyone else, but this seems to imply that at the very least, even if he doesn’t share those sentiments, he wouldn’t think less of Kaku because of it.

Putting these two together since they’re in the same scene but at this point it’s not even subtle concern anymore, Lucci’s genuinely worried for Kaku and you can tell this caught him off-guard.

Kaku’s the first one to suggest working together but Lucci immediately backs him up and goes with the idea. It’s logical in the sense that it’ll give them the biggest chance to survive, but willingly working with pirates isn’t exactly the sort of thing that Lucci, especially in the past, would have so easily done regardless of the situation.

So at this point it’s becoming clear that this whole 4-v-2 section is supposed to be the most…light-hearted thing going on right now and a lot of it is played to be comedic, including Lucci’s inability to lie, but yet again there’s almost nobody else that could get away with scolding him the way Kaku’s doing here.

…And then we skip ahead a day and things happen that I really hope get explained at some point because they seem important, but while Lucci’s never going to have impeccable bedside manner, he’s very concerned with getting Kaku to rest and while Kaku’s trying to justify what happened Lucci really doesn’t seem to care about that. It’s a big departure from him being willing to write off anyone he deems ‘too weak’ and it’s a nice character moment.

I’d mentioned on my liveblog that some of the things Lucci was doing after this point were confusing, but if you look at them through the lens of him wanting to protect Kaku, it makes a lot more sense. Yes, he’s deliberately keeping him out of the loop, but Lucci I think has decided that he’s going to throw caution to the wind and act alone since if Kaku can’t prove he knew about the plan, he’s probably safer being left with the Strawhats, and if the Marines show up he should be safe anyway or so Lucci thinks…

When this chapter came out, I’d said something about Lucci being a hypocrite considering what the rest of CP9 did for him when they could have easily just left him at Enies Lobby, but given what happens almost directly after and likely what he’s trying to do with this entire fight, these words feel even less genuine…

And that brings us to this. The moment that I’ve been thinking about for almost an entire week now. The moment that, looking back at…oh, wow…almost 3000 words of analysis maybe shouldn’t be as surprising as it was for most of us, but it does feel like the payoff for a long, long buildup that’s taken nearly twenty years to reach. Because really, there’s no other way to describe them other than ‘partners’, and probably hasn’t been for a long time…and I’m so glad that Lucci acknowledged it.

To summarize, I think what surprised me most about re-visiting all of this is how much the manga has framed them as equals since the beginning even though it was never explicitly stated between the characters themselves. Lucci’s always been far more lenient with Kaku than with anyone else, and Kaku in turn has never had any fear of Lucci even if he wasn’t really expressing his true self with him for a long time.

The cover story being the turning point makes perfect sense, and the progression throughout Egghead of Lucci being more outwardly willing to show his concern and Kaku not hiding his emotions at all seems like a natural progression of their relationship and their level of comfort around each other.

And the fact that Oda is never really…hitting us over the head with any of it until that final moment when Lucci says everything so plainly because Kaku’s life is the most important thing to him even when faced with a literal monster… It’s so effective. 

I don’t know where we go from here. To be honest, I’m kind of scared of where we go from here. But regardless of the outcome, I hope this little essay has been at the very least interesting and perhaps allowed you to look at these two in a different light.

Thanks for reading.

#one piece #opspoilers #rob lucci #kaku #meta #analysis #i forgot about the 30 photo limit so I had to get creative here but #3k words of me examining their relationship sure happened

[birdmitosis]

I've mentioned it before, but Voice of the Cold fascinates me and I really keep wanting to pick at his character until I figure him out better, so this is my attempt to do that. (Pretty long essay under the cut!)

There are a few things about Cold's character that really stand out to me, and it's because he's very much a contradictory person. This isn't true of all the Voices; some of them are them all the way through, though there are some others who break out of what you'd expect from them (Contrarian and Paranoid being the most obvious examples, but also Hero, Smitten, and Skeptic IMO). Cold, though. All the way through, he is consistent, but what he is is consistently… odd. "Stop feeling anything" is basically his motto, and honestly a lot of his dialogue circles that concept. He makes it clear that he thinks the best thing, the only logical thing to do in fact, is to just stop feeling what their physical body feels and to stop feeling emotion while they're at it. The former, at least, he does seem 100% on top of, not at all bothered by anything physical that ever happens while he's present -- whether it's having their heart ripped out, their ankle snapped and twisted, or being drowned or burned to death. But even with physical sensation, there's something odd about Cold. For someone who's like "stop feeling what it feels" about the body, Cold's response to The Grey trying to kill them is consistent across both chapters, no matter you choices to get there or your choices while there:

(IMO, Cold sounds noticeably more interested in response to The Drowned Grey; I personally think this might be explained by the fact that he at least theoretically understands what the process of burning to death should feel like, as he explains to the others that the pain will stop when they don't have nerves anymore, but he has no equivalent words of wisdom about the drowning experience.) Following on from this is the way Cold responds to The Razor, where he gets a tone that is… not unique but rare for him:

These are, as near as I can tell, the three times in the game when Cold registers interest in the sensations of having a physical form. They're in response to immensely unpleasant sensations, or at least what Cold imagines to be such, and it seems like the less he can imagine it, the more intrigued he is: He sort of knows about what the body goes through when burning to death, he seems unfamiliar with what it would feel like when drowning but could probably imagine it at least a little, and the Razor just fucking exploding due to blades twisting from under her skin and erupting out until the only thing left of her is her heart is something that a human being (or rather a bird person) could not ever actually experience themself and could probably barely even imagine. So he can tune into what his body is feeling, or he would like to be able to at least in certain circumstances. (Negative ones! Cold please!!) So let's veer away from physical sensation into feeling emotion. Because Cold is imo fascinating in this respect. Cold is a complete contradiction when it comes to emotional shit. It is wild and I absolutely love it actually? He says he doesn't feel emotions and repeatedly advises that the best thing is to stop feeling emotions, particularly in The Moment of Clarity but also in The Grey chapters.

(I'll return to that last screenshot later…) He's not emotionless, though. He has an understated emotional effect, might not feel emotions as strongly naturally as others, and he's very good at letting go of something when, for example, a preference he states doesn't happen or an action he tries to take doesn't work, but… Remember how I said above that the tone he gets in response to The Razor is "not unique but rare for him"? Well, the other time he does it, I first interpreted as being about him anticipating violence. But I don't think that's quite it. I think that of two major times he gets that tone of voice, one is in response to imagining a physical sensation, but the other is in response to the threat/promise of an emotional one:

This clip is a bit longer than the others (like 30 seconds instead of 5-10 seconds), but you can see what I mean, right? When Smitten is just threatening violence or killing them again, Cold is completely blasé about it in his usual way; it's the "I'll make you feel what I feel if it's the last thing I do" part that seems to make Cold suddenly get… intense. (Which is an emotion in and of itself, or at least is inherently a, well, an intensifier of an emotion, so like. Again, Cold please.) But while that's the most obvious, notable moment, there are a lot of moments where it's obvious that Cold… does feel things, if again in an understated way.

(Thank you so much to @butwhosgonnafindhim for the last two screenshots, from this amazing post which shows even more interesting context!) There are also so many times he talks (quite negatively!) about some things being boring, implying that he does feel boredom, and/or something that isn't boredom when there's a new experience:

…And also too many times for me to share screenshots where he's just not letting comments from the other characters pass unremarked-on, needling them if not outright goading them, totally unnecessarily; this is most obvious in The Burned Grey chapter with The Smitten, but also with both Paranoid and Cheated if you choose to jump into the abyss with The Wraith. The thing is, Cold is also inconsistent when it comes to the other characters in a way that really interests me. He needles them, talks about not listening to them (though I want to revisit this in a minute), if you choose to reassure the Voices in front of the mirror if he's there, he even says "You don't have to comfort them." (Sorry I can't find a screenshot of this, I've been looking for ages!) But over and over again in various routes, he also repeatedly tries to advise the characters on how not to be broken down by physical or emotional pain:

(I also noted in another post that in The Wraith route he straight-up says, as shown above, "let's throw the Narrator into a place that never ends and see what that does to him" but then if Paranoid is the other Voice with them and they go with Paranoid's plan to toss yourself into the abyss, when Paranoid gets elated that it worked Cold just has to chime in with a comment basically implying it's silly to prefer this outcome over any other:

Which I like in and of itself but he also does stuff like this kind of a lot as you can see.) (And also thank you for these screenshots, @phospolipid-bilayer!) (And can I also just make a small aside that there are fascinating implications in the phrasing of "if you can tolerate joy"?) I want to wrap this up before it goes on too much longer, but there are three last things I want to cover quickly that I think are other fascinating facets of his character. First, very quickly, I would like to note that Cold is both espousing an absolutely useful way of dealing with horrific situations if you can actually manage it, but is also advising it far beyond the point where it's useful and the usefulness of his approach is limited even in the very specific circumstances that the Protagonist and the Voices are in.

It's not just Hunted and Contrarian making some vague note about a shared experience you can't remember, though; consistently, Cold underestimates threats and is as likely to suggest a course of action that will get you killed as one that won't. Try to kill The Spectre, let The Spectre possess you and let her leave, let The Spectre possess you and stab yourself, just let The Wraith possess you and see what happens… half of those end in death, and in The Razor and The Grey chapters, his advice in the end boils down to "we're going to die, just accept it." While his lack of feeling can be of great use to push through situations, it's not so helpful when he isn't placing any value on survival at all, and that's only not a disastrous trait for him to have because everyone's trapped in a place where death doesn't stick. And now let's look back at The Moment of Clarity. All the Voices in The Moment of Clarity are shattered. This is obvious all throughout the chapter, where they're confused and have for the most part given up; they've been broken down and while they certainly aren't numb the way Cold talks about, they've been numbed and worn down in a lot of ways. It's most obvious in the mirror scene at the end of the chapter, how none of them are afraid anymore of what feels to them like the end in a very final way. But Cold doesn't seem very different, not through the chapter and not in front of the mirror. Right? He's never bothered by the mirror (IIRC he's the only one!) and he's always talking about how the other Voices need to stop feeling. But I think he is, actually. I think he broke too, and I think Cold breaking takes the form of him actually shutting out the other Voices. His trauma response in The Moment of Clarity is the most subtle, but I think it proves that he usually does care -- in The Moment of Clarity, by the time you come back to yourself and everyone is there (and has been there many, many, many times already), he just can't anymore.

