#this post is subject to edits when i find more reference pieces to include and recommend | Explore Tumblr posts and blogs

raven-at-the-writing-desk · 1 year ago

Note

I don’t know if you already wrote about this so forgive me if this is a repeat question but, what do you think about Leona’s depression? I feel it’s pretty obvious in game and yet it’s always glossed over as him being ‘lazy’ idk but I don’t find many talking about his really shitty mental health with any seriousness.

Surprisingly I haven't addressed this (at least not in detail)! So thank you for bringing this to my attention; I definitely feel like I've heard people (especially Leona fans) discuss this quite frequently. If you look in the right places, you’re sure to find insightful commentary on the subject! I know I certainly have, but I've yet to say my own piece on it yet.

Now, before I actually get to actually rambling, I want to preface this post with a few points so we can walk in knowing the perspective I'm coming from. Analysis isn't a "one size fits all"! My experiences and background will color the lenses through which I view Leona’s mental health.

First and foremost, I usually don't go out of my way to claim, "this character has X condition" beyond what is outright stated or implied in canon. That does NOT mean that I disapprove of fans who may have their headcanons that say otherwise or project onto or relate to characters' mental health. You can consume the media you like however you want! I am just saying that I don't have this preference so I feel somewhat uncomfortable speaking on this matter.

Secondly, I am trying to approach this situation from a very clinical viewpoint (as I do have knowledge in this area). This means that when I look for “implications” or read between the lines, I am doing so as objectively as I can. It’s how I choose to process and understand characters from a health angle. This does not mean that my opinion is certain; you could very well find someone else in this area that gives you the opposite opinion. As always, I warn you that my response is for fun, it is NOT meant to be taken as medical advice.

Lastly, PLEASE READ THE ENTIRE POST before you comment or share your own thoughts. I'm up for having a discussion, but I ask that you not do so without getting the full context of my thoughts. It’s a lot of information, and I did my best to break it down in a way that (I hope!!) is easy to understand.

CONTENT WARNING: due to the nature of the question at hand, I will be discussing or mentioning potentially triggering topics such as ***depression, suicidal ideation, dieting, homophobia, and substance abuse.*** Please look away if you are not in the right headspace to read about such topics.

Okay, let's rip the band-aid off now: I don't think Leona is clinically depressed.

Pause. Rewind. Take note of my careful wording there: clinically depressed. I don't think Leona is clinically depressed. What does that mean, and how does that relate to "being depressed"?

I think when people describe Leona as "depressed", they commonly mean that he "has depression", not that he is just feeling sad or has low self-esteem. By "having depression", I'm going to assume they are referring to "major depressive disorder", which is the technical term for the condition.

"It's just an abbreviation of the longer term. What's the issue with using 'depression'?” you're probably wondering. “You understand that we mean major depressive disorder.” Well, equating the two does NOT a diagnosis make.

Mental conditions such as major depressive disorder are documented in a handbook known as the DSM (or the Diagnostic and Statistical Manual of Mental Disorders). The latest version, the DSM-5-TR (5th edition with text revisions), was published in 2022. The DSM is a manual that sets forth criteria for each diagnosis in its pages. Of course, this includes major depressive disorder—and it may surprise you to learn that Leona does not meet its diagnostic criteria.

A diagnosis of "depression" (the term I will henceforth be using as shorthand for the disorder) is much more than having persistent feelings of sadness or hopelessness, being unmotivated/lazy, and wanting to sleep often. (I bring up these three things specifically because they are the ones I see being pointed at most frequently to “prove” the diagnosis.)

In order to be formally diagnosed, an individual must be experiencing at least 5 or more of the following symptoms during the same 2-week period:

Depressed mood most of the day, nearly every day.

Markedly diminished interest or pleasure in all, or almost all, activities most of the day, nearly every day.

Significant weight loss when not dieting or weight gain, or decrease or increase in appetite nearly every day.

A slowing down of thought and a reduction of physical movement (observable by others, not merely subjective feelings of restlessness or being slowed down).

Fatigue or loss of energy nearly every day.

Feelings of worthlessness or excessive or inappropriate guilt nearly every day.

Diminished ability to think or concentrate, or indecisiveness, nearly every day.

Recurrent thoughts of death, recurrent suicidal ideation without a specific plan, or a suicide attempt or a specific plan for committing suicide.

At least one of the symptoms should be either 1) depressed mood or 2) loss of interest or pleasure in activities they previously found enjoyable. Furthermore, the symptoms must cause what is known as "clinically significant distress", which is defined by impairment in important areas of functioning. This includes, but is not limited to, socialization, occupation, and/or education. The symptoms must also not be the result of substance abuse or another medical condition, and the individual must ever have experienced mania or hypomania.

Let’s briefly go through each criterion + additional documents and see what evidence there is or isn’t to support it:

We do not have his medical records to cross reference, so for the sake of convenience let’s assume no underlying or additional medical conditions.

We must consider additional context about family, lifestyle, etc. which can confound his symptoms. For example, as a prince, Leona has grown up having most things done for him by servants. This is what he is used to. So when we observe Leona not doing basic things for himself (getting food, doing laundry, making his bed), how much of this can we truly attribute to an underlying condition and how much of this can we attribute to Leona being accustomed to a certain kind of lifestyle?

Leona (at least from what we know of) does not experience mania, nor is he depicted as taking mind or behavior altering substances.

Of the first two criteria, Leona must fit into one: either 1) depressed mood most of the day, nearly every day, or 2) markedly diminished interest or pleasure in all, or almost all, activities most of the day, nearly every day. These depend on how you interpret his actions and behaviors. Personally, I don’t think Leona strongly fits into 2 because he still has an interest in his hobbies like Magift/Spelldrive and playing chess (though his involvement in it varies depending on the context). I will concede that there is stronger evidence for 1 over 2, as Leona has definitely expressed sadness and despair regarding himself and his future prospects. It is these thoughts that drive him away from home and keep contact with his family at a minimum. It is these thoughts that prevent him from seeing himself as worthy or even capable of change—a sentiment he shares in book 6, when he encourages Jamil but does not grant himself the same kindness or optimism. For this reason, we will go with the first criterion.

He has not experienced notable weight loss nor gain, nor a notable increase or decrease in appetite. Regarding his general diet, Leona has expressed a preference for meat and rejects vegetables. This by itself does not really provide any useful information in of itself; many people have this preference.

Leona does not experience a slowing down of thought. He is still very sharp and quick-witted in responding to his surroundings, especially in potentially dangerous ones, and coming up with an appropriate plan to counter. It can be argued that Leona has had a reduction in physical movement, as many characters often make remarks about how they perceive him as lazy or not doing much. However, this criterion actually refers to the speed at which one completes an activity and as far as I know, Leona is not said to be moving sluggishly, he only conducts himself in a manner that can be described as "lazily elegant". Even if we stretched the definition to encompass long-term goals he is putting off (like graduation), this criteria is still not counted for Leona since the wording used in the DSM-5-TR states “slowing down of thought AND reduction in physical movement” must be present. In other words, both must be true, not just one of them.

Leona does seem to experience some level of fatigue or loss of energy. This could be one way of interpreting his desire to sleep excessively instead of tending to more meaningful matters (like class). Fatigue, in this case, can also refer to emotional or mental fatigue. The sleep, then, can serve as a means of escape from reality for Leona, but it does not indicate actual physical tiredness. Rather, the tiredness can be intangible. This is also a potential explanation for his lack of motivation when it comes to some activities, especially those that demand him to take charge.

Leona does appear to experience feelings of worthlessness, though perhaps not excessive or inappropriate guilt. In fact, I would wager Leona does not demonstrate the latter, although this could be attributed to the fact that we are not in his head and he does not open up to others about his feelings. For example, we still don't know what his feelings are on almost killing Ruggie in a fit of rage. This does not discredit this criterion though, as the wording in the DSM is “feelings of worthlessness OR […] guilt” meaning one or the other suffices. It is no secret that Leona seeks recognition for his skills—something he was denied as a child and even put down for. While he is aware of his strengths, he has moments when he doubts himself (stating that he can’t change, or giving up when he realizes his plans won’t work so what’s the point in trying?), the contributions he can make (even when his older brother reassures him he can help their country), and encouragement from others (Jack telling him his play inspired him).

As I've said before, Leona does not have a diminished ability to think or concentrate. It has been shown to us time and time again that he doesn't do schoolwork not for lack of trying or lack of understanding, but because he thinks of himself as above it. Leona has already been tutored by the finest teachers royal money can buy, so he believes there is not much else for him to learn. He is also not shown to be indecisive--he can make decisions very quickly and can guide others or at least convince them to go along with him.

Leona does not have suicidal ideation or have recurring thoughts of committing suicide/death. While it's true that this is a game rated for ages 4+ (and therefore has restrictions on what content is and is not allowed in it), TWST has demonstrated to us that there are ways to imply suicidal ideation and other dark themes without explicitly saying it. (One notable example is Idia in late book 6, where he drops lines like "I'll go with you" and expresses dissatisfaction with "this world" to Ortho, who is known to be dead. To this, Ortho reassures him and encourages him to keep living. In fact, I could go on a whole tangent about how Idia better fits the criteria for major depressive disorder, but we're not going to get into that here.) The fact that TWST does not really imply this about Leona makes me think this is not true of him.

It can be said that the symptoms Leona does have are clinically significant, as his behavior is shown to have significant impact on his studies to the point where he was held back a grade. This was not because he did not know the material, but because he failed to find the motivation to attend class and to do his assignments. It also appears that Leona didn't really make an effort to work toward his future until book 7, when he actually talks his internship plans and about wanting to graduate.

We may guess that the symptoms persisted for two weeks or more (given Leona’s history and involvement in the main story), but the frequency of the symptoms is unclear since the game controls what we see of Leona and what we don’t.

Taking all of that into consideration, Leona does in fact exhibit depressive symptoms, but only 3 at most (I say “at most” because we have no idea about the true frequency at which some behaviors occur; we aren’t with Leona 24/7, nor has he reported it to us) out of the 8 total criteria. That’s 2 short of a diagnosis.

“But wait, there’s a lot of information missing here! We don’t have medical records, his weight and appetite changes, etc.” That’s true—but see, the main issue I take with diagnosing fictional characters in the first place is that we oftentimes do not know a character in detail enough to understand the full scope of their lives and symptoms. Noticing a few details is one thing and valid to an extent, but to evaluate an individual is not purely observational. This is particularly true for TWST characters, as even though there is plenty of content to refer back to for behavior, there is still a lack of really going into daily activities or deep feelings (beyond the one post-OB flashback for the OB boys). We cannot observe their behavior extensively. Because of this, tons of key criteria may not be visible to us from the audience’s perspective, let alone a medical history or other data to consider for assessment. We will almost always have an incomplete profile of a fictional character. Health is holistic and not entirely based on what we as individuals see or on all anecdotal evidence.

Just as health considers all parts of the individual, we, too, must consider individual cases of depression. It is possible for depression to exist without a diagnosis—many people (especially older adults), unfortunately, go undiagnosed for their condition. At the same time, it is possible for Leona to have depression which manifests in an atypical way. Each person with depression presents differently than the last, so I so not intend to make any blanket statements about the general population with this condition. The only statement I am making here is that based on my own interpretation of the current lore TWST has granted is, Leona Kingscholar does not satisfy the criteria for a formal clinical diagnosis, at least not for major depressive disorder as is defined by the DSM-5-TR.

Interestingly, Leona does fit the diagnostic criteria for a subclinical form of depression in a 1994 version of the DSM (IV). Minor depression or minor depressive disorder, colloquially known as “everyday depression”, is defined as having 2–4 depressive symptoms persisting for more than 2 weeks. One of these symptoms must be either depressed mood or loss of interest. It should be noted that this terminology is no longer recognized, as new information is added and dropped from the manual all the time. The information is flexible based on the consensus of a panel of hundreds of experts. Older versions of the DSM can be horribly outdated and it is not advised to reference them over newer ones. (As an example, "homosexuality" was legitimately listed as a mental illness in the very first version of the DSM. Yikes. Thankfully, this was dropped from the DSM-II. Other conditions like "multiple personality disorder" are granted new names like "dissociative identity disorder" or reworked altogether as our studies and understanding of mental health and science improve. It is important to keep up with the research coming out and update our approaches accordingly.)

We do not currently have a label for Leona’s situation aside from perhaps experiencing depressive episodes (periods of notable sadness lasting under 2 weeks) and exhibiting some depressive symptoms. I must stress that just because we lack a full-blown diagnosis, it doesn’t mean that it doesn’t impact his life. Leona is shown to very clearly be struggling with his mental health. He spends a lot of time in bed, typically cannot be motivated to attend class or do complete assignments, and has moments where he thinks very lowly of himself in spite of the confidence he exudes to others. What's more is that because Leona does not speak to others about what he's going through, it comes off as laziness or arrogance to his peers. Think of it this way: if you have a bad day and snap at a stranger or an acquaintance, the stranger/acquaintance is far less likely to grant you grace or forgiveness for your behavior compared to, say, a friend. They are not as familiar with you, so they will have less patience and are less likely to consider what you may be going through on a personal level. This also applies on a fandom level; if a fan is not actively reading between the lines, they, like Leona's peers, may miss the depressive symptoms he is displaying because they aren't looking for it. How many people can we say are close friends with Leona for him to open up to them about his circumstances? I would say Leona barely even lets his own dorm members be intimate enough with him to let them know about this part of himself. He has Savanaclaw backing him, but he probably does not talk to the mobs extensively. Ruggie is his errand boy, but I doubt Leona pours his heart out to him. And Jack is the newbie who did technically betray their dorm, so Leona might not trust him. Forget about people beyond his dorm. Even his family is not much better off; we've seen that Leona tends to brush off his brother's friendliness and attempts to make amends. There is no strong support system in place for him, which is tricky because Leona perpetuates it by keeping others at bay. In the light novel adaptation of book 2, Leona has an inner monologue about how he is afraid of letting others give him hope because it will encourage him to try again, only to fail another time. I imagine similar logic applies here; he is afraid of showing his vulnerable side because it might give him hope for change when he as late as book 6 expresses that he has given up on himself. I think that this is the detail about Leona most look to when they consider his mental health. The hallmark of depression is, after all, the feeling of perpetual sadness and despair itself. Most do not realize that other factors are considered.

From a clinical lens, it is not “obvious" that Leona is depressed. However, I understand why the prevailing sentiment tends to skew in the opposite direction. For the layman, it may be difficult to distinguish what is and is not clinically significant enough to warrant an actual diagnosis. Again, most will cite the same three pieces of information to support the depression reading: Leona's irritability, his unwillingness to participate, and the rejection he experienced as a child (which has now manifested as self-doubt and low self-esteem). Characters are often judged based on fans' own experiences, and this naturally comes with biases and subjectivity. Thus, some fans may project their own understanding or preconceived notions of what the "typical" depressed person acts like in their head onto Leona. This is normal human empathy at play. I believe that other fans see depression in Leona either because they experience it themselves or are familiar with someone in the same shoes. It can be difficult, and at times we can find solace and solidarity in fiction, especially if we find a character that “speaks to us” and seems relatable. That character may be Leona for some people. If you see do see him in this light or relate to his situation, I’m not invalidating your feelings. On the contrary, I'm happy that you were able to find comfort in him and that a piece of media you love can serve as a coping mechanism. You keep on doing you!

It is at this point that I will reiterate what I said at the start with a little extra nuance: I do not think Leona clinically depressed BUT I do believe he has depressive symptoms and poor mental health as the result of his cumulative circumstances. It is possible for him to have major depressive disorder, but we cannot determine this for certain with the information available to us right now. We are still missing several key components that would typically be considered in the evaluation process.

I think it's important to step back from focusing on labels and instead focus on the individual experience, and how you can still grow as a person and not let a perceived label define you. Leona is definitely working on himself! Changing, particularly changing a deeply ingrained mindset, takes much time and effort. We may not see the progress since Leona tends to hide it and/or we have limited intractions with him. We may not always see giant strides because the process is difficult. Even so, Leona is trying to jump over those mental and emotional hurdles. He's putting his all back into Magift/Spelldrive training. He's attending classes and doing the assignments. He's going home for the holidays. He has an internship planned. He wants to graduate. I've enjoyed following Leona's journey of growth and self-development and seeing all the intense discussion surrounding that. It all comes from a place of love and wanting to support the characters we care about, no matter how we may individually view him.

297 notes · View notes

basedonconjecture · 1 month ago

Text

OC Wardrobe

thanks for the tag @thesummerstorms!! I similarly spent way too long on Canva (fortunately my Pinterest hoard provided, haha)

gonna tag @mythals-whore, @hyperions-light, @thedissonantverses, @biowaredisasterbisexual, @introvertedfangrl, and @complikatedd for this oneeeeeee (ik you’re all busy but it’s fun if you get a chance and want to!) and ofc anyone who sees this and wants to do it is welcome to tag me (:

I did both a canon and modern au version bc I love dressing up characters 😭 It’s not required to explain themmm but I love to yap about my thought process for these things. Clothes say a lot about characters okokok so you’re all subjected to my wardrobe headcanons now. (The hex codes on the color palette is mostly for my future reference but I thought they were a fun detail!)

Edit: yes I forgot to include her picture bc I was in a rush to finish before I had to run out the door it’s fineeeee I added it below 🫠

✧ CANON/MAIN UNIVERSE

Starting right from the top:

FORMAL WEAR • While Selora’s official contracts were all pretty standard fare (thefts, espionage, the occasional assassination — she wasn’t impressing anybody) where she word the typical Crow uniform of leathers, masks, and cloaks, the jobs she did off the record for Viago required her wardrobe be a bit more diverse. All of the clothes she collected in that time were specific to the job, and she’s recycled some of them since they were expensive, but there’s a few gowns in there she’s fond of. The style of them is definitely reflected in her choices post-canon. As seen above, she prefers cleaner, slimmer lines that still allow for a lot of movement without a ton of fanfare wrt decoration. As time goes on, her formal style does get more dramatic and severe. The only times she ever has to dress that way post-VG is on Official House Business (whether its De Riva or Dellamorte) and/or as the partner of the First Talon—so she’s usually trying to be as intimidating as possible. It also a way for her to draw thicker mental/emotional boundaries between that Selora and the real Selora.

CASUAL/EVERYDAY WEAR • Generally speaking, when she’s not dressed in her leathers, she’s wearing much simpler clothing. Oversized shirts in really light breathable fabrics, like linen or silk, in single colors or very subtle patterns. As seen above, she is drawn to dark-on-darks and florals that remind her of flowers/plants in Antiva—ivy, in particular, but jasmine, as well, and, later, grapevines 👀 Trousers tend to be a bit more fitted. Again, for movement primarily. She gets cagey if she feels like there’s too much fabric to be able to run or climb, if necessary. As you can also see, her casual wear does veer more toward masculine lines than her formal wear does. While she’ll mostly rock the deep-V, she’ll also layer with vests, and jackets in similar cuts that will disguise her body more if she’s not feelin’ being perceived~ as feminine as usual that day. Does she have squishy gender feelings? Yes, but they’re mostly subconscious, and she has a job to do.

