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[avelera]

#i think we could still get the faire episode#at least i'm hoping#maybe the changes they plan for the show means hob has a different conversation and so the quote no longer fits - @hangingondust

oh my god oh my god please don't give me hope, if Dream's fate is different then yeah, this line just might not fit the episode anymore and so it's been salvaged elsewhere omg please

Fun fact, the poem read in the first episode of Dead Boy Detectives is word for word Hob Gadling's view of what happens after death, as noted in the comic issue Sunday Mourning. So, if nothing else, we get our first Hob nod right off the bat.

(Though, sadly, it does rather imply that they don't expect to get to Hob's Renaissance Faire episode in the Sandman Netflix show where the quote originally comes from within the Sandman shared universe.)

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reminder to worldbuilders: don't get caught up in things that aren't important to the story you're writing, like plot and characters! instead, try to focus on what readers actually care about: detailed plate tectonics

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I was working on a history paper today and found a book from 1826 that seemed promising (though dull) for my topic, on an English Catholic family’s experience moving to France.

And it ended up not really being suitable for my purposes, as it goes. But part of the book is actually devoted to Kenelm, the author’s oldest son…and man, his dad loved him.

Kenelm seems to have had a fairly typical upbringing for a young English gentleman, although he is a bit slow to read. At twelve he’s sent to board at Stoneyhurst College—often the big step towards independence in a boy’s life, as he’ll most likely only see his parents sporadically from now on, and then leave for university.

When he’s sixteen, however, his father moves the whole family to France, so Kenelm gets pulled out of school to be with them again. Shortly after the move, his dad notices that he seems depressed. Kenelm confides in him that he’s been suffering from “scruples” for the last eighteen months—most likely what we’d now call an anxiety disorder.

And his dad is pissed—at the school, because apparently Kenelm had been seeking help there and received none, despite obviously struggling with mental health issues. So his dad takes it seriously. He sets him up to be counseled by a priest—there were no therapists back then—and doesn’t send him away to be boarded again, instead teaching him at home himself.

And his mental health does improve. His dad describes him as well-liked, gentle, pious, kind and eager to please others; at twenty he’s thinking about a career in diplomacy or going into the military—which his dad thinks he is not particularly suited for, considering his favorite pastimes are drawing and reading. He’s excited about his family’s upcoming move to Italy, and he’s been busy learning Italian and teaching it to his siblings.

Henry Kenelm Beste dies of typhus at twenty years, four months, and twenty-five days. That’s how his dad records it. That’s why his dad is telling this story. It’s not an extraordinary story—Kenelm’s story struck me because he sounds so…ordinary, like so many kids today. And he was so, so loved. His dad tried hard to help him compassionately with his mental health at a time where our current knowledge and support systems didn’t exist. You can feel how badly he wanted his son to be remembered and loved, to impress how dearly beloved he was to the people who knew him in life.

I hope he’d be glad to know someone is still thinking of Kenelm over 200 years later.

Anyway, that’s why I’m crying today.

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How the 1889 meeting went, essentially

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How to Pack Luggage?

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Dungeon Meshi made me, a lifelong non-eater of breakfast, into someone who eats breakfast every day.

I’m not sure what category of film rec that counts as, but it definitely counts as one.

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Help me, Bilbo Baggins. You’re my only hope.

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marcille is so gay it’s unreal. she locked the hell in for those bird boobies. oh and happy lesbian week or something my fellow fruity dungeon meshi fans

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every autistic person watching this episode of dungeon meshi:

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i'm such a big fan of laios using being well fed as proof that he's serious. like there's so many techbros & etc who will use not eating breakfast as proof that they're productive & just in general, the idea of being "too busy to eat" is getting more common (which is exactly what toshiro is doing here!) but laios is like. no. i'm so serious about this i'm thinking about what comes next. i'm so serious about this i'm making sure my body can do everything it can when i need it.

the fact that everyone in the party took care of themselves & carefully planned out their route & when they'd take breaks is what made them so successful. they always made sure to understand their limits

[avelera]

Fun fact, the poem read in the first episode of Dead Boy Detectives is word for word Hob Gadling's view of what happens after death, as noted in the comic issue Sunday Mourning. So, if nothing else, we get our first Hob nod right off the bat.

(Though, sadly, it does rather imply that they don't expect to get to Hob's Renaissance Faire episode in the Sandman Netflix show where the quote originally comes from within the Sandman shared universe.)

[avelera]

What if i offered you an oxrib. What if you didn’t even know what hunger was until you’d tasted my offerings. What if i watched you bare hands devour my oxrib and knew i’d never crave anything else in my long life but watching you eat so greedily and joyfully

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Guide to Troubled Birds Samurai

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it’s insane to me that mariko and ochiba no kata/ruri are explicitly said by the creators and the characters themselves to have grown up very close, ‘like sisters’, and it’s implied they were closer than ochiba was to her actual blood sister (which was normal in terms of family dynamics and given their circumstances, I know, but still). their relationship might just be the most Homoerotic thing in the show, by pure accident, because it’s so intense and Fated that even the absence of any hint of romantic/sexual feeling ironically just magnifies how much their bond is too big to be captured by any conventional framework or labels. and I like this invention of their backstory from the original novel, it’s given ochiba lots more interiority and it’s a grounded and subtle means of saying More about them without having to spell it out. I really appreciate that their history is staged as an Entirely Platonic and Sisterly dynamic but one that had a deep formative influence on both of them, that lasted through all their years apart, right through to the tragic culmination of them as rivals.

the scene where Mariko walks into a room full of men baying for the blood of her lord/her by extension and is instead 100% focused on ochiba no kata, the only other woman in the room, whom she trusts to recognise the challenge she’s trying to pose, sent chills through me. their bond is the hidden fulcrum of the political machinations the show dwells on, more so than any number of the show’s political marriages or more conventional and visible means of politicking the many men in Shogun have, and the creators have touched on that in a similar register.