Nowhere else in the game is he quite like this. In front of the mirror every other time, he either tells the Protagonist that they don't need to reassure the other Voices, or if the Protagonist decides to tell the Voices it's the end for them he tells the Protag that he wouldn't have told them Voices that/would have kept that to himself. When the mirror is actually approached, where the other Voices usually have some fearful dialogue, I'm pretty sure Cold is always silent. This lack of care, this level of coldness, is actually unusual for him, and is specifically associated with the one chapter where all the Voices have been traumatized and broken down. And I think that actually says a lot about him. (And that line about thinking he was special is also unique, only coming up if you don't do anything and let the world unravel in The Moment of Clarity chapter... I'm not sure what to make of that one, though.) Finally... just... what?

(I said we'd return to that screenshot! 🥳) But you all see what I'm getting at here, right? The former makes the most immediate sense, at least to me. The Voices are shards of the Long Quiet, and I theorize that they're sort of the equivalent of how the Princess changes completely; the Long Quiet can't change the way the Shifting Mound can, but has a part of her in them, so when her perception of them starts to change them a piece just breaks off instead. Whatever is happening, though, the Voices sprang into being the way they are, defined by their descriptions. It makes sense, then, that Cold has always been the way that he is; he comes into being in a very specific way and with a very specific identity and personality. But the latter... That has some potentially interesting implications. It's the "trust me" at the end; it makes it sound like he has experience with this, doesn't it? So is he simply talking about what the Protagonist went through when he was created, implying that this is how he was created (or how he sees it)? Or is he acknowledging that he is in fact trying to stop his own feelings, because he wants to, because there's something about them that makes him want them to stop? That would potentially work with the rest of this analysis, with Cold's inconsistencies and subtle shows of emotion (and, uh, occasional less subtle ones). Including him talking about "tolerating joy." (And even The Wraith's choice of words: "you think you are numb" but "you are hopeless and paranoid.") TL;DR... There's a lot to this particular Voice, and hopefully actually writing all this out will quiet my brain down some!

#warning for gory drawings under the cut #slay the princess #slay the princess spoilers #under the cut #voice of the cold #the voices #the moment of clarity #image heavy post #video heavy post too actually #Youtube

[prince-liest]

I just wanna gush bc omg I love the 666 series so much. I think it made me realize I might be... furry-ish? adjacent? I just find it so satisfying how you go into detail about the unique body features of both of them, the way it feels to have deer ears or kiss a TV and just generally how much thought is put into the way their bodies work, and I've realized that my interest in that kind of idea is a pretty good reason to partake in more explicitly furry media lmao. Anyways

I'm also really in love with how you maintain the balance of each of their personality traits. Vox is simultaneously so pathetic and cringefail (also your dialogue for him is perfect, I can hear it crystal clear in my head) but also he has vastly more emotional intelligence than Alastor, no doubt at least in part because he has to deal with Val, and he's able to marginally calm down with his obsession to deal with sticky situations, but even then he still retains his personality and bumbles things sometimes because of the flaws in said personality! It's great. I also really appreciate the balance you've struck with Alastor, I feel like often Alastor is either written to either soften up so immediately that it feels disconnected from his character or is written overly mean and heartless for my liking and the way you've written him is such a delicious balance between softer aspects such as the prey instincts or moments of vulnerability and his untouchable and manipulative self, and also the way this side of him is neither written as wholly a front or wholly his real nature and the complex ways this makes him struggle with his increasing vulnerability. TL;DR arghgr your characterization is so good it makes me go a little feral

Also while I'm here, I'm curious whether you can give an answer to the degree to which Alastor is touch-averse. There's obviously a lot of ways in which he fundamentally dislikes touch but it also seems like there's at least some kinds of touch where he doesn't dislike the touch itself so much as he's afraid of the way it brings about feelings of caring and/or enjoyment being cared for. I'm curious how much, in general, you would say his touch aversion comes from either cause and possibly what kinds of touch do/don't provoke those flavors of aversion

Omg, what a lovely ask to receive. Honestly, everything you said that you enjoy about how I characterize these two is very much what I've been actively gunning for, so it's an absolute delight to see it outlined back to me. Success!!! Thank you so much!

And ahaha - I'm not a furry but I fucking love inhuman characters. Being raised in the pits of Homestuck fantroll RP made me enjoy the whole "they're bug/fish aliens" thing and it definitely rears its head again any time I encounter characters with inhuman qualities. I love writing Vox's TV/computer-ness and Alastor's deer and radio bits, and integrating them into who they now are as people.

As for Alastor's touch-aversion: It's funny that you ask about this, because the next chapter of 666 is going to dive into it a bit. Specifically into the fact that it's not, like, a set of boundaries that is consistently defined, and I write him that way on purpose. The very first time he and Vox sleep together, Alastor bottoms. He becomes significantly less amenable to touch after he goes through an uncomfortable rut cycle that gets sexual. By the time Vox convinces Alastor to fuck him, Alastor would never let Vox do that again and frankly only agrees to topping because Vox gave him an option that didn't involve getting his dick out. Then in the next episode, they're having clothes-off sexual contact. So, what gives?

Things that play into Alastor's willingness to touch and be touched as far as Vox is concerned:

How does he see Vox at that point in time? Disgustingly entitled (ew)? Hilariously beneath him (haha who cares)?

Does he care about what Vox thinks of him? Does Vox touching him draw his attention to positive or negative assumptions he has about Vox's perspective on doing so?

What value has he attached to this particular touch in the power balance of their relationship? Is he humoring Vox? Does he assume Vox thinks he's owed this? Does he perceive it as something Vox is genuinely doing for him?

Has he tried this particular kind of touch before? He's pretty willing to experiment, but that doesn't mean he'll do something twice without a compelling reason if he didn't like it the first time.

Is he getting off on this situation sexually? If so, is it fully willing (read: not a byproduct of uncomfortable hormones) on his part? That only really happens when he's in a submissive role and Vox is hitting a few very specific kinks, a major one of which is basically CNC tilted 30 degrees to the left.

Is he enjoying the touch in platonic ways? How does he feel about that? Is it a vulnerability to want something? Is it feeding his ego to be catered to? Is he worried that what he enjoys platonically is being read into in ways he doesn't like?

Is he fucking drunk? Things that bother you when sober often seem like a non-issue when you're not, both on a physical and emotional level.

How much touching has been happening recently? Has he hit his limit? Did he deliberately put himself into a situation earlier to have his limit be hit and surpassed, and now he's in the aftermath?

He does have a certain fundamental purely physical dislike of touch, but it's something that is really affected by how he perceives each individual situation as well as his relationship with Vox at that time, and his previous experiences!

#ask #personal #Anonymous #t #hazbin hotel #my writing #666 live on air #I'm not a furry but the perils of being agender aromantic and asexual #aka the full complement of “none of the above” box checks LOL #means that a lot of the time I feel vaguely detached from the ways people tend to even subconsciously define humanity #I think that's where a lot of my appreciation for inhuman traits in very human characters comes from #(also my favorite SFF genre is “non-human entity struggles with very human emotions” as well a la murderbot and imperial radsch) #(ANYWAY. tangent.) #long post

[pluckyredhead]

Did I just read your Super Sons primer from 2020 at 3 am on a Monday morning because I'm having a real normal one? Maybe?! I'm wondering how you feel about how they and their relationship has developed since then. IMO it's... Pretty bleak. 😩

I HAVE A LOT OF FEELINGS ABOUT IT. (Also here's the primer for anyone who missed it.)

So I will say that 95% of everything Jon has been in since he got aged up has been hot garbage, but I do think the exception is when Damian is around. But let's take it from the top!

First of all, I don't necessarily think they should de-age him again. Generally speaking I think it's better storytelling to focus on fixing things moving forward, rather than undoing things moving back. Sure, if DC came up with some big cosmic event that reset Jon to 11, I certainly wouldn't complain, but I'd rather see them, uh...do literally anything with Teen Jon that doesn't suck.

But yeah, aging Jon up to begin with still makes me livid because:

I want my baby to have had a childhood.

It's fully character assassination for Lois and Clark. They would NEVER let their 11-year-old go to outer space with a supervillain. Lois would NEVER just abandon him out there, and Clark would NEVER respond with "Well, I'm sure he's fine, wanna have marathon sex?" I honestly have no idea what Bendis or his editor were thinking.

They have not done a single interesting with him since!!!

Putting this behind a cut because it got LONG. Also spoilers for Beast World in there.

I've said this before, but I have to assume that Bendis wanted to age Jon up because he wanted to write a Legion book. But he also in his wisdom decided to bring Kon back into continuity at exactly the same time, which means we have two nearly identical Superboys that DC didn't and still doesn't know what to do with. Kon clearly couldn't have joined the LOSH because he already had a team, but you know what Super teen was available, and not 11, and who has a history with the Legion that goes back almost as long as Clark's? KARA. But I will save that rant for another day.

And honestly, Kara dodged a bullet, because that Legion book was unreadable. Bendis at his most Bendis-y wall of text interrupt-y conversations and no plot. If I give Tom Taylor any credit it's that the second he got his hands on Jon, he torpedoed Jon/Imra as a ship. GOOD.