ACCESSORIES • She does have multiple piercings in each ear, but changes out the jewelry pretty regularly, if she wears any at all. Being an elf, she’s not often in the mood to draw attention to her ears over much, so she tends to choose really simple pieces, usually with a snake motif over a crow one, out of habit. She doesn’t own many things that would outright identify her either as a Crow or as a De Riva for practicality but she finds ways around it when she can. The choker/necklace pictured is similar to the garrote necklace she wore to Caterina’s (fake) funeral and, when she’s working, most of her necklaces have a similar function to them. When she’s not working, she wears one similar to that pictured on the end of the bottom row. It’s not super accurate to the real thing, but she wears two rings on a chain: an inscribed gold ring Lucanis gave her as a personal gift, and his mother’s opal ring once she stops being weird about it. She also has other rings, mostly compartment rings meant for hiding poisons in, that she’ll wear depending on the job. The only ring she wears consistently post-canon is the signet ring (pictured) with her personal insignia on it, which is how she signs off letters with orders as House Dellamorte’s spymaster, so they know it’s from her. She keeps it on her so it can’t get stolen or replicated without her knowledge. Obviously, also included, is her chatelaine belt and knives (:

Her work gear is pretty self-explanatory: leather armor with enough flexibility to allow for her fighting style, supple boots, multiple holsters for blades. (If you’re wondering wtf she sleeps in, I’m sorry to say….mostly her small clothes or Lucanis’ shirts, if there’s a need for modesty, otherwise it’s her birthday suit baybeee).

✧ MODERN AU

I don’t have much to add here, I think it’s pretty straight forward. The mix of masculine and feminine silhouettes carries over into a modern context—sometimes more one than the other—but it depends on what she’s doing. I don’t yet have a solid grasp on what the modern version of the Crows looks like but I do know most of her work is still on the backend for either Viago or Teia or both of them. If anything, she’s the one likely still gathering intel, cooking the books, and running the numbers on whatever they’ve got going on, using that big brain of hers, rather than being front and center in Crow business. Whatever allows her to be less flashy. Her interest in jewelry carries over there as well so potentially something to with that on the De Riva end of things. We shall see, we shall see, but it’s all still percolating.

#no nuance? how about excessive nuance #graphic design is my passion #i love mood boards :)#oc wardrobe #oc: selora de riva

26 notes · View notes

heart-like-a-haunted-house · 2 months ago

Text

When The Devil Weds [A Negan X You Poem]

*** DUE TO THE INCLUSION AND VARIETY OF MATURE/EXPLICIT/GRAPHIC CONTENT WITHIN MY FANFICTION PIECES, (AS MENTIONED BELOW,) I MUST STRICTLY INSIST THAT YOU ONLY CONTINUE READING IF YOU ARE 18 YEARS OF AGE OR OLDER. MY FICS ARE INTENDED FOR ADULTS ONLY. THANK YOU FOR YOUR COMPLIANCE. ***

NOTICE: The following post is a work of fanfiction for The Walking Dead (television show) universe. This piece may include mature and graphic/explicit content of varying categories and intensities (specifics are outlined in the, “Warnings,” section beneath the, “Keep Reading,” cut.) If you do not wish to view such content or are in any way bothered by the possibilities of subject matters mentioned above, I politely request that you not proceed past the, “Keep Reading,” cut. If you DO wish to read this fanfiction piece, please continue as normal. Beyond the cut, you can find all the story details and info, as well as the fic itself. Please enjoy, and thank you so much for reading. And as always, reader discretion is advised and encouraged.

Author: @heart-like-a-haunted-house - (MASTERLIST HERE)

Wanna read/interact with my fanfictional works elsewhere? | My AO3 Fanfiction Collection | My AO3 Profile |

Piece Title: When The Devil Weds.

Chapter/Part/Section: This is a one-shot only. Please enjoy! :)

Fandom: The Walking Dead (television show universe), Negan (television show version/JDM’s portrayal), Jeffrey Dean Morgan.

Main Pairing(s)/ Main Character(s): Negan X Reader, Negan X You, Negan X Original Character. No specified gender for Reader/”You”/Original Character.

Genre: Self-insert/Reader-insert, One-shot, Poetry/Poem, angst, fluff, and sexual undertones/overtones.

Word Count: Around 640 words.

Full Story Synopsis: In this world, the dead outnumber the living. In this world, saints and sinners tread even ground. And in this world, things aren’t nearly as simple as a “saints and sinners,” list. Negan is often known as the worst of the worst in these terms. But as his seductive charms encircle your senses, you are reminded that everyone has a past and people are so much more complex than perceptions may project.

WARNINGS: Swearing. Sexual undertones/overtones. Metaphors/references involving devils, angels, and other ideas that may have religious/spiritual ties for some. And Negan being Negan ;).

Author’s Note: Hey there! I’d say I’m back with a new fic, but in all honesty, this piece isn’t new. I wrote it a couple months before I started working on The Burden Of Caring. This poem was actually the work that acted as the catalyst for some of the themes and events present in that story. I just always felt nervous when it came to posting this because from what I’ve seen, poetry is a very unconventional fanfiction format. But thanks to some reassurance and kind words, I decided to bite the bullet and go for it. So, here it is! Even though I’m still crazily nervous about releasing it, haha! And please excuse my multitude of posts about it prior to publishing. I just wanted to be sure that people were interested in seeing something like this. Anyway, consider this my offer of apology for taking so long on the next chapter of TBOC. I promise It’s coming soon! I just want it to be as good as possible for you guys! In the meantime, please let me know what you think of this, don’t be shy! A big thank you to those who helped me stay encouraged as I wrote/edited this, and to all who read the finished product. You little rays of sunshine are all amazing! Now, on with it. Happy reading!

Other Notes: Please keep in mind, the metaphors/references involving devils, angels, and other ideas of the like are used strictly for fanfictional purposes. It is all for the sake of entertainment only. They are in no way meant to promote or discourage any real-world worship/religion/religious/spiritual practices or ideals in any way. Also, the reader is written to be of, or above, legal consenting age (18+.)

Tag List: [NONE]

You know what they say about holding hands with the devil, “Well, at least his hands are warm.” And in this cold world, that warmth goes a long way, even if it burns. You know what they say about the devil’s tongue. Silver, sharp as a dagger, and cool as ice, Venom drips from his every word, but his poison is laced with sugar. His hot breath and whip-like whit more intoxicating than any liquor. You know what they say about the devil’s eyes. They’ll hypnotize you, pull you in, Freeze you in place, Yet sear your every nerve, fill you with pain and pleasure. Then, with the blink of an eye and flick of his brow They’re a mirror. You reflect him, he reflects you. One image for but a moment. Maybe two separate beings never were. Has he ever had tear-filled eyes, Like you’ve had so many times? You know what they say about the devil’s voice. It’s a forbidden song, written just for the attention of the listener. Even the most foul words begin to caress your desperate, hallow ears Like the gentle, yet eager hands of the lover long yearned for. His words are somehow both airy and iron-clad, The delicate whine of a violin drifting between the thunderous claps of a bass drum. You feel your body begin to sway to the beat of his song As he lowers his voice to nothing but a whiskey-scented whisper, “Lean in closer, my darlin’. I’m not here to hurt ya’. Just let me hear your pretty little tune once more. C'mon now, don’t make me fuckin’ wait.” But is that his voice you hear, or is it your own? You know what they say about the devil’s smile. The angels cried in mourning when they could no longer gaze upon it, no longer bask in its strange yet familiar glow. That smile, spread across his face like a welcoming banner. Danger cloaked in safety, safety cloaked in danger. Those gleaming teeth, each one sharpened to a seductive point. That skilled tongue slides over them with delicate flourish. Maybe they had been splattered with blood only a moment before But now, no one would be the wiser. You are again a mirror, sparkling and oh-so-clear Maybe you always had been a little sullied too. Sturdy you stand at the precipice, Blood long ago made even virgin hands unclean. Toe to toe, you stare into the shadows of this dominant in equal fairness and understanding. The devil was no devil at all. Was nothing but a man, Taken for all he had, Left with nothing but his many talents. So, he surrendered his reminiscent, shattered fragments to the unforgiving world that had only taken. Indeed, he gave back, returned ten-fold. Not a soul would live to say otherwise. To everyone who crossed his path He gifted his endless bounty of blazing charm and beautiful wickedness. That smile his most deadly weapon. You know what they say about holding hands with the devil, With this man. Only those who have truly fallen for him seek to hold tighter. But in this frigid wasteland, As you slip your hand in his His fingers lock in place He promises he’ll deliver. So, does it matter if holding hands with this mortal man, This immortal devil Has made you just as viciously wicked as he? Do you now carry the weight of his crimes? Could loving him absolve him of his guilt? You of yours? No, never. His glittering grin shines in your pupil, His grip on your hand and heart tightens. Does holding hands with the devil make you a sinner? And at this point, does it matter? Because nothing matters if you’re dead You are his because you get that. You are happy because shared depths go beyond that.

#fanfiction: heart-like-a-haunted-house #fanfiction #poetry #when the devil weds #negan x reader #negan x you #negan fanfiction #negan

0 notes

translationwala · 1 year ago

Text

Seamless English to Assamese Translation: Breaking Language Barriers

As the world becomes more linked, it is essential that people can communicate clearly across languages. With its rich cultural history and lively Assamese language, Assam is a unique place to translate, both as a task and a chance. This blog post talks about how important it is English to Assamese Translation without any problems and the main things that make sure information moves smoothly between the two languages.

Bridging the Gap: The Importance of English to Assamese Translation

Over 30 million people speak Assamese. It is the official language of Assam and an important part of the Indian language family. You can find a lot of information, though, mostly in English. This includes training materials and new technologies. This is where English to Assamese Translation comes in:

Empowering Knowledge Sharing: We close the gap in information by interpreting school materials, study papers, and science results. Assamese learners can get more information, which helps them learn more and make psychological progress.

Boosting Economic Opportunities: Legal contracts, business papers, and marketing materials that are translated correctly make trade and economic growth easier. It helps companies in Assam connect with people all over the world and the other way around.

Preserving Cultural Identity: Translation is a very important part of keeping Assamese culture and tradition alive. Assamese customs are kept alive and shared with the rest of the world through copies of literature works, history records, and works of art.

The Art of Seamless Translation: Beyond Literal Meaning

Finding word-for-word translations isn’t enough to make an English to Assamese translation flow smoothly. This is why:

Cultural Nuances: There is a lot of connection between languages and cultures. It’s possible that jokes, metaphors, and references that work in English might not work in Assamese. A good translation knows these subtleties and finds words that are similar in meaning and culture so that reading feels normal.

Preserving the Flow: When writing in Assamese, a good translation keeps the original flow and style of the English text while using different grammar rules. This makes sure that the translated text flows well and gets across the right tone and message.

Technical Accuracy: It is very important to pay close attention to every detail when translating technical papers, legal contracts, or medical information. To avoid mistakes that could lead to major problems, accuracy is very important.

Tools and Resources for Seamless Translation

Human translators who are fluent in both languages will always be needed, but there are a number of tools that can help with the process:

Machine Translation Engines: These free translators give you a basic way to translate. But they often can’t pick up on cultural differences and need to be edited by humans to be accurate.

Assamese Language Corpora: Translators can learn a lot from these digital collections of Assamese writing. They teach you the right way to put together sentences, use words, and use idioms.

Translation Memories: These pieces of software store words and sentences that have already been translated. They can make repeated translations much faster and make sure that the language used is always the same.

The Future of English to Assamese Translation: A Bridge for Progress

The need for smooth translations from English to Assamese will keep growing as technology improves and the world becomes more linked. A fascinating look into the future:

Advancements in Machine Translation: Machine translation tools will get smarter over time and be able to handle subtle differences in English as AI technology improves. The translation process will go even more quickly.

Collaborative Translation Platforms: Platforms that connect human interpreters with experts in the subject can make sure that both the language and the technology are correct, especially in specific areas.

Focus on Assamese Language Development: By spending money on tools to help the Assamese language grow, like online dictionaries and grammar guides, we can build a strong base for future translators.

Conclusion

English to Assamese Translation smoothly is more than just changing words. It’s about removing language hurdles to improve connection, knowledge, and progress. By using translation to its fullest, we give people who speak Assamese the power to get information, join the talk around the world, and enjoy their rich cultural history.

Source: https://translationwala.wordpress.com/2024/03/18/seamless-english-to-assamese-translation-breaking-language-barriers/

#English to Assamese Translation #English to Assamese #Assamese Translation

0 notes

wordsnstuff · 5 years ago

Text

Guide to Story Researching

PLEASE REBLOG | Tumblr suppresses posts with links :/

Patreon || Ko-Fi || Masterlist || Work In Progress

–

Start With Broad Subjects

When you begin a story that is heavy with technical detail that must be checked for accuracy, the most efficient way of going about it is approaching the first draft with a general sense of the topic. Then, as you write more and more, keep note of details you don’t have or facts you need to find. When you reach the second and third drafts, turn that general idea into specific detail. You’ll know what you need to know at that point, and you won’t waste valuable time doing unnecessary research instead of revising.

Keep Track of Your Resources

Hoard. Your. Sources. Not only so you can cite them to any editors or beta-readers whose knowledge may conflict with what you’ve researched, but so you can refer back to them if you decide to elaborate on the part of the story that required that information in the first place. Always keep a list of links in a document with the specific information you’ve gleaned from it, listed in a way where you can easily navigate and revisit sources and information.

Hold Credible Sources Close

If you find something credible and easily navigable, covet it. When you’re researching very niche or specific topics and you find a gem of a resource that is verifiably correct and easy to understand and use for your purposes, it’s very important that you get everything you can out of it. A lot of resources on things you’ll have to do extensive research on are behind a paywall or incredibly dense.

Know When to Google vs. Ask Someone

My general rule is this: if it’s an indisputable fact that is fairly straightforward, google it. If it’s a matter of objective fact, google it. If it is an experience or a matter of opinion/perspective, ask someone or find a primary source. If it’s a matter of emotion or subjectivity, ask someone about their experience or their perspective on the issue.

Examples of what to Google:

What year did the Hindenburg Blimp crash?

How many people died of the plague?

What was Led Zeppelin’s most lucrative studio album?

Examples of what to ask a qualified individual about:

What does gender dysphoria feel like? *

What was the public sentiment around the Havana Mob in the 1950s?

How does sexual abuse impact male victims? *

* - When researching these things, it’s recommended to obtain multiple accounts and perspectives and maintain sensitivity

First Draft = Main Idea, Second Draft = Specificities

As I said before, the easiest way to ensure accuracy takes a front seat in your final product is to accomplish it in stages. The first draft should include basic ideas that provide a general sense of the topic. The second draft is where you should begin deeper research into more specific topics based on what you actually included in the story.

Common Struggles

~ How do I research linguistics of differing time periods?... Researching specifics like this require specialized resources. I would go about it by finding general resources and then delving deeper into the sources they cite within the text. For instance, wikipedia is a general resource, but the citations at the bottom usually lead to a variety of niche resources on the topic, and you’ll probably find what you’re looking for in them instead.

~ Where do I find credible medical information?... Put simply, doctors. Seriously. There’s a giant community of medical blogs and journals where doctors break medical information down for the general public’s understanding, and they usually cite recent and up-to-date medical studies and practices. Don’t start with WebMD, start with things like MayoClinic.org and through there, find their medical publications like PubMed, which has millions of citations for biomedical literature.

~ Where do I begin deciding what I need to research?... You’ll learn what you don’t know when you actually write your draft and find the holes in your information. I recommend keeping notes of where you’re like “um, I don’t know what year that was” or “I have no clue how to describe what this feels like”.

~ When should I stop researching?... Stop researching when the detail starts to eclipse the practical application to your story. Remember that the purpose of your research is not to give your reader a lecture, but to accurately portray whatever it may be in order to allow the reader to suspend their disbelief and become immersed in the plot.

~ How do I determine which information will integrate naturally?... Once you comb through your draft, you’ll find suitable places to slip facts and accuracies into the narrative. If you spend paragraphs writing a report on so-and-so, it’s not mixing in well enough and you’re probably including a lot of unnecessary detail. Research is meant to be sprinkled in gradually and mixed into the plot as you go along. It’s not to write a dense forward to stave off the “fact-checking trolls”.

Other Resources

Useful Writing Resources | Part II

Resources For Writing Sketchy Topics

Where To Start Researching For Stories

Resources For Writing Royalty

Resources For Writing The Mafia

Editing & Proofreading Cheat Sheet

What To Change Draft-By-Draft

Finding And Fixing Plot Holes

Resources For Romance Writers

Resources For Writing YA Fiction/Romance

Resources For Writing (Global) Period Pieces : High Middle Ages & Renaissance

Resources For Writing (Global) Period Pieces : 1600s

Resources For Writing (Global) Period Pieces : 1700s

Resources For Writing (Global) Period Pieces : 1800s

Resources For Writing (Global) Period Pieces : 1900-1939

Resources For Writing (Global) Period Pieces : 1940-1969

Resources For Writing (Global) Period Pieces : 1970-1999

World Building In Historical Fiction

Writing Other Eras

Historically Accurate Dialogue

Accuracy vs Relatability

Guide To Writing Historical Fiction | Part II

Resources For Writing Science Fiction

Resources For Writing Dystopian/Post-Apocalyptic Stories

Resources For Fantasy/Mythology Writers

Resources For Crime/Mystery/Thriller Writers

–

Masterlist | WIP Blog

If you enjoy my blog and wish for it to continue being updated frequently and for me to continue putting my energy toward answering your questions, please consider Buying Me A Coffee, or pledging your support on Patreon, where I offer early access and exclusive benefits for only $5/month.

Shoutout to my $15+ patrons, Jade Ashley and Douglas S.!

#writing #writeblr #writespo #writing resources #writing tips #writing advice #writing help #writing inspiration #motivation

2K notes · View notes

pathos-p · 2 years ago

Text

"Weirdly Specific Artist Ask Game" but i got tagged in it so i am gonna answer all of them 'cause theyre fun

questions by @/i-like-eyes

thanks for the tag @king-chook!! ^^

1. Art programs you have but don't use

i thiiink i have a license for clip studio paint that came with my old wacom tablet but i never rly used it. also used to have krita installed for the longest time but just always felt off to me idk why. don't currently have it installed anymore tho

2. Is it easier to draw someone facing left or right (or forward even)

to their right is a bit easier i think. not smth i consciously notice, mostly i'm just thinking abt when im doodling on the margins of stuff they usually are looking to the left of the page

3. What ideas come from when you were little

uhhh idk tbh, i dont think much of my art draws from that

4. Fav character/subject that's a bitch to draw

cityscapes !!! i love cities they r so pretty and cool looking but goddamn theyre so hard to draw

5. Estimate of how much of your art you post online vs. the art you keep for yourself

80-20? i post everything that i finish. basically the only stuff that doesnt get posted is sketches i give up on

6. Anything that might inspire you subconsciously (i.e. this horse wasn't supposed to look like the Last Unicorn but I see it)

hmmmm not that i can think of rn...

7. A medium of art you don't work in but appreciate

watercolour !! i've tried it a few times and Struggled but i love seeing ppl's work in it

8. What's an old project idea that you've lost interest in

so many animatics ..................... also many comic ideas ..................... i get so many ideas that i just never start on or start and only do a little before losing the hyperfocus/fixation and just Cannot continue them. it sucks

9. What are your file name conventions

usually the character name, maybe a bit of description of what theyre doing... idk not much of a convention to it

10. Favorite piece of clothing to draw

hmm i like jackets :)

11. Do you listen to anything while drawing? If so, what

yes, usually music. sometimes random youtube videos like stream highlights or video essays.