And when the LOSH book finally went out with a whimper (that JLA/LOSH miniseries! what was that!!!), we entered the Taylor Era. Taylor's quirks are less stylistic and more narrative than Bendis's. You can spot Bendisian dialogue at twenty paces, but a Taylor comic tips its hand when it sets up a really interesting premise or a really high stakes threat and then immediately undercuts it with a little wet fart noise of nothing. To wit:

Jon's starting college! This will be an interesting challenge for him to readjust to normal life after six years in a torture-volcano and an indeterminate amount of time in the future, and also considering he never graduated from sixth grade. I wonder what will - oh no he dropped out after three pages. (He has done NOTHING in his civilian identity since, btw. I guess he's too busy hovering just behind Dick at all times to work on his GED or whatever.)

Jon is going to confront Ultraman! Finally the comics will have to engage with all the trauma he must have - oh no Ultraman's dead.

Jon is trapped in the Injustice Universe! This is a really dangerous universe that might make him question everything he knows about - oh he just lectured everyone and flounced off home.

Beast World is a perfect example. Taylor seems to think that having a hero effortlessly solve a problem makes them look badass, but it's actually the effort that makes them look badass. So like, we spent five months keeping the Kryptonians and other A-class heroes away from the spores because the spores are attracted to power and if a Super got spore'd everyone would be in big trouble...but then in the last issue, they just have Jon fly up to everyone with a spore in them, wait for the spore to jump at him, and catch it? That doesn't make the Titans look smart or Jon look tough. It makes all of them look like idiots because it it was that easy, why didn't they do that in the first place?

On top of that, Taylor doesn't ever really earn relationships. Jon and Jay is the obvious one. Jay has no personality. There's no chemistry between the two characters. Jon might as well be dating a cardboard cutout labeled "Proof of Queerness." (Or "Bernard." Ahem.) But we're supposed to be like, yes, give Tom Taylor a GLAAD award for using queer characters as props, when he's going to turn around and kiss Chuck Dixon's ass on social for being homophobic about Jon? UGH.

Honestly worse for me though is the Jon and Dick relationship. Because Taylor is writing both characters, we're supposed to believe that there's this close mentor-mentee bond there? I don't think they EVER interacted before the Taylor era. (And don't even look at me with that retconned-in scene of Dick finding lost baby Jon. You're telling me that Superman, with his X-ray and telescopic vision, needs to call Bruce and Dick for help finding his own son? Fuck off.)

Anyway it all combines to make basically every Jon appearance for the past three years profoundly unsatisfying. Even the stuff that isn't by Taylor never goes anywhere. Remember when he was jealous of the Super Twins for two panels? And then everyone forgot about it forever? SIGH.

HOWEVER.

However.

If there is one thing that Bendis and Taylor and every other writer got right, it's that Jon is crazy bonkers in love with Damian always and forever. Jon has been written like shit since 2019, but he has also not wavered in his devotion for even one single solitary second.

THE EVIDENCE:

This is the first thing Jon does when he gets back to Earth:

He then tells Damian he's contemplating not joining the Legion because he'll have to leave Damian behind. Damian tells him to go and then come get him if it's cool.

Turns out the Legion is cool. Jon comes and gets Damian. The Legion isn't happy about it and Jon threatens to leave if Damian can't stay, while gazing adoringly at Damian's unconscious body cradled in his arms:

Eventually LOSH is canceled and Jon comes home and starts following Damian around by listening for his heartbeat. LIKE PALS DO!

Then Damian gives him a pep talk!

Then there's this ABSOLUTE CUDDLE:

The way Damian nuzzles into Jon's shoulder! Can you even stand it!

And then there's this:

The climax of Son of Kal-El, btw, is one of the several times Jon is saved by Damian and confides in Damian and turns to Damian for comfort or advice...and Jay is just sort of standing there off to the side. I am fully aware I have ship goggles on but the degree of emotional investment Jon has in these relationships is not the same.

Then they had a special issue teamup:

Then we got Dark Crisis, and I actually love this interaction between them, because they are very different people with very different upbringings and this feels extremely in character to me for how they would both handle the loss of their fathers:

But even when they disagree, they still instantly support each other. Jon comes back with information? Damian makes a plan:

Also, we got the 2022 Pride issue where Jon, Jay, and Damian go to Pride together. I know that story is...contentious...but leave me here with Damian sulking while Jon and Jay kiss, okay?

Then we get Adventures of Superman, which is objectively awful, but Jon does spend his whole time in the Injustice universe thinking about Damian like the seagulls in Finding Nemo saying "Mine? Mine? Mine?"

This whole arc is truly hilarious. Jon finds out that Damian accidentally killed Dick and his response is to a) go find Batman and yell at him for not supporting Damian enough for accidentally killing Dick, and then b) go find Damian to be like "Wow, that must have been really hard for you (accidentally killing Dick)." There's being ride or die for your BFF, and then there's whatever the fuck Jon has going on.

(Meanwhile there's an incredibly uncomfortable scene with him and Injustice Jay where Jay "tests" him by trying to get Jon to cheat on regular Jay. So. That happens.)

And then just this past month we got Nightwing #110, where we learn that Jon is still listening to Damian's heart:

He completely freaks out watching Damian in danger, and immediately intervenes when it looks like Damian is about to kill someone because he knows what matters the most to Damian. Also, this happens:

YOU WIN THIS ONE, TAYLOR.

AND THEN THEY BICKER I LOVE IT WHEN THEY BICKER:

AND THEN DAMIAN LETS HIMSELF BE VULNERABLE BY ASKING JON IF HE HURT ANYONE WHILE HE WAS A KITTY, AND JON GIVES YET ANOTHER SPEECH ABOUT HOW DAMIAN HAS NEVER DONE ANYTHING WRONG EVER, IN HIS LIFE, AND DAMIAN STAGGERS OFF, LEANING ON JON.

This isn't even getting into the Trinity backup stories in Wonder Woman, which, like...Tom King is not valid but Jon and Damian are such an old married couple in them? It's truly incredible?

It took me like 45 minutes to parse Jon's line here as the general 'you" and not specifically Jon saying Damian wasn't straight. But like..."That's for straight people, which has nothing to do with us" is a hell of a thing to say, Jonathan.

I ALSO haven't even talked about DCeased because it's a different universe, but! Jon sitting with Damian while he dies??? MY HEART.

IN CONCLUSION:

Yes, they should never have aged up Jon.

Yes, most of his appearances since have been terrible and bland.

But OH BOY, do he and Damian remain in love.

#jon kent #superboy #damian wayne #robin #meta

[sacchiri]

[Hellsing] Female Fans' Round-Table Discussion

A 6-page interview from the 2012 Hellsing Official Guidebook, featuring five grown-ass women chatting about Hellsing in a casual discussion format and translated into English for the first time ever by yours truly.

Honestly this was way more entertaining to read than I thought it would be. It’s also really funny seeing this super-casual discussion printed in the book right alongside Hirano's—-oh who am i kidding, this is 10x more professional and less deranged than whatever goes on in Hirano’s interviews.

Anyway, without further ado...

Does Hellsing have little to no female fans? Nay! Assembled before you are five women with an undying love for the series. Let’s see their passion for this work show itself as they butt heads!

Is the female fanbase just hiding itself or what?

Moderator: Now then, everyone, let’s start off with introductions.

Ms. T: I am Ms. T. I’ve been walking the path of an otaku since middle school, and it’s already been ● years since then. How do I put this, all of you seem like fairly normal people…

Everyone: Oh no--rest assured we are all otaku as well. (laughter)

Ms T: Oh, really? (laughs) Anyway, I’ve continued to love manga for all this time. Thank you for having me.

Ms J: I’m Ms J. I was already at a decent age when Hellsing began serialization, but to create something so enticing-- as expected of Hirano-sensei! (laughs). This is the kind of manga I’d better buy and collect, I thought.

Ms A: Out of today’s gathering, I’m probably the one who became an otaku at the oldest age. (laughs) My friend told me, “Hellsing is a manga that really crazy people read”, so at first I couldn’t get around to starting it. But around the time volume 8 came out, I binge-read it, and it was so interesting that I couldn’t help but get obsessed.

Ms R: I’m probably the youngster in this group. By the time Hellsing started serialization, I was just entering middle school. [T/N: That makes her 27 at the time of this interview.]

Of course we didn’t really have the term "edgy-teen syndrome" back then, but around me the manga was definitely gaining popularity in that edgy teen fashion. One of my best friends was obsessed with Hellsing and I’d borrow it after they finished reading it, and I got addicted too.

Moderator: I’m under the impression that the female readership for Hellsing is overwhelmingly small, but…

Ms J: Nah, I think they’re just hiding. I mean, it’s not like you’d talk about Hellsing to someone in passing. You wouldn’t suddenly say, “Y’know, Alucard is…”

Everyone: True. (laughs)

Ms J: There isn’t much opportunity to bring it up, or perhaps you could say it’s a hard topic to bring up to the general public.

Ms A: Like how you can’t have a pork-and-rice bowl first thing in the morning or something.

Ms J: Yeah, like that. Actually, among my circle of female otaku friends, everyone has read Hellsing.

Ms T: Among manga fans, Kouta Hirano is well-understood.

Ms J: Any fan of manga who doesn’t know Kouta Hirano is a faker!

Ms T: Disregarding whether you’ve properly sat down and read his works or not, I feel like it’s impossible for a manga enthusiast to not have at least heard of Hirano-sensei. But we are talking about manga fans in general, and the range of tastes is so broad. If someone were to say to me “I’m a fan of Kouta Hirano”, only then I would be like, “Oh, so I can talk comfortably with this person”.

Moderator: It’s a good litmus test to use. (laughs)

Ms A: It’s only when you broach the topic of Kouta Hirano that you can finally talk about Hellsing. You can’t go straight from “So I hear you like manga” to “So, about Hellsing…”, lol.

Ms J: If you met someone for the first time and you go “So I heard you like manga? What about Hellsing?” that’s like coming straight for their throat with a knife. (laughs)

Moderator: Even as a gauge to see how much of an otaku your opponent is, it’s a bit too much to try and break the ice with Hellsing.

The wonders of dialogue

Ms J: Speaking of the good points of Hellsing, I think it’s that it doesn’t get overly preachy. You can see this starting from Cross Fire, but you really get the sense that everyone’s equally crazy here.

Ms A: I can see that. No one is on the side of justice. Like the Major, he’s a nasty little guy. The type of guy who would casually twist off an ant’s legs or something like that.

Ms J: That Major, his beta male levels are literally off the charts.

Everyone: (bursts into laughter)

Ms J: Actually, something that caught my interest about the setting is that only virgins can become vampires. In the first place, I don’t think European vampire lore makes that kind of distinction.

Ms T: Father Anderson is probably a virgin, since he has religious reasons for celibacy. Though it might depend on religious sect. I wonder if there’s a meaning behind this concept of chastity?

Ms J: The idea of chastity is valued in the Hellsing universe as well.

Ms A: Right, since if you aren’t a virgin you become a ghoul, and then it’s game over and there’s nothing you can do about it.

Ms R: Speaking of which, Integra’s a virgin, too.

Ms T: Integra being a virgin is an important part of the story.

Ms J: In my personal opinion, the best couple is definitely Alucard and Integra.

Ms R and Ms A: I was going to say the same!

Ms T: Integra and Alucard call each other “Count”, don’t they? You know, in a previous life it’s possible that Integra was a man. Perhaps Alucard is seeing the Count Hellsing of the past through Integra. Thinking about that possibility makes a girl’s heart flutter. Not to mention Integra’s appearance leans towards that of a man— Ah, it’s just so peak! [T/N: I'm not being facetious, 盛り literally means peak]

Ms A: Those who want to read a male/female romance can enjoy doing so, and for people who like BL, there are plenty of elements that can be enjoyed as BL also. I feel like the reason you can enjoy both things is because the relationships that are depicted are not constrained purely to sexual love.

Ms J: For those who like to read into the BL aspect, there are lots of fight scenes that can’t be ignored, can they? Particularly in the endgame. Like Girlycard and Young Walter, that was...really something.

Moderator: That part was just unfair! I mean, after getting captured by Millennium and going M.I.A., all that anticipation was building and building, and for Walter to be reintroduced like that!

Ms J: When I got to that part I was like, “Man, Hirano-sensei really did his best to keep all that stuff pent-up for so long". For both Walter and Girlycard, I mean.

Moderator: Speaking of Girlycard, I get the feeling that the idea for her was in place since the early stages of story development.

Ms J: I wonder about that… on the other hand it seems like it was a very spontaneous decision. (laughs)

Ms A: Even if the story developments feel spontaneous, I feel like the characters' settings are polished to a high degree from the beginning. Even though a new character suddenly appears out of nowhere, you end up following along without feeling a sense of discomfort. In Hirano-sensei's mind, I'm sure that each character is cultivated with an equal amount of attention. After that it's just a matter of deciding what situations the character will appear in.

Ms J: Each character is excellently molded to their place in the story. Even though normally it should be very challenging to create characters that would fit in this sort of world. (laughs) From the moment of their introduction, they are already dyed in Hirano's unique brand, and you can tell that Hirano understands them well.

Ms R: After all, characters from his past works before Hellsing make appearances in the manga, so you get the feeling that these are ideas that have been stewing in his head for a long time.

Moderator: And within Hellsing too, these characters grow and develop. Like Maxwell--he started out as a mere brat, but then he went full tryhard mode and developed that cunning and pretentious side to him.

Everyone: (leans forward) Yeah, that's right!!

Ms J: --And he had that past with Anderson, didn't he? I was like "Hold on a sec, a flashback scene now, are you kidding me"? Even though I knew that a flashback is basically a death flag, I couldn't help but love it. (laughs)

Ms A: At the final moment, Maxwell called Anderson "Sensei", a reversal of their dynamic thus far. Up until then there were hints of foreshadowing, but nothing definite. But with that single word you could feel the adoration Maxwell had felt for Anderson when he was a child... It's amazing how potent that line was. The timing of delivery was excellent, too.

Ms R: Up until that point Maxwell was portrayed as nothing more than a snob, but the truth is there were reasons why he became that way.

Ms T: Hirano-sensei is very skilled at depicting relationships between men.

The beauty of composition

Ms A: In Hellsing, there aren't any characters that go too far beyond the range of normal anatomy.

Even with regards to enemies and such, there aren't any massively gargantuan or bulky characters. Everyone is more or less normal. And yet, there is so much impact in the poses that it leaves you with a strong impression. Those standout panels just radiate style-- so much so that anyone with an eye for art will be impressed by them, I think.

Ms T: The paneling is relatively simple, but the composition sense of each panel is amazing.

Ms R: I love the stuff like Rip Van's silhouette. The balance between her and the musket is super cool. Even though something that size in real life would be impractical to shoot, it looks so cool that it's like, "Who cares!"

Ms A: Fight scenes that should have a lot of movement are instead surprisingly depicted with still frame shots, and they have a beauty to them reminiscent of paintings. It makes me want to stare at the same handful of panels for a long time. Calling it aesthetic beauty might be a bit of an exaggeration, but...

Ms T: Not an exaggeration at all, I think there is a lot of aesthetic beauty. For me, when I look at Hirano-sensei's artwork, I'm reminded of ukiyo-e paintings. And in the movement, I sense a bit of kabuki theater.

Moderator: Each panel is created with beauty in every nook and cranny, so as to work as a standalone illustration.

Ms R: The way shadow and blood is depicted is so good, isn't it? It really makes full use of the monochrome medium.

Ms A: When I was reading the scene in volume 8 when Cromwell Level 0 is released and soldiers are unleashed in hordes, it reminded me of a medieval copperplate engraving. The plot developments in that moment were so interesting, and the density of the illustrations so rich, that simply staring at them was enjoyable.

Ms T: It really draws you in, doesn't it? In other manga that have very detailed art styles, the realism makes it feel similar to a liveaction movie. But Hirano's works are 100% "manga", I would say. In that sense, none of it is realistic at all. But that's why it's possible to achieve poses and compositions that are impossible with photography, and that's why he can portray things I didn't even know I would want to see.

The position of women in Hellsing

Moderator: To all of you, was there a scene where you were like, "This scene right here is where I became obsessed"?

Ms J: So this is my personal taste, but I liked the setup of the handsome lady Master and the handsome male Servant. I like butlers, too. So once those three conditions were satisfied, I was like, "This is a good manga". The part where I was like "This is a really good manga" was when Anderson was introduced. At first, I was thinking this would be a story where Alucard dotes upon Seras and raises her up as a vampire, but then we were introduced to a Catholic priest from the same religion, yet who aims to defeat the protagonists...

Ms A: You can't deny the impact of Anderson. The only thing he wants to do is "exterminate vampires". While characters in Hellsing may undergo sudden changes, they never waver. They race from their introduction to their final chapter with just as much momentum as when they were first introduced. Not only is it satisfying to read, you won't be disappointed. As long as your favorite character appears, you can focus all your attentions on them, and before you know it you'll have binge-read to the last chapter. (laughs)

Ms T: For me, the scene when Integra discovers Alucard in the basement, and Alucard was revived with her blood is when I became hooked. While it is an expected development for vampire stories, that part of the story was very beautiful. And afterwards, I loved the tender portrayal of Seras's growth. Among ero-guro media, there are many works that portray women in a demeaning manner, but Hellsing is not one of them.

Ms A: In Hellsing, there is no distinction in the roles that are assigned to men and women.

Ms J: Indeed, women fight and stand on the front lines. And it feels natural.

Ms R: To tell the truth, when I first started reading Hellsing, I thought Integra was a man. And, for some reason it felt overly pandering [T/N: I assume she means pandering to fujoshi] and I just couldn't get into it. But then I realized Integra was a woman, and I was like "Oh, so it's a female/male master-servant relationship! I'm sorry for making such a weird assumption!" (laughs) I feel like it's important that Integra is a woman.

Ms T: In volume 1 there were moments where Integra was told incredulously, "You're a woman?", but in those moments I always felt that, ironically, being called a "woman" was what made her so much more cool. In Hellsing, you get the feeling that all characters are loved by the creator regardless of being male or female, enemy or ally. There are many standout characters among the villains, for example.

Ms J: Each character showcases their individuality in their fighting style as well.

Ms A: I love that Rip Van is this scrawny girl with long limbs, who wields an old-fashioned musket-- it gives off a really fantastic impression. The fact that a girl is given that kind of position, without it feeling offensive. When men draw female characters there tends to be a bit of double standards going on, or it can feel cloying or annoying depending on the scenario, but I don't feel that in Hellsing.

Ms J: Far from being annoying, the depictions of women feel unique and cool in their own way.

Ms A: You're right. Traditionally, female characters are accompaniments to the hero, aren't they? But Integra takes the lead, and while Seras is supported by those around her, she moves according to her own choices. Even among the female villains, they are given important roles that they carry out to the end, so you can read while feeling a sense of satisfaction.

Points you would recommend to other women

Ms T: Doesn't the series in general have a sort of sensuality?

Ms J: It does. As it gets nearer and nearer to the endgame, even the fight scenes show more tenderness. It's like a "They love each other, therefore they trade blows" vibe that feels erotic.

Ms R: When Alucard returned to London in volume 8, it felt pretty romantic.

Ms T: On the other hand, the explanations about weapon specs that pop up everywhere seem very male-oriented. I guess this is what you call the author's hobby.