12. Easiest part of body to draw

uhhh hair? maybe idk. hard question bc it varied a lot depending on what kinda style and just. sometimes smth is hard in a particular drawing then easy later idk

13. A creator who you admire but whose work isn't your thing

i cant think of anything i will edit it in if i think of anyone

14. Any favorite motifs

in my drawings i dont feel like i use any much. mostly i pull motifs from whatever im doing fanart of lol. in music, i like religious motifs (but not like. ones abt christ or bible stories, rather heaven, hell, god/divinity, angels)

15. *Where* do you draw (don't drop your ip address this just means do you doodle at a park or smth)

at home pretty much exclusively. in bed lol

16. Something you are good at but don't really have fun doing

idk i feel like the stuff im better at is the stuff i like bc i practice it more for fun lol

17. Do you eat/drink when drawing? if so, what

not usually

18. An estimate of how much art supplies you've broken

surprisingly little. mostly bc i do more digital art lol

19. Favorite inanimate objects to draw (food, nature, etc.)

weapons and nature. especially ice for nature

20. Something everyone else finds hard to draw but you enjoy

i cant think of anything ill add it if i do

21. Art styles nothing like your own but you like anyways

i love rougher styles, like ones with a lot of visible brushstrokes and bold lines and shit. so cool. idk how to make it look good lol i dont have the confidence in my lines for it

22. What physical exercises do you do before drawing, if any

none... probably i should change that

23. Do you use different layer modes

yeah, often i use a multiple layer for shading then a variety to colour adjust at the end

24. Do your references include stock images

sometimes

25. Something your art has been compared to that you were NOT inspired by

cant think of any

26. What's a piece that got a wildly different interpretation from what you intended

there was this poem i wrote about capitalism and how shit it is and someone thought it was abt interpersonal relationships/smth along the lines of a breakup. i rly didnt mind it tho i thought it was cool bc the emotion was not far off, the sense of betrayal and abandonment. just a very very different subject

27. Do you warm up before getting to the good stuff? If so, what is it you draw to warm up with

no lol

28. Any art events you have participated in the past (like zines)

i ran a zine (digital only) for the dimension 20 zine jam! and also made art+writing for others in that :D also was part of a polygon yt fanzine a while back

29. Media you love, but doesn't inspire you artistically

spider-man (not the MCU, mostly tasm and a few of the comics)

30. What piece of yours do you think is underrated

IS IT BAD TO SAY A PIECE THAT GOT QUITE A BIT OF POSITIVE ATTENTION ?? maybe

i rly like the cj comic i did i am genuinely so goddamn happy with the result so . even tho it did very well by the standards for the fandom its for and my current follower base it is underrated

alternatively this one https://www.tumblr.com/pathos-p/704380503765221377/tridential-sovereignty?source=share bc it didnt get all that much attention on any social media site but i think its cool !!

(mostly only using recent ones bc i dont wanna dig back further esp onto my old twt acct, too much work lol)

2 notes · View notes

miserablesme · 4 years ago

Text

The Les Miserables Changelog Part 3: 1987 Broadway Production

Hello, everyone! This is the latest edition in my attempt to chronicle all of the musical and lyrical changes which the show Les Miserables has undergone over the years. This time, we're going through all the changes between the musical as it existed on the West End around 1985-1986 and the revised libretto for the 1987 Broadway production.

In some ways, this is a much easier changelog to compile than the last two simply because it is much easier to find audio evidence of the show from this era than from its pre-1987 self. We have a full soundboard of the original Broadway cast as well as a very good quality bootleg of the very first Broadway preview, as well as several audios from the next few years which use exactly the same script. We also have an officially released Symphonic Soundtrack which almost (but not quite) follows this version of the libretto exactly. So no more relying on unclear bootlegs and speculation to figure out what was changed when!

Having said that, the changes in this production were MASSIVE. It's almost certainly the most extensive edit the show's libretto has received to this day. As such, this will be a very long edition of this blog. So make sure you have a bit of time on your hands before reading it! With all that cleared up, let's begin.

The first change literally can be heard as soon as the musical begins. The pre-Broadway show opens up with the same recurring motif also heard, for instance, at the openings of "At the End of the Day" and "One Day More". This music then transitioned to the instrumentals to the opening "Work Song". The post-Broadway libretto cuts right to the chase, with the opening instrumentals to the "Work Song" starting right up without any preamble.

One interesting little non-scripted change occurs later in the "Work Song", but only in American productions. For whatever reason, every American Javert from the original Broadway cast until the first Broadway revival sang "And I am Javert" instead of "And I'm Javert", for reasons that honestly baffle me. Again, the libretto retained the original contraption as far as I'm aware, and the West End production as well as later UK and Australian tours still used it as well.

The next change happens while Valjean is on parole. After Valjean pleads against the farmer underpaying him, this was the farmer's original response:

Do you believe

A yellow ticket of leave

Allows a criminal like you to earn full screw?

Since Broadway, his response is instead as follows:

You broke the law

It's there for people to see

Why should you get the same as honest men like me?

I much prefer this revised version. Though the information is essentially the same, it feels more dramatic, as well as feeling less awkward now that it is in the form of separate sentences as opposed to a single sentence spoken in three lines with pauses in between. Moreover, the phrase "honest men like me" as used here provides interesting foreshadowing for its more well-known usage in "Master of the House". One could spend quite some time analysing the implications of this recurring description, but this blog is long enough as it is so now isn't the time!

In the same number, originally the innkeeper's wife had the following remark:

My rooms are full

And I've no supper to spare

I'd like to help you really, all I want is to be fair

Since Broadway, her line has been slightly modified:

My rooms are full

And I've no supper to spare

I'd like to help a stranger, all we want is to be fair

I suppose "I'd like to help a stranger" sounds less slang-y than "help you really". Presumably this is why it was changed. I find the change of subject from singular to plural far more interesting. My hypothesis is that the writers wanted to make it clear than this is a communal grudge, not a personal one. Everyone around sees it as perfectly fair to deny shelter to a former convict, not just this one individual. I definitely prefer the revised line, but evidently the producers of the West End production didn't; that production held on to the original lyrics for more than a decade after they were originally revised! More on that in a later edition of this blog...

A more minor change can be heard during "At the End of the Day". Originally, Valjean asks the factor workers "What is this shouting all about?" The Broadway script changes this to "What is this fighting all about?" Much less trivial implications now. I'm curious as to whether or not a staging change may have accompanied this. Usually the two workers get into quite a bit of physical scuffle by this point, far beyond the realm of shouting. Did the original pre-Broadway production use more subdued choreography?

"The Runaway Cart" has some noticeable differences. After Valjean asks the townspeople for help, the original response was sung by the entire ensemble, and went as follows:

(SOLO)

Don't go near him, Monsieur Mayor

There's nothing at all you can do

(ENSEMBLE)

The old man is a goner for sure

Leave him alone

The Broadway libretto revised this into a sequence sung by one individual at a time with the following lyrics:

Don't go near him, Monsieur Mayor

The load is as heavy as hell

The old man is a goner for sure

It will kill you as well

A female ensemble member sung "The old man is a goner for sure" while a male member sung the rest. I sort of like it better as an ensemble piece (something that would be largely brought back in later years, as I'll soon discuss) although I think it's cool that it rhymes now. Having said that, I'm fairly confident that no one in the real world has ever actually used the phrase "Heavy as hell"!

An official change in the libretto occurred in "Who Am I?" but listeners to the original Broadway cast would not have heard it. While the pre-Broadway show had Valjean refer to "This innocent who bears my face", the revised libretto instead refers to "This innocent who wears my face". Perhaps a means of avoiding repetition, given that the word "bear" is used again later in the number? Regardless, Colm Wilkinson didn't actually bother to adapt to this change! He still sings "This innocent who bears my face" in the Broadway production (as well as the tenth anniversary concert; not until his 1998 stint in Toronto did he ever start singing the revised lyrics). Since every future Valjean (except Ivan Rutherford for some reason) sings "wears", I still see it as appropriate to mention here.

At the end of the song, Valjean's "You know where to find me!", used on and off in the Barbican previews before becoming a settled part of the production by the final pre-Broadway libretto, is once again removed for the Broadway show. However, the West End production would keep it for a few years - more on that later...

Just listening to the original Broadway cast, one might think Javert's "Dare you talk to me of crime?" becomes "Dare you speak to me of crime?" However, this seems to be a Terrence Mann-exclusive change. Every Javert after him reverts to the original lyrics (as did Terrence himself when he returned to the musical fifteen years later). I'm still making note of the change here for the sake of clarification.

An instrumental change occurs between "Castle on a Cloud" and "Master of the House". Mme. Thenardier's "You heard me ask for something and I never ask twice" was original followed by three bars of notes, then by six more bars of notes that are identical to each other. After the Broadway production, however, those six bars of notes grow increasingly more dramatic as they go on.

A very slight change happens during the preamble to "Master of the House". Originally one of the guests proclaims "Hell, what a wine" while the revised libretto instead has him claim "God, what a wine". Definitely more natural in my opinion, though not a huge difference by any means.

A few subtle differences exist in the "Waltz of Treachery" number. First off, Thenardier originally asks "Have we done for your child what is best?" The Broadway libretto changes "your child" to "her child". I personally like the original lyric better, as it goes back to the idea established earlier that Valjean is metaphorically bargaining through the spirit of Fantine. It's definitely not a difference that makes or breaks the number, though.

Towards the end of the song comes another change that cannot actually be heard by listening to the original Broadway cast. In the pre-Broadway show, Valjean used the line "Let us seek out a friendlier sky", while the revised libretto has him say "Let us seek out some friendlier sky". However, Colm Wilkinson once again doesn't bother to adapt to the change, and unlike the "Who Am I?" change he wouldn't learn it over time either. He continues to sing "a friendlier sky" throughout his on-and-off performances as Valjean, right up to and including his 2002 run in Shanghai!

After the bulk of the number comes a more significant change. Prior to the Broadway production, as was discussed in the last entry, the "Waltz of Treachery" was followed by about forty-five seconds of vamping and then this exchange in the tune of "Castle on a Cloud":

(LITTLE COSETTE)

We're going home right now, monsieur

What is your name

(VALJEAN)

Now my dear

I've names enough, I've got names to spare

But where I go, you always will be there

Nor will you be afraid again

There is a sun that's shining yet

(LITTLE COSETTE)

I'm going to call you my Papa

(VALJEAN)

I'm going to call you my Cosette

The Broadway libretto replaced it with just under twenty seconds of vamping, followed by a sequence in the tune of the "Waltz of Treachery":

(VALJEAN)

Come Cosette

Come my dear

From now on I will always be here

Where I go

You will be

(LITTLE COSETTE)

Will there be children

And castles to see?

(VALJEAN)

Yes, Cosette

Yes it's true

There's a castle just waiting for you

This is followed by another fifteen or so seconds of vamping, and then the humming duet between Cosette and Valjean carries on as before.

Arguably the biggest change in the entire edited libretto happens now. Whereas the number was originally directly followed by "Stars", things have been moved around so that it instead transitions directly into "Look Down". "Look Down" itself receives a lot of adjustments. First off, the number began in the pre-Broadway musical with a bar of music that was then repeated. The Broadway version only plays the bar of music once, and the sung part happens immediately afterwards.

Gavroche's verse receives some lyrical updates. Originally it used the following lines:

This is my school, my high society

From St. Denis to St Michel

We live on crumbs of humble piety

Tough on the teeth, but what the hell?

If you're poor, if you're free

Follow me, follow me!

The Broadway production rewrote that sequence a little:

This is my school, my high society

Here in the slums of St Michel

We live on crumbs of humble piety

Tough on the teeth, but what the hell?

Think you're poor? Think you're free?

Follow me, follow me!

Better lines in my humble opinion; "slums" conveys the poverty of Gavroche's community much more effectively than the original line, and phrasing the "poor" and "free" lines as questions is more dramatic than their original statement form.

The old beggar woman's original "You give 'em all the pox" becomes the less grammatically accurate "Give 'em all the pox" for Broadway, though I have no idea if the original "You" was part of the libretto or simply an improvisation. Since seemingly all actresses used that line for the first few years of the West End production, it strikes me as warranting a mention.

Right after this comes another change. In the pre-Broadway show, the argument between the beggar woman and the prostitute was followed by an exchange by a few individual beggars. All of the following lines were said by one person at a time, the first three being said by female beggars and the last one by a male beggar:

When's it gonna end?

When're we gonna live?

Something's gotta happen, dearie

Something's gotta give

The Broadway libretto changes this to an ensemble piece performed by all the beggars simultaneously:

When's it gonna end?

When're we gonna live?

Something's gotta happen now or

Something's gotta give

I really like the switch to a group effort, as it really emphasizes that the beggars are a community sharing the burden of poverty. It really feels like an epidemic to an extent that it doesn't when it's just a small conversation. Evidently the producers of the West End show didn't agree with me though, as they held onto the original sequence for more than a decade after the official change, and by that point it had already been largely reverted worldwide! More on that in a later blog...

Originally, the exposition about General Lamarque was given by a few random students (supposedly not specified in the libretto, but in practice portrayed as Combeferre and Feuilly). Some ensemble dialogue between beggars was put in between. Feuilly sings over the end of the ensemble's lines - but many have speculated that this was not intended by the writers, as the background music sounds super out of sync with his singing! Here's how the scene went:

(COMBEFERRE)

As for the leaders of the land

As for the swells who run this show

Only one man and that's Lamarque

Speaks for the people here below

(BEGGARS)

Something for a meal

Something for a doss

Something in the name of Him who died upon the cross

On the cross, come across

On the cross, come across, come across

(FEUILLY)

Lamarque is ill and fading fast

Won't last the week out, so they say

With all the anger in the land

How long before the judgement day?

Before we cut the fat ones down to size?

Before the barricades arise?

Fortunately, the writers of the Broadway libretto had the sense to change the purveyors of the message into people actually relevant to the show's plot, namely Marius and Enjolras. Moreover, the beggars' dialog was rewritten into a sequence that feels far less clunky to me. The background music was fixed to account for the solo singing (now done by Marius) overlapping the beggars' lines, so it is now perfectly in sync. Here's the edited exchange:

(ENJOLRAS)

Where are the leaders of the land?

Where are the swells who run this show?

(MARIUS)

Only one man and that's Lamarque

Speaks for the people here below

(BEGGARS)

See our children fed

Help us in our shame

Something for a crust of bread in Holy Jesus' name

(SOLO BEGGAR)

In the Lord's holy name

(BEGGARS)

In His name, in His name, in His name

(MARIUS)

Lamarque is ill and fading fast

Won't last the week out, so they say

(ENJOLRAS)

With all the anger in the land

How long before the judgement day?

Before we cut the fat ones down to size?

Before the barricades arise?

Much better in my opinion! It should be noted that David Bryant instead sings "these people here below", but as far as I can tell every future Marius (or later Enjolras - more on that later) sings "the people, which is the actually phrasing in the libretto.

One final change in Look Down: Gavroche now says that all of Thenardier's family is "on the make", as opposed to the original "on the take". A rather pointless change in my book, though it certainly doesn't hurt anything.

"The Robbery" is another heavily edited number. Thenardier's line after acknowledging Brujon, Babet, and Claquesous was originally as follows:

You Montparnasse, watch for the p'lice

With Eponine, take care

You've got all the hash, I've got all the cash

The Broadway show rewrote those lines into their still-current form:

You Montparnasse, watch for the law

With Eponine, take care

You turn on the tears, no mistakes my dears!

This changed lyric more naturally transitions the scene into the gang's actual plan, though the original is an interesting continuation of Gavroche's recollection of Thenardier once running a hash house.

Mme. Thenardier's response is also altered from the original lyrics:

Here come a student from our street

One of 'Ponine's peculiar gents

Our Eponine would kiss his feet

She never showed a bit of sense

Into the current ones:

These bloody students on our street

Here they come slumming once again

Our Eponine would kiss their feet

She never showed a scrap of brain

It's interesting how the edit shifts the focus from Marius in particular to the students in general. It seems that Mme. Thenardier is less aware of the specifics of her daughter's personal life now, something that makes sense for her character.

After Mme. Thenardier's "You'll be in the clear", there was originally just eighteen seconds of a musical motif (the same one which opens "At the End of the Day" and "One Day More") followed by Thenardier's speech. Since Broadway, it's instead been followed by a few more lines of dialogue:

(MARIUS)

Who is that man

(EPONINE)

Leave me alone!

(MARIUS)

Why is here?

Hey Eponine!

Only now does the musical motif play. But instead of staying silent upon seeing Cosette, Marius now sings "I didn't see you there, forgive me..." Interestingly, in this video of a 1987 performance of the original West End production, Marius just stops without bumping into Cosette as he usually does. This makes me wonder whether or not the bumping was added into the Broadway version, and the lyric was added to accomodate for the blocking change. Of course, this is all speculation; I have no way to know for sure.

Thenardier's con job is also quite a bit different post-Broadway. Originally it used the following lyrics:

How you do? Spare a sou

God will see all the good that you do

Look monsieur, lost a leg

Hero of Waterloo now has to beg

Wait a bit, know that face...

The Broadway libretto edited it into its current form:

Please monsieur, come this way

Here's a child that ain't eaten today

Save a life, spare a sou

God rewards all the good that you do

Wait a bit, know that face...

It's interesting how Thenardier's facade shifts in focus from his own supposed hardship to that of an alleged child. I suppose the latter would be a good bit more effective in convincing passersby to donate!

During "Javert's Intervention", Thenardier now says "It was me that told you so, as opposed to the original "Wot told you so"; however, this seems to be a regional choice to account for a lack of Cockney accent, not an official libretto change. British productions retain the original "Wot".

“The Robbery” ends quite differently. Its pre-Broadway form had Gavroche’s remarks directly follow Javert’s “Clear this garbage off the street!” However, now Javert’s line is instead followed by some instrumentals to a slower version of the same tune as, for instance, “Honest work/Just reward/That’s the way to please the lord” and “He will bend/He will break/This time there is no mistake”.

After these instrumentals come the “Stars” number, now in a much more natural location given that Javert now has a logical reason to be thinking about Valjean!

The number itself is mostly the same, up until the final segment. After Javert’s “Those who falter and those who fall must pay the price”, he originally had the following lyrics:

Scarce to be counted

Changing the chaos

To order and light

You are the sentinels

Silent and sure

Keeping watch in the night

The post-Broadway show replaced this with a much more climactic remark:

Lord let me find him

That I may see him

Safe behind bars

I will never rest ‘til then

This I swear

This is swear by the stars

WOW, what an improvement! Now the stars are tied much better to Valjean himself, and Javert’s motivation is much clearer!

Now that “Stars” is over, we finally get Gavroche's remarks. The lyrics are the same; however, instead of the tempo progressively getting faster as it goes along, it now gets progressively slower. Interestingly the audio of the first preview has Gavroche saying "mother dear" instead of "auntie dear", but it's back to the original line by the second known original Broadway cast audio. Both audio feature Braden Danner; whether the "mother dear" was a choice on his part or a director's, a flub, or a libretto change that was later reverted is unknown.

"Eponine's Errand" has some significant changes. First off, the original libretto gave Marius and Eponine this exchange:

(MARIUS)

Did you see that lovely girl

(EPONINE)

A lovely two-a-penny thing

The Broadway libretto edited it a little:

(MARIUS)

Eponine, who was that girl?

(EPONINE)

Some bourgeois two-a-penny thing

Marius' request has also been changed from its original lyrics:

Eponine, do this for me

But careful how you go

Your father mustn't know

He'll strike another blow

'Ponine, I'm lost until she's found

Into some far clearer and more direct instructions:

Eponine, do this for me

Discover where she lives

But careful how you go

Don't let your father know

'Ponine, I'm lost until she's found

And yes, the line was "your father" right from day one. Michael Ball flubs it as "her father" on the complete symphonic recording, leading many to assume that was the original lyric which was changed later. But I'm not aware of a single live performance to use that lyric (which doesn't make a lot of sense anyway).

Another side note: Some Marius actors have very slightly changed the third line to "Be careful how you go" or "But careful as you go", though neither lyric is the standard.

Post-Broadway, as the instrumentals to "Red and Black" play, a student (I'm not sure which one) now shouts Enjolras' name before the singing begins.