Ms J: Speaking of the author's hobby, I feel like the fact that Walter is an old man is one of them. If you think about it purely in terms of reader appeal, there should have been no problem if Walter was young from the beginning. I get the impression that he was like, "If you're going to add a butler, it better be an old geezer". Ahh-- the more I reread, the more I feel like I discover new things.

Moderator: There is plenty more we weren't able to talk about, but to close us off, please appeal to the women who haven't read Hellsing yet as to why they should read the series.

Ms A: The female characters are so full of life, so why not give it a try mainly for the female characters?

Ms T: You can read it together with your boyfriend! There are lots of battles and weapons that guys would like, and there's no nasty relationship drama, so it might actually be a big hit among couples.

Ms J: "Look at Integra and Alucard, honey, they're just like us!" or something? (laughs)

Ms R: When you think of vampire media, you might be inclined to imagine something campy and whimsical. But even though there's a lot of absurdism at play, the world is based on real historical facts. So I want to recommend it broadly, even to those that don't normally enjoy fantasy.

Ms T: I feel like Hellsing is like a very strong liquor. At first you might feel that the taste is overwhelming, but once you get used to it, it becomes delicious.

Ms J: Please go in with zero expectations and give it a read.

Moderator: Thank you all for your time today!

--------------------------------------------------------

Link to the raw scans (which are not mine). Feel free to spread and repost my translation to other sites.

#hellsing #kouta hirano #integra hellsing #seras victoria #alucard #i’ve seen the “AxI as yuri” interpretation before but “AxI as yaoi” is new to me… anon is doing some 10000 iq 4d chess maneuver there #I was debating whether to use Girlycard or “Lolicard” like in the original jp but the former is more popular in the eng speaking fandom #it makes sense but Girlycard/Walter being classified as BL is hilarious to me #j anon is a real mood #my translation

[writing-with-sophia]

Miss Sophia, I have a question. Um, well first of all...

I actually like slice of life, fantasy, romance, horror, sci-fi.

But my question is... Ahem. How do you make romance scenes non cringy?

Becsaiw sometimes when I'm writing them, I cringe, and feel weird. Others, my my heart flutters.

How to make romantic scenes not cringe?

Well, honestly, for me, this question is so hard to answer... As my strength is romance, I can't give you any advice based on my experience. What I do when writing romantic scenes is simply… imagine and write. So, I searched the internet, read some articles and learned a few things. Hope it will help you.

Tip 1: Develop realistic and relatable characters

Ensure that your characters are well-rounded and have depth. Give them distinct personalities, flaws, and motivations that readers can connect with. This will make the romantic interactions more believable and engaging.

Tip 2: Show, don't tell

Instead of explicitly stating how characters feel, demonstrate their emotions through their actions, dialogue, and body language. How do they treat each other? How do they talk to each other? When one person is sick, what will the other person do? Are they shy or bold when meeting the person they love? The more details you tell, the more genuine the feelings between them will be.

Tip 3: Build emotional tension

Establish a strong foundation of emotional connection and chemistry between the characters. Develop their relationship gradually and create moments of anticipation and longing. This will make the romantic scenes more captivating and less cringe-worthy.

Tip 4: Prioritize consent and respect

Ensure that the romantic interactions include clear communication, mutual respect, and consent. Avoid any scenes that may promote unhealthy dynamics or non-consensual actions, as they can easily become cringe-worthy or uncomfortable for readers.

Tip 5: Use subtlety and restraint

Sometimes, less is more. Avoid over-the-top gestures or exaggerated romantic dialogue that can feel forced or insincere. Instead, focus on small, genuine, and meaningful moments that allow readers to connect with the emotions being portrayed.

Tip 6: Balance romance with other elements

Incorporate other elements such as humor, conflict, or character development alongside the romantic scenes. This will add depth and prevent the story from becoming overly focused on romance, which can sometimes lead to cringe-worthy moments.

Tip 7: Read romance novels

You cannot write a beautiful love story without reading any romance novels, unless you write it based on your own story. You can read famous works like Pride and Prejudice, Jane Eyre, Red, White & Royal Blue, or anything else that interests you, and learn how the characters interact with each other. This is the best way.

That's all. Good luck!

#writers #writer things #writerscommunity #writersociety #on writing #writblr #writers on tumblr #creative writing #writing #writeblr #write #writings #writer #words #world #writers and poets #writing stuff #writing a book #writing inspiration #writing tips #writing community #writing advice #writer stuff #writing prompt #my wrtitng #creative wrting #wrtblr #free wrting #writing resources #writing reference

[transhoverfish]

OK SO IM LATE BUT. MORE SUB3 NEWS!!!

so a few days ago, krafton (their publisher), apparently had this like presentation of their plans over the next like 2 years. and during that they talked a bit about sub 3!

and this obviously creates a LOT of questions. not to worry, though, because unknown worlds added on to this:

im honestly not surprised by this. iirc, when below zero released they said it would be a WHILE before the next game, and they only announced this back in like... january? now, the first game's release was in january, and bz was in may, so it's definitely possible early access with be in spring of 2025. those games did not have multiplayer aspections tho! its possible we'll wait until mid 2025, and full release will likely not be until 2026. but who knows? the first game took like ten to be fully finished!!

and honestly. THANK GOD. i can't imagine any subnautica game having BATTLE PASSES or LOOT BOXES. i would have just straight up ignored this game 😭

i do wonder what these updates will entail! "many years to come" is definitely something interesting to me, because other than bug fixes... i dont remember sub or bz getting many updates post full release. is this referring to bug fixes, or is it implying that it will be in a state of early access for much longer? are they going to just keep adding new things (like the building update for sub1) and taking fandom suggestions? very interested!!

maybe this is an unpopular opinion, but i actually,,,, dont want multiplayer. now i do like bz, and these games arent really intended to be horror games, but also bz is very noticeablely less scary than sub1. and some of it i think definitely has to do with all the extra characters and dialogue. its hard to feel isolated when you know al-an and marg are nearby. so im very happy that it's optional, bc i know i will probably enjoy single player a lot more enjoyable!!

so now... SPECULATION.

so the first thing im curious about that the development team didnt mention:

"uncover the mysteries on an entirely new alien planet"

apprently we are NOT returning to 4546b. which im kind of sad about!! ik the story is very obviously done there, but it feels weird that its going to be some other planet this time around. THERE WONT BE PEEPERS!!!! (well there could be but it would be weird if some other random planet had the exact same lifeforms)

now my next immediate thought is: is this a direct continuation of below zero? my opinion is: no. probably not.

mostly because it mentions up to four players, and robin and alan are, if you look very closely, only two people. now they COULD just create two new characters to go alongside them (my fanfic brain loves the au idea of marg and ryley 🥺) but im just going to assume that with the addition of a new planet, we're going to drop the old storylines. which means no more degasi, sunbeam, aurora, or ayou sisters. we might move away from architects/precursors altogether! (my basis on this is absolutely nothing and i could be wrong, this is 100% just theorizing)

also, i imagine that it would be difficult to keep the plot the exact same with two established characters and then two new ones, depending on how this multiplayer aspect works. if its another crash, it would be a lot easier to just have the extra players die/survive, then try to work in a balancing act of one guy playing al-an.

(also i like keeping the ending of bz vauge. if they show up again, they would have to mention what happened to the rest of the architects, and i think it's much more fun if thats a mystery!)

((also also, im gonna drop a bomb on u all for a second. i actually,,, dont like al-an. i have a deeper connection to probably every single other character in bz. i think they really fumbled al's character and story and he is so incredibly bland to me. it feels like they go nowhere with how he was responsible for the kharra outbreak because the game ends immediately after he confesses! it would be nice to give him another chance, sure, but i personally dread the idea of even more al-an. sorry everyone for this horrible news))

HERE'S A CONCEPT IMAGE

i hope they bring back some cut content creatures for this!! i noticed this new area looks VERY similar to the safe shallows, and several of the fish seem to be variations of ones we've already seen (im already seeing bladderfish and hoopfish color pallettes, and the shark resmbles some early concept art for the shadow leviathan, but with the ice worm's colors...)

will there be more land areas?? is it going to entirely underwater?? more kharra?? NO DISEASE AT ALL?? AAAAAA!!!!

#so excited so excited SO EXCITED #sub 3 news #undescribed

[brujahinaskirt]

30 kcd2 trailer reveal little things / reactions:

Loving the increased Istvan / Henry parallelism

Loving the return of the red PTSD nightmares and so pleased WH isn't watering the game down, keeping up the trauma narrative realism, etc. I expected no less but still delighted by it. I love games that allow characters (esp male characters) to feel things, genuinely, and writing that treats the emotional invitation of its own storytelling with respect.

Good lord, the symbolism returns--as it must in a proper medieval game--but I shan't look too deep yet.

SKALITZ FLASHBACKS. HENRY'S PARENTS' WEDDING PREQUEL CONTENT? W H A T. I never thought we would get to go back; I am so thrilled to learn more about that time. I would have gladly gobbled up a Martin prequel. TELL ME HER FUCKING NAME, WARHORSE, YOU BASTARDS.

where is radzig

Mystery possible new love interest option? Or did Lady Stephanie visit the face sculptor?

And Theresa... where?

Mother of god, the forests and animals look incredible. I'm going insane. Let me pet things please.

How many times can Hans eat royal shit and live in one livestream? Let's find out. One, two, three...

The crime and punishment mechanics are definitely more complex at a glance. This is a good thing but I wonder how much was cutscene flavor and how much will really have an affect on the gameplay/reputation/etc.

I'm extremely afraid for Hans's survival. Not because of his constant trailer beefing (and he really took every opportunity to wipe out) but because of that shot with him doing the big dramatic eagle wing spread on horseback. You can't just do that and not expect to be punished by the narrative, bro.