During "Red and Black", Michael Maguire changes the original "It is easy to sit here and swat 'em like flies" to "Oh, it's easy to sit here and swat 'em like flies". However, this is an individual choice of the actor, not an official libretto change. Every future Enjolras I'm aware of (except Ramin Karimloo for some reason) uses the original line.

An actual libretto change occurs soon afterwards. After Marius' entrance, Grantaire originally asks, "Marius, what's wrong with you today?" The post-Broadway show changes this to "Marius, you're late. What's wrong today?" This makes it much clearer why Grantaire might suspect something is wrong.

Soon afterwards, Grantaire's original line "We talk of battles to be won, and here he comes like Don Juan" is slightly tweaked to "You talk of battles to be won". This is a little more appropriate, since Grantaire isn't actually doing a lot of talking!

After "Red and Black", Gavroche's part is very slightly changed. First off, American performances for a few years would have Gavroche whistle right before everyone quiets down, though I have no idea if this was in the libretto or not.

Secondly, Gavroche's original remark, "It's General Lamarque! He's dead!" is shortened to just "General Lamarque is dead!"

In another contender for the biggest change in the entire edit, the entire "I Saw Him Once" number is totally removed. I have mixed feelings about this. It does give Cosette, a frustratingly underwritten character, some additional content. However, stylistically it's not all that much like any other number in the musical, and it doesn't really add enough information to the show to warrant a whole song. So I say with regret that it was probably for the best to delete the number.

To compensate for the lost number, "In My Life" is lengthened to include the establishing character moments that "I Saw Him Once" originally did. Originally it opened as follows:

(COSETTE)

Dearest papa, can I tell him of this?

How can I tell him the things that I feel?

How could he understand?

(VALJEAN)

Dear Cosette, you're such a lonely child...

The post-Broadway opener is instead as follows:

(COSETTE)

How strange, this feeling that my life's begun at last

This change, can people really fall in love so fast?

What's the matter with you Cosette?

Have you been to much on your own?

So many things unclear

So many things unknown

In my life

There are so many questions and answers

That somehow seem wrong

In my life

There are times when I catch in the silence

The sigh of a faraway song

And it sings of a world that I long to see

Out of reach, just a whisper away, waiting for me

Does he know I'm alive? Do I know if he's real?

Does he see what I see? Does he feel what I feel?

In my life

I'm no longer alone

Now the love in my life is so near

Find me now, find me here

(VALJEAN)

Dear Cosette, you're such a lonely child...

After Valjean gives Cosette his cryptic defense of his secrecy, Cosette had a remark that is sadly incredibly hard to understand in the quality of the recordings we have. It apparently went something like this:

There are voices I hear

That come into my mind

Full of noise, full of fear

When the noise was unkind

In my life

I'm no longer afraid

And I yearn for the truth that you know

Of the years, years ago

Her post-Broadway response is much shorter:

In my life

I'm no longer a child

And I yearn for the truth that you know

Of the years, years ago

Shorter, but just as effective in my book. Plus, the use of the word "child" nicely ties into Valjean's initial remark that Cosette is "such a lonely child", as well as Cosette's frustration that he still sees her as "a child who is lost in the woods".

The next number, "A Heart Full of Love", also has a LOT of rewritten lyrics. First of all, after Marius' "I do not even know your name", these are his original lyrics:

Dear mademoiselle

I am lost in your spell

The Broadway production changed the lyrics into:

Dear mademoiselle

Won't you say? Will you tell?

I suppose this fits a little better with his remark about not knowing Cosette's name.

After Marius and Cosette finally learn each other's names (an important step in a relationship if you ask me!) this was their original way of showing their affection:

(MARIUS)

Cosette, your name is like a song

(COSETTE)

My song is you

(MARIUS)

Is it true?

(COSETTE)

Yes, it's true

The Broadway production rewrote it into the following:

(MARIUS)

Cosette, I don't know what to say

(COSETTE)

Then make no sound

(MARIUS)

I am lost

(COSETTE)

I am found

In my opinion, the rewrite captures the slight awkwardness of young love much better, as well as making a lot more sense!

Immediately afterwards, this is the original exchange:

(MARIUS and COSETTE)

A heart full of love

A heart full of you

(MARIUS)

The words are foolish but they're true

Cosette, Cosette

What were we dreaming when we met?

(COSETTE)

I can sing

(MARIUS)

Dear Cosette

(COSETTE)

A heart full of love...

The Broadway libretto redoes the scene as the following:

(MARIUS)

A heart full of love

(COSETTE)

A night bright as day

(MARIUS)

And you must never go away

Cosette, Cosette

(COSETTE)

This is a chain we'll never break

(MARIUS)

Do I dream?

(COSETTE)

I'm awake

(MARIUS)

A heart full of love...

Almost a totally different scene! The post-Broadway variant is better structured, but I do like the original too.

As the trio of Marius, Cosette, and Eponine exchanges inner monologues, Marius originally has the line "I saw her waiting and I knew". The Broadway libretto changed this to "A single look and then I knew". I kind of prefer the original, as it implies a little more than something as trivial as a cursory glance.

In the closing lyrical overlap of the song, Cosette originally sings "Waiting for you", but post-Broadway she sings "I knew it too". Then, she originally sings "At your call" but post-Broadway she sings "Every day".

During the opening to "The Attack on Rue Plumet", Montparnasse refers to Valjean as "the one that got away the other day" as opposed to his original "the bloke wot got away the other day". However, this is another regional change made for the sake of making sense outside of a cockney accent. The official libretto still had the original lyrics.

A tiny change occurs during Thenardier and Eponine's fight. Claquesous originally thinks it's a palaver and an absolute treat "to watch a cat and its father" picking a bone in the street. The Broadway libretto changed this to "see a cat and a father". Why exactly the writers felt the need to make such a miniscule edit is mystifying to me, but it certainly doesn't hurt anything.

Another change occurs later in the number, after Eponine's scream. Originally this was Thenardier's reaction:

Make for the sewers, don't wait around

Leave her to me, go underground

You wait my girl, you'll rue this night

I'll make you scream, you'll scream alright!

These lines were mixed up a bit for the Broadway libretto:

You wait my girl, you'll rue this night

I'll make you scream, you'll scream alright!

Leave her to me, don't wait around

Make for the sewers, go underground

The post-Broadway variation arguably is a bit less climactic due to it not ending on a threat. However, the original climax isn't all that appropriate since Eponine and Thenardier never actually interact at any later point in the musical. I like that the post-Broadway version ends on something that's actually relevant to the remainder of the show (namely, that Thenardier will be in the sewers). Evidently the West End producers didn't agree with me; this is another line in which the original was kept there for more than a decade (at which point a rewrite closer to the original was already being used worldwide)!

In "One Day More", Javert's "One day more to revolution" is slightly changed to "One more day to revolution". However, the number is otherwise unchanged.

And that's it for Act One! The opening barricade scene to act two has a small change. Grantaire's pre-Broadway "Some will bark, some will bite" was changed to "Dogs will bark, fleas will bite". Makes a lot more sense in my opinion!

The opening to "On My Own" is changed as well. Originally it was performed as follows:

And now I'm all alone again

Nowhere to go, no one to turn to

I did not want your money sir

I came out here 'cause I was told to

The Broadway version rewrote it into the following:

And now I'm alone again

Nowhere to turn, no one to go to

Without a home, without a friend

Without a face to say hello to

A huge improvement in my book. It actually rhymes now, and is far less likely to be misconstrued as ungrateful.

After receiving a massive overhaul not that long before, "Little People" was slightly tweaked for the Broadway show. The pre-Broadway version had this ending:

So never kick a dog

Because he’s just a pup

You’d better run for cover when the pup grows up!

Another line (taken from the original longer version of "Little People" as well as all versions of its reprise) was added for the post-Broadway show:

So never kick a dog

Because he’s just a pup

We'll fight like twenty armies and we won't give up

So you’d better run for cover when the pup grows up!

Grantaire's line afterwards is literally reversed in meaning from the original "Better far to die a schoolboy than a policeman and a spy!" into "What's the difference? Die a schoolboy, die a policeman, die a spy!" This post-Broadway lyric fits better into Grantaire's cynical personality.

A very subtle edit is made in "Little Fall of Rain" (to the point that I only just realized its existence by reading an old internet forum!) Pre-Broadway, Marius asks Eponine "Did you see my beloved?" The tense is changed from past to present perfect for the Broadway libretto, so that he now sings "Have you seen my beloved?"

"Drink with Me" receives quite a bit of editing. The opening few lines are originally all sung by Grantaire:

Drink with me to days gone by

Sing with me the songs we knew

Here's to pretty girls who went to our heads

Here's to witty girls who went to our beds

Here's to them and here's to you

Now, those lyrics are split between various students:

(FEUILLY)

Drink with me to days gone by

Sing with me the songs we knew

(PROUVAIRE)

Here's to pretty girls who went to our heads

(JOLY)

Here's to witty girls who went to our beds

(ALL STUDENTS)

Here's to them and here's to you

A far more touching scene now that it entails an entire group of friends reminiscing about their lives, as opposed to the thoughts of one heavily drunk individual.

Originally this was followed by a segment by the male ensemble:

Drink with me to days gone by

To the life that used to be

At the shrine of friendship never say die

Let the wine of friendship never run dry

Then, this was followed by the same lyrics, but sung by the male and female ensembles overlapping. The Broadway libretto removes that and replaces it with an all-new segment with Grantaire. It's much more cynical and philosophical than his original lines:

Drink with me to days gone by

Can it be you fear to die?

Will the world remember you when you fall?

Could it be your death means nothing at all?

Is you life just one more lie?

The lyrics from the pre-Broadway show, in their male-and-female overlapping form, are played afterwards.

The next change occurs during the Second Attack. Pre-Broadway, this was how the opening lyrics went:

(ENJOLRAS)

How do we stand, Feuilly make your report

(FEUILLY)

We've guns enough but bullets running short

(MARIUS)

Let me go into the street

There are bodies all around

Ammunition to be had

Lots of bullets to be found

Some very small edits were made for Broadway:

(ENJOLRAS)

How do we stand, Feuilly make your report

(FEUILLY)

We've guns enough but ammunition short

(MARIUS)

I will go into the street

There are bodies all around

Ammunition to be had

Lots of bullets to be found

The following exchange also is a bit edited. Here's how it went pre-Broadway:

(ENJOLRAS)

I can't let you go, it's too much of a chance

(MARIUS)

And the same can be said for any man here

(VALJEAN)

Let me go in his place, he's no more than a boy

I am old and alone and have nothing to fear

Post-Broadway, it instead goes as follows:

(ENJOLRAS)

I can't let you go, it's too much of a chance

(MARIUS)

And the same is true for any man here

(VALJEAN)

Let me go, he's no more than a boy

I am old, I have nothing to fear

Finally, Gavroche's final lines are as follows pre-Broadway:

So never kick a dog

Because he’s just a pup

You’d better run for cover when the pup grows up

And we’ll fight like twenty armies and we won’t give…

A small edit is made for the Broadway production, so that the latter two lines are reversed:

So never kick a dog

Because he’s just a pup

We’ll fight like twenty armies and we won’t give up

So you’d better run for cover when the pup grows...

I'd say this is an improvement, since Gavroche's death is all the more impactful when his literal last unfinished words are about growing up.

Not long afterwards comes the Final Battle. Leading up to Enjolras' climactic moment, the original lines went as follows:

(ENJOLRAS)

Come on my friends, though we stand here alone

Let us go to our deaths with our face to our foes

(COMBEFERRE)

Let 'em pay for each death with a death of their own

(COURFEYRAC)

If they get me, by God, they will pay through the nose

(ENJOLRAS)

Let others rise to take our place

Until the earth is free

The sequence was edited for Broadway, giving a bit more breathing space:

(ENJOLRAS)

Let us die facing our foes

Make them bleed while they can

(COMBEFERRE)

Make them pay through the nose

(COURFEYRAC)

Make them pay for every man

(ENJOLRAS)

Let others rise to take our place

Until the earth is free

"Dog Eats Dog" is a very heavily-edited number. First off, the vamping at the beginning originally lasts about 30 seconds. By Broadway, it has been reduced to about nineteen seconds.

After Thenardier's "As a service to the town" line, he originally sung the following lines:

It's a world where the dogs eat the dogs

And the worst is as good as the best

It's a stinking great sewer that's crawling with rats

And one rat is as good as the rest

I raise my eyes to see the heavens

And only the moon looks down

That entire sequence was cut for Broadway.

Soon afterwards, Thenardier originally proclaims "Here's a little toy". The Broadway edit changes it to "Here's another toy", perhaps to make it seem less repetitive after his "pretty little thing" line.

The exact same lines from after "As a service to the town" are repeated in the pre-Broadway number after Thenardier's "When the gutters run with blood" line, with one more line added afterwards:

It's a world where the dogs eat the dogs

And the worst is as good as the best

It's a stinking great sewer that's crawling with rats

And one rat is as good as the rest

I raise my eyes to see the heavens

And only the moon looks down

The harvest moon shines down

Unlike the first instance of those lines, they aren't completely excised for Broadway. They are, however, significantly rewritten:

It's a world where the dogs eat the dogs

And they kill for the bones in the street

And God in His heavens, He don't interfere

'Cause He's dead as the stiffs at my feet

I raise my eyes to see the heavens

And only the moon looks down

The harvest moon shines down

I really like how the edited version focuses more on godlessness than on how gross the sewer is. Not that a lack of a god is inherently sinister; I am quite agnostic myself and I think the unbreakable connection between religion and morality alleged by some is ridiculous. But it is blatantly obvious that Thenardier sees no reason to be moral provided no one will punish him.

As a side note, the 1985 London official soundtrack oddly uses this variant, yet the 1986 bootleg audio I have uses the original. Perhaps the original was experimented with, reverted, and later put in again? Who knows...

After the number, Thenardier now shouts Valjean's name.

The encounter in the sewers between Valjean and Javert originally ended as follows, with Javert's first two lines here in a tune not heard anywhere else in the musical to my recollection:

(VALJEAN)

Come, time is running short

(JAVERT)

Go take him, I'll be waiting at the door

I've never met a man like you before

A man such as you

The sequence was extended for the Broadway libretto, to the tune of "Look Down" and the "Work Song":

(VALJEAN)

Come, time is running short

Look down, Javert

He's standing in his grave

(VALJEAN - simultaneously with the next two lines)

Give way, Javert

There is a life to save

(JAVERT - simultaneously with the previous two lines)

Take him, Valjean

Before I change my mind

(JAVERT)

I will be waiting, 24601

A slight change can be heard in "Every Day". Originally Marius sings that he and Cosette will "remember that night and the song that we sang". The Broadway libretto edited this into the decidedly less medium-aware "remember that night and the vow that we made".

"Valjean's Confession" has been reworked to the point that it can scarcely even be considered the same song. After Valjean's "There's something now that must be done", this was how the song went:

(VALJEAN)

Monsieur, I cannot stay a night beneath your roof

I am a convict, sir, my body bears the proof

My name is Jean Valjean

I never told Cosette, I bear this guilt alone

And this I swear to you, her innocence is real

Her love is true

Our love, our life, are now her own

And I must face the years alone

(MARIUS)

I do not understand what's the sense of it all?

Is the world upside down?

Will the universe fall?

If it's true what you say, and Cosette doesn't know

Why confess it to me?

Why confess it at all?

What forces you to speak after all?

(VALJEAN)

You and Cosette must be free of reproach

It is not your affair

There is a darkness that's over my life

It's the cross I must bear

It's for Cosette this must be faced

If I am found, she is disgraced

(MARIUS)

What can I do that would turn you from this...

After the Broadway rewrite, Valjean's "There's something now that must be done" is followed by this:

(VALJEAN)

You've spoken from the heart, and I must do the same

There is a story, sir, of slavery and shame

That you alone must know

I never told Cosette, she had enough of tears

She's never known the truth, the story you must hear

Of years ago

There lived a man whose name was Jean Valjean

He stole some bread to save his sister's son

For nineteen winters served his time

In sweat he washed away his crime

Years ago

He broke parole and lived a life apart

How could he tell Cosette and break her heart?

It's for Cosette this must be faced

If he is caught she is disgraced

The time is come to journey on

And from this day he must be gone

Who am I?

(MARIUS)

You're Jean Valjean

What can I do that will turn you from this...

The few lines afterwards are the same, but as you can see not much else in the song is! Even the tune diverges a lot between the two variants. I'm very conflicted about which one I prefer. I gravitate towards the final one, though it's nice that the original actually tried to address to confusing notion that Valjean wants to tell his son-in-law of his past yet not his own daughter.

"Beggars at the Feast" originally ended with a solo for Thenardier:

(THENARDIER and MME. THENARDIER)

We know where the wind is blowing

Money is the stuff we smell

(THENARDIER)

And when I'm rich as Croesus

Jesus, won't I see you all in Hell!

The Broadway libretto switched this to a group line:

(THENARDIER and MME. THENARDIER)

We know where the wind is blowing

Money is the stuff we smell

And when we're rich as Croesus

Jesus, won't we see you all in Hell!

I much prefer the revised version, as the two Thenardiers clearly are in this act together. It seems more appropriate to let them both have the last laugh.

A small change occurs in the Epilogue. Pre-Broadway, Fantine sings "You raised my child with love". However, post-Broadway, she instead sings "You raised my child in love".

Another change occurs later in the epilogue. In the pre-Broadway show, Cosette tells Valjean that "It's too soon to ever say goodbye". The post-Broadway libretto instead has her sing "It's too soon, too soon to say goodbye". Repetitive as it may be, I prefer it over the original because the original awkwardly combines language clearly denoting the moment with language implying eternality.

Phew, we're finally at the end! Rest assured this is almost certainly the longest changelog you'll ever be forced to endure. I'm fairly sure it's complete, but this particular rewrite was so extensive it's not impossible that I missed something. Please feel free to let me know if that is the case.

As a side note, both for this project and my own enjoyment, I want as complete a collection of Les Miserables audios as possible. I already have most of what’s commonly circulated, but if you have any audios or videos you know are rare, or some audios that you haven't traded in a few years, I’d love it if you DMed me!

Until the turntable puts me at the forefront again, good-bye…

#les miserables #les mis #changelog #les mis changelog #marius #valjean #cosette #javert #eponine #enjolras #thenardier #1985 #1987 #broadway #part 3 #long post #the les miserables changelog

112 notes · View notes

warlordgab · 5 years ago

Text

LuNa analysis: Emotional and Intellectual chemistry

This is a special edition meant to help a friend explain this aspect of Luffy and Nami's relationship as potrayed in Oda's works (excludes the anime adaptation). It's no something truly new, it's more like a summary of multiple analyses made in this blog and other places.

The first time we mentioned this particular subject in this blog, the idea was to showcase the difference between "sexual tension" and the concept of chemistry.

Shallow fans sometimes used both terms interchangeably as if they were the same thing. Well, they're not.

Chemistry refers to the natural connection between two persons, a common feeling between two characters that leaves a impact strong enough to move their hearts and stimulate their minds. Needless to say, it's something complex, sometimes subtle, but very appealing.

It's not something tied to sexual attraction, and it's definitively not a mere infatuation. It's something much deeper than that...

However, some popular newcomers to the One Piece community mistake this concept with "dynamic." They may focus on character(s) they grow fond with, and then claim their dynamic is a sign of "chemistry" because of how much they like it.

The "character dynamics" would refer to the way characters work with or against each other within the story. While chemistry is about how the characters bond with each other throughout the story.

But then, how does LuNa showcase actual chemistry? By relying on more than one kind of chemistry.

We've seen it before, the development of a bond that grows naturally through mutual trust/faith, with the most importat trait being the capability of regulating the partner's emotions.

This kind of chemistry is marked by emotional support producing a remarkable attachment. In such a relationship, the distressed person feels comfortable enough to express their anxiety, grief, and helplessness to their partner because said partner is capable of providing with relief, comfort, and/or hope.

It's probably starting to sound familiar, right? LuNa fans would certainly think of Arlong Park and the pass of the hat, a gesture that provided Nami with the relief and hope she needed to stand up and keep going.

But, we have the moments from Skypiea too:

When she was overwhelmed by fear and doubts, Luffy does something similar, but this time is to remind Nami that she's the companion of the future Pirate King, and as such, she has nothing to fear. It was so effective that it led to a remarkable character moment from Nami, and her brief skirmish with Enel, in which she drew courage from her captain. That creates enough confidence for Nami to open her heart when there's something troubling her. Remember Water 7? After learning the truth about Robin's desertion, and shortly after missing the train Robin got in, Nami didn't seem distressed at all. In fact, she got up determined and unwilling to give up. But, how did she act when she got the chance to explain the truth to Luffy?

She and displayed the helplessness, frustration, and sadness she truly felt when she got to Luffy.

A smilar scene plays out when we get to Zou. Sanji was taken away, and while Nami seemed ok and even elated at the fact Luffy and the rest are back, is when she's in Luffy's arms that she once again expresses how helpless and anguished she feels...

This is how emotional chemistry looks like! It's not about meaningless flattery, flowery words, nor a mere infatuation. It's about growing attached to one another through a strong companionship, mutual trust/faith, offering support/comfort when needed.

Now, true chemistry occurs when characters affect each other in meaningful ways. And Nami also has an effect on Luffy. When Oda wrote the Strong World movie, we get to see how she affects her captain. When Nami got no other choice but leave a message in which she seemingly doubts Luffy's strength and capabilities, Luffy reacts this way...

This shows how much Luffy values the perception Nami has of him.

Another perceptive reader explained the difference between this situation and Ennies Lobby. During that massive rescue mission "Luffy is angry at Robin for not worrying about her own safety." In Strong World, the idea of Nami not believing in him is something Luffy takes personal. And as explained in multiple posts, we later learn Nami never stopped believing in Luffy, and the idea of Luffy hearing about it was pretty embarrassing to her.

Well, what about Intellectual Chemistry?

This is a tricky one, because most people think is having a similar level of intelligence. But, even in real life, it's pretty likely potential partners have different degrees of education, so they're not always going to perfectly click or match in this regard.

Then, how people can develop this kind of chemistry under such circumstances? One of concepts of intellectual chemistry is the capability of challenging each other's perspective and beliefs on subjects and matters relevant to both persons.

LuNa fits the second bit, for the greatest challenge each character's perspective has is the other's...

...Nami’s character from the very beginning had a very clear distate for pirates and had trouble trusting others. Her perspective served as not only a contrast to Luffy's idealism, but also as a challenge Luffy and his ideals had to actively overcome. This kind of chemistry covers other aspects that, even people who are not fond of LuNa, could see and mention. For example:

Unlike Zoro, Robin, and others crewmates who, more often than not, go along with Luffy's course of action without questioning their captain, Nami is usually the one who challenges Luffy's decisions. It makes sense given Nami's role, as she herself explained in Weatheria...

While Luffy is the one who chooses where to go, Nami is the only one can get him where he wants to go. She seeks to provide Luffy with the guidance he needs to survive his journey. She’s the compass leading Luffy towards his adventures.

Now, Intellectual Chemistry not only consists of challenging each other’s perspectives, it’s also about openly discussing each other’s ideas with the right mindset, not because you’re trying to win an argument, but as a mean to learn more about your partner, and as a result, you get to better understand that significant person and both parts work together as a team.

In this regard, it's true Nami is one who questions Luffy the most, but she doesn't actively try to change his mind, instead she attempts to get Luffy to rationalize his choices. And once Luffy voices out his reasons and/or motivations for doing something, she offers her assitance and full support. We see one example in Skypiea:

At first, she questions why Luffy is making such a great effort to climb the beanstalk and fight Enel a second time, Nami even urges him to stop and flee with her. She keeps pushing until Luffy clearly states why he's not running away.

Nami could easily run away on her own, but as soon as she understands Luffy’s reasons, she stays, and they’re able to work together to ride the beanstalk so Luffy can finally defeat Enel.

This is not one-sided either. If we go to the Dressrosa arc, we got Nami communicating Luffy her plan of splitting into two teams to keep Ceasar and Momonosuke away from Doflamingo.

And Luffy not only fully supports her idea, he even follows it up with a mission for the team that stayed at Dressrosa.

Another possible example could be one particular scene from the Zou arc. Luffy’s original intent was going to rescue Sanji on his own...

...until Nami reminds him how much he needs her and her navigation skills to keep going. Luffy accepts the reasons she gave him, and alters his original plan accordingly.

We can find other moments to showcase this aspect of their relationship, but to make things short, we can sum it up like this: when their different perspectives clash, they challenge each other’s ideas to the point of gaining a better understanding of each other, and end up acting according to that understanding, they display Intellectual chemistry.

Bonus: Physical Chemistry?

I wasn't going to include this one, but given a japanese fan brought it up ages ago, I decided to leave a couple of scenes that may fit the concept.

That japanese fan based his comment on Strong World, the movie written by Oda. To make it short, physical chemistry doesn't necessarily means "sex" either, it really comes down to how comfortable a person feels with their partner. However, the details and quirks in this particular kind of chemistry vary from people to people. Just like it can vary from writer to writer.

We often mentioned in this blog certain moment in Fishman Island, where Nami had no problem with Luffy wrapping himself around her...

...she indeed bickered with Luffy, but it was about Luffy's wanting to venture through a dangerous route rather than their physical closeness. A nice way to show how comfortable she feels around him. In contrast, she doesn't pull any punches, or thunders, when punishing people for pervying around her. Something that remains consitent even in the Wano arc (at least in the original source: the manga) Regardless of whether or not these count as “physical chemistry,” we can still appreciate how Oda crafted a solid emotional chemistry, and intellectual chemistry as well, in the way he wrote Luffy and Nami.

#one piece #luffy x nami #LuNa #lunami #chemistry #analysis #ルナミ

487 notes · View notes

ontheoddoccasioniwritestuff · 5 years ago

Text

The Sight of You (Spencer Reid x Reader)

Summary: Spencer’s disturbing dreams about his childhood bring him back to Las Vegas to face two of his childhood’s greatest enemies: his estranged father and his ex best friend.

AN: it’s a friends to enemies to lovers fic! Set in the episode “Memoriam” 4x07

Content Warnings: usual Criminal Minds stuff, mentions of child death, childhood trauma, descriptions of a dead body. Let me know if I missed anything!

Despite seeing Spencer around Pre-k, Y/N did not trot over to talk to him with their brightly coloured rucksack swinging vigorously and violently behind them. They walked faster instead once their parents had dropped them off. Spencer did his best to catch up to Y/N but lost them around the corner in the sea of students seeking their next class. He was meant to be one of them. Adjusting his glasses as they slipped down his nose, Spencer noted that he needed a new prescription before entering his own class and preparing to focus on a subject he was already well-versed in.

It was lunch time when Spencer finally found Y/N. They were sitting at the furthest end of the table in the canteen. But Y/N cowered away from him, his shoulders drawn up defensively.

“Are you OK, Y/N?” Spencer asked before getting to what was more significant to him: “Do you know when you will be free to play again?”

The next sentence out of Y/N’s mouth stung like a nettle. They stood up, their face contorted in their fit, and they pushed Spencer hard on the shoulders.

“Go away! I can’t look at you! You make me feel sick, you and your family!” They cried.

They went silent when Spencer was laughed at by those who heard what was said. Just grabbed their lunch and moved away, leaving Spencer spellbound in the middle of the canteen, heartbroken and with a new opening for a potential chess partner. Maybe that man they saw last week at the park would be kind enough to join him again.

But there was no replacement for Y/N, who now never said a word when they caught a glimpse of Spencer being bullied – only dithering about on the spot before fleeing the scene moments before a teacher would show up.

Spencer was hurt; that hurt warped into hatred when he was next out with his mother and father. They were at the shopping mall and had just bought Spencer his new glasses. Going down the escalator, he saw Y/N. They were smiling and skipping between their parents, a new pair of shoes shiny on their feet.

The second they spotted the Reids, Y/N ducked behind their parents. Spencer could still see their face: brow furrowed, eyes squinting, hands shaking now that nothing was holding them. Their parents didn’t seem to notice. They kept talking and walking even as Y/N stopped in time with the Reids stepping off the escalator.

Sudden footsteps running away was what dragged the public’s attention to a suddenly absent child.

“Y/N!” The parents called out as they chased after the four-year-old. They were quick past the Reids, not stopping to say ‘hello’.

Spencer kept his eyes trained after Y/N’s fleeing form, right until his mother’s face came into view. Diana looked saddened; she too was staring after the L/Ns. Turned to his father. William was composed but his eyes were turned down and watering.

For making his parents react like that to their mere presence, Spencer despised Y/N.

---> ---> ---> ---> --->

The burning hatred from adolescence staled once Spencer reached adulthood. The protective nature that spawned from it for his mother remained.

Which is why, when Diana Reid casually mentioned Y/N when asked about Riley Jenkins, Spencer froze up.

“You remember Y/N?” He said stiffly.

Diana didn’t notice her son’s change in tone, “Of course, you two were opposites but you got on so well. So sad what happened to them.”

The first guess was that she was referring Y/N’s repeated attempts at running away before Reid cut contact with neighbourhood gossip at age fourteen. He didn’t bother with a second attempt to understand what his mother meant.

“I don’t care about Y/N. I want to know if you remember Riley.”

“And I told you: Riley was a boy you made up.”

“No, Mom, he was a real boy who lived in our neighbourhood, and somebody killed him. And, I don't know, I think-- I think that dad might have had something to do with it.”

“He was real?”

“Yes. And...”

“He was on that little league team, too.”

---> ---> ---> ---> --->

The whole case was surreal - “case” being a very loose term.

When they got into his office, Spencer thought that perhaps things might simmer down a little. Unfortunately, as soon as his father spoke about their history of similarity in appearance, Spencer’s usual comfort of statistics and facts on the elderly and pets failed to conceal his abandonment issues.

William Reid was clearly affected by Spencer’s accusations, calling the idea of fitting the profile thus being Riley’s killer “absurd”. Furthermore, he was confrontational when asked for access to his files and demanded a warrant. Coupled with Lou Jenkins’ absolute certainty that William was not involved in Riley’s murder and Penelope asking him “you sure about this?” concerning invading the aforementioned files, Spencer was very close to snapping.

“I really wish people would stop asking me that.”

Then there was the envelope posted beneath his motel room door. Suspicious timing aside, there was a brand-new suspect basically handed over on a silver platter. One Gary Michaels whom Spencer couldn’t remember him but he couldn’t be sure that he didn’t know him. Uncertainty being the feeling he hated the most.

This man could fit the profile; his previous of exposing himself to a minor was a precursor to molestation. But that wasn’t what Spencer wanted to hear from the shady file slipped to direct his attention away from William.

Garcia reported back about his father’s drives, “No kiddie porn, no membership to illicit websites, no dubious emails, no chat room history.”

“What about his finances?”

Hotch joined the conversation, “We went back ten years. No questionable transactions that we can find.”

Spencer sighed while Emily decided to crack a joke: “Well, he did buy a ticket to see Celine Dion six months ago, but I think we can overlook that.”

“He’s smart. Is it possible he kept things under the table?” Spencer persisted.

“Well, of course,” Hotch answered, “But from what we can tell, Reid, he doesn’t fit the profile.”

“We can tell you other things about him, if you want to know.”

A peace offering on behalf of Emily. Clearly she had improved after her night out and subsequent hangover. Spencer gave the go-ahead and Emily listed her profile:

“He's a workaholic, he actually logs more hours than we do. He makes decent money, but he doesn't spend a lot of it. He has a modest house. He drives a hybrid. He doesn't travel much. He stays away from the casinos. Um, and according to his veterinary bills, he has a very sick cat.”

“He appears to spend most of his free time alone,” Hotch added, “He goes to the movies a lot, and he reads. And from his collection of first editions, it seems his favourite author is-”

Spencer interrupted his boss, “Isaac Asimov, I remember that one.” He pressed his lips together. They were right; William Reid did not fit the profile.

Garcia piped up once more, “He does have one other major interest. On his home computer, he's archived, like, a ka-jillion things on one common subject.”

“What?”

“You, kiddo. He's got, like, everything that's been published online. Every article you've been quoted in, pieces you've written for behavioural science journals, He even has a copy of your dissertation.”

“He's keeping tabs on you,” Rossi said, That's saying something.”

But Spencer smoothly dismissed this attempt to make excuses for his father, “Yeah, he googled me. That makes up for everything. I'm going to get some air.”

---> ---> ---> ---> --->

After getting said air, Spencer went to the local bar and began playing an computerised poker game. His paying attention was only to distract himself, clear his head with something he knew he could control. And thankfully, a chance interaction with a lady at the bar spawned the inspiration for a sporadic hypnosis session.

Doctor Jan Mohikian allowed them a session. Reminded of the limitations that a four-year old’s memory could provide, not including the bias he already had as a son and a profiler, Spencer lay on the couch. His feet hung over the end so that his head could be comfortable in a pillow. There was no time for self-consciousness with Rossi in the room observing. He closed his eyes and felt his hand be placed upon Doctor Mohikian’s body.

She spoke low and calmingly, “I want you to hold my wrist in your left hand. And if you should feel any fear, I want you to squeeze, do you understand?”

“Yes.”

“Go back to the night you were just telling me about. You're at home, in your room. You can't sleep because your parents are arguing.”

---> ---> ---> ---> --->

His eyes were closed still, but the couch shifted into a bed. His bed. A floor below, the faint shouting between his mother and father was heard. There was someone else there too. A child wailing, and it wasn’t him.

Suddenly his father was at his side, touching his arm, saying, “I know you’re awake. Daddy loves you; you know that?”

Spencer didn’t want to be there, and then it was the following morning.

Putting his glasses, the room fell into focus. His mother was there, she didn’t see him because she was too busy looking out the window. Her body language told him that this was not a meltdown, but what she saw was distressing. She’d been crying. As she walked away into the house, she hid her face as if she knew Spencer was watching and she wanted to hide her reaction from him.

Spencer ran to the window the second Diana had left the room.

His father was in the back garden and burning clothes. A bloody shirt, a tiny cardigan, landed on top of the pile already set alight.

“5, 4, 3, 2, 1, and wake.”

---> ---> ---> ---> --->

And Spencer was shocked out of the scene, back to the doctor’s couch and gripping her wrist with an iron grip. Rossi was by his side, bringing him back to peace with his voice.

---> ---> ---> ---> --->

Derek was clearly disturbed that Spencer was very set on his father being a paedophilic murderer as much as he had been that Spencer was taking something that was said after his mother’s fit seriously. He continued however to assist with Rossi in Spencer’s investigation.

As if everything else hadn’t been hard enough, the captain took some time to agree to holding William Reid in custody. Finally, he settled for twenty-four hours. William was as resistant to the questions as he had been upon the initial reunion. All he could say was that he didn’t hurt Riley. Spencer wore him down, getting him to drop the Gary Michaels bomb plus the threat that he “didn’t want to go down that road”.

Garcia’s search of Gary Michaels’ DNA on the databases brought to light that their suspect was dead. Buried across state lines, beat over the head with a pipe or bat, and the body was discovered in 2001.

“Maybe it wasn’t Riley’s blood on the clothes he was burning.” Derek was about to hang up when Garcia began to speak again, a new discovery ready for her team.

“Also, Todd found something in your father’s finances. There was a standing order for a therapist, specifically a child therapist from 1985 to 1995. I thought it was for Spencer, but William left when you were twelve, and these sessions continue irregularly after he left you!”

“Who was the patient?”

“One Y/N L/N. Local to North Vegas, born 1980 to Shelly and Finley L/N.”

Both Rossi and Derek looked away from the phone to Spencer and he knew. He knew he’d have to face another villain from the past – like a knight in one of Y/N’s stories.

“Still alive?”

“Yep, already pulling up an address. There’s a lot of short leases attached to this name. Lucky for you, they keep going back to live with their parents.”

Spencer wasn’t entirely sure that he could handle two bitter reunions in one day.

“We’ll send off the fingerprint while we visit Y/N. They could have been a potential victim of Michaels before he died. They might know something.”

---> ---> ---> ---> --->

It was a normal home in a normal neighbourhood. Spencer had never visited Y/N’s house. Their play-dates were always at the park.

“Hello, Mr L/N,” held up their badges, “I’m Agent Derek Morgan, this is Agent David Rossi and Doctor Spencer Reid. May we come in and ask you some questions?”

“Sure. My wife is uh out at work at the moment,” Finley opened the door wider and stepped aside for the trio to enter, “I’m the house husband as it were.”

Looking about the kitchen, Spencer spied several photos of an adult Y/N but very few of them as a toddler and even less as a teenager.

“You have a child, Mr L/N?” Rossi asked.

“All grown up now, Y/N,” Finley smiled with a nod. Then he squinted at Spencer, “You’re not related to William Reid by chance, are you?”

Masking his bitterness, Spencer said shortly, “He’s my father.”

Finley seemed in awe at the prospect, so Derek redirected the conversation back to the matter at hand, “What was Y/N like as a child?”

Nodding still, like a bobble head, Finley looked weary at the notion, “Troubled. They were very young when they withdrew into themselves. Used to run away from home a lot. I don’t know what happened, but Y/N never told us.” He then jumped to protect his child’s reputation at present, “They’re doing better now, went to therapy and they’re doing very well for themselves.”

“I’m glad to hear.” Rossi replied.

Finley continued his defence of Y/N, “They’re a published author, they write fantasy things for kids and young adults. We’re very proud of them.”

“Did Y/N know Riley Jenkins when they were a child?”

“Riley Jenkins, that’s Lou’s kid who died, right?” Finley sought confirmation and, when he had it, he spoke, “Not personally. I think they might have played at the park once or twice. Before he died, Y/N would play with anyone. But you… you know that.” And Finley gestured to Spencer, much to his disgust.

“Is Y/N in the area?” Spencer asked briskly.

“Well, they’re due for a visit in a few hours. They went on holiday.”

“They still live with you?”

“A month ago, they got a new flat in the city. But they’ve got their own room here, for whenever they need it.”

“May we see it?”

The wallpaper was barely visible beneath exam revision notes, posters of Fresh sheets on the bed and the clear space on the floor were the only tidy things about the place. It was a haven of organised clutter.

A chess set caught Spencer’s eye. It sat upon the windowsill, recently dusted. The pieces were not that of a classic set; each was painted prettily but with enough error to indicate it was a personal touch.

“You and Y/N were close then?” Derek was holding up a photo album. Upon inspection, the photograph the page was open on was of Spencer and Y/N dressed up for Halloween as Doctor Frankenstein and the Monster respectively – accurate to the book of course.

“Yeah, ‘were’,” Spencer turned back to the chess set. He didn’t bother to ask when his friends had figured out he knew Y/N.

Rossi decided to further test the waters, “You think that Y/N could have killed Riley?”

“Of course not. A four-year-old couldn’t kidnap, tie up, rape, and kill a boy their own age. No violent history that indicates they would ever do something like this. Do I think that Y/N knows something about what happened and my father is trying to keep them quiet? Yes.”

Rossi moved beside Spencer, picking up the knight. Except it wasn’t a knight. It was a wizard of some kind in purple robes.

“We’ll stay up here for a bit then go down once Y/N’s inside and settled,” He gestured with the knight to the window. Spencer blanched as he spied a cab at the end of the driveway. The trunk was open and someone was retrieving a suitcase from within.