MUTT IS BACK MUTT IS BACK MUTT IS BACK

is that pebbles? MUTT IS BACK please be pebbles

Henry's new hair is awful and I will be changing it two seconds in.

In general, Henry looks way more mature/stressed. Hard to say if there was a timeskip and Henry is now actually more mature or if the increased graphics allow him to look more like his voice actor, who is older than Henry. Either way I will be content. Will not catch me changing my son's precious face!!!

CROSSBOWS, HAND CANNONS

Istvan is pure fire, holy shit, cannot wait for this performance. Erik looks like a soggy newspaper. What happened king?

radzig? hello? anyone hear from this guy? typical for him to ghost

FIVE HOURS OF CUTSCENES???? YOU KNOW YOUR TARGET AUDIENCE. IT IS ME. I LOVE TO WATCH THINGS

Theresa's gonna be in it though, right? They wouldn't do us like that right?

Really excited to see them taking a page from RDR2 and incorporating a temperament-based reply system for non-dialogue initiating NPCs. I really look forward to all the added sandbox immersion enhancements from the first game, and I hope women are incorporated in a broader work spectrum for better historical accuracy.

WAS THAT GODWIN?

Is Hans going to teach Henry how to swim for real, as in a gameplay-altering swim mechanic, or is the topless on the riverbank scene just throwing a meaty bone to the hansry shippers (i am gnawing, i am growling when you try to take it away before i choke myself with it)

I love hearing devs and actors talk intelligently about the writing and character development arcs. Obviously they thought about it deeply in KCD1, but it's nice to see devs of an "action" game treating its narrative seriously, as artwork. Regardless of how the fandom idiots interact with it.

Hans singing a facetious little ballad for Henry (presuming it makes it into the game and isn't just trailer fodder) regenerated my cells. He DID promise in KCD1 (if you lose the tourney after agreeing to be his champion) that one day people would sing ballads in Henry's honor. Probably he did not intend for them to include the word "fuck" at the time.

This is going to be the grown up bromance we deserved in kcd1. Honestly it's so validating to see the second game recentering on that relationship and deliberately using it as the primary storytelling vehicle. KCD1 was pretty imbalanced in favor of Hans content, but it would have been better served by the game storyline fully leaning into the importance of that relationship, rather than trying to juggle it as a side-arc with several other arcs (and thereby creating an imbalance). KCD2 looks like it's built around the backbone of Henry and Hans's friendship and how it has profoundly changed them both/propelled their arcs in somewhat different directions.

On that point, Henry seems to have completely adopted Rattay colors now, but it's possible that's due to him operating as Hans's page (squire?) where we left them in KCD1. WHERE IS RADZIG

Calling Henry an orphan is a LITTLE generous given he was a whole ass adult man when his parents were killed, don't you think.

Calling Henry a lover is VERY VERY GENEROUS

I'm hyped.

#kingdom come deliverance #kcd #henry of skalitz #kingdom come deliverance 2

[no-light-left-on]

So the Death of the Outsider lacks a chaos system and it makes perfect sense

(I recommend reading my other post on how chaos works in the DH universe first but it is not mandatory.)

The point of the chaos system is, at its core, a reflection of how a world already at its tipping point reacts to the player's actions: Dunwall ridden by the plague and oppressed by the Lord Regent’s rule, Karnaca bloodfly-bitten and slowly torn to shreds by the Duke with people scared after the recent coup.

Billie, however, simply exists as a person once the world has been tipped towards the better, Emily having reclaimed her throne and Karnaca slowly but surely steering towards better times. Her quest is not motivated by politics or by a falling empire. It is entirely personal to her, Daud, and the Outsider.

Billie is an ex-assassin. She puts the world on a tipping point, but she does not decide whether the world rights itself or comes crashing over the edge. She takes jobs from the black market, sometimes killing people for money, because that is all it is to her - a job. And while she may kill innocent people while at it, there is no more terror it can bring atop the cruel rule of the Duke and people dying in the mines. In the end, she will disappear into the shadows. It is just another mugging, another unfortunate murder of a father coming home in the evening. Nothing more, nothing less. No responsibility to take over it after.

She is dedicated to her quest, and that quest is not even hers - it is Daud's, and she is just going along with it out of maybe guilt, maybe old times' sake. She is not even that interested in killing the Outsider herself, has very little stakes in it, and decides to go through with it because it's what Daud wanted. There is no world that can react to her because she is the world that is reacting, in a sense, to Daud's wishes and the Outsider's subtle interventions.

Compared to, say, DH2 which takes place months before the events of DotO, Billie has very little to lose, no place to reclaim, no world to save. The results of her actions, no matter what they might be, won't change how the world is at the end of the game. Emily can choose whether a brilliant doctor lives so she can save lives, she decides whether the Howlers or the Overseers take over Batista, dictates who rules and with how much power, with what level of cruelty. Billie is killing a god, no matter what it takes, and there is little need for consideration of how this result is achieved.

The game does not even have targets, save for one, the Outsider himself. All the missions are about gathering intel and preparing for the job. The structure of the whole game is very different to serve the purpose of the plot and honestly it's a clever choice so that the focus remains on the one thing only - killing the Outsider.

One thing I did not mention in relation to chaos in my other post is that the chaos also influences the Outsider and his speeches at the shrines. Which, fair enough, it is just one more change in dialogue among many. But in the case of DotO, he is directly involved. He is not an observer anymore. He has real reason to be emotionally invested in what is happening and what Billie is doing. He needs to bait her into murder, or change her mind to spare him and free him from his eternal imprisonment. There can't be a change from interest to cynicism as Billie kills more people to get to him, because in the end, he is the target. He wants out of the Void by any means necessary, which means he has to be fully invested at all times. He has no reason to suddenly go soft and make subtle comments. He comes across as so much more malicious in this game, maiming Billie and being so incredibly cruel when he tells her that Daud has passed while she was away. All this because he can't risk her changing her mind, thinking to herself, “Hey, maybe he sucks but he’s not That Bad” and then turning on her heel to leave. He is trying to influence Billie instead, which he didn’t do with his Marked (unless you count his mentions of multiple possible outcomes as influencing, or him telling Daud about Delilah).

So no, the world won't change for you, the player. It won't change because you chose not to kill anyone, not even the contract targets, because if you don't do the dirty work, someone else will. And the Outsider cannot change either, because Billie is not changing the fate of an empire. She is changing the fate of Him, personally, and he cannot afford to let her choose the only bad choice - indifference. So there is no point in a chaos at all.

No matter what Billie does in the end, the outcome will be the same - the Void will change. sShe will change the universe as they know it, but no matter how she goes about it, the change will come. She is not faced with a question of what she wants the world to be. She was guided there by others, expected to do one thing - kill a god. The world has set her up, and now she has to react.

And so she comes to the Void and is met with the only choice that will matter: Is she going to show mercy, or remain the same?

#dishonored #doto #death of the outsider #daud #the outsider #billie lurk #another post on 'people dont understand chaos in these games and I am Upset about it' #while checking the wiki on the missions in doto so I wasnt actually forgetting anything I found out that someone got hired over doing #analysis of the game on twitter and harvey noticed #if this is all somehow correct and harvey sees it hi hello let me write dh3 I promise I wont make it into a dating sim #these are not tags I should be leaving under this post #anyways uh yeah there you go #dh #I should write that one post talking about how I interpret the chaos system in each game separately #also read the first essay. I am begging. its good #essays tag

[directdogman]

hello there dog!!! firstly, i just want too say im incredibly proud too see how far you have come, dialtown is so special too me, and for not only that game to be so loved, but also for you too be so involved in the community, is amazing keep up the great work! i do have a question, i am working on a theory pertaining to my favorite characters gingi/milton, and if i may, i have a couple questions about him specifically, if you don't mind of course :) 1. what made you come up with the design/personality of gingi?

2. what are your personal feelings/thoughts on gingi? are you satisficed with them as a character? or are there anything you wish you could change now? 3. this is a wierd one but, gingi generally does not really care what he looks like/what others think, so im really curious why hes so meticulous with making his phone/type head, and if he is so bent up about it, why not try to get someone like Oliver to make him a more proper one? instead of replacing the rotten flesh over and over

4. idk if you can answer this one, but i dont think it can hurt to try...was gingi around, before callum lost his mind?

if you cant answer this, then i have another, what flower would best represent gingi?

Milton question:

ok so....did Callum just straight up cheat on his Marla with Milt?...or am i mistaking something? what i read on the wiki says that milton and Callum had a romantic...fling?

2. did norm know milt? where they friends?

3. does mingus know at least some of the extent of miltons involvement with callum?

4. are there any plans with milton? he seems like such a cool character with crazy potential

that's my questions done, again thank you if you answer! and if not, thank you for making a truly special game, cant wait too see more gingi and dialtown in the future

1)Design for Gingi was primarily based on Frankenstein's aesthetic applied to a the chupacabra. Personality was largely ripped from quite a few unpublished stories/ideas I had before making DT. There's a few protagonists in other things I'd written as potential new game/story ideas that are eerily like Gingi.

2)I'm really really happy with Gingi as a character and I wouldn't change anything that I've established. I like how Gingi starts the game and changes by the end because it's pretty vast, but also not a complete change (and it happens very very gradually.)

TBH, outside of Gingi's interactions in DT, the fandom doesn't really know anything concrete about Gingi due to Gingi's poor memory. Until Gingi formed real human relationships, there was nothing to anchor to, just fragmented and barely remembered individual interactions. Honestly, the bigger picture is really interesting and I'm very happy with Gingi as a protagonist and I'd love to make sequels to DT as I've had concrete ideas for where the character would get up to in potential sequels for years now!

3)Gingi's flesh-head is a bit of a mystery. Gingi doesn't have the same adverse reaction to rotting things that most people do, but does have a general chip in its shoulder about being judged as lesser by others. Gingi (generally) does not make efforts to change its appearance to be seen as less repulsive by others, as we can plainly see from the fact Gingi often forgets (or refuses) to wear clothes.