Y/N appeared around the corner, waving off the cab and turning to the house. Mr L/N appeared on the drive and they met in the middle for a hug. Over Mr L/N’s shoulder, Spencer could see that Y/N had grown into their chubby childhood features. They looked genuinely happy.

He would have to go through with it, but he didn’t have to like it. And he couldn’t go hide in the bathroom like with his father.

The trio plodded down the stairs when the sound of the front door closing was replaced with a joyous gathering in the kitchen. It all changed when Y/N went to take off their jacket and caught sight of the three FBI agents standing in the doorway. Taking out his badge, Rossi led the way.

“Hello, Y/N, I’m Agent David Rossi, this is Agent Derek Morgan, and Doctor Spencer Reid. We’re looking into the death of Riley Jenkins, and we were hoping to ask you some questions.”

To the naked eye, very little changed about Y/N’s appearance. To the three profilers, there was a visceral reaction: Y/N’s right hand started trembling, the hard swallow, the dropping of their gaze from Spencer to the floor.

“OK,” They said, a great deal quieter than they had been with their father.

Rossi sat next to Y/N at the dinner table. Derek was beside Rossi; Spencer stayed standing. Mr L/N stayed in the kitchen, at Y/N’s request.

“Can you tell us what you remember about Riley?” Rossi began.

“Not very much, I don’t really remember much about school.”

“Oh, you don’t?” Spencer blurted, “Well, I do.”

Derek glanced back at him with a look that just screamed “shut the hell up”. It seemed to cut down Y/N’s resolve, their jaw quivering.

“Sorry, can you give me a moment?” They stood up quick, the chair legs scraping loudly against the floor as they walked just as fast to the kitchen. Through the open door, Rossi, Derek, and Spencer watched Y/N grab a glass from the open dishwasher. The water from the tap hit the bottom of the glass harsh, crashing out like a wave of the ocean hitting a cliff. Y/N didn’t seem to care. Their hand dripped water onto the surface as they chugged back some of the drink before returning to the table with a topped-up glass.

“Are you alright?” Rossi inquired, leaning closer to Y/N.

They answered wearily, “Fine, just feeling woozy.”

“You’re a writer?”

“Yeah, you’re a writer too. My mom reads your stuff before bed.”

“Bit of an odd nightcap,” Rossi said with a little chuckle.

Y/N shared that smile for the briefest of moments, replying “You’re telling me.”

From their pocket, they pulled out some painkillers, popping them back with a slug of water then speaking again. “I remember Riley was smaller than me. Still figuring out coordination, but he liked to play chase. I know he was killed; I didn’t find out how until I looked into it last year.”

“Why did you look into it?” Rossi gently probed.

Y/N rubbed two fingers back and forth across their head as they spoke, “I was back here, I felt sick so I went for a walk in the park, and I just remembered him tripping over while trying to tag me. No one ever told me what happened, just that he had to go away. I wanted to know what happened to him.”

“Are you sick often?” Derek asked suddenly, his voice soft to match Rossi. Spencer grimaced at the treatment Y/N was receiving but said nothing.

“Headaches and stomach aches mostly.”

“You get them whenever you come home?”

“I do. Figured I was allergic to something but never figured out what.”

That would have to be a very quick response, like a dog allergy. And coincidental, seeing as the symptoms didn’t start until they saw Spencer.

“Y/N?” called their father, “Can you come here a moment please?”

“May I?”

“Of course,” said Derek and Y/N was out of the room. Derek pivoted in his chair to include Spencer in his theory, “I think they know something, but they don’t know they know it. I think they repressed this memory like you did, Spencer. We should take him to the therapist, see if we can jog his memory.”

“You can’t be serious,” Spencer covered his face with his hands, dragging them down with irritation.

Derek was persistent though, “Spencer, like it or not, Y/N’s linked to this investigation. Put aside your differences for a moment, please.”

Spencer all but squawked, “Put aside my differences?”

“You have brought a lot of bias to this case. Let us at least pursue this lead.”

“Sorry,” Y/N interrupted Spencer’s retort, sitting back at the table, “He needed someone to get unhook the loft door. Mom usually does it.”

“That’s alright.” Rossi waved a hand dismissively. Once Y/N accepted that, he moved in with Derek’s suggestion, “You know, some people have strong physical reactions to memories, trauma. Maybe you’re not getting sick. You’re rejecting something.”

“Rejecting?” repeated Y/N. There was no doubt in their voice, more cautious curiosity.

Derek nodded, “A memory, repressing it, and your body has linked the physical responses to your home. We think it has something to do with this case, and we’d like to see if we can retrieve any memories you might have. Would you be alright to come with us?”

“Yeah,” said Y/N, though they didn’t sound too certain, “Yeah sure.”

The resigned, too tired look on their face, and Spencer felt a tug in his chest. A longing to see Y/N smile like they had when they first entered the house. He’d rather hate someone who was happy than someone who suffered the same as him.

Leaving the house, Spencer took a deep breath of fresh air.

“Spencer?”

He ignored Y/N’s voice for a moment, but he couldn’t disregard Y/N standing in front of him and speaking again, “Spencer, can we talk please?”

“I’m busy,” He said, already walking off as he pretended to call someone, “Hey Garcia.”

---> ---> ---> ---> --->

“Hold onto my hand, use it as an anchor, and squeeze when you feel fear.” Doctor Mohikian accepted Y/N’s hand on her wrist and their silence nod as they lay back on the same couch Spencer had been just hours before.

“I want you to think back to your childhood, back to when you were five. You’re at the park, your parents are on a bench watching nearby to keep you safe. What do you see?”

“Spencer Reid.”

Derek and Rossi glanced at Spencer, who did not react. They kept quiet so that Y/N could immerse themselves in the hypnosis.

“What’s he doing?” Doctor Mohikian continued.

“Teaching me chess.”

---> ---> ---> ---> --->

Sat on opposite sides of the table, Spencer and Y/N’s eyes were glued to the chess pieces that were neatly organised between them. Spencer was thinking strategy. He could not say the same for his companion Y/N. They reached a hand out and hovered over the pieces before finally selecting their last knight.

Their tongue clicked as Y/N trotted the piece on the spot.

“What’s this one again?”

“The knight,” Spencer recited, “It moves two spaces up, down, left or right, and another step perpendicular to the first direction.”

“Brave creatures riding into battle,” Y/N narrated before continuing their clip-clopping to its new position, “Pawns in the game of war.”

Spencer didn’t understand how they were coming up with this whilst playing. Well, actually, he did. Because Y/N was clearly not playing to win. They were playing for the best possible story.

“Where do you think this story will end?” Y/N asked.

“I don’t know.”

“You’re lying,” said Y/N, pushing back the sleeves of their white cardigan, “Come on, you can tell me, with your magic powers.”

“It’s not magic. It’s logic.”

“That’s magic to me,”

Narrowing his eyes, Spencer decided that he should give his friend the information they sought: “I see checkmate in fifteen moves.”

“See? Magic! The gift of sight!” crowed Y/N, clapping their hands together. The cardigan sleeves fell back in place as they did so. Spencer felt his cheeks heat up; he dropped his head so he could smile in privacy while Y/N began to decide their next move.

“How’s your mommy today?”

Shrugging, Spencer said, “Better than normal. But that means a bad day is around the corner.”

Y/N nodded solemnly. “Do you want another ice cream? I got more birthday money.”

“No thank you.” Spencer moved the piece but was immediately intercepted by Y/N, “You’re getting better.”

“Fank you.”

“You’ll have to wait longer to beat me though.” And he snatched Y/N’s knight away, just as planned and much to Y/N’s dismay.

A new voice from their left spoke, “Hey you’re pretty good.”

---> ---> ---> ---> --->

Y/N’s grip tightened on Doctor Mohikian’s wrist, “Someone’s with us.”

“Who do you see?” Doctor Mohikian asked patiently.

“A man. He’s asking us if he can watch us play, listen to the story.”

“Do you want him to stay?”

“No,” Y/N flinched, “But Spencer keeps talking to him. The man won’t go away.”

“It’s OK, it’s OK, you’re safe, Y/N.”

Y/N flinched again, this time letting out a whimper, “He’s on the floor.”

“Spencer is?”

“No, the man.”

“What’s he doing on the floor?”

“He’s,” Y/N began panting, their face tensing and body jerking, “I can’t get to him. There’s glass in the way and the ground is shaking.”

“Y/N.”

“I can’t look, I’ll be sick! Whenever I see them, sick.”

“OK, you’re going to wake up in 5, 4, 3, 2, 1!”

Their eyes snapped open with the click of the fingers and Y/N leapt out of Doctor Mohikian’s couch. Their head aimed over the bin by the door and they retched. Nothing came up but their stomach continued to squeeze up

Spencer fidgeted in his seat, trying his best not to look at Y/N. The choice words of the session, three in particular, wrapped around his head.

“Floor”.

Y/N had seen Gary Michaels inside, somewhere that wasn’t the park.

“Glass”.

A window, Y/N was watching what Gary Michaels was doing.

“Sick”.

“Go away! I can’t look at you! You make me feel sick, you and your family!”

“Them”.

It wasn’t just Michaels in the room alone. They had been a witness to his murder.

Derek’s movement to help Y/N took Spencer out of his analysis. Sweaty, Y/N was led back to the couch, the bin between their legs, head lolling forward. Spencer tried to move beside them for questioning, but Y/N winced and began heaving again. He felt that ache in his chest again. He was causing this and nothing he could do would change that. Not until they both knew what happened to Riley and Y/N got help through it.

“What did you see, Y/N?” Derek asked as he replaced Spencer’s spot beside them.

With watering eyes, Y/N looked at Spencer, “The man we played with, he was on the floor. His head – thank you.” They accepted the water from Doctor Mohikian, gulping some back, “It was smashed in.”

The three agents left the room, Doctor Mohikian following after Y/N left to get some air.

“It’s logical to assume that Y/N tied that sickness, that repulsion because of what they thought they saw your mother be involved with, to you and your family,” Doctor Mohikian evaluated.

Interrupting again, Spencer stammered his way through his analysis, “That’s why they avoided me. They associated me with being ill. It’s probably also why they ran away so much; they had to get away from this horrible feeling they had associated with their home.”

Doctor Mohikian shook her head, “We won’t be able to use this in court, I told you when we started.”

Derek’s phone started to ring. As he answered, Spencer somehow managed to slip away for long enough to find Y/N. They were leaning against the ramp’s railing in front of the practice, their body lifting and slumping with each deep breath they took. Against his better judgement, he moved toward them.

“Y/N? Can I have your number?”

The breathing slowed again.

“I need it to call you with an update on the situation as soon as we get one.”

Without looking up, Y/N pulled out their phone and handed it over to Spencer. He punched his number in a new contact, using this time to gather the courage to maybe say something else. The hurt and pain went beyond him now. Y/N was suffering and had been much longer than he had.

“Thank you, Y/N,” Spencer said quietly, hoping that his didn’t add to the illness, “I hope you feel better soon.”

Their head still down, Y/N croaked, “You too, Spencer.”

“Spencer, get over here! We got a match on a print on Michaels’ body!”

---> ---> ---> ---> --->

“What makes you think Gary Michaels killed your boy?”

“He admitted it,” Lou Jenkins said, as monotonous as he had been for the last fifteen minutes of the interrogation.

Derek’s quickfire was on Jenkins instantly, “You beat a guy with a baseball bat, he's going to admit to a lot of things. How do you know he was the right guy?”

“I know. He approached another kid in the neighbourhood.”

“And how do you know that?

“I was told by a concerned party.”

“Who? Another parent?”

Jenkins leant back in his chair, “That's all I'm going to say on the subject.”

“Who was it?” Spencer suddenly spoke up.

Caught off guard at his interjection, Jenkins awkwardly parroted himself, “I told you that's all I'm going to say on the sub—"

Reid slammed his hands on the table, getting right up in Lou’s face, “Who was it?”

The door opened, Detective Hyde appeared, “Agent Reid?”

“Do not interfere with this interrogation, detective,” shouted Spencer, “This is not your case anymore!”

Once again, he was cut off. This time, by the arrival of his own mother, Diana, and her admission of guilt: “Spencer, it was me”.

---> ---> ---> ---> --->

Of all the things this case had brought him, Spencer least expected to be sitting in a room with his mother and father together for the first time in years. To have Diana explain to him how she was involved in a child’s murder was also up there with the unthinkable.

But he stayed quiet and listened to her confession.

The reveal that she had seen Gary Michaels playing chess with him and Y/N, that she and got a feeling that something was wrong before anything had even happened, opened the story. Lou Jenkins’ involvement was next on the menu. Two days after the chess game, he drove Diana to Michaels’ house, disclosed his history of child abuse, and demanded she leave while he went into the house.

Upon reaching the point where she entered the house, Diana struggled with her words. William reached over and took her hand.

She described seeing Lou with the bat, standing over the body, slipping in the pool of blood, finding Y/N standing in the window and their face, their little face as innocent as the white cardigan that covered their shoulders and absorbed the blood from Diana’s hands as she shook their shoulders.

“And the rest... It's all dark after that.”

William continued for her. Diana came home and brought Y/N with her. Eventually he came to understand what had happened and decided that nobody could ever know.

“You were burning her bloody clothes,” Spencer concluded.

His father nodded, “But the knowing, you can't burn that away. It changes everything.”

“You paid for Y/N to go to therapy.”

William didn’t seem surprised that Spencer knew this, going straight into explaining: “They went into a dissociative fugue state after seeing what Lou had done. When Diana brought them home, they were just stiff. I asked them for their home number, to call their parents, but they started screaming and throwing up. We had to take them to the police station.” He mopped his brow with a handkerchief, “They needed help, but their parents couldn’t afford it. And they didn’t know what had happened. I couldn’t drag another person into this, Spencer.”

“Is this why you left?”

“I tried to keep us together, Spencer. I swear to you, but the weight of that knowledge, it was too much.”

“You could have come back. Could have started over.”

“I didn't know how to take care of you anymore. When I lost that confidence, there was no going back. What's done is done.”

“At least now you know the truth,” Diana made an effort to smile at her son

Choking on his words and the overwhelming remorse he felt, Spencer refused to look at his parents any longer, “I was wrong about everything. I'm sorry.”

And William said something that Spencer had been waiting for, for a long time, “I am, too, Spencer.”

---> ---> ---> ---> --->

All of this was repeated when Spencer walked with Y/N through their old park the following day. Filling the final gaps in the memory would hopefully bring some respite to them both. Or at least maybe something to start the recovery process, easing Y/N’s sickness and Spencer’s pain.

“I’m sorry for my behaviour during this case,” Spencer sniffed, “When you said we made you sick, back when we were four, I thought you had seen my mom during one of her episodes and thought she was a freak, like everyone else.”

That stopped Y/N in their tracks, their hands coming up to cover their mouth, their eyes misty, “Oh Spencer, I’m sorry too, I’m so, so sorry I caused you so much pain.”

Spencer’s hands rushed up as if to create belated damage control, “It’s ok! I hurt you too. I made you sick.”

“That wasn’t your fault though.”

“It wasn’t yours either. We were kids.”

Almost pedantic, stropping, like a child again, Y/N moaned, “It’s all been such a waste. We could have been friends all this time!”

“We can be friends now,” Spencer pushed his hands down into his pockets to stop them flailing about anymore. His sentence was phrased more like a question.

One that Y/N gladly answered, “I would like really that.”

Sitting in the reply for a moment, Spencer followed up on his concerns, “How are you feeling? I mean, are you feeling sick again?”

“A bit, but I can handle it.”

Spencer could not see any changes in their behaviour from the day before. So obviously they were lying about that. But he didn’t protest. The lie meant Y/N wanted to stay with him, which was good - Spencer wanted that too.

They kept walking, only in silence for half a minute before Spencer broke it again, “I read your books last night.”

“Yeah?”

“‘The Siege of the Lost Faiths’ in Rogue’s Mask, that was our first game of chess.”

“It had by far the best narrative,” Y/N dragged their shoe a little on the grass before coming to a stop, “Do you still play?”

“All the time.”

They nodded over to where the old chess tables still stood, “Fancy a game before you go?”

Spencer grinned, “Just promise that this is the only setting where we’ll be on conflicting sides from now on.”

“Promise.”

Brushing the debris from the table, they both took their places opposite each other. From Y/N’s bag was revealed a box, spilling their painted chess pieces across the board. Remembering how they had stood in Y/N’s room, Spencer helped to set up the match. They took their seats opposite one another. Y/N was the green side, Spencer the purple.

Spencer moved first. After a second’s deliberation, Y/n moved their pawn.

“Isn’t there a story with this one?” Spencer said, an implicated teasing in his tone despite his shyness.

With an equally bashful eye roll, Y/N started their new story, “First begins the battle with the royals on both sides sending intrepid messengers to meet and pass along their deeds.”

Spencer took Y/N’s pawn. As he lifted their piece away, he spoke quietly, “One not as intrepid as the other.”

A gasp dropped from Y/N’s smile. He had never joined in the narrative telling before, always too taken up in the match to invest in whatever story they spun.

“He’s not a coward,” They said, still smiling, much to Spencer’s delight, “Prisoner’s dilemma, he just couldn’t trust the other with his life.”

“Did they know each other before this battle?”

“Yes,” Y/N moved a knight across, stealing Spencer’s pawn, “They were brothers who once shared a crib and now they share a grave.”

Throughout the game, Y/N continued the story with Spencer asking questions just to hear them talk more. The maturity of the stories had grown just as Y/N’s voice had. They knuckled their eyes a few times, but they didn’t complain about the headache.

“I know what endings you like,” Spencer moved his rook, “Checkmate in five.”

Y/N didn’t seem to mind that little dig, “This’ll have to be a short story instead then.”

Spencer’s next sentence got away from him, trailing off the closer he got to the end of it, “You could write an anthology series, if we see each other again and play more games.”

Where Spencer’s voice disappeared, Y/N’s returned with invigoration, “That’s not a half bad idea, Spencer.”

The checkmate never came. Y/N diverted the ending into a draw.

“A peace treaty has been forged by the survivors, because too many lives have been lost to justify this violence anymore. If only they realised sooner that no blood had to be shed for peace to rule the lands.” And they smiled at Spencer, clearly chuffed as they leaned back in their chair, “Bit of an upgrade from the horse noises, I’ll say.”

Spencer rotated the purple knight – the illusionist – between his thumb and forefinger, “I liked the horse noises.”

“You should have said during the match! I’d recreate them, for you.”

One by one, the pieces were placed back into their box until the last piece remained in Spencer’s palm: the knight or Soren the Illusionist, distractions and deceptions but he loved the tricks that delighted most of all. Just like Spencer with his magic tricks but a little to the left. The character was always one of Y/N’s favourites. Some solace away from the pain of thinking of who he was based on.

Y/N pushed Spencer’s hand away, closes his fist around it, “Keep him. He was made with you in mind anyway.”

The information sank in and Spencer’s nose wrinkled with the little smile on his face as he cupped the little Illusionist, “I’m Soren?”

Nodding, Y/N confirmed, “You’re Soren.”

“But what about your set though?”

“I can always make and paint another knight,” and Y/N tilted the piece upside down in Spencer’s hand, revealing the signature on the underside, “You and him are the originals, it’s only fair you stay together.”

In a moment of pure instinct and nostalgia, Spencer clicked his tongue as he twisted Soren in time with the noise. Y/N let out a burst of laughter that dragged the air out of Spencer’s chest.

“Hey, do you wanna get dinner tonight?” He said, running out of breath very quickly as a result.

It had a similar effect on Y/N, “I thought you – don’t you have to get back to Virginia?”

“I have time for dinner. For you.”

---> ---> ---> ---> --->

The bookstore was packed but the breath of the patrons was held as one. All eyes were watching the mini stage where a crouching figure lifted their head up slowly. A jump as the tension broke with the figure leaping up to their feet with a bang.

Y/N pushed up the brim of their cap. Snatching a deep green hoodie from the purple trunk – silver constellations painted on the sides – they swung it over their back before picking up the page where they had left off.

“Nasima looked up at Mason and said, ‘Well that was just unnecessary.’”

A burst of laughter shot through the pre-teens in the front row, spreading to the adolescents sitting further back who had grown up with the author’s other works, finally reaching the adults at the back where Spencer was fiddling with his cane. He adjusted the sleeve of his costume absentmindedly. He was just like everyone else in the room: captivated by how Y/N was so immersed in their reading.

They had just mimed kicking down a door, plus sound effects from their mouth. Swapping back and forth between the two conflicting characters arguing with one another, changing between the hoodie and the cap with every other line of dialogue and taking both off for the role of the narrator, it was certainly a workout.

An exaggerated breath was drawn into Y/N’s lungs, flopping over in a melodramatic state, which caused another laugh in the audience.

Spencer’s nose scrunched up as he grinned. He knew this was part of the scene; he’d seen Y/N rehearse this story in their sitting room. It was so much better to share this with an audience, for their reactions to fuel Y/N’s energy.

Y/N finished the short story A Battle of Bent Truths with a flourish, leaving the rest of the anthology for their audience to read in their own time. The kids were up on their feet first. Some of them were jumping up and down as they applauded with the rest of the shop. Y/N gave a big grin as they bowed, sweeping their cap off for extra drama.

There was a book signing and a photographer that followed, and Spencer waited patiently at the end of the queue, thankful that the store allowed him to bring a chair along with him. He was happy to entertain his godson and friends with a few tricks to pass the time.

“Another one please!” Henry jumped up and down when Spencer revealed his card.

A minor commotion arose by the photographer’s backdrop. There was a teenager was crying; she was clutching her copy of Untold Tales of Human Nature. Y/N was holding their shoulders, rubbing gently and speaking softly. Only half paying attention to his next trick, Spencer kept an eye on Y/N as they hugged the teenager, looking near tears themselves.

“Spencer?” J.J tapped him on the shoulder and Spencer realised that Henry was looking a little mad to have lost his godfather’s attention so easily.

“Sorry, Henry, can you pick another card please?”

When they reached the front of the queue, JJ went up first and took Henry and his pals up to see Y/N. They instantly recognised JJ and welcomed her with a tight hug. Henry was delighted to see his favourite babysitter and show them off to his school friends, boasting that they had read to him before today.

“They read me bits for bedtime, Mommy!”

“I know!” JJ tickled his cheek, “I read them to you too.”

“Who do you like better?”

“Mommy,”

Y/N gasped, dropping to their knees which made Spencer wince, “Henry, you wound me!”

Rossi approach next, knowing that once Spencer got to Y/N, they would not be left alone.

“You really know how to captivate an audience,” He kissed them on both cheeks, “Though don’t take offence if I don’t use the same tricks at my readings.”

“Wouldn’t dream of it! Thank you for coming.”

Y/N then caught Spencer’s eye and began meandering over to him with a smile they were desperately trying to stifle. Spencer rose from his chair, meeting Y/N in the middle.

“Hi, Spencer.”

With his free arm, Spencer flaunted his cloak, “Who is Spencer? I’m Soren the Illusionist!”

Giggles from his godson, his godson’s gang, his co-workers and friends, they almost caused Y/N to lose their composure. They held on just long enough to continue the banter.

“Oh, forgive me, you look so much like my boyfriend.”

“Hmmm, he must be very handsome,”

And Y/N burst into peals of laughter, waving their hands about, “OK, stop, stop, stop, I can’t.”

“Hey!” Spencer pretended to take offence, pouting as Y/N brought him into a hug.

“Don’t worry,” They kissed his cheek between giggles, “You are so very handsome.”

“To think you were once sick at the sight of me.”

#spencer reid #spencer reid fanfic #spencer reid x reader #spencer reid imagine #criminal minds #criminal minds imagine #criminal minds fanfic #criminal minds x reader #my writing #r: gender neutral #wc: 5k+

676 notes · View notes

antialiasis · 4 years ago

Text

Worldbuilding June (Pokémon edition), Days 8-12

Whoops forgot to post these for a couple of days, too busy with a load of Things as always.

8. Who rules in your world?

TQftL never brings up government, but each region has its own human government, generally just standard representative democracies similar to what we have in the modern world. Ouen has an elected parliament and president. It's a fairly utopian world with little scarcity and politics play kind of a background role - they keep things running, they have some different parties, but there's low polarization and usually they work pretty smoothly together and have little conflict. The situation in other regions is similar - movement is very free and conflict between them is rare and minor in the grand scheme of things.

QftLverse Pokémon, once again, have their own societies and are not subject to human rule except in a limited way while they're with a trainer, as per the Agreement, an all-encompassing contract dictating how the relationship between humans and Pokémon should work. Different Pokémon species govern themselves differently, but their societies are generally based on smaller self-governing groups. The Scyther society has a single leader, who is meant to be the simply strongest in the swarm, and anyone can challenge them to a duel to the death to take their place at any time.

The Morphicverse is once again close to Earth, with different countries having different modes of government. The Poké-USA's politicical climate resembles the actual USA's political climate in ~2007, but if I ever wrote references to the current president I wouldn't make him an outright Bush expy or anything, beyond being from the conservative one of the two highly polarized parties.

9. What religions and myths/legends exist in your world?

The QftLverse's human society is basically post-religious. Legendary Pokémon are revered, but not worshipped - people don't pray to them, ascribe natural phenomena to them, expect them to watch over them personally, perform symbolic rituals associated with them, etc. That said, humans do have myths concerning them - not always accurate ones. The story describes the human myth behind one set of legendaries early on before the reality much later turns out to have been fairly different, for instance.

QftLverse Pokémon have their own myths, legends, religions and beliefs. The Scyther society explored in the spin-offs has a bit of a vague mythology going on explaining the sun, moon, stars and clouds, but it's not very important to them, more of a just-so story. Meanwhile, they live by a system of ethics known as the Code that they consider sacred and all-important, though it doesn't have a godly figure behind it as the source of it, only a philosophy. Other Pokémon might variously have straight-up religion (whether worshipping legendary Pokémon or something else), be entirely areligious, or something in between; most will have myths and legends in some form, though.

The Morphicverse has a form of Christianity, which is functionally a lot like ours; this also means they had a version of Judaism. Other specific religions don't come up, but they'd at the very least be as varied as real-world religions. Like in real life, there are many sects and variants, and as many individual interpretations of faiths as there are people. The villain cult in particular has fringe views that in no way resemble the mainstream. And like in real life, many people nominally believe but don't really practice their religion, and many are agnostic or atheist.

Legendary Pokémon in the Morphicverse are cryptids - there are myths and legends about them, and people think they're neat, write fiction and make movies about them all the time, but in the modern day, actually-for-real believing that they exist out there ranges from mildly eccentric to entirely unthinkable. Worship of legendary Pokémon exists, but in the way that modern neo-Paganism does. It's not remotely mainstream, generally seen as a weird hippie thing, and the notion of Arceus appearing in the flesh one day and declaring he created the universe is about as fantastical to most people as the notion of the Norse pantheon doing the same in our world.

10. What traditions are observed in your world?

QftLverse human traditions are mostly just secular holidays - commemorations of important days in the region's history, etc. It's tradition for most children to go out on a Pokémon journey the spring after they turn ten years old, and participate in a First-Timers' League in the autumn if they manage to stick it out for the whole journey and collect all the badges - there are kids who don't, but it's rare for them to not want to, and other kids may see them as no fun.

Every year in Green Town, there is a Pokémon Festival originally built around the legendary Pokémon Chaletwo's yearly brief visit to the outskirts of the city (which may or may not be ditched in the next revision); it hosts a number of Pokémon-themed events over several days. One of them is a starter Pokémon giveaway, where most kids go to get official starter Pokémon, who have specifically volunteered and been trained to work with beginning trainers - though many kids have had Pokémon as pets/partners since they were young and journey with them instead, or their parents otherwise get them a Pokémon who's up for a beginning trainer. (Many Pokémon kind of like the idea of journeying with a beginning trainer, in the way that many people like the idea of getting a kitten rather than an adult cat - just something special about having been with them from the start. Though getting a starter who's actually been trained to deal with kids is recommended over just finding any random enthusiastic Pokémon.)

Pokémon have all kinds of different traditions. The Scyther society as explored in the spin-offs has a number of traditions and rituals, including a sort of blood baptism of new hatchlings, the leader of the swarm teaching all the adolescent Scyther about the Code, and First Prey, where each of the adolescents is sent out to hunt prey on their own for the first time, with a male and female witness following, so they can prove their ability to kill and to feed themselves. Afterwards, they're expected to publicly offer a symbolic piece of the meat of their first prey to some members of the swarm, and doing so signals respect; you don't technically have to, but in practice everyone always offers it to the leader and not doing so would be taken as outright disrespect.

The Morphicverse is once again culturally similar to the real world and has mostly similar sorts of traditions. Pokémon training is less culturally ingrained there, but still a very common hobby for kids.

11. What are some ways people communicate with pokémon in your world, or pokémon with each other?

In the QftLverse, humans learn to understand Pokémon speech as a mandatory subject at school. Pokémon inherently understand human speech, but they speak anime-style, usually in syllables of their species' name (which is what the species are named after). They share one language, which is not based on exactly what the syllables are but the tone and the way they're combined, hence why it works regardless of the species.

In the current version of the fic, this is pure handwave worldbuilding: it's established that it happens at school at the beginning, and then we just move on to the story, where every human simply understands what Pokémon are saying at all times. In the next revision I'd give a bit more proper worldbuilding attention to it - let the language barrier be a little more present, humans vary in exactly how good they are at it (luckily it's already the main character's best subject at school), and otherwise treat it less like it's just an excuse to act like Pokémon speak English.

In the Morphicverse, Pokémon do communicate but they don't do complex communication - instead, it's closer to the sort of communication most animals do in the real world. They can express how they're feeling, draw attention to something interesting, sound the alarm about something scary, ask another Pokémon to follow, and can do this in a somewhat more efficient and intelligent way than most animals generally do. But one way or another, they don't communicate complicated abstract ideas, neither to humans nor to one another. Pokémon don't automatically understand human speech here, though they're very quick learners when it comes to commands, and they can pick up a fair amount just by being around humans, allowing them to get the gist of basic statements and requests without being explicitly taught them, though anything abstract would still be entirely lost on them. You could tell a Pokémon you've lived with for years "I lost my hat, can you help me find it" and they'll go look for your hat, but they'd be lost if you tried to ask them for anything much more complicated than that.

12. What is the gym circuit or adventuring organization like in your world?

In the QftLverse, gyms are meant to be taken on in a specific order and gym leaders are accordingly expected to keep their Pokémon below a certain level. To be officially sanctioned by the League, a gym needs to have a theme - usually a type, although Rick got away with a legendary theme because he gets away with everything because he is hypnotizing League officials with his Mewtwo super-clone I was twelve years old. Every year there's a First-Timers' League in the autumn in each region, where new trainers who have collected all eight badges of their region face off (except for the bit where I somehow made a guy who'd been training for years be part of it without thinking about it properly). There's also a global Old-Timers' League for more experienced trainers, which crowns a world champion; this doesn't involve badges and is just a tournament. Trainers are advised to stick to official routes, while Pokémon who want a trainer seek out the routes and others avoid them; going off-route has the potential to lead to run-ins with Pokémon who are more hostile to humans. It's not forbidden but it's drilled into kids' heads that you're not supposed to.

The Morphicverse's gym circuit is not too dissimilar to that, but gym leaders are expected to carry a variety of Pokémon teams to take on challengers of different skill levels, who can take on the gyms of their circuit in any order. Kid trainers are strictly meant to travel only along official routes, which are thoroughly monitored to be safe, and often take public trainer transportation; when they're eighteen they can get an adult trainer license with which they can take their Pokémon anywhere they like, at their own risk. Mostly kids do it as a hobby, and many young children dream of being professional trainers, but only a fraction are actually good enough to make money off it, so most either quit it after a few summers on realizing it's not for them (they might release their Pokémon or keep them as pets, depending on how high-maintenance they are), or continue to do it as a side hobby. There exist college-level training schools for those who really want to dedicate their lives to it, but by that point in time most people will have dropped their pro trainer dreams.

#tqftl #morphic #worldbuilding june #pokemon

8 notes · View notes

marshmallowgoop · 4 years ago

Note

Hi, Goop! I just came across your Wolf Children post about Yuki's development throughout Wolf Children. Her personality change rubbed me the wrong way too, especially when you consider there was an easy solution. If none of Yuki’s classmates shared her interests, why didn’t she try to make friends with other kids who did? She couldn’t have been the only girl in her school to like snakes and bones. If she was, then couldn’t she just hang out with the boys instead? That's what I did in school

[In reference to this post.]

Hi!

Yeah. I’m coming at it from a western perspective, and that’s all I can really speak to, but it just strikes me as an enforcement of strict gender roles. Yuki’s tomboyishness is almost presented as something childish that she has to “grow out of” in order to become a mature woman, and it... rubs me the wrong way.

[Image description: An anonymous ask message that reads, “Hey! I just found this blog after I finished kill la kill on netflix. 6 years late to the party, I know. I have a quick question, apologies if it's been answered before. Is there any reason/significance behind Ryuko carrying a guitar case? And why do they call it a guitar case, it looks like a regular box? Does Ryuko actually play guitar?” End image description.]

6 years late to answering this message....

Unfortunately, I can’t think of any statements or design notes concerning Ryuko’s guitar case. I like to headcanon that Ryuko plays guitar, and that’s where the case came from, but I don’t believe there’s anything in canon/canon materials to back that up.

That said, there’s an interesting piece of concept art for what I think is the case in The Art of KLK Vol 2, which depicts a dog and puppies inside?

[Image description: Part of a page from The Art of KLK Vol 2, image courtesy of h0saki. At the top, there’s a sketch of the outside of Ryuko’s guitar case. Below, there’s a sketch of the inside of the case, which holds her Scissor Blade among other hard-to-define items. At the bottom, there’s a sketch of a box with a dog nursing four puppies inside. The page also includes sticker designs for the stickers that Ryuko places on the case (a “JK” sticker where the “J” resembles a sock and what looks to be a triangle-shaped badge of some sort), as well as a sketch of Ryuko’s red glove. End image description.]

I’m not quite sure what’s up with that! But it’s sadly all I got on the subject.

[Image description: An anonymous ask message that reads, “so I've been curating a Ryuketsu playlist on Spotify... and I feel you should know that a song by Ruben Studdard called "Wear Me" is a thing that exists and it's perfect. the lyrics and everything just... yes.” End image description.]

I actually wrote a thing that talked about this song (and other similar songs) a few years back!

To quote:

So I admit this isn’t something I ever really thought about before falling in love with Kill la Kill, but the concept of “wearing” someone being utilized in a romantic or sexual fashion is actually… not that unfounded.

SNSD’s song “Back Hug” takes a sugary-sweet approach to the idea. Like clothes, the singer expresses that a certain someone is comfortable to be around and that she wants to “wear” them and be with them all the time. Ruben Studdard takes a flirtier, more sensual angle in his song “Wear Me,” with a chorus that includes “Girl take me home and/Take it off just to put me on” and verses about, well, being clothes pressed up against a woman’s body. Boom! Bap! Pow!’s “Suit” takes a creepier view, repeating the lines “You’re so cute I wanna wear you like a suit/I think you’d look pretty good on me,” with additional lines of “you got the stuff to get me hot” and “I want to drape you across my shoulders/want you close to the bone.”

[Image descriptions: Three anonymous ask messages. The first reads, “I hope you're doing well, goop! miss you!” The second reads, “Hi Goop! Do you still write and analyze stuff yourself? I check in every other day too see if you posted something new because I always loved reading your posts. ☺️ No pressure though, I'm just wondering! Greetings to you and have a nice day! ❤️” The third reads, “You haven't posted in awhile (on Twitter or here), you okay?” End image descriptions.]

I’m trying to get okay-er. Thank you for checking in, and for being so interested in my stuff, second anon! I’m really touched! 😭

To tell the truth, I kind of gave up on writing in 2020. I don’t think I’ve written a real analysis in about a year.

I’m dipping my toes back into it. I have some planned stuff—if nothing else, I’ve saved a load of screenshots and even edited a video that I intend to pair with an analysis. But it’s been so long that I’ll probably be rusty! 😅

We’ll see what the future holds. But regardless of what happens, thank you for your messages <3

[Image description: An ask message from @lucyoftheabyss48 that reads, “You should watch Deca-dence! Honestly I think it goes right where BNA went wrong. I think you might enjoy it a lot!” End image description.]

I’ll add it to my list of things to check out! Thank you for the rec!

[Image description: An anonymous ask message that reads, “Do you find it lot a Little odd that Yoh Yoshinari didn't a Post BNA Finale interview or AMA?” End image description.]

I haven’t really kept up with BNA content since I finished watching the show, but with everything that happened in 2020 (and is still happening in 2021), I sadly think it’s understandable if there haven’t been many interviews about the series.

#Anonymous #lucyoftheabyss48 #replies #i think normally i'd split these up a bit more and group them but it's been so long....#i don't even think many of the folks who sent these are even checking on this blog anymore #or even on tumblr at all for that matter #but i don't like to leave things unanswered (especially if it's kindness!) so....#that said to echo what i said last year i won't be attempting to answer -everything- anymore; it's just not good for my mental health #and i'm going to try to chill 'cause me spending 5+ hours answering an ask about something i might not even necessarily want to write about #and creating a huge essay in response that no one wants to read and pushing back projects i -do- really want to work on in the process #is probably not great for anyone #but i do read everything sent to me and appreciate the kind words!#thank you for sending messages and still following this blog after so long :')#not sure when/if i'll go back to twitter because i'm more afraid of twitter even though it's tumblr where i got harassed but #i'll slowly be doing things again :)#wolf children #kill la kill #brand new animal

10 notes · View notes

patientfocusly · 5 years ago

Text

major canon divergences

( i don’t expect anyone to read this because it’s a lot lmao. this is more so for me to have a reference because i forget things about my own muse / canon rip. if we’re rping together we’re probably also talking ooc so anything important from this post will be mentioned to you at some point. )

( please note that by canon, i’m referring to my general main verse which includes no interactions with other muses. each interaction with a muse is put into its own verse. new interactions can come into the main verse at any point of the timeline and then diverge from that point. )

does not marry curtis. they noticed each other because they worked closely as part of the atlas crew and maybe if the time and place were different there might’ve been a chance for them to get to know each other and form something but for shiro, there is a lot weighing on his mind that he needs to wade through

( a ) shiro has been thru Sum shit and he has an endless list of reasons to be sad but i just want to make it known that shiro’s no. 1 source of guilt and just general mind-anguish is the fact that he is living in a borrowed body, that he took from someone who had to die for him to live.