4)I have all the main character date of births written down, so I could tell you Gingi's exact age... but it's more fun if I don't.

FOR MILT:

1)I'm not really sure why the wiki says that. There's no canon materials that state that Crown + Milt had an affair together. I think someone just read between the lines and stated their hunch as a fact.

2)Norm and Milt met but didn't know each other well. There was a cut mention of Milt in Norm's dialogue, but after a lot of head-scratching, felt the topic was too forced. Norm wouldn't have volunteered the information unless it was relevant to the scene and Gingi would not have asked.

3)Mingus knows about Milt, though not intimately. The only person alive during Mingus' lifetime who could've talked about Milt to her was her grandmother Marla, who was a husk of a person for Mingus' whole life (and in particular, talking about Milt would've hurt too much for her given their closeness.) Mingus knows about Milt from her obsessive study of her paw paw's presidency, but not much more than any historian/social studies teacher would. A lot of information I'd consider very important about Milt was never put to paper.

4)I'm not 100% sure why the fandom likes him as much as they do, given how little of him the fandom has seen (and how little information there is about him out there so far.) I just wanted a few references to him included in canon so I could potentially reveal more about him one day without fans wondering how this SUPER important character had never been mentioned. It's incredibly likely that I'll show more of Milt in future DT stuff due to how instrumental he was in Crown's decision-making + rise to power. There would be no practical way to expand on Crown without discussing Milt more.

There's a much bigger picture that the fandom hasn't seen much of that Milt is very important to, though it isn't often relevant to the modern day events of DT. Understanding Milt isn't important to understand DT itself, but is to understand both Crown and exactly how the world (and by extension, Dialtown itself) ended up exactly the way it did. And with time, I will discuss that some more.

[fancifulplaguerat]

Actually. While I have a moment. This will not be my best analytical work but I have been going mad over a particular dialogue that Daniil can have with a Town Man, two specific sections which occur when they discuss the Kains.

Man: What do you think of the Kains?

Player: I have a soft spot for resolute, outstanding, and bold people. Their kind is rare nowadays.

Man: You're right... the Kains are conquerors by nature. They fear nothing. They're up in arms and ready to overthrow any rules, any dogmas, any taboos. You have that in common with them, don't you? Well... every coin has a flip side.

Player: And what is that?

Man: The Kains are insane. Possessed, like lead performers on the stage. They're cruel; without a moment's hesitation they would sacrifice anything in the world to achieve their brilliant goals. To their credit, their sacrificial list always starts with themselves. lt has always been that way.

An alright firstly I adore this simply because it is rather delightful characterization but ! What really interests me here is the man characterizing Daniil as the Kains' flip side, because I think it's interesting the characterize Daniil through the Kains and vice versa; that both here and with Daniil we see the pattern of cruelty or disregard that is accompanied by a penchant for self-sacrifice, and I have always adored this line for likewise framing the Kains as conquerors, just as Daniil. That alignment with the utopians and conquest isn't subtle or novel, given the. You know. Conquering nature, but still ! The poetic hubris of it all !

Anyway. A second dialogue option plays out thus:

Man: What do you think of the Kains?

Player: Nothing good, I suppose. Their notion of communication is rather annoying.

Man:  It is. And their policies are peculiar as well. Don't get me wrong, I'm not trying to sell the idea to you... I only know that they are very fond of you. It's not easy to win their favour like that.

Player:  Really? And how did I win it?

Man: Thanks to Maria, I guess. She has that supernatural intuition of hers, her mother's heritage. She can feel the resolve within you, she can read your intentions; that makes her believe that you're going to help us all.

I actually had recently been bothered by how quickly the Kains latched on to Daniil (Simon and Nina saying that they love him on Day 11 lmao), and assumed that Maria had foreseen his actions but. This kind of compels me more, the suggestion that she did not see his future but just his resolve and intentions, that it's less about his actual actions and instead what he is capable of doing. I find that far more delectable, because in truth I am often a little bored by visions and fate, the idea that the Kains just Saw Daniil preserving the Polyhedron. It also suggests more agency within Daniil's character, more choice; as for the Kains, I still find it a little odd that they are so willing to entrust themselves to Daniil based upon Maria's intuition; it feels almost like desperation, which I prefer to read in here. Honestly I think it could equally just be that they trust Maria that much, and Maria trusts herself, but again I find it more fun to imagine that they are desperate and have staked their future on Daniil. WAIT WAIT I JUST REALIZED. AN EVEN MORE DELECTABLE PARALLEL. Do you see what I am seeing. Daniil staked his life on Simon Kain and Simon Kain staked his life on Daniil !!!!

#going to be honest. all of this was research for a fic. #I am having the most severe Kain brainrot #as many of you are probably aware lol #pathologic #daniil dankovsky #patho.txt

[exilepurify]

Reigen’s confession scene: original Japanese manga text analysis and translation

I had a ton of fun translating the Japanese text from the “no one will save me” Mob headspace scene and it’s fantastic practice, so I decided to personally translate the raws from Reigen’s confession scene and analyze that a bit.

More under the cut! (Very long :0)

Reigen: なんの力も無いんだ！— I dont have any powers!

持ってないんだよ！— None at all!

Reigen: 嘘… — A lie…

最初から嘘だったんだ… — From the start, it was a lie.

Reigen: ちょっと失礼。— Excuse me for a moment.

花粉症かな? — Hay fever, right?

俺はよく嘘をつく。— I lie all the time.

客にも… — To my clients…

Reigen: お前にもな… — and to you…

初めてお前が事務所に来た日… — That day, when you came to my office for the first time…

俺は嘘をついた。— I lied to you.

お前の悩みを知った気で相談に乗った。— I advised you as if I understood your struggles.

お前は俺を���単に信じた。だから… — And you believed me easily. So…

お前を騙して仕事をやらせた。— I tricked you into working for me.

あの日から今日まで… — From that day, up until now…

Reigen: ずっと… — The entire time…

ずっと利用し続けてたんだ... — I continued to use you the entire time…

俺… — I…

本当は何も知らねぇんだ。— I honestly don’t know shit

Reigen: 超能力のこと… — about psychic powers…

Reigen: これが俺の正体だ… — This is my true self.

今まで師匠面してすまなかったな… — I’m sorry for acting like your master up until now.

だけど最後なんだ。もう少し言わせてくれ。— But this is the last time. So hear me out just a little longer.

Reigen: お前だけが特別な訳じゃない。— You’re not the only one who’s special.

ニ面性なんて誰にでもある。— Everyone has a second side to them.

これは今でも本当に思うことだ。— This is what I truly believe, even now.

皆お前と同じだ。俺も… — You are the same are everyone else. The same as me, too…

だからそんなに悩むな。— So you don’t have to worry so much.

いや… 悩むんでもいいか… — No… worrying is fine, too.

それもまた当たり前のことだ。— That is also a natural thing to do.

ここだけの話… 俺は隠してる自分の本当の姿が大嫌いなんだが… — Just between you and me… I absolutely despise the true nature of my secret self.

それとは別として相談所での日々は嫌いじゃなかった。— Despite this, I didn’t hate those days we spent at the consultation office.

俺には「嘘」があったからお前と知り合えた訳だし… — Because I had “lies”, I got to get to know you…

モブにもその「力」があったから… 今のお前があるんじゃないか。— Because you have your “powers”… you are the person you are today, right?

Reigen: えーと… Um…

要するにだ… — In short…

お前は… — You…

そのままでいい。— are fine the way you are.

もう俺がいなくても大丈夫だ。— You will be okay even if I’m not here anymore.

大丈夫。— You will be okay.

そろそろ受け入れてやれ。自分を！— Accept it a little at a time. Accept yourself!

お前なら… モブならそれができるって事を…俺は知ってる！！— Because it’s you…. Because you’re you, Mob, you can do it. I know you can!!

—————————

Notes:

- なんの力も無いんだ! — I dont have any powers!

Reigen uses a widely-unused kanji here, 「無い」 or “nai”. A.K.A, Japanese negation. It’s almost always written with kana (興味がない、続けない、etc). I imagine the kanji was included here for greater emphasis. Reigen does actually use another unused kanji later in this conversation though (事 instead of こと) so I also think there’s a case to be made for it being an intentional decision made to make Reigen’s speech patterns seem eccentric, but I would need to look at much more of his manga dialogue to confirm that.

- 本当は何も知らねぇんだ。— I honestly don’t know shit

Okay. He doesn’t actually use the shit word here, but cursing is a bit strange in Japanese because of how tone can be subtly indicated by verb form, something we can’t really do in English. Reigen uses a very casual, rude form of 「知らない」 that I think is most faithfully represented by a curse word. He’s obviously trying to put negative emphasis. The Crunchyroll sub put it as “I don’t know a damn thing”. I chose “I honestly don’t know shit” because it’s a bit less of a deviation from the raw dialogue.

- 今まで師匠面してすまなかったな… — I’m sorry for acting like your master up until now.

I thought the use of 「師匠面して」 was interesting. 「師匠」 is “Shishou/Master”, which is straightforward, but 「面」 is a kanji that means “mask, face, surface” and it’s basic readings are “メン/men”, “おもて/omote” and “つら/tsura”. Reigen uses a lesser-known reading and meaning of this kanji, so much so that ONE included furigana over the kanji to clarify the reading. 「面」 here is read as 「づら」and is used as a suffix to mean “looking like a…, acting as if a….”.

お前だけが特別な訳じゃない。— You’re not the only one who’s special.

「訳」 (wake) is my mortal enemy, because it’s a word in Japanese that’s so close to being a particle but isn’t a particle. It’s a word indicating a conclusion reached from personal reasoning or evidence, or circumstance, or meaning related to a situation. It’s abstract, so it can be a bit tricky deciding how best to translate a sentence it’s used in. Sometimes it is not directly translated at all, which is what I did here, taking it more as a subtextual indicator of context than as a word in the text itself. However, this is out of personal preference, and I would totally accept it being translated more overtly as “You’re not the only one with special circumstances.”

- ここだけの話… 俺は隠してる自分の本当の姿が大嫌いなんだが… — Just between you and me… I absolutely despise the true nature of my secret self.

Two notes about this one:

「ここだけの話」 is a phrase that directly translates to “this is a discussion for only right here”, but that would sound kind of weird to say in English, and it means the exact same thing as “just between you and me”.

「隠してる自分の本当の姿」 is a DOOZY. It’s a little clunky, but I think it fits for Reigen to be a bit dramatic with it. I sort of played around with it a little bit, but strictly translated, it means “my hidden self’s true form”.

- 大丈夫だよ。行こう。— I will be okay. Let’s go.

This happens in the scene where Mob and Shigeo accept each other (not a part of Reigen’s confession), but I included it for a good reason. This isn’t so much a translation note as it is a commentary on the manga, but I think I like the manga version of the scene just a little better than the anime, just for the “大丈夫” thing between Reigen and Mob. Mob’s referencing Reigen’s previous words, 「もう俺がいなくても大丈夫だ。大丈夫。」 — “You will be okay even if I’m not here anymore. You will be okay”, which are beautifully enhanced by the sudden panel of Reigen watching Mob in that moment with a small smile, silently reassuring him that it’s true. It’s such a small detail but it means so much to me, and I’m a little sad it wasn’t fully preserved in the anime. But, yknow how it is. Not everything can make it in.

#mp100 #mp100 manga #mp100 spoilers #mob psycho 100 s3 #mob psycho 100 spoilers #mob psycho 100 #mp100 analysis #fan translation #japanese translation #manga translation #mp100 manga analysis #reigen arakata #shigeo kageyama #???%

[filmmarvel]

PJO Series Overall Thoughts + Pros and Cons

Disclaimer! First of all, there are a lot more cons than pros here, and if you loved the show and don’t want to hear my criticism just keep scrolling. Second, I’m not someone to complain just because it isn’t exactly how it was in the book! I have quite a range of feelings about story changes. In regard to the ones I’ve listed as cons, i’m just irritated that they haven’t been able to match the book in frankly any capacity. I believe that if you’re making changes, it should be a) out of necessity, b) to improve upon the material, or c) taking positive creative license to try a new spin on an element from the source material. But the changes I’m complaining about, for the most part, haven’t met any of those requirements.

Pros:

Sets and Visuals

It was so magical seeing camp come to life!

The Underworld looks fantastic, the visuals are super cool, especially the Fields of Asphodel. That was a really cool spin on the books- the CGI was pretty good, and the concept there was really interesting.

Olympus was very cool looking too! It reminded me of Asgard.

Overall I Just Think There’s Lots of Potential!

Since the leads are fairly inexperienced (and kids), you can’t expect them to be incredible. They’re doing just fine, but I think they have a lot of potential, and I’m excited to see them grow over the course of the series!

Generally I still really like the casting and have high hopes for these actors, I just wish (for our sake and theirs) that they had better material to work with.

Plot Changes

This ones kind of a pro AND a con: Generally, I really like the flashbacks! They add a lot more depth to Sally, and her relationships with Percy and Poseidon. That being said, the episodes typically feel far too short to be adding material that wasn’t in the books. I thought it was fantastic in episode 7, but in other episodes it didn’t quite work when so much else was cut, or there were opportunities left untaken as a result.

I also liked that they included a few flashbacks with Luke in the finale- there was so much training and time at camp that didn’t fit into the first two episodes.

They got rid of the “names have power” stuff which is great (never made sense in the books).

They did a really nice job humanizing Medusa, but still creating conflict with her, and simultaneously setting up further issues with the gods.

I also agreed with their decision to move the fight from Santa Monica to Montauk, to save time.

Cons:

Dialogue and Writing

The dialogue is definitely less charming than in the books. It’s a huge part of what makes them fun, and the dialogue here is honestly pretty bland. The characters don’t totally feel like themselves, but it isn’t only the acting. Forcing the characters to be explaining stuff to each other nearly every time they have a conversation makes them a lot less personable.

Honestly, this series feels kind of elementary in comparison to the middle grade books. I’d imagine that, like the books, they were aiming to create something that could be enjoyed by young kids and adults alike. But I didn’t find it as successful as the book in this regard.

And the dialogue is consistently so surface level! Stiff, boring, and above all, CONSTANTLY telling over showing. This affects the likability of the characters, and the ability of the actors. Both parties are deterred by the info dumping, as they aren’t really given as many genuine lines or interactions as they should have.

Honestly, it kind of feels a bit like they gave some of Percy’s personality to Annabeth in parts of the show? I saw someone else point out that they’re kind of giving Annabeth the Hermione treatment (ie giving her some of the other characters good moments), which I kind of agree with. However, a lot of that was towards the beginning and middle of the season and has somewhat improved since.

I posted a whole rant earlier about the Lotus Casino episode, which I’ll just summarize: theres a consistent pattern in the show of having the characters figure out what’s going on immediately, removing the danger, and more importantly, not allowing the characters to make mistakes, which weakens both them and the plot. In addition, I didn’t like that they brought up May Castellan already, primarily because it was just another info dump, which (in my mind) gets lost amongst all the other info dumps and removes the poignancy from the reveal. Now, there’s absolutely time to fix the May Castellan situation and ensure that it still packs a punch later on, but for this season it wasn’t great. Go check out my last post if you’d like to hear the rest of my argument on that episode!

Some additional examples of the ‘not letting the characters experience danger’ thing: Procrustes (obviously), and Kronos- forget whether or not Percy should know who Kronos is, the biggest issue is that there’s very little evidence or buildup, so (again) there’s no tension or shock at the reveal. And finally, with Luke. I was so annoyed when Percy figured it out! I could’ve believe that they were doing it AGAIN. I still enjoyed that scene because Walker and Charlie were great, but that was disappointing for sure.

The thing with the pearls honestly amounted to nothing, and there was no reason for Annabeth to not be present in the underworld: that was just a tearjerker for the sake of being a tearjerker (manufactured drama).

Lowering the Stakes

I just wish they’d made it SLIGHTLY more mature- don’t get me wrong, it’s a kids show! I’m very well aware of that! But this feels a lot tamer than a lot of kids (PG) movies involving monsters and stuff.

Gabe was a real piece of shit in the books, but in the show they just kinda made him look lazy and turned him into comic relief. And I don’t believe in the argument that they had to make this change to benefit a younger audience- they didn’t really need to change anything there.

Throughout the majority of the season, I felt like they weren’t allowing the gods to be truly intimidating, or powerful. First with Ares, who wasn’t BAD but generally didn’t have that kind of dramatic presence that he had in the books. Again with Hades, who wasn’t shown as being REMOTELY intimidating, and perhaps the biggest offense of all- Zeus. Having the deadline pass with seemingly zero consequence or threat of consequence does absolutely nothing (and certainly doesn’t increase tension like I’m pretty sure Rick Riordan said was their reason for changing it). Up until the finale, viewers had very few reasons to fear the Gods. Even Dionysus and Hephaestus! In the books there’s a clear line- you can interact with them, but you DONT want to offend them. There’s a clear threat of power, and that just wasn’t remotely present for a while.

And again, I just want to clarify- this is an overall writing problem! It’s not that Ares, or any other one of the gods I just mentioned has a different personality than in the books, it’s that a show like this (KIDS OR NOT) should still be compelling, and part of that includes having real danger and clear stakes.

I would add that they did a much better job with this in the finale! Lance Reddick gave such an amazing performance, and truly made Zeus an intimidating figure. The fight on the beach with Ares was great as well. So I’m optimistic about this criticism moving into season 2, but I stand by the idea that this was an issue for the majority of the series.

Overall, it felt like they weren’t taking the serious parts seriously, AND they didn’t take the comedy as seriously either? So it isn’t as lighthearted OR as impactful as the books. It feels so much more bland and watered down by comparison.

Episodes Were Too Short

Everything just flowed really well in the books, here the pacing is off and the dialogue isn’t as natural (again, they’re forced to rely on a lot of telling instead of showing which takes away from genuine moments). Many character details and personality traits were cut for the sake of additional verbal explanation

As many others have pointed out, the fight scenes also feel pretty rushed, and haven’t quite conveyed the sense of urgency that they should. It all just lowers the stakes.

This Ones Kind of a Joke, but the Casting for Hephaestus

It’s mostly my book bias. This guy was NOT giving Hephaestus. Mainly because Hephaestus is the god of the forge, and I can’t picture this guy anywhere near one of those. He kind of looked like one of Santa’s elves, he’s giving tinkerer not GOD of the FORGE. This is also something they can absolutely fix/win me over in time lmao

Changes

I already mentioned most of the changes (good and bad) already, but there’s one more. I kind of wish they had kept Percy’s dream about Tartarus, especially given that they decided to have Percy figure out Kronos is behind it all earlier- it just would’ve clicked a little easier.

Finishing Thoughts

I don’t want to totally sound like a hater! I’m still enjoying the series, and I really hope it gets renewed for season 2! I was just disappointed in the weak writing. I hope that the writers will be able to recognize these flaws and improve for season 2.

Alright, I don’t really expect anyone to read this whole thing, but if you made it: thanks for reading! I’m curious to hear your thoughts, so I’d really appreciate comments, just keep it civil!

#percy jackson disney+ #percy jackson #percy jackson and the olympians #pjo #pjo show #percy jackson show #pjo tv show #pjo finale #percy jackson finale #percy jackson and the olympians review #pjo series #pjo spoilers #pjo episode 8