( b ) at this stage he is also coming in touch with his feeling for keith which have been with him for a while, so even if he was aware of other potential interests . . . he’s not actually interested back.

adam is alive. he was critically injured in the first wave of attack by sendak and recovered enough only to provide ground support for the second wave. he remains an officer of the garrison and heads training and recruitment. he does not fly again. he’s happily married and reaches out to shiro. they’re amicable, but not close friends. maybe eventually they will be. ( this will obviously not be the case if i’m writing with an adam. )

allura is alive – i need to rewatch the end of season 8 to figure out how, but she’s alive.

after a year or so of captaining the atlas, the need for atlas to be an offensive military ship decreases and shiro consults sam and pidge for their thoughts on deweaponising his prosthesis. The new arm is still powered by allura’s crystal but looks more similar to the galra arm ( except it starts at the shoulder since his bicep??? disappeared magically ), but it’s coloured white and light grey, and the lit up areas are aqua ( same as the crystal. )

speaking of the crystal . . . the original arm was designed to operate via a balmera crystal, because that’s what most of altean designs are based off of. however they didn’t have a crystal to use, and sam says the remaining energy required for the armto work would be drawn from shiro’s own electromagnetic field. he tries it for the first time and . . . his body rejects it, in what looks like an incredibly painful and potentially fatal way, if it hadn’t been for allura stepping in and replacing the original energy source for the arm with the crystal from her tiara. we don’t ever find out why shiro’s body rejected the first energy source but here are 2 theories:

( a ) shiro’s body is actually kuron’s body, a clone, manufactured by haggar, using ~space science~ and likely some form of quintessence. the electro magnetic field coming off of the clone’s body would vary to that of a human’s, which is what sam would’ve based his calculations on. balmera crystals have incredible properties that aren’t really explained in great detail but we know how powerful they can be, regardless of size.

( b ) because it’s kuron’s body, maybe the connection to haggar didn’t completely shut off when keith cut off the arm. that flash that happens when the arm connects and shiro’s body starts rejecting it is very similar to the flash that happens when haggar starts controlling kuron earlier ( better explained in this headcanon piece. ) my only issue with this headcanon is that it implies haggar may still have some degree of control over shiro, and I just………….it’s been so overused, i just don’t want that for shiro anymore, so i’m most likely sticking to theory a !!!!!

still on the subject of the crystal, let’s talk about what shiro says after allura places the balmera crystal in his arm ; “i feel strange . . . i feel – great !” strange, as in he’s feeling something he’s never quite felt before. this is in contrast to what he feels when the first energy source is used in his arm ; “i feel . . . good,” but he sounds hesitant, like he doesn’t feel good at all, and obviously we see why moments afterwards. the great part is emphasised. he almost seems excited, like he really does feel great, and the scene cuts off with him trialling his arm by making a fist, and smiling. again, the properties of the crystals are pretty much undefined, but they are an immense source of power – what allura’s tiara contains is likely more than enough required to power shiro’s arm, and going back to how allura operated the castleship, and how shiro is able to operate the atlas, i’m loosely headcanoning that the crystal acts as a link between “captain” and “ship”, though obviously, allura herself channels quintessence and has so much more capabilities as a “captain.”

what does the crystal providing an energy source for not only the new prosthesis, but also shiro’s body mean for shiro? an external boost of energy and human-compatible quintessence is probably the first dose of anything resembling treatment shiro has had since the kerberos mission. i don’t see the balmera crystal nor altean healing pods having the power to edit genes but as far as healing goes, it must have some effect in alleviating pain and / or fatigue for shiro to exclaim, “i feel great !”

( a ) sometimes it’s difficult to write in a universe set in the future because things of our current reality ( social injustices, shit politics, technological limitations etc. ) may not be a reality say 100 years in the future, and add space and alien technology to the mix and you’re sort of left with a lot of potential for creation and imagination and progression but also hindered by the reality of present day and representing present day. i wouldn’t want to “magic” away shiro’s disease or magically come up with a cure, but at the same time i don’t want to take away the possibility for him to be potentially cured ( which is what the “i feel great !” line hints towards ) just because of the limitations of today ???????? i’m just having an inner conflict over this - i will update what i decide when i decide !!

major fanon divergences

does not qualify as space dad. it simultaneously infantilises the other paladins and takes away from their own journeys of being forced to grow up too quickly and take on the responsibility of fighting in a war, and puts undue stress on shiro who is only ~25 himself responsible for his team only in the role of their commanding officer at best

his prosthetic arm is not a sex toy, it’s a prosthesis ( refer to this post on arm related bed time activities )

shiro did not have a romantic connection with keith pre-kerberos. if anything the earliest signs of anything resembling a romantic connection would be late into season 2, but that is pending heavy plotting

shiro came from a happy family . . . he just lost almost all of it very early on. he grew up loved even though he learnt about loss too quickly ( please refer to this headcanon. )

shiro cannot sing lol . . . i dont know where this headcanon came from, but it’s sticking

i think it’s popular headcanon for shiro to have a little sister, or a big family; i wrote his backstory with his older sister before i came across this, so i’m sticking to my original headcanon because his bond with his sister is so strongly formed in my head

shiro is not afraid of death . . . but he doesn’t want to die. i feel like his relationship with death needs its own post but the tl;dr version of it is that he had a timer put on his life when he was around 17 years old. life goes from seemingly endless to suddenly very very short ( not just in the sense that his lifespan is predicted to be shorter, but that his body will soon restrict him in movement and opportunity. ) and then kerberos happens, and the arena happens, and voltron and zarkon and he’s reminded that life is short regardless of whether they give you a timer at 17. any moment could be his last and shiro has had a long time to come to terms with this. it makes him incredibly grateful for the present, and of what he’s had in the past. it also is potentially why he prioritises a mission that will take him to see the stars, over a relationship with adam ten years down the track.

if anyone makes it this far . . . ur the real mvp, thank u for reading my brain ramblings <3

#━━ ⋅ ✰ ⋆ merry crisis ! ⋮ ❛ headcanon ❜#( headcanon. )#━━ ⋅ ✰ ⋆ aw fuck ! i can’t believe you’ve done this ! ⋮ ❛ ooc ❜

8 notes · View notes

wordsnstuff · 5 years ago

Text

Guide To Writing Historical Fiction

PLEASE REBLOG | Tumblr suppresses posts with links :/

Patreon || Ko-Fi || Masterlist || Work In Progress

–

Finding Credible Sources

This can be a major struggle, especially for those who don’t possess a lot of skill in writing research papers or writing informative works. I could write an entire article on this subject alone, but instead I’ve decided to link a few helpful articles that can help you identify credible sources. A good rule of thumb is to pay attention to how recent the information is, who wrote it (what are their credentials), and who/which organization published the information. If you’re unsure of whether one or all of these things indicates a lack of credibility, cross-reference against other material, and always keep the list of sources you’ve used handy for future reference.

Familiarity vs. Accuracy

The ultimate goal of writing historical fiction is creating an immersive experience for the reader, which takes place during a period in time they didn’t live through, or in a location they didn’t experience during that time. It’s about immersion, and it’s important that you don’t sacrifice that experience in an effort to make the material as factual as possible. You are an artist, and you have the room to pick and choose where accuracy is necessary, and where familiarity can supplement it.

Write For Your Reader

When choosing which information to include in your writing, you need to keep the reader at the forefront of your mind. What do they need to know? What can be omitted in the interest of individual interpretation? Where does specificity take away from the excitement of a moment in the story. There should never be a scene that is completely focused on unpacking the research you’ve done on the time period. You do the research and learn the information to aide in your ability to tell an immersive story, and you edit include information sporadicly with the intention of keeping the worldly aspects fresh in their mind. Each piece of information is a reminder to the reader’s imagination of where and when they are. It’s not about teaching them anything. That’s why it’s fiction.

Authenticity vs. Accessibility

A lot of historical fiction works become problematic when the author prioritizes factual accuracy over accessibility to the everyday reader. The majority of readers come for the taste of another time or another culture, or both. If they wanted to read a history paper, they would. If they wanted to read a 120 page report on 16th century Japan, they would. Keep this in mind. Accessibility is a deal breaker for most readers. If they can’t see the story through the information, they’ll put your story down, because they want what’s been advertised.

Differentiating Between Classes

Class is one of those things that, when imagining what it’s like to research for historical fiction, you forget to consider. In most cases, the experience of lower classes or the middle class were not documented or recorded in the past because it wasn’t considered worth remembering. Be mindful of who your characters are, because if you’re writing about a time period that predates modern methods of recording life and events, you may struggle to find information on anyone other than royalty and the general upper-class.

Common Struggles

~ Being a detail-oriented writer who struggles with efficiency… Here’s the thing. Write down the questions you come up with while writing, put a signifier in your draft, and then move on. Continue writing, because in all reality, it’s not worth your time to squeeze all of that minuscule detail into a first or second draft. Get the actual story done with a solid foundation of information about the relevant subjects, and then when you’re confident in your current draft, move onto the little things.

~ How far should I go when taking artistic liberties?… Make the time period and the location familiar and make the characters fit logically into it. Beyond that, nitpicking is not your responsibility. It’s historical fiction. Unless you’re wildly misrepresenting a serious issue or an important detail, there’s no reason why you shouldn’t take liberties where you see fit. It’s one thing to decide tomatoes did exist in Italy during the 14th century and another to erase a minority struggle in your historical fiction story. It’s fairly simple.

~ Speech patterns and vernacular of different time periods… Speech patterns are difficult to smoothly incorporate into text anyhow, but if it’s relevant to your plot, there are a lot of resources on speech during different time periods and the dialects in various areas of the world. The vernacular of languages are more important to research, especially for dialogue, but this is also something you can hire an specialized editor to work with you on. I would use texts of the time period as a jumping-off point, translated into their original version but in whatever language you speak, and then compare patterns you see between them.

~ Portraying historical figures… This is subjective, and whether the figure is dead or alive is also important to consider. Unless they’re an integral character in your story, my best advice would be to portray them with the enduring attitude of the majority, such as neutrality for a figure like John F. Kennedy, or negativity for figures like Adolf Hitler. This is highly subjective to your story and their role in it.

~ Depicting more recent time periods… If you have no experience with that time period and the events within it, and you have the option of asking someone you know, I recommend doing so. However, take bias and perspective into account when incorporating the information you glean into your story. Try to depict them with more nostalgia than stereotype.

Other Resources

Resources For Writing Royalty

Commentary on Social Issues In Writing

Describing Setting

Resources For Worldbuilding

Resources For Describing Physical Things

Things To Know About Your Real-Life Setting

Guide To Political World Building

Tips on Introducing Political Backstory

Resources For Writing (Global) Period Pieces : High Middle Ages & Renaissance

Resources For Writing (Global) Period Pieces : 1600s

Resources For Writing (Global) Period Pieces : 1700s

Resources For Writing (Global) Period Pieces : 1800s

Resources For Writing (Global) Period Pieces : 1900-1939

Resources For Writing (Global) Period Pieces : 1940-1969

Resources For Writing (Global) Period Pieces : 1970-1999

Writing Other Eras

World Building In Historical Fiction

Historically Accurate Dialogue

Accuracy vs Relatability

Guide To Writing Historical Fiction

–

Masterlist | WIP Blog

#writing #writeblr #writespo #writing advice #writing resources #resources for writers #resources for writing #writing help #writing tips #writer #writblr #authorblr

2K notes · View notes

ryik-the-writer · 5 years ago

Photo

The Audacious Storybrooke Mirror Advice Columnist (Wednesday Paper Edition)

In which Lacey French is a smutty advice columnist for the Storybrooke Mirror.

Ch. 1: Lacey is challenged at work and discovers she has an admirer.

Based off a prompt I saw eons ago. Will be plot driven for the first few chapters but I hope to just wing it the rest of the way.

A03

-.-.-.-.-.

“FRENCH!”

Lacey smirked around her cherry sucker as the echo of Glass’s feet boomed closer, her eyes never leaving the screen of her ancient but well-maintained computer.

She hummed when she heard him stop behind him and didn’t even flinch when a rolled up newspaper hit her desk.

“Wanna explain this?” he seethed, hands on his hips like he actually could intimidate her.

Lacey held up one finger as she continued to read her email, knowing her “boss” was getting more annoyed by the minute.

“French,” he growled in warning. Lacey chuckled, and turned to him.

“Yes?” she inquired, fluttering her eyelashes.

Glass held the paper to her face, causing Lacey to lean back.

“I read this morning’s paper, thanks,” she said.

Glass’s finger slapped at a section of the paper. “I’m referring to this trash you put in my paper!”

“Trash that the night editor had no problem with,” Lacey waved him off.

“I’ve talked to Cruella, but she’s as perverted as you are.”

“So, this is my problem how?” Lacy inquired with a flick of her wrist.

Glass’s eye twitched. This was it. Lacey French was going to be give him an aneurism in the middle of his office.

“This,” he began to explain quietly for the thousandth time. “Is a community newspaper, and you just told a member of that community to…to…”

Lacey bit her lip as Glass sputtered through the answer Lacey gave in her most recent advice column.

Well, to be completely fair, “advice” was putting it mildly.

Lacey gave a guide to pleasure, for one’s self or for them and their partner, which ever they were seeking.

“Racy Lacey” as she was penned in a small, one-fourth sized space each Wednesday on the back of the Storybrooke Mirror’s sports page, gave relationship, intimacy or any sort of general tips that dealt with one’s sexual life. A twist on “Dear Abby,” so to speak.

Yes, shocking in a small community newspaper, but hell, it made the Wednesday paper the most popular one each week.

She knew this from the hundreds of emails—good and bad—she got each week, depending on just how “degrading” the column was that week.

The process was simple: someone would send her an email with their problem (sex wasn’t good anymore, she doesn’t know I exist, he doesn’t know I exist, something like that) and Lacey would write back with a suggestion. A handful of the emails (usually the most sexual one) would go in the Wednesday’s paper, and Belle would spend the rest of the day going through the flood of emails that either bashed her for her “sinful” ways or wanted advice for their own conundrums.

This week was no different.

With a smirk, she snatched the paper from Glass’s hands when he could find the words to describe her latest round of advice.

“Dear Racy Lacey,” she began, dodging Glass’s grab.

“I haven’t slept with my husband in nearly five months! And I’m starting to worry he’s no longer attractive to me!”

“French!”

Lacey jumped on the desk of another journalist, a true feet in her heels.

“We’ve been so busy with our jobs and children, we’re so tired during the week, so last weekend I sent the kids to their grandparent’s house, put on something flattering, and thought we were set, but he just went straight to bed! What’s happening to us?”

Signed: Bland Bedroom

Just as Glass was ready to take a stapler to her ankle, Lacey jumped down and began zagging through desks to keep away.

“Dear Bland Bedroom, my advice is to put on your sexiest high heels—”

“French!”

“Put one on his chest—”

“I’m warning you!”

“And ride him until he’s spent.”

Lacey threw herself back in Glass’s chair, lightly panting as Glass struggled for his breath at her.

“Remind him that you are a goddess among worshipers and he should be worshipping you, every night on his knees, preferably.”

Lacey met Glass’s heated glare and causally handed the paper back to him.

“Best luck to you, Racy Lacy.”

Glass snatched the paper back, kicking his office door closed from all spectators.

“You’re evil.”

Lacey shrugged. “I prefer imaginative.”

Glass took in a deep breath. Lacey could practically see his blood pressure slowly drop down to normal.

“You’re fired.”

Lacey waved him off as she spun in his chair. “No I’m not.”

“Yes you are.”

“No, I’m not.” Lacey pushed with a chuckle. “People like what they’re reading, and they like it more when it gets a little…sultry.”

Glass groaned, a second away from busting a blood vessel.

He knew good and well Lacey’s M-rated columns helped keep subscribers sending in those monthly checks, but he couldn’t help it if some of those subscribers happened to be a bit more persuasive of what should and shouldn’t go into their community paper.

“The truth is Lace…Regina called again.”

Lacey’s smirk melted into a scowl.

“So what?” Lacey shrugged, trying to hide the uneasiness bubbling in her gut. “Hasn’t her majesty ever heard of first amendment rights?”

“Easy,” Glass warned, more than certain that the walls had ears that led straight to Mayor Mills.

“No,” Lacey scoffed. “I’m not going to let her dictate what I write, and neither should you!”

“That woman has the ability to sway this town any direction she chooses, and she might just persuade them to chase you out of town.”

“Oh please,” Lacey spat, though she wasn’t foolish not to take such a threat lightly.

Glass groaned, exhausted already. Dealing with the mayor and then one of his most hard-headed employees would put anyone out, but he needed to find a solution to appease both sides.

Lacey was talented. Sultry, yes, but she had skills befitting a feature writer.

The advice columns were easy income for the paper, but a target for mockery for Storybrooke’s more conservative residents.

It would seem the mayor was only getting involved to settle them, her biggest supporters and the ones who primarily funded her mayoral campaign each year.

“Look,” Glass said. “For modesty’s sake, can you try to write something nice for next week? Why not just a simple advice piece on…anything!”

“If people wanted advice, they’d go to Hopper,” Lacey pouted, leaning her head back in the chair.

“Just…try, please?”

Lacey glanced at the man who was technically her boss. She’d always thought he looked like a bulldog, expressionless and kind of dumb, but loveable.

“I’m not publishing any fluff,” Lacey affirmed.

“That’s not your call,” Glass replied with a dry smile. “Just keep it PG and we might live to see another edition.”

“If by PG you mean post-coital gratification than—“

“French!”

Lacey snickered before sliding out of his chair. “I’ll…attempt to be civil,” her smiled faded for a moment, her eyes going dark, “But no promises.”

Glass sighed, knowing that was as good as he was going to get for now.

“Have something on my desk by Monday,” he said as he began to leave his office. “And get your boots off the desk.”

Lacey dropped one boot, keeping the other firmly stacked on yesterday’s paper in defiance.

This was ridiculous! Who the hell was the mayor, telling her what she could and could not write!

“Probably the closest thing to sex she ever gets,” Lacey snorted to herself.

With an exaggerated groan, she heaved herself upright, lazily logging into her work email from Glass’s computer (he’d be pissed later but so be it).

She scrolled through the dozens of emails she received from Storybrooke’s secretly lewd citizens, as well as the ones condoning what she did for a living (including a particularly lengthy one from Mother Superior.)

Of course, they signed their letter with a penname or a name surrounding their problem, such as “No Longer Interested” or “Spice it up or Give it up?”

She went through a few of them, but had to decline writing on them. They were sex-related, and already tempting her to screw what Glass or Regina or anyone else said and reply to them.

“Ugh,” she moaned, sorrowfully scrolling past the deliciously sinful emails.

Just as she was ready to shut down the computer, a few choice words at the subject line of the email.

Alone in Storybrooke wrote:

Dear Racy Lacey,

Your mind is brilliant, in both your columns and in your day to day life.

I see you time to time in town, and I’m instantly drawn in, like a month to a flame.

Your courage to stand up to this town is admirable, as brilliant as a warrior on a battlefield.

Your outer beauty as well isn’t without comment.

Brown hair, beautiful blue eyes and an unforgettable accent…and legs for days I may add.

Reading your columns every week is equivalent to sampling the finest of erotica the world has ever known, I hope to enjoy them…and perhaps one day you…in the future.

Lacey blinked, the twinge of pink that had spread over her cheeks heating her entire face.

It would seem she had an admirer, well another one that is.

She had her fair share of fan mail, some of which cusped on downright creepy, and there had been a time or two she had left a tip on Sheriff Graham’s desk.

Yet this was more…flattering. Abet, a bit strange, but still worthy of a hearty reply.

She cracked her knuckles, ready to reply to this fellow. Her current task could wait.

As she highlighted the name of the penname, her eyes caught the email address, which looked terrifying familiar.

[email protected].

Lacey’s stomach lurched.

“No way…”

She hovered her mouse over the email address and her worst fear was confirmed.

Mr. Augustine Gold. The beast of Storybrooke who owned every piece of property within the town line.

And her landlord.

“Oh Shit.”

#rumbelle fic #rumbelle #golden lace #lacey frenc #rumplestiltskin #mr. gold #ouat #ouat fic #once upon a time #ryik's fics

5 notes · View